Rab Noakes
Rab Noakes (13 May 1947 – 11 November 2022) was a Scottish singer-songwriter, guitarist, and record producer renowned for his influential role in the country's folk and contemporary music scenes over a career spanning more than five decades.[1][2] Born Robert Noakes in St Andrews, Fife, he grew up in nearby Cupar, where his early interest in music was nurtured by his family and cousin Derek, who introduced him to diverse influences including blues, skiffle, and country.[1][2] He began performing professionally in the mid-1960s after moving to London and released his debut album, Do You See the Lights?, in 1970 on Decca Records, marking the start of a prolific recording career that saw him issue over 20 solo albums on labels including A&M, MCA, and his own Neon imprint.[3][1] Noakes co-founded the band Stealers Wheel in 1971 alongside Gerry Rafferty and Joe Egan, contributing to its early development before departing prior to their 1973 international hit "Stuck in the Middle with You," though he later provided backing vocals and guitar on Rafferty's solo debut Can I Have My Money Back? (1971).[3][1] His songwriting extended to collaborations with Lindisfarne, whose albums Nicely Out of Tune (1970) and Fog on the Tyne (1971) featured his compositions such as "Together Forever" and "Turn a Deaf Ear"; he also worked extensively with Barbara Dickson, including on her 2014 album Reunited, and performed with acts like Brooks Williams and his own backing band, the Varaflames.[3][1][2] In addition to his performing career, Noakes served as a senior producer for music programs at BBC Radio Scotland from the 1980s until 1995, when he co-founded the independent production company Neon with his wife, Stephy Pordage (who predeceased him in 2021).[3][1][2] A mainstay at festivals like Celtic Connections, he received the Tartan Clef award from Nordoff-Robbins in 2015 for his contributions to music therapy and education, and his last solo album, Welcome to Anniversaryville, was released in 2018, followed by the posthumous collaboration Should We Tell Him: Songs by Don Everly with Brooks Williams in 2023.[3][1][4][5] Noakes died suddenly in hospital on 11 November 2022 at age 75, leaving a legacy as a pivotal figure in Scottish music, celebrated for his versatile songcraft and enduring friendships in the industry.[1][2]Early Life
Childhood and Family Background
Rab Noakes, born Robert Ogilvie Noakes on 13 May 1947 in St Andrews, Fife, Scotland, was raised in the nearby town of Cupar.[6][7] There, he attended Castle Hill primary school and later Bell Baxter high school, growing up in a close-knit community that shaped his early years.[6] His family provided a supportive foundation, with his father, Robert Noakes, working as a postal worker for the Post Office, which instilled in him a sense of civic pride and responsibility.[7] His mother, Elsie (née Ogilvie), served as a local government officer and was an amateur singer whose passion for music encouraged young Rab to participate in family sing-alongs, fostering an early appreciation for performance.[6] Additionally, his father nurtured Noakes' lifelong interest in classic cars, reflecting a household that balanced practical values with personal hobbies.[8] The Noakes family embodied a staunchly working-class ethos, rooted in labor and community service, while also embracing the arts through his mother's vocal pursuits.[6][7] He was the eldest of three brothers, including Alan and Ken, who survived him.[6] This environment laid the groundwork for his developing interests during adolescence.Early Musical Influences
Rab Noakes' early exposure to music came primarily through radio broadcasts and his mother's singing during his childhood in Cupar, Fife. As a young boy, he avidly listened to the BBC Light Programme and Scottish Home Service, where songs like Jo Stafford's "Allentown Jail" and Guy Mitchell's hits captivated him, alongside Scottish classics such as Robert Wilson's "Westering Home." His mother, an enthusiastic singer, introduced him to a mix of traditional folk tunes like "The Rowan Tree" and 1950s pop songs, fostering his initial interest in melody and performance; she even encouraged his first public singing at age five with pieces like "Westering Home" and "Mary's Boy Child." These familial and broadcast influences laid the groundwork for his lifelong passion for music, blending Scottish traditions with broader popular sounds.[9][10][8] Noakes taught himself to play guitar in his early teens, drawing from the diverse sounds he absorbed via radio and records gifted by family, including 78 rpm discs of Buddy Holly and The Crickets from his cousin Derek. This self-directed learning allowed him to explore folk, rock, and country genres, with early fascinations extending to 1920s blues, jug bands, and nascent country music. By his mid-teens, he was experimenting with acoustic rhythm guitar in fingerstyle and plectrum techniques to accompany his singing, reflecting the era's burgeoning interest in Americana roots alongside British pop. His mother's encouragement further supported this development, as she had introduced him to Irish and Scottish folk songs that shaped his foundational repertoire.[11][1][9][8] The 1960s British and American music scenes profoundly impacted Noakes during his teenage years, particularly through live concerts and emerging artists that expanded his horizons beyond local Fife sounds. He attended package tours at Glasgow's Odeon Cinema from 1963 to 1965, witnessing acts like The Everly Brothers, Little Richard, Bo Diddley, and The Rolling Stones, which ignited his enthusiasm for rock 'n' roll. Bob Dylan's folk innovations and The Beatles' songwriting mechanics became pivotal, inspiring Noakes to delve deeper into narrative-driven music and the Glasgow folk scene, including visits to the Glasgow Folk Centre. These influences merged with his earlier folk and country absorptions, creating a versatile style that bridged transatlantic traditions.[9][8][11][10] In his late teens, Noakes began performing locally in Fife's pubs and folk clubs, starting with floor spots that honed his stage presence before he progressed to headlining by 1967. These early gigs in venues around Cupar and nearby areas, often in informal settings like parties and school events, allowed him to test self-taught guitar skills on audiences familiar with the regional scene. Drawing from his blended influences, he covered folk standards and emerging rock numbers, building confidence through community encouragement in the pre-professional phase of his career.[11][1][9]Musical Career
Formation of Stealers Wheel
In 1972, Rab Noakes co-founded the folk rock band Stealers Wheel in Paisley, Scotland, alongside Gerry Rafferty and Joe Egan, with the initial lineup also including Roger Brown and Iain Campbell.[12][13] Building on his earlier involvement in the Scottish folk scene during his youth, Noakes brought his experience as a singer-songwriter to the group.[6] As the band's guitarist, backing vocalist, and co-songwriter, Noakes played a key role in shaping its early sound through contributions to initial demos and live performances, including appearances that helped establish the group's presence on the Scottish music circuit.[14][6] His guitar work and songwriting input complemented Rafferty and Egan's lead vocals and compositions, fostering a harmonious folk-rock style influenced by their shared Paisley roots.[3] Stealers Wheel signed with A&M Records later that year, leading to the release of their self-titled debut album in November 1972, which achieved commercial success the following year with the hit single "Stuck in the Middle with You" reaching number 6 on the UK charts.[15][14] Noakes departed the band sometime after the release of their self-titled debut album in late 1972, having contributed to live performances including during the success of their 1973 hit single "Stuck in the Middle with You".[12][14]Solo Debut and Early Albums
In 1969, Noakes secured a month's residency in Denmark, where he further developed his songwriting skills amid a burgeoning European folk scene.[16][17] This period of focused performance and composition laid the groundwork for his transition to solo recording, allowing him to refine a personal voice distinct from his earlier group endeavors. Noakes' solo debut, Do You See the Lights?, arrived in autumn 1970 on Decca Records, recorded earlier that January with a lineup emphasizing acoustic arrangements.[18][19] The album blended folk rock elements, featuring introspective originals like "Without Me, Just With You" and "Somebody Counts on Me," which showcased his emerging talent for melodic storytelling.[20] Critics likened its warm, Elektra-style production to late-1960s folk-rock staples, praising its emotional depth without commercial bombast.[21] By 1973, Noakes ventured to Nashville for Red Pump Special on Warner Bros. Records, immersing himself in American country and blues traditions.[22] The sessions featured renowned Nashville players, including steel guitarist Pete Drake, drummer Kenny Buttrey, and guitarist Bill Kirchen, alongside harmonica from Ray Jackson and horns from the Memphis Horns on select tracks.[23][22] Tracks like the optimistic "Clear Day" and covers of Buddy Holly's "Rave On" and Merle Travis's "Smoke! Smoke! Smoke! (That Cigarette)" reflected strong American influences, merging Western swing with Noakes' acoustic folk roots and bluesy undertones.[22] Noakes' early solo work established an acoustic folk foundation laced with country and blues, prioritizing lyrical introspection over flashy production.[24][19] While neither album achieved major chart success—the 1974 single "Branch" from Red Pump Special failed to crack significant UK positions—critical reception highlighted their melodic craftsmanship and Noakes' role as a songwriter's songwriter.[25][22] This period overlapped briefly with his involvement in Stealers Wheel, but his solo output underscored a commitment to personal, roots-oriented expression.[10]Mid-Career Developments
In the late 1970s, Rab Noakes continued to evolve his sound, incorporating stronger rock elements while maintaining his folk roots, as evident in his fifth album, Restless (1978), released on Ringo Starr's Ring O'Records label and produced by Terry Melcher, known for his work with the Byrds.[6][26] The album featured backing vocals from longtime collaborators Gerry Rafferty and Barbara Dickson, blending acoustic folk rock with pop sensibilities and showcasing Noakes' growing interest in Americana influences honed from earlier Nashville sessions.[6] Tracks like the title song highlighted his melodic songwriting and robust guitar work, earning critical acclaim for its polished production despite limited commercial breakthrough.[27] By the early 1980s, Noakes experimented further with pop-folk fusion, as seen in his self-titled album Rab Noakes (1980) on MCA Records, which fused introspective lyrics with accessible melodies and subtle rock arrangements, reflecting his versatility across genres.[28] This period marked a stylistic shift toward more genre-blending compositions, drawing on his broad influences from Bob Dylan to Scottish traditions, while he built a solid reputation in the UK folk circuits through consistent performances at clubs and festivals.[6] His 1984 release Under the Rain on the folk-oriented Black Crow label continued this trajectory, emphasizing acoustic-driven folk rock with tracks like "Eden's Flow" that underscored his enduring commitment to heartfelt storytelling over commercial trends.[29] Noakes' mid-career also involved notable tours, including support slots with bands like Lindisfarne, whose recordings of his songs such as "Turn a Deaf Ear" from their early albums helped elevate his profile in the British music scene.[6] However, he faced significant challenges, including label instability with major companies that hindered widespread success; despite praise from critics for his innovative fusions and songcraft, his releases achieved only modest sales, prompting a pivot toward independent folk outlets by the decade's end.[6]Later Work and Productions
In 1995, Noakes co-founded the production company Neon with his partner Stephy Pordage, whom he later married, marking a shift toward independent music ventures that included establishing Neon Records as a label for releasing his own work and reissues.[6] Through Neon, he self-produced and released albums such as Standing Up in 1995, which showcased his evolving songwriting and guitar work.[11] Noakes continued issuing music on Neon Records into the 2000s and 2010s, including Unlimited Mileage (2007) with his band The Varaflames, a reissue of Do You See the Lights? (2008), Welcome to Anniversaryville (2011), I'm Walking Here (2015), and The Treatment Tapes EP (2017), albums and EPs that reflected a mature folk-Americana style blending introspective lyrics with rootsy instrumentation.[30][31][32][1][33] Prior to founding Neon, Noakes worked as a producer for music and entertainment shows on BBC Network Radio in Manchester starting in 1987, before becoming senior producer for music programmes at BBC Radio Scotland, a role he held until 1995, contributing to network broadcasts that highlighted emerging talent.[3] He also took on production roles for other Scottish artists through Neon, supporting the local scene with recordings that emphasized authentic folk and roots sounds.[6] Throughout this period, Noakes engaged in collaborations with peers in the Scottish music community, including guest appearances on tracks and co-writing songs such as "Mindful" with Pordage for his 2017 EP The Treatment Tapes.[33] These efforts underscored his role as a supportive figure in the folk and Americana traditions.[34]Discography
Studio Albums
Rab Noakes' studio albums span over five decades, showcasing his evolution from folk-influenced singer-songwriter material to a broader palette incorporating country, rock, and eclectic interpretations of standards. His output reflects a consistent commitment to craftsmanship, often blending personal storytelling with versatile arrangements, including over 19 solo releases by 2015. Early works emphasize acoustic roots and narrative songs, while later albums explore collaborative projects and thematic retrospectives on his career.[3] Noakes' debut, Do You See the Lights? (1970, Decca), introduced his warm baritone and witty lyrics on everyday life, setting a template for his folk-leaning style. The follow-up, the self-titled Rab Noakes (1972, A&M), expanded on these elements with subtle pop touches, produced by Bob Johnston. A pivotal shift came with Red Pump Special (1973, Warner Bros.), recorded in Nashville with producer Elliot Mazer and featuring session musicians like Ben Keith; its country-infused sound highlighted Noakes' affinity for American roots music and included guest appearances from Stealers Wheel bandmates.[35] This album marked his move to Warner Bros. and demonstrated growing confidence in blending folk with rock elements.[10] Subsequent releases like Never Too Late (1975, Warner Bros.) continued this exploratory phase, incorporating West Coast influences from sessions in San Francisco. By Restless (1978, Ring O' Records), Noakes had shifted to Ringo Starr's label, delivering an album praised for its refined songcraft and emotional depth, with tracks like "Lonely Boy Tonight" showcasing his melodic prowess, produced by Terry Melcher.[36] Critics noted its "fine" balance of introspection and accessibility.[37] The self-titled Rab Noakes (1980, MCA) followed, emphasizing mature themes of relationships and resilience amid label transitions.[28] The 1980s and early 1990s saw a leaner output, with Under the Rain (1984, Black Crow) standing out for its intimate, rain-soaked reflections on love and loss, recorded in a home studio setting. Noakes' return to form came in the mid-1990s with Standing Up (1994, Mediart Music), a resilient collection that reaffirmed his singer-songwriter credentials after a period of touring focus.[38]| Year | Album | Label | Notes |
|---|---|---|---|
| 1970 | Do You See the Lights? | Decca | Debut album, folk-oriented debut. |
| 1972 | Rab Noakes | A&M | Self-titled sophomore release. |
| 1973 | Red Pump Special | Warner Bros. | Nashville-recorded, country-folk blend.[35] |
| 1975 | Never Too Late | Warner Bros. | San Francisco sessions with guest musicians. |
| 1978 | Restless | Ring O' Records | Produced by Terry Melcher, praised for songcraft.[36] |
| 1980 | Rab Noakes | MCA | Mature thematic exploration.[28] |
| 1984 | Under the Rain | Black Crow | Intimate, personal recordings. |
| 1994 | Standing Up | Mediart Music | Post-hiatus return to form.[38] |
| 2000 | Throwing Shapes (with the Varaflames) | Neon | Early Neon release with backing band. |
| 2000 | Lights Back On (with Fraser Speirs) | Neon | Collaborative acoustic project. |
| 2007 | Unlimited Mileage (with the Varaflames) | Neon | Rock-infused band effort.[39] |
| 2012 | Standing Up Again | Neon | Sequel to 1994 album, reflective. |
| 2012 | Just in Case: Songs of Boudleaux & Felice Bryant | Neon | Tribute to Bryant songwriting duo. |
| 2015 | I'm Walkin' Here | Neon | 19th solo album, skiffle influences.[40] |
| 2018 | Welcome to Anniversaryville | Neon | 50-year career celebration.[4] |