About Pete

Who, me?

One-time rock guitar specialist at MI London/London Music School and rock columnist for Guitar and Bass Magazine, I moved into academia after I burnt out, and now spend my time writing and editing – my last book was Spycraft: Tricks and Tools of the Dangerous Game from Elizabeth I to the Restoration. It’s about 16th/17th century espionage techniques (invisible inks, ciphers, poisons, you know... the fun stuff) and it rocks!

I was diagnosed with Young Onset Parkinson’s in 2008 at the age of forty (I know! I got to be called young again!) and since then have spent a fair amount of my time as a Parkinson’s advocate, raising awareness of the condition with articles and books such as Slender Threads and The Country House Cricketer. Other books include the historical novel Killing Beauties, and one of them there history books called Spycraft: Tricks and Tools of the Dangerous Trade from Elizabeth I to the Restoration (Yale Books)

Making the record (1995-present)

This album has had a rather odd process. Initially, the ten tracks were recorded over the space of a week in my basement studio in East Ham, back in 1995. It came about because a student of mine (yes, I’m talking to you Greg Nettleton) wanted to do the work-shadowing his school insisted on with me, and I thought it would be fun if he could hold up an album when asked ‘what did you do in your week?’ His job was to hit record and stop, and keep an eye out for things I missed on account of being rather busy with notes. The drums were all produced via an Atari, Cubase and a Roland D-something or other.

The tunes themselves were largely half-written and half-arranged, and so the week was quite intense. There were a lot of first and second takes.

Gear-wise, I used my Chandler custom, my JV-Series Squier, an Ovation electro-acoustic and possibly a Yamaha hybrid. Amp-wise either my Marshall JMP-1 through a big gold Marshall power amp and two 2x12’s with Celestion and EV speakers or a Marshall anniversary combo. Mic’d with a combination of mics I forget. Everything was recorded on an Akai MG1214, a sort of grown up twelve track portastudio that recorded on analogue cassettes a little like the old Betamax varietal.

“I have known Pete for well over 40 years! – we go way, way back to his early days writing for guitar magazines as well as his much loved tenure at MI (Musicians Institute) London when he was such a vital part of the school. We also played together- either with Pete as a guest of my band at venues such as the Royal Standard or at other clinics and events. When he asked me to contribute to this album I was honoured and said yes immediately. I have huge respect and admiration for Pete both as a person and as a musician. Parkinson’s is a such a cruel illness especially as in Pete’s case when it happens at such an early age. I sincerely wish Pete every success with this project and hope the funds raised go some way to support him and others.”

Phil Hilborne, May 2026

The second set of sessions involved finding the master tapes (in the shed), sending them to the USA where they were digitised. Working out all sort of clock speed and sound issues before hitting on the right formula. Stripping the various channels into their appropriate places (on less track-hungry pieces, I had recorded two things simultaneously), organising and re-arranging the tunes, then sending the stems to various people to have drums recorded, then bass, then guest guitar. 

Initially, the late, great Keith More was going to mix the project, but we’d only finished I, Sybarite before his illness got too debilitating to continue. Those of you who didn’t hear him play missed a treat. Keith was not the only player and friend that we lost during the process of producing this record. Pete Zeldman, a fine, fine drummist and educator, was also struck down before he was able to record anything for it, as was Phil Gill, multi-instrumentalist and all-round good guy. This record may be in aid of Spotlight YOPD, but it’s dedicated to Keith, Pete and Phil. 

The music