"Status Quo". A Bentley. A Prefab & A Bunch of Really Great Guys To Work With.. The Full Story In Kenny Denton's Memoir. "There Ain't No Rules In Rock n Roll"

Working with Quo proved to be an absolute joy. The band members were an incredible set of individuals to collaborate with. Unlike some of the other groups, there were no disputes; instead, they radiated a real sense of enjoyment which was completely contagious. These down-to-earth, affable guys genuinely relished the process of creating their music.

During those times, bands like Quo led a nomadic existence, constantly touring to build a fan base and scrape together just enough to sustain their chosen path. Securing a record deal and gaining access to a studio was a monumental achievement in itself. Should you be lucky enough to have a hit record it would be the icing on the cake, a real moment of triumph.

The sessions were scheduled from 4 p.m. until midnight. As the days progressed, the work settled into a routine, each session would commence with a playback of the previous night's recordings followed by a round of hilarious anecdotes from their experiences on tour. Even now, half a century later, some of these stories are best left untold.

John Schroeder had the role of producer with Status Quo at that time. He was a recognised British composer, arranger, songwriter and record producer, known particularly for his work in pop and easy listening music.

John began his career as an A&R assistant to Norrie Paramor at Columbia Records. Notably, he co-wrote the song “Walking Back to Happiness.” Sung by Helen Shapiro, it was a UK number one in 1961. During the mid-1960s, Schroeder transitioned to Pye Records and, alongside Johnny Pearson, formed the instrumental ensemble Sounds Orchestral. Their rendition of “Cast Your Fate to the Wind” secured international acclaim, peaking at No. 5 on the UK charts. Interestingly, although in 1968 he orchestrated Quo's inaugural hit with “Pictures of Matchstick Men,” Schroeder might have appeared an unconventional choice for a rock band such as Quo, however, given his position as an in-house producer at Pye, he undertook the projects that came his way. John came across as a softly spoken, polite and unassuming individual, sporting a hairstyle that resembled an explosion in a bird's nest. His demeanour was very much in line with Pye's in-house producers during that era. When not occupied with their personal projects, they seemed to display minimal interest, if any, in the bands they were overseeing, their focus appeared solely directed at fulfilling contractual obligations.

The Full Story In Kenny Denton's Memoir. "There Ain't No Rules In Rock n Roll"