HAVOK GOES TO MOSCOW


SYNOPSIS: 1967. HAVOK, a British rock band, drive across Europe to introduce Russians to rock-and-roll. Somebody is threatening VICE, the lead guitarist – and MI6 want a little job done for them so they persuade Jonas Forbes to accompany the group as a bodyguard. He poses as Joseph Franklin, a substitute Manager, irritating most of the band but helped out by his ‘P.A.’ Vanessa Holmes. By the time they’ve passed through East Germany and Poland he is sure the KGB know they’re on their way –and he’s right. In the USSR the KGB plan to pounce on dissenters – as well as reveal a British agent is with the band. Jonas gains one supporter in the band when he rescues ACID and VICE becomes increasingly unstable – even though the tour is proving a success. Jonas, trying to contact dissidents, raises suspicion by his frequent absences. VICE is sure he can profit by betraying MI6’s scheme to the KGB but his plan backfires. In Moscow VICE is killed in an accident – or was it murder? Is the warning from Jonas to the dissidents too late? VICE was murdered but can the Russians catch the killer? Jonas comes face-t0-face with a KGB officer he’s met before – but will he be recognised? A thriller closely set in its background – both musical and political.
EXTRACT: 'Within moments they were ready: ACID positioned centre with VICE to her right and HELL to her left and KONG behind. They’d obviously sorted out beforehand what they were going to play. With a brief nod from HELL they were into ‘Wild Thing’ with VICE’s guitar sliding down from D to A before KONG’s bass-drum broke in with a heavy beat but still quickly lost out to the guitars even at half-power. It was HELL who came in with the lyrics, backed by ACID. The spoken lines were delivered by ACID in that husky tone so full of sex that, when she quoted, “Come on. Hold me tight. I think I love you.”, and stared at Jonas, he felt most uncomfortable as he sensed himself stiffening. Then the mood broke as the three-chord lick was thumped out by rhythm and bass. The rather disappointing solo by a recorder in the Troggs’ original didn’t come; instead VICE was there, with his guitar soaring over the others. And suddenly there was silence as VICE realised his solo was being unaccompanied and stopped.

“Turn your bloody amp down, VICE!” screeched ACID.

“It’s meant to fuckin’ be like that, yer bloody slag!” Jonas was pleased Vanessa hadn’t chosen to join them. He knew her love of innuendo and perhaps the sheer vulgarity which followed might have undermined her sense of camaraderie developing between ‘the girls’. Apparently VICE had decided to tweak the volume on his Gibson ‘Flying V’ and make extraordinary use of the vibrato arm to get a sense of sorrow. But they’d been REHEARSING which meant everybody could determine how their part fitted into the general pattern.'

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