Photo by Michael Tighe, Woodstock, 1980


HIM Through ME
100 pages/downloadable in pdf format to computers and iPads with Adobe or similar App.


That morning in July 1992 the heat was unbearably dry and working up to a sirocco. I’d walked over to the American Express office to see if there were any messages for me. The young man looked up and said: “Your sons called. You must call them.”

I had gone to live in Morocco to get away from it all, to write a novel. There were as yet no mobile phones, and where I lived, not even a land line. I was cut off, as I’d wanted to be. In the main post office, I gave the New York number to the operator. An hour later, I went into the phone booth.

He had died the day before. He was just fifty years old. I’d known him since I was four, and had been married to him for sixteen years. He’d been on tour in California with a rock ‘n’ roll band.

It was the winter of 1969, just two months after the hippies had descended on Woodstock. Across the Atlantic in Brighton, a young man knocked at the door of a girl he’d known years ago in school. The young man was Gary Windo, a talented saxophone player who’d paid his dues in New York City’s jazz clubs and would set his sights on rousing the British music scene. Pam had traveled in Europe and North Africa and with Gary as muse, would take up piano. Together, they began a journey of exploration into marriage and music. The world had opened up; the young were breaking all the rules, in the arts as well as in sexuality.
Him through Me is a portrait and a love story, set in the days when we “made love, not war.” It is a celebration of the energy and innocence of the late sixties and seventies, and, because he died too young, ends as an elegy.

I took on the task of writing an introduction with some misgivings—and that trepidation was justified. I had no idea that beneath that nice Mrs. Windo who lived down the road dwelt the kind of wild woman that we had been constantly warned about (and were constantly looking for). It’s just a shame that I never realized it at the time; otherwise maybe I could have played a more major role in this book.

My life tracked alongside Pam and Gary’s for a while in the seventies. They were good friends and great company; Gary’s playing was an important step in my musical life, and the sessions at Britannia Row were great fun as well as productive—particularly so, as Gary’s recordings were Britannia Row Studios’ first project and something of a test session.  We had designed the studio so we could operate on occasion without tape ops and engineers, and it worked. “Animals” was later recorded there, and probably most famously the kids of Islington Green School who supplied the choruses for “Another Brick in the Wall.”

Pam and Gary introduced me to another world of music and musicians, and one that I still cherish. Many of those trick time signatures may have been beyond me, but many of the friendships sustain.

Nick Mason
Pink Floyd 

Robert Wyatt, Soft Machine singer, composer, “It’s terrific stuff, a real record of the times, and a totally personal subjective story too. Unique and quite a feat.”
Knox Chandler, guitarist, “I love, love, love the book!!! It is an awesome read and acknowledgement to such an amazing man. It is perfect. Buy it!!!”
Aymeric Leroy, writer, Canterbury Scene, “I share Robert’s enthusiasm for the book – it is an informative, moving and inspiring read.
Judy Starger, friend & saxophone player, “I am totally engrossed. Your writing style and use of quotes is just exquisite.
“I’m trying not to “cry here at work. I just finished reading. Your piece is so beautiful and moving.”
Laura Bloom: “It is a well-written story about an era.”