Despite his aversion to Vangelis, Jean Michel Jarre and most other balding yet pony-tailed practitioners of the shiny and geometrically patterned shirt wearing "science club" school of making music, my father would listen to anything performed on an old Moog synthesizer.
Friends of mine who made excursions to our house with the intention of admiring my large arsenal of replica weaponry were often bemused by these futuristic burping noises emanating from the family room. I would explain that "papa" wrote soundtracks for UFO movies in his spare time. What else was I going to say? If dad decided to play his music late into the night, I would often go to bed and dream that I was being attacked by gigantic intergalactic squid from Calamarie 6, the purple planet.
Works for this gormless sounding instrument were unsystematically stacked in the LP storage compartment of what he stubbornly persists in referring to as his "hi-fi unit." Here were also to be found bizarre ethnic albums picked up during our travels to Belize, Sierra Leone, Morocco and Ceylon in the early 1970s. Additionally, there is a large and battered box containing several recordings of Tchaikovsky's ballet music; about twelve Goon Show discs, two of them without sleeves; that masterpiece of easy-listening melancholia, The Lonely Bull; an oddball souvenir called something like A Zillion Guitars Go South of the Border; and an old 45rpm single of David Bowie's Space Oddity, no doubt acquired due to the presence of a mellotron in the mix. But it was only the Moog stuff that ever received a rub down from the vinyl care kit Dad kept wedged in beside them.
I suppose I should have foreseen the day when my mother ought him his first Casio electronic keyboard. Or was it a Bontempi? I really can't recall, mainly because I was never allowed to appear near enough to the sacred instrument that I might discern the manufacturer's mark. Nevertheless, I do remember that its presence in his study was responsible for transforming my father from a mild-mannered musical dilettante into The Mad Organist. It was as if after drinking his noxious potion, Dr Jekyll had suddenly decided to take up the alto saxophone.
Perhaps you have seen those films set in the Dark Continent where glassy-eyed white hunters are driven mad by the incessant native, voodoo drumming? Well this was very much the effect produced by activation of the pre-programmed "Bossa Nova" rhythm selection built into the wretched machine, especially when combined with a ham-fisted rendition of "The Girl With The Nut Brown Hair" unwisely arranged for synthesized bassoon.
This was the soundtrack of my youth. Fortunately we both grew up.
Today my father in his study concerns himself with crosswords only. The sole sound that interests him is the flipping pages of the Mediterranean cruise brochures my mother scrutinizes, searching for yet more methods of making my inheritance disappear. The Moog albums have long since been banished to the Salvation Army drop off center, and the Casio keyboard - or was it a Bontempi? - languishes in their basement, alongside all the other detritus of antediluvian household technology: itchy electric blankets; the espresso machine that never worked properly; an old Apple Mac thingy; some sort of medieval looking exercise contraption. And there it shall remain, sleeping like King Arthur surrounded by his Knights of the Round Table, waiting for the time when my father shall have need of it again ... did somebody say Rick Wakeman?