Martin H. Samuel: A Life Where Music, Words, and Adventure Meet
(Published: 2026/09/12 at 3:45 pm)
Edition Eighty-Five- Week Eighty-Five; Unit 2:
Written by: Mercedes Barreto
Martin (3rd from left) – Nick Lowe (flashing the cameraman)
Introduction
Some artists follow one creative path throughout their lives, Martin H. Samuel has never been one of them. A Kenya-born drummer, guitarist, songwriter, lyricist, poet, author, music producer, and game designer, Martin has built a remarkably varied creative life spanning music, writing, performance, storytelling, and adventure. His musical journey reaches back to the late 1960s and 1970s, including his time with Heatwave and Crew and performances at the legendary Liverpool Cavern Club. His experiences from those years have continued to inspire his writing, including his recent reflections on life on the road, which were featured in Shindig! Magazine #178 in 2026.
As a songwriter, Martin’s work has received considerable recognition. He has earned multiple songwriting awards and finalists’ honors across genres including pop, rock, blues, country, R&B, jazz, and alternative music. In 2021, his co-written song ‘Tightrope To The Moon’ won the World Songwriting Awards’ Best Pop Song category, while ‘Man On A Ledge’ also took the Best Alternative Song award.
Short Review
Martin H. Samuel’s body of work is fascinating because it refuses to stay inside one musical or artistic box. His songwriting moves comfortably between genres, while his poetry brings a storyteller’s eye to the experiences, characters, places, and sometimes wonderfully strange moments that have shaped his life. There is an unmistakable sense of history behind his work. Having performed during the golden era of British rock and roll and spent time on stages such as the original Liverpool Cavern Club, Martin carries firsthand memories of a musical world that has since become part of rock history.
Yet his work is not simply nostalgic. His continuing songwriting collaborations and award recognition demonstrate an artist who remains actively engaged with new ideas and
contemporary creative possibilities. Perhaps most appealing is the personality that comes through his writing. Humor, wordplay, observation, and storytelling are central to his artistic voice. Whether he is revisiting an unusual moment from his performing past or developing a new song with collaborators around the world, Martin approaches creativity with curiosity and a willingness to explore. His career ultimately feels less like a straight line and more like an ongoing adventure—and that may be the most interesting thing about Martin H. Samuel’s work.
You have described yourself as a drummer, guitarist, author, poet, lyricist, songwriter, producer, and award-winning game designer. Do you think of yourself primarily as a musician, or simply as a creative person who works through many different mediums?
First and foremost, I am a born drummer, everything else, creative-wise, evolved over time.
Your musical journey goes back to the late 1960s and includes your time with Heatwave and Crew. What originally inspired you to become a musician and performer?
My musical journey started in Nairobi, when I was 5, playing zebra skin tom toms.
My first musical influence was Cliff Richard and The Shadows, followed by The Beatles.
Drums are my instrument but I play songs (as does Ringo), I don’t bash, smash ‘n’ crash.”
You played at the original Liverpool Cavern Club in 1970. What do you remember most vividly about that experience, and what did that venue mean to you at the time?
When first I stepped onto the Liverpool Cavern Club stage, in 1970, I remember thinking, ‘I’m treading the boards giants trod!’, and consider playing the venue a highlight in my life.
July 2016, I returned to Liverpool and, on the night of my birthday, sat in with the band on four songs.
Your years on the road included some extraordinary experiences. How have those experiences influenced the way you write songs and poetry today?
When writing, I occasionally draw on my experiences on the road, but only if they’re pertinent or, if something stands out to me.
Your poem ‘Pyrotechnician’ tells the story of performing as both a drummer and pyrotechnician—including the memorable moment when your hair caught fire on stage. What makes an experience memorable enough for you to eventually turn it into a piece of writing?
When in Heatwave, to do my on-stage fire-eating stunt, unaware of the damage it could do, I made torches wrapped in asbestos, from strips of a fire blanket, and soaked them in paraffin. It was breath control (don’t inhale!), hopefully, I didn’t ingest any asbestos.
You have received recognition across many different songwriting genres. Do you deliberately write in different styles, or does the genre naturally emerge from the story or idea behind each song?
When writing; lyrics, poems &/or stories, I write what I happen to feel at the time. When co-writing a song, I submit a lyric, the sentiment of which, hopefully, inspires the composer and may even influence the melody. However, the arrangement, instrumentation, performance, production and, most important, the vocalist, more than likely, determines the genre.
‘Tightrope To The Moon’ won the World Songwriting Awards Best Pop Song category in 2021. What did that song mean to you personally, and what do you think connected with the judges?
‘Tightrope To The Moon’ lyric started off as an allegory about; skating where the ice is thin &/or taking chances… then, turned into a love song about living in hope out on a limb.
As I don’t know the judges personally, or their qualifications, it’s impossible for me to say what connected. However, it has been my experience, despite the contests being about songs, judges first hear the singer (not the song) and it’s only natural for them to appreciate a good, rather than a poor vocalist, which may/may not influence them.
You have collaborated with musicians and writers from countries including the United States, Canada, Italy, Germany, and the United Kingdom. What do you enjoy most about international songwriting collaborations?
As in the case of; Lennon & McCartney and Bacharach & David, I am a firm believer in, ‘two heads and hearts are better than one’ and most of my better work is the result of collaboration.
Where can we hear more?
Links to some of my music:
Martin H. Samuel: https://soundcloud.com/martin_
Martin & the Caffeine Creek Band: https://martin-and-the-
Heatwave: https://the-heatwave.bandcamp.
Bright Eye Band: https://bright-eye-band.
Eclipse: https://eclipse-cd.bandcamp.
Lisa Nemzo: https://soundcloud.com/nemzo-l
Rick Livingstone: https://livingstone-r.
Big Orange Monster: https://big-orange-monster.
Sunny ‘n’ the Cut: https://sunny-n-the-cut.
Henning, Landsgard & Samuel: https://henning-landsgard-
When in a covers band, and hoping we would play it, I was co-writing ‘Boogie On The Bayou’, with Lisa Nemzo: https://boogieonthebayou.n.nu
Without the band hearing the song, I was kicked out for simply suggesting we add an original to our 300+ repertoire.
Bad Ass Boots, an Americana/country-rock/blues band of 4 gals and 1 guy from the San Francisco Bay Area recorded the song as written — i.e., from the male perspective.
https://martin-h-samuel.
‘Boogie On The Bayou’ was a Spring 2024 World Songwriting Awards Contest Best Modern Country Song Top 10 Finalist.
Max Perry, world-renowned choreographer in Ocala, Florida, created the line dance, ‘Bayou Bay Boogie’, especially for the song: https://www.youtube.com/
Bob and Marlene Peyre-Ferry, of Honky Tonkin’ Productions, in Westville, New Jersey, adapted ‘Bayou Bay Boogie’ as a Western Partner Dance: https://www.youtube.
Why should we?
It may be ‘music’ to your ears!
Anything to add here?
Music is, and always will be, my first love.
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