He was born in Edmonton, North London, eight years before the outbreak of the Second World War in the Spring of 1931, the son of 'Queenie' and Victor, a commercial traveller for a drugs company and lay minister of the Baptist Church. In addition, to preaching in the church, Trevor recalled : "My old man was the organist and" and to manually maintain the air pressure, "I was always pumping, pumping. Didn't have electricity in those days". "I used to peep out and watch the old girls and the faces they pulled when they sang hymns and so suddenly my Dad would shout : "Trevor. Blow, blow, blow". So quickly I would pump".
Trevor's was a musical background : "In singing hymns 3 or 4 times a week and without knowing it, I suppose one got to know about tunes; middle eights; when to sing loud; when to sing low; the whole idea of creating a tune. I'd never thought I'd use it". His father was a good pianist, as well as being an organist, as was Trevor's brother, while he himself played a mouth organ. He concluded that "music had been going into my head at an early age".
He recalled : "I did put on shows during the Blitz time and it was great fun and they, (his parents), thought : 'He's enjoying himself'. But I took it very seriously. I don't know why. I think, though, a church is rather like a theatre. There's music and there's a platform and a big audience". His street entertainment with his friends was well received and he said : “The local papers would print stories like :
TREVOR PEACOCK AND HIS GANG HAVE MADE ANOTHER ONE AND NINE PENCE FOR THE RED CROSS"I loved the Crazy Gang and I wrote to them asking for signed photographs. They sent me these huge black and white photographs. I wrote notes on all their scenes and how they could improve their comedy. I think I was only eight". https://www.youtube.com/watch?v=RrvQPVd2Oaw&t=44m21s
When it came to the big screen, Trevor recalled that his parents "didn't like to go into the cinema. In fact, I was banned from it because the cinema was wicked"."I saw the screen for the first time. An enormous screen. Clark Gable was the great hero those days. There was his head, as big as the wall and I thought : 'This is for me. This is exciting'".
Trevor set about replicating the cinema at home : "So I used to hang a sheet up and I'd say to the kids : "You come in from that side and you come in from that side" so it looked just like it did in the films "And you just talk" and they said : "What do we talk about ?" "Anything. It doesn't matter what you talk about". And that's the magic. I didn't think that I'd actually do it and be paid for doing it"."Get to work ? I'm writing the plays. I paint the scenery. I'm playing the lead".
By the mid 1950s he'd put teaching aside and described these financially lean years as his "poverty in the East End". This was broken when he got his first break on the professional stage in 1956, when he and the future rock 'n' roll impresario, Jack Gold, teamed up to put on a comedy double act at the Windmill Theatre squeezed in between the scenes with female strippers. Trevor had met Jack through their mutual friend, the composer, Vernon Handly, who was at school with Trevor and became involved with Jack in the Dramatic Society at Oxford University after which he'd gone on to study at the London Academy of Music,.'6.5 Special'. Jack employed Trevor to write the scripts for the weekly show. This was the time when, as Trevor recalled : "Me and my mate Jack Gold co-discovered these fellows called Cliff Richard and Adan Faith and we laboriously taught them how to sing and gyrate"
With the coming of the 1960s Trevor concentrated more on his stage work. In 1961 he met the theatre director, Michael Elliott at a party and when he told him that he wanted to be an actor, Michael responded with : "You start next week at the Old Vic", which was where he was working on a series of plays as Artistic Director. These were the years when he played small stage roles and, for example, in 1962 was the old servant Grumio in 'The Taming of the Shrew', in the relaunched Open Air Theatre, in Regent’s Park.
Four of the songs were released on a 45 Decca vinyl record with Tom Courtenay singing his version of the song and if you listen carefully you can hear Trevor's distinctive voice audible in the refrain and which he described as "I helped him with some bits". It is accompanied here with stills from Tom's film, 'Billy Liar', which was released in the same year and starring him and the beautiful Julie Christie, who doubles up as Mrs Brown's daughter.
Trevor recalled about 4 months after the release of the record : "Someone rang me up and said "You've got a song in the American hit parade". They said : "Listen out and you'll hear it" and I said : "Which song ?" and they said : "Mrs Brown". So I said : "That's me and old Tom Courtenay. That can't be true."by Herman's Hermits, who took it to Number One on the US Billboard Hot 100 in May 1965 and number one in Canada the month before. The Hermits had never released the track as a single in Britain. It was recorded as an afterthought, in two takes and featured Peter Noone with his Lancashire accented lead vocals, with backing vocals from Karl Green and Keith Hopwood. The band never dreamed it would be a single let alone hit number one in the USA. "greatest failure as a writer". He recalled the conversation with John : "I said : "What's it going to be called ?" He said : "Goldfinger". I said : "The song, it's called 'Goldfinger' ?" He said "Yes". For Trevor the problem was to find lyrics which rhymed with 'finger'. He said to himself : "Finger, inger, linger, twinger. There's no rhymes and at any rate he's a villain". He tried hard to write it but in the end, picked up the phone and said : "John, I can't find the lines for it" and he went to a much better writer than me, Leslie Bricusse, and he wrote 'Goldfinger' and Shirley Bassey sang it. So I missed out on that one".
Despite disappointment, Trevor, however, had the pleasure of hearing Barbra Streisand record his song ‘How much of the dream comes true’ on her 'Barbra Two' album in the same year.
'Our sweetest songs are those that tell of saddest thought'
His "was a sad song about this bloke who loves the girl and she doesn't want him and it's sad and if you get the right minor key to sing it in, that's what works. It's amazing".