ARTICLE ABOUT Roger Glover (Deep Purple) FROM New Musical Express, October 14, 1972

Mr. Glover says it like it is. What is worrying is that mainstream radio and TV is even worse today than it was at the start of the 70s in giving rock music a chance to be heard. Very strange, considering the millions of people into rock music. Is this a huge conspiracy to prevent people liking rock in a future society? Someone should write a rock opera around this theme.
Read on.

Backward Britain

Roger glover slams radio rubbish

By Tony Norman

ROGER GLOVER HADN’T had any sleep for a couple of nights and it showed. His eyes were puffy and his face creased for want of a good kip. But, as we sat talking in the bar of a well-known studio in Wembley, it was obvious that his haggard appearance did nothing to kill his thought waves. Apart from his work with Deep Purple, he is pursuing a joint project with singer Ian Gillan. That’s what the Wembley sessions are all about.
“When we were with Episode Six we wrote a pile of songs together,” Glover explained. “Ian took the best of them and has wound them into an idea for a film. We’ve been putting down some of the songs to see what they sound like and so that we can play them to producers. It’s gonna be quite a big thing. At the moment they’re just demos to give people an idea of what we have in mind. Ian has a definite idea but we don’t want to discuss it yet — someone might pinch it.
“It could turn out well, but really it’s just a little thing we’re working at on the side. We’re messing around in a way. But I’m knocked out with it. I think it’s really good.”
All highly cryptic stuff. We moved on to something more concrete. The next Purple album.
“We were supposed to do it in Italy but we ended up with only nine days over there, which is really no time at all. So we’re having to go to Germany to finish it. We’re not quite sure where.”
Presumably they record out of Britain for tax reasons?.
“Yes,” he nodded. “We’ve got two tracks nearly completed and the rest we still have to write. I wish I could give you some definite news on a live album we recorded in Japan a few weeks ago. It could be that we’ll release that here next and the studio album will follow next year. But, as I say, I’m not sure what’s happening. That’s just an idea.
“We recorded every show in Japan for an album to be released over there. But now we’re thinking of putting it out in Britain too. There are so many bootlegs of us going around. If we put out our own live set, it should kill their market. Ours would be a double album and we’d like to bring it out at just over the normal price for a single album.
“Being bootlegged can really be a drag. All groups have good and bad nights, and if they catch you on a bad gig then the record can really turn people off.
“They hear it and think `Christ, Deep Purple aren’t much good’. I’ve found this myself. I heard a Led Zeppelin bootleg and they sounded terrible. It’s just not fair on the bands. It’s a rotten business.

“It happened in Germany a lot, a couple of years ago. You’d see millions of mikes on little stands, sticking up from the audience. Our roadies went out and grabbed all the tapes they could and got into a few fights, but there’s really very little you can do about it.
“We had a court case against Virgin Records, which we won. That stopped them selling our bootlegs. But it’s a drag. The live album from Japan could kill the market. That would be a great thing.
“Another reason for wanting to put it out is that the stage act we’ve been using on the British tour will be dropped next year. The next one will be based around the new album. Although of course there will be some old songs because people always want to hear them.”
Which tracks are the real favourites?
“Well, the three people want to hear from ‘Machine Head’ are ‘Highway Star’, ‘Smoke On The Water’ and ‘Lazy’. We sometimes do ‘Child in Time’ and that always gets a big reaction. ‘Speed King’ from the first album is also popular. I don’t mind doing the old stuff — we even do ‘Black Night’. It’s a great number to play.”
Purple have spent a fair part of 1972 in the States. Their most recent sweep (they got home in early September) was a real goodie: “We’ve had a lot of bad luck with illness in the past. Ian (Gillan) was ill when ‘Fireball’ was making it and Ritchie (Blackmore) was ill when ‘Machine Head’ was taking off. Possibly that stunted their climb up the charts a little bit. But ‘Machine Head’ now is just about Gold, which is fantastic. It’s the breakthrough we’ve been waiting for.
“The last couple of tours have proved we’re making it on the concert scene. We’re headlining and playing to capacity crowds. It really is a very good scene for us now — especially the East Coast.”
IT’S TAKEN PURPLE a long time to get to the present happy state where they are equally popular both sides of the Atlantic.
“When Ian and I joined, the situation was that the band meant nothing here and were dwindling in America after a couple of hit singles (remember ‘Hush’?). So we decided to concentrate on Europe, starting with the concerto, then ‘In Rock’ and ‘Black Night’. It happened for us and we were huge in Europe and meant nothing in America. The situation had been reversed. In the States, it’s only now that we’re getting over the ‘Hush’ thing. We still get people asking for it.

“‘Hush’ isn’t really what we want to be remembered for. It’s the now band, the ‘Machine Head’ band that’s the important one for us. At the moment we’re in a satisfying position because we’re fairly big in Europe and the States. That doesn’t stop you trying to get bigger, of course.
“One of the things that’s standing in our way is the media. I don’t think the musical Press does us justice. It’s not just us either. They don’t like groups. They like cult heroes. I don’t know why this is. I think journalists, on the whole — I’m not having a go at you — tend to think that they can create their heroes. If they like somebody they really give him all the space they can and it’s the groups that suffer.”
I don’t agree, but that’s his opinion. Glover also feels American bands get a better deal here than our own groups.
“I remember once, we sold out the Albert Hall in London. It was a great night. We did about three encores and everyone had a fantastic time. After all that, one paper gave it a paragraph. About a week later, Canned Heat came over and sold out the Albert Hall. The same paper gave them a huge, headlined, front page story.
It’s the Americans who get the treatment. You very rarely, see an article on Jethro Tull, Ten Years After, Led Zeppelin, the Stones or us. There are about six groups who are huge all over the world, yet they don’t get fair treatment at home.”
I said that the groups he’d mentioned didn’t exactly turn cartwheels to make themselves available for interviews. Top acts tend to cut right back because they don’t want to be over-exposed. It’s understandable in many ways… but it’s not the Press’s fault.
“Well,” said Glover thoughtfully, “maybe that has something to do with it. But we’re always available. I can’t think of any time when we’ve said, ‘Right, we’re not doing any interviews for three months’.”
“But in any case that’s not the main problem with the media. The biggest thing is radio. Even now, after years of Radio One. I listen to it and think, this can’t be true. This can’t be England in 1972. It’s just unbelievable. Alan Freeman is the only guy on radio who has any idea of what it’s all about. Even he has to submit to the various gimmicks they put in shows, like the Youth Club Call. In a way that’s not a bad idea and if he believes in it, then fine. But the point I’m trying to make is that those gimmicks are really not what rock radio is all about. They belong to Radio Two.

“If you go to New York and turn on the radio, it’s fantastic. You can whip through your dial and pick up maybe twenty rock stations, all playing good music. And we haven’t even got one. I can’t believe it.”
Did he, remembering all the set-backs in this country, find it surprising that British music is so very good?
“The British bands are good, not in spite of the BBC, but because of it. Bands in America have God knows how many stations on which to get their music played. So when they’re in a studio or on a stage, they haven’t any hang-ups. They know they’re gonna get air play. But in England, you’ve got to make a decided choice.
You’ve either got to go for music that Radio One will play, which means producing drivel. Or you’re gonna say, ‘Forget it, we’re just gonna do what we really want to do’. And that’s why the English bands who make that choice are completely unrestrained. They’re very exciting. They don’t care — they don’t care about anything. The live performance is the only thing that matters because it’s the only thing they’ve got. That’s the only thing that’s gonna sell their records. That’s how Deep Purple made it.
“Before we had ‘In Rock’ released, we spent six months going up and down the M 1 playing maybe five gigs a week. We travelled all over England and were pulling in bigger audiences and getting better money than most of the chart bands. That was simply because our live show had a good reputation. Then when the album came out that reputation made it sell. I’m sure of it. It got no radio play at all. The only thing that did was ‘Black Night’, and they only played that after it was a hit.”
As you will have gathered, Glover is not totally averse to speaking his mind. He wound out our conversation with some views on the Grateful Dead.
“I really didn’t know much about the Grateful Dead. Just that they were a San Francisco band and I never really liked that kind of West Coast music. To me it was always a bit untutored and untogether and out of tune. Then, about nine months ago, I saw a television special in New York featuring them. It was a live thing and lasted 45 minutes.
“I watched it for a minute. Then I started laughing. I really thought they where clowning. But, after a while, I realised they were serious.
“Their music is sheer self-indulgence. A lot of it is the drug culture thing. I think they got off initially because people were so high. There’s one group I`d go as far as to say, they are a load of —- and that`s the Grateful Dead.”

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ARTICLE ABOUT Yes FROM New Musical Express, August 26, 1972

When highly motivated and skilled musicians start a rock band, you get the likes of this group, creating music that may be difficult to get into, but also a group that will never fail you when playing live. This review clearly reflects that. Many people wish that they could possess just a tiny little bit of the musicality of the members of this band, and rightly so.
Read on.

Canada: Well-balanced Yes

Martin Webb: Vancouver

YES, WHO HAVE been playing in Vancouver and Seattle recently, could be the best-balanced rock band around.
I heard them here in Vancouver, and they proved just about everything that I could possibly ask for. Their music is exciting, varied, and highly original. On stage they manage to display their individual instrumental and vocal virtuosity within the confines of the group’s ensemble playing, rather than engaging in a succession of boring ego-maniac solos.
From beginning to end, I didn’t hear one unnecessary note.
I don’t mean that they’re non-experimental, or that I didn’t enjoy the “Clap”, or Rick Wakeman’s “Hallelujah” thing — with the choir somehow coming out of his maze of keyboards — it’s just that since practically everything they do is so different and well planned from the start, they don’t need to use any uncontrolled feedback screeches to add an illusion of the avant-garde to an otherwise mediocre piece of material.
Their whole attitude towards reproducing their recorded sound “live”, is radically different from any other group I’ve ever experienced. Aided by their enormous array of electronic instrumentation and effects — including a stereo P.A. — they are able to stick pretty much to their recorded sound and arrangements. But where they can’t, they don’t botch everything up by going ahead anyway. Instead, without a musical letdown, they insert a substitute phrase that lends itself more to in person presentation.
The result varies just far enough away from the recorded version as to make the piece more interesting for the musician and the listener alike. They are so obviously equally aware of quality both in the studio and on the stage.
I still find their songs difficult to get into after only one hearing. They played two new numbers, “Siberian Khatru”, and “And You And I”, and I was able to enjoy a certain over-all feeling that they had about them. I even remembered a few small parts. But I`ll have to listen to the new album “Close To The Edge” five or six times before I really start grasping either of them.
It’s not music that has you instantly humming it for a day, and fed up with it the next. Yes music is too unpredictable and uncliched for that. The depth of the music makes it take a while to grow on you but I bet that we won’t be snickering at their records when they’re just five years old.
Yes’s increasing popularity stems, I believe from the fact that they just might be the most well-balanced rock band around. Avoiding the wishy-washy trap, they’ve somehow come up with a style that holds something for almost everybody.
When I spoke to the band their main topic of conversation, in between singing, guitar playing, and gulps of greasy chips and chicken, wilted salad and iced milk, turned to the criticism they’ve been receiving in the English music Press for not having played at home in a spell. So may I give this reminder of the British dates they have lined up, starting with the Crystal Palace Bowl (September 2). Steve Howe also mentioned something about the Rainbow in the new year.

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ARTICLE ABOUT David Bowie FROM New Musical Express, August 26, 1972

You can`t get a much better live review than this one. Bowie must have been pleased with this one, including the praise of his legs.
Read on!

Bowie – dry ice, nice legs and absolute ascendancy

By Charles Shaar Murray

GOING TO THE Rainbow these days is definitely an outing, an excursion, something of a treat. Unfamiliarity breeds respect, and though the cheerful hippies who used to sell you hot dogs and guide you to your seat have been replaced by bored-looking usherettes, there’s still that thrill as you wait for showtime. Mr. and Mrs. First Nighter… this is your life.
David Bowie’s show is definitely a spectacular in the grand tradition. A Bowie concert is your real old Busby Berkeley production. Bring on the dancing girls — or rather the Astronettes with Lindsay Kemp, wheel on the dry ice machine and put some mystique back into the whole deal.
Opening act Lloyd Watson proved that the blues do indeed go on, and on, and on, and on. He’s a good singer and plays fair slide, but his original compositions are really dire. Harsh though it may be, I’m afraid that Lloyd does not have the weight to play a gig like this. All he did was to ensure that the bar did good business.
With their performance at the Rainbow, Roxy Music proved that they are now in a major band not just in the eyes of publicists, friends and a few partisan journalists, but to audiences as well. Starting out with their glitzy teenage hit single “Virginia Plain,” they played a tight, neat set of songs from their spiffy first album. Each number earned a successively warmer response, and Phil Manzanera’s guitar temper tantrum went down especially well. They closed with “Remake/Remodel” and went off to a standing ovation — well, a few people were standing up to clap and lots more were calling for an encore. Onwards and upwards — and here’s looking at you kid.
Lou Reed later described Bowie’s set as “amazing, incredible, stupendous — the greatest thing I’ve ever seen.” While Lou is not exactly the most impartial of observers on things Bowie, he knows a good show when he sees one, and this was perhaps the most consciously theatrical rock show ever staged — and, by the by, it made Alice look like a third-form dramatic society. With a multi-level stage, a light show, sawdust on the floor, the Spiders in all their glory and a backstage Matthew Fisher playing piano, it could hardly fail, and it didn’t.
Right from his entrance, walking through a cloud of dry ice up to the microphone to sing “Lady Stardust” (while the face of Marc Bolan was projected onto a screen by his side). Bowie provided a thoroughly convincing demonstration of his ascendancy over any other soloist in rock today.
With perhaps the finest body of work of any contemporary songwriter, and the resources to perform this work to its utmost advantage, there really isn’t anything going that tops the current Ziggy show. Other, more basic, performances have got me off more and higher — Hendrix, the Dead, Berry, Winter, Steeleye and the Crows to name a handful — but David Bowie has stuff going for him that most people haven’t even thought of yet.
And he’s got nice legs, too.

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ARTICLE ABOUT Bo Diddley FROM New Musical Express, August 26, 1972

Known also as “The Originator”, the man originally christened Ellas Otha Bates, had a wonderful career and is seen as playing a key role in the transition from the blues to rock and roll. He influenced many artists, including Elvis Presley, the Beatles and the Rolling Stones.
In my book, that makes him a very important figure in the evolution of rock music and he should be checked out by everyone interested in the Blues and the development of Rock.
Read on.

Hey! Bo Diddley
The man whose sexuality was too much for America

Diddley Freak Charles Shaar Murray, in the presence of the main man…

REMEMBER THOSE Pye International R and B series albums? The ones with the yellow and orange labels?
In 1964, when the Stones and the Yardbirds and Manfred Mann — and the T-Bones, the Graham Bond Organisation, the Blue Flames, the Syndicats among others — were spreading the gospel about R and B, Pye International was the British outlet for the Chess label. In those days, we’d hardly heard of Muddy Waters, Howlin’ Wolf, Little Walter, John Lee Hooker and the other Chess blues artists, and Chuckberryanbodiddley was one word.
Hard-core rockers from the ’50s knew of Bo Diddley of old, but for the succeeding musical generation he was classed with the bluesmen, probably because he never had any English hit singles. So he was rediscovered when the likes of Jagger and Burdon started featuring his songs.
The first cut on the first Animals’ album was in fact a tribute to the man, called “The Story Of Bo Diddley” (very similar to Bo’s own autobiographical song of the same name), and the Pretty Things — in those days a very rough and rowdy blues band — named themselves after a song of his called “Pretty Thing”.
The facts of the matter are these. Bo Diddley was born in McComb, Mississippi, in 1931, under the singularly implausible name of Ellas McDaniel.
In 1955, a record called “Bo Diddley” became a national hit, and while Bo never attained the status of a Lewis, Richard or Berry, he got a lot of work — much of it, it must be admitted, at high school dances.
The trouble with Bo was that while Berry chronicled the identikit life of white teen America, Bo just sounded too black to get on teenage radio in the mid-’50s.
Oh, teenage America — were you ready for such blatantly sexual music as “Mona”, “Road Runner” or — heaviest of all — “I’m A Man”? Could you do the Continental Walk at the High School Hop or sip your Dr. Peppers at the corner drugstore to this big black voice booming “I look like a farmer but I’m a lover/you can’t judge a book by lookin’ at the cover?” Well, you might like to — but your mom would rather have you into nice clean white Tommy Sands, Bobby Rydell, Frankie Avalon or Fabian. Oh, America!

Side by side with his go’geous sistah, the Duchess, on guitar and vocals and his trusty maracca man, Jerome Green, Bo created a whole set of classic songs, soon to become available in this country on a Phonogram/Chess set similar to the recent Chuck Berry compilation, annotated by the admirable James Hamilton.
Since Chess was without a distributor for a long time, most of Bo’s more recent recordings have not been issued in England. Most of them received hideous reviews in the American rock press.
I’d been a total Diddley freak since the age of 11, when I made his acquaintance on a Pye International R and B series EP called “Chuck & Bo”. Side one featured Chuck on “Roll Over Beethoven” and a “Good Morning Little Schoolgirl” variant called “Our Little Rendezvous”, whereas side two contained two of Bo’s songs, “Pills” and “The Greatest Lover In The World”. So understand, dear one, what a thrill it was to hear from Messrs. Phonogram that I could meet the great man at a press conference.
TEN O’CLOCK, the morning of the Wembley Rock Revival Show. The sign in the foyer of the Royal Lancaster Hotel reads “Press Conference — Bo Diddley — Phonogram Records — Grant Suite 17th floor.” In the Grant Suite, various media people get their cassette machines and notebooks in gear. The general, dominant vibration is a kind of fitful buzz.
Then The Man comes in and sits down, and the vibration changes to a low purposeful hum. Big funky Diddley Daddy in his velvet waistcoat and roomy clothes; even at ten in the morning he’s wearing his big black “Bo Diddley’s, A Gunslinger” cowboy hat.
He’s accompanied by a couple of record company people, a high-powered middle-aged manager in shades, and a slinky young lady called Kookie who sings in his band.
He sits down on the settee — leisurely unpacks his own cassette machine. This man ain’t takin’ no chances — no way.
As he talks, Kookie serves him his breakfast. The interview is punctuated with instructions to Kookie about salt and pepper.

MOST OF THE discussion centres around Bo’s life and hard times in the rock trade. He really has been ripped off more than most, he says, both musically and financially. Now he seems to be fixing to get some of it back. Even his real good jug buddies the Rolling Stones did him in a little, it seems.
“Now, Ah ain’t never said this before, but the Stones took a lot from me for “Not Fade Away’.” But, someone interjected, wasn’t that an old Buddy Holly song?
The great head tilts to one side, eyebrows raised, lips pushed out, eyes narrowed.
“Where d’you think he got it from?” Chorus of yeah right’s.
“Need Ah say more? Need Ah say more?”
In a moment of acute financial stress a few years ago Diddley sold the rights on most of his classic songs to an American music publishing corporation. The one that he’s held on to, though, is the one that’ll make him rich. “The one I got is the first one, ‘Bo Diddley’. Just that one tune.”
BO REMINISCES ABOUT his early musical training in the bars of Chicago when he, Jerome Green and a bass player went from bar to bar as the Hip Cats. Sometimes they pulled in 75 dollars in a night.
He talks about hard drugs, and the need for more law enforcement. He’s just about to go into detail about his law enforcement ideas when someone asks him a good solid old safe question about whether he felt nervous on stage, whether he was worried about the big gig.
A slow smile wends its way across the Gunslinger’s face. “Man,” he says, “I only get nervous when the cat with the bread don’t show.”
Mentions of the use of his music in “Fritz The Cat” only provoke Bo to choke over his coffee.
“I don’t know ’bout no ‘Fritz The Cat’,” he says. “They probably got a release from Arc Music.”
It’s getting near time for Bo to go and rehearse. He hasn’t yet met the band he is to work with, he hasn’t sorted out his material, he doesn’t even know what amplifier he is going to use, but he’s cool.
After all, when you’re one of the real old masters, you can afford to be. Bo Diddley’s played too much music to ruffle that easy.

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ARTICLE ABOUT Steve Marriott (Humble Pie) FROM New Musical Express, August 26, 1972

Marriott held his promise and never joined another band after Humble Pie. An incredibly talented and productive musician, he was also “productive” in other ways, leaving behind several ex-wives and children after what was a really tragic death in a house fire. He was only 44 years old.
Read on.

Marriott

I don`t believe the kids really identify with Bolan or Bowie

By James Johnson

STEVE MARRIOTT HAS long been one of the livelier stalwarts of British rock. He started playing around 12 years ago in London’s East End, later coming of age in an era that arguably produced the country’s most exciting rock musicians ever.
Marriott himself is still very much a Cockney — arrogant, aggressive, loud-mouthed even; but still one hell of a personality. He says what he thinks, does what he feels, and doesn’t mind telling you so himself. When he yells from the stage “Ahhh ain’t no bullshitter,” you know that he’s dead right.
And if anything his enthusiasm for touring is stronger than ever — while many of his contemporaries from that earlier era have either gone into semi-retirement, faded into obscurity, or simply blown their brains: whenever possible Marriott is out on stage, singing his guts out for Humble Pie, doing as he says, “what I’ve always done only, hopefully, better.”
Maybe the band haven’t exactly overdone touring in Britain, but nevertheless over the last two years they’ve put in an incredible 16 months on the road. That’s a pretty heavy schedule when you’re touring in the style of the Pie.
“Like, we never go to bed before five or six in the morning,” said Marriott. “It’s the only way, man. You spend all day getting wired, energised for the gig, for that one hour in the evening: so when you come off you’re excited. You want to carry it on-work it off. What are you gonna do? Go to sleep? No way.”
Still, if a recent bout of touring in the States had slowed Marriott down it wasn’t showing last week. He was in London a day after flying in from the States and was, as he put it, “feeling good and lookin’ like a Vietnamese refugee,” meaning that he wasn’t looking too overweight.
Taking a gulp of tea in his publicist’s office he stated firmly: “I just couldn’t do without touring and gigging. The whole band loves that feeling you get from the roar of the crowd, the loudness of your amps, the screaming and the sweating.
“We get put down for playing just one thing on stage, but that’s all I want to play, man. In a studio or at home it’s different. But on a stage I just want to get that exciting, adrenalin feeling you can only get from electric rock and roll.
“You’ve gotta remember around ’69 I sat on me arse for a year and did nothing. I moved out into the country and lost all me enthusiasm. I lost all me energy and spent the time writing pastoral, green, middle-of-the-road songs. Just pleasant songs. Pete Townshend warned me I’d get out of condition and I did.
“In fact, I’m still living out there, but now we never spend more than three weeks off the road so we never lose contact with the people and what turns them on.
“And I really enjoy gigging. Every night I want to leave a bit of blood on the stage, cut me fingers a bit, sweat and scream. Like, it’s our job to get people so they won’t sit down.”

CERTAINLY MARRIOTT has mastered to a fine degree the art of holding an audience’s attention. He says: “I’m a performer first — musician second.” I wondered if he ever found his apparent power over an audience a little disturbing.
“No, no, no. Greg says to me ‘go up there and be little Hitler. Stick yer arm up and get them to do the same.’ Give the people what they want.
“But then it’s not a power buzz. It’s just a way of telling people I’m the same as them except I happen to be playing a guitar. Anybody can play guitar like me, though, and me voice isn’t that musical so I’m not bullshitting anybody. I wouldn’t do that because I’d be bullshitting myself.”
Marriott gets another chance to leap around next week when the band return for another three weeks tour of the States. Plans beyond that include a nine-day tour of Britain and the recording of a new album.
Said Marriott: “We want to have one side of songs that you inject your feel into and the other side with feel into which we can inject songs. In other words, rather than varying the numbers from track to track, from, say, a ballad to a ‘Hot and Nasty’, each type of number will be on the same side, so that a cat listening won’t have to jump the tracks.
“The album will include all that I’ve had hanging around for some time. I think it’ll surprise a log of ignoramuses who think we’re only into one thing and who don’t know what we’ve done in the past.
“After that we want to move into what I call phase four of Humble Pie. I’d like to tell you more about it, but due to contractual bullshit I can’t go into it fully.
“But put it like this. We want to get into a kind of revue type thing — bring certain new things into the band. Like, we’d very much like to do a live album at the Apollo (New York) but to do it we’d have to move into this phase four.”
Apart from that, Marriott said no more, although maybe there is a hint that Humble Pie will be more influenced by soul almost like Marriott was in the early days.

AT PRESENT though, the philosophy of the band is well-defined. “Basically it’s a horny philosophy,” said Marriott. “If I say the Rolling Stones — that tells all. They turn on the most. I don’t mean necessarily on stage but just by what they’ve got and what they do with it.
“I’d like to see Humble Pie keep the energy thing going like the Stones have. I was talking to Mick and said `It’s a gas that you’re still on the road,’ and he said, ‘It’s a gas that YOU’RE on the road! And of course we`re both doing the same thing, but as I said before, just hopefully better.
“The time when the Stones started was an era by itself. And there are still a lot of people who are still around, like the Faces, the Who, the Stones and us. There have been a lot of groups since then, but for me, they don’t have that general aura of excitement that the Stones had going for them.
“Like, T. Rex are necessary because they turn on the little kids. So did the Small Faces, but with the Stones and Who it was a more exciting thing. Like, I don’t see why there’s such a big deal made out of T. Rex. To me the whole thing is mediocre to a degree.
“This ain’t a put-down, but personally I dig bands with energy and output. I don’t dig posing and acting the part if you ain’t the part. In fact the state of affairs in this country really upsets me. Everybody’s too busy starmaking and it really pisses me off.”
Although there’s no doubt Marriott likes the idea of being in the rock business he is no lover of the glamorous side of the scene and never has been.
“What I’m more into is the respect. The respect you can get for sticking to your principle,” he continued. “That’s all I and the band want, because it’s a far bigger buzz than gold records hanging on your wall.
“There’s no glamour in it. I’m not going out in sequins and satins because that not what I wear, man. It’s not what I feel comfortable in and it’s also opposed to the music. I want to go on in jeans because I sweat like a pig anyway, and I’d ruin any decent clothes.
“For me glamour means Tony Blackburn — tinsel — that ‘Top Of The Pops’ attitude of keeping pop in its plastic bag. Like, you know, that programme is supposed to represent me, people like me and the whole rock culture but it doesn’t man, it doesn’t.
“You’ll notice that whoever’s rough and ready keeps right off that programme. I wouldn’t do it, man, if they asked me. I wouldn’t f— degrade myself. We went on a long time ago and took the piss out of Tony Blackburn because it’s appalling that DJs like that have so much power.
“We’re served up crap, expected to eat it and say ‘nice’. Well, it shouldn’t go on. People should start petitioning or do something.
“And ‘Old Grey Whistle Test’ doesn’t give a break to the right bands. Man, give us a new “Ready Steady, Go” – show us what the kids of 15 and 16 are doing, because I don’t believe they’re copying Bowie or Bolan. I don’t believe they really identify with people like that.”

EITHER WAY marriott needn’t worry as far as his own career is concerned. After watching Humble Pie grow he has complete faith in the band’s abilities and their potential.
He states firmly: “I won’t be in another band after the Pie because there ain’t another one I’d want to be in. I just can’t believe the personnel — they knock me out from gig to gig. MY job is to knock them out and therefore you knock the people out when they see the good vibes going on up there on stage.
“So I’d never be in another one and I think the others probably feel the same. That’s why I want this one to last for at least another four years. I don’t know whether it can, but I want it to. I’d really love it to.”

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