ARTICLE ABOUT Chinn and Chapman FROM SOUNDS, May 10, 1975

Today, if everything goes to plan, I will probably be in Copenhagen checking out some music there, before heading into Sweden and eventually Stockholm towards the weekend to do the same there. I will indulge myself on my summer vacation and hopefully the readers of this blog will do the same.
Now… indulge yourselves in this fine article about that great songwriting duo of the 70s.
Read on!

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A chat with Chinn about Chapman

By Pete Makowski

Nicholas Chinn and Michael Chapman are a writing force who have collectively contributed an indelible mark on the British charts.
Whether you consider them to be a valid entity or not, Chinn and Chapman`s success is as prominent as a boil on the arse – and to some people equally painful. They may not be a Lennon and McCartney or Lieber and Stoller but you can`t deny that things just haven`t been the same since Sweet released `Funny Funny`.
That fat and meaty treatment of bass and drums has become inherent in a lot of current chart stars` platters.
Chinn: “Sometimes I think it`s better to start a trend rather than follow one.”
Their versatility has been demonstrated with the gentle, almost humorous `Lonely This Christmas` to hard edged attacking style of the Sweet`s `Blockbuster`.
Nicky Chinn, like his Mayfair apartment, is a self contained man who seems to have settled into his playboy settings very comfortably. His domain is impeccably clean and tidy. His book collection ranges from prose and poetry to Harold Robbins. A soft spoken, composed but concise person, Chinn has the voice of an archetypal BBC DJ and the appearance of a Knightsbridge barber.
Recently the Chinnichap stable has suffered a few drastic changes; the loss of their two most powerful products Sweet and Mud. Up to now those bands seem unaffected by the loss of their hitwriters. The backstabbing accusations about C&C`s over dominative stranglehold on their acts must be counteracted by the fact that if C&C weren`t there in the first place the acts might not have got as far as they did.
I asked Chinn what he thought about the backstabbing comments that have been made about him and his writing partner.

“What do I think about it? I think it`s… bullshit, ingratitude, stupidity and biting the hand that has fed you and I would not condone it in any way, shape or form. I don`t think we have ever made biting comments about the band`s who have left us. We wouldn`t because the reason we were involved with them in the first place is because we thought they were good and talented.
“If they leave us and they feel fit to make stabbing comments then all I can say, without mentioning any names, is that they`re a bunch of mugs. That isn`t to say they`re untalented, but even the biggest talent in the world needs to be found by somebody.
“We needed to be found by Mickie Most… maybe we`d still be playing Scunthorpe if it wasn`t for Mickie. Surely the band`s we were associated with must realise we had something to do with them, they can`t say we`re a bunch of louts.”
Even before songwriting, Chinn was earning a healthy wage in his family`s car firm. It was in `69 that Chinn met Chapman, a musician, working in a restaurant as a waiter. They seemed to gell as songwriters from the start. They decided to unleash their talents to all via the help of Mickie Most.
“I met Mickie by `phoning him at home one evening and saying `me and my partner are songwriters and we`ve got something to offer`, recalled Chinn, “that was a terrible liberty I`m sure, and Mickie being the absolute professional he is came back with the classic answer `how would 11.30 in the morning suit you?`”
The rest, as Chinn points out, is history.
An assessment of Most?
“One word-genius.”
Being a sharp observer of the music scene I asked Chinn what he thought of the current state of the singles charts.
“Crummy… lacks direction. The public don`t know what they want next, if they like it they buy it. The Americans know what they`re doing, they always have good follow up singles.

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“In America, for better or worse, they have a racial split. The black people buy things like Barry White, while the white people buy things like Grand Funk. It`s not the same here, thank God. You can get a person buying a Barry White single one day and a Mud single the next.”
America is the next market C&C hope to take over. Chinn: “We`ve conquered just about everywhere else”.
They are currently tailoring two more sophisticated bands – Smokey and Gonzales, Suzi Quatro is getting a change of direction for Stateside success so I asked him the process of transition – and why.
“The process and reason for change are simple. It becomes a matter of judgement. You have a series of smash hit records and million sellers around the world and you realise that none of them have done anything in America. From there it becomes a process of elimination and judgement and what you would think would be better for the artist… we haven`t been proved right yet but we haven`t been proved wrong… it`s happening at the moment.”
So you feel you have a good chance of cracking the States?
“Completely. We`ll do it through good music, being professional and having our heads screwed on. Knowing where we want to go and getting there. I think we can compete with the Americans all day long if we want to `cause we`re as good.”
Finally I pondered on the team`s almost enigmatic Midas touch for hits. I mean, Chinn admitted he knew exactly how big Mud`s Christmas single would be, right down to the chart position, now that`s what I call confidence!
“It`s a great feeling. But you never really know it`s going in the charts. I could make a record tomorrow and I could say it`s a great record and the people in the business can agree but the final analysis, the final proof is when the public get hold of it and put it in the charts.”

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!
This number of Sounds also contains articles/interviews with these people: Back Street Crawler, Mallard, Leo Sayer, Mud, Jet, Average White Band, Al Green, Ray Charles, Chinn and Chapman, Hawkwind, Slade, Genesis, Dr. Hook, Helen Reddy, Alex Harvey, Bachman Turner Overdrive, Bill Munroe, Kraftwerk, Kinks.
The original music paper this article came from (pictured at the top) is for sale!
1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.
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ARTICLE ABOUT Genesis FROM SOUNDS, April 26, 1975

A very honest and good account of the concert and the meaning of the plot by Mr. Makowski.
Read on!

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A touch of the Jaggers

Concert review by Pete Makowski

The stage was set. On the left hand side Steve Hackett was seated with guitar and a melange of effects around him. Behind him Michael Rutherford was stooped over his twin neck bass and six string guitar. On the right Tony Banks was half hidden behind an impressive selection of keyboards, in the centre, with headphones, sat Phil Collins with surrounding percussion.
The rest of the area was a playground for Pete Gabriel`s surreal fantasies.
If you haven`t already guessed, I saw Genesis at the Wembley Empire Pool last Monday, to be precise and left extremely impressed. On every level the band transcend any kind of expected performance standard. Musically they are so proficient they make that part of the job look like a secondary exercise. Visually, apart from Gabriel`s cavortings, the lights, three screens of tightly synchronised slides and stage effects left me confused as to what I should be focusing on. Seeing a show as spectacular as this hits you right between the eyes and it takes a while before you can gather your wits and listen to the music.
This was the debut performance, in Britain, of the band`s new work `The Lamb Lies Down On Broadway`. After hearing the album countless times, and seeing the live show I haven`t got any closer to understanding the plot, so I enjoy it on a superficial level. Gabriel plays a New York droog (Rael) who goes through a whole series of crazy dreamlike fantasy scenes. When Gabriel plays a part, he seems to become the person totally. Dressed in a leather jacket and worn denims he strutted around the stage looking like a real street punk. Some of his poses reminded me of Iggy Stooge, Lou Reed and even a touch of the Jaggers. His whole presence dominated the scenery.
They played the whole double album with only a few minutes breathing space, where Gabriel told the story. The show, as you all probably know by now, features a lot of interesting effects including a monstrous entity with self inflating warts, The Supernatural Anaesthetist, and one part where you are confronted with two Raels. The whole show didn`t solely rely on the theatrics although it wouldn`t have worked without them. After such an impressive and obviously exhausting performance, the band returned for more in the form of `Musical Box` and `Watcher Of The Skies`. Now that`s what I call showmanship.

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!
This number of Sounds also contains articles/interviews with these people: Frank Zappa, Gladys Knight, Women In Rock, Betty Wright, Steve Harley, Peter Frampton, Labelle, Peter Skellern, Ray Davies, Larry Uttal, Chris Spedding, Anne Murray, Sweet Sensation, Bernard Purdie, Mike Harding, Ronnie Lane, Yes.
The original music paper this article came from (pictured at the top) is for sale!
1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Slade FROM SOUNDS, April 26, 1975

No doubt that Mr. Holt had the time of his life watching Slade!
Read on.

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Slade – Kings of rock

Concert review by Phil Holt

Slade`s shows have an atmosphere all of their own, and the nearest comparison is that of a football match. The fans bring along their scarves, rosettes, top hats and either chant impatiently for their heroes to emerge or just simply sing Super Slade. Then, when the set gets underway, we have singing, shouting, stomping, swaying, choruses of `You`ll Never Walk Alone`, all led by the Kop cheerleader-in-chief, Noddy Holder. The control he exerts over the crowd is amazing and as successful as ever – he keeps the mood light and good natured with not a hint of aggro anywhere. Perhaps Noddy should be Tommy Doc`s next signing.
The music itself fits neatly into this package storming along at a vast rate of knots and containing the simple but effective hookline – either a riff or via the lyrics – that have made Slade the undisputed kings of commercial rock.
All the old favourites were there `Goodbye To Jane`, `Bangin` Man`, `Every Day`, plus a couple from the film, plus a couple of new numbers that fit into the Slade vein perfectly. The act itself was carefully structured with pedestals for Jimmy Lea and Dave Hill to mount and ramps extending into the audience.
But any doubts that may have existed about everything being too arranged was shattered by the spontaneous energy of Slade`s finale. This was a complete rock segment starting with `Let The Good Times Roll` and finishing with`Get Down And Get With It` that shook the Birmingham Odeon to its foundations. So Slade finished with a reception that they will find hard to equal anywhere in this country, never mind America.

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Frank Zappa, Gladys Knight, Women In Rock, Betty Wright, Steve Harley, Peter Frampton, Labelle, Peter Skellern, Ray Davies, Larry Uttal, Chris Spedding, Anne Murray, Sweet Sensation, Bernard Purdie, Mike Harding, Ronnie Lane, Yes.
The original music paper this article came from (pictured at the top) is for sale!
1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT The A-Z of Heavy Metal FROM SOUNDS (Part 4), April 26, 1975

So, as mentioned before, this concludes this series as I don`t have the next number of Sounds which ended with bands up to the letter Z.
I guess the two journalists in question here would correct a couple of things if they had the chance… among them the name of Kiss`s second album and the very strange omission of a band like Led Zeppelin in this article. They may not have been “metal” enough, but then some other bands shouldn`t be here too.
Read on!

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Rock from `eavy to `umble or
The Sounds A – Z of Heavy Metal

Compiled by Pete Makowski and Geoff Barton

H

Hardstuff

A hard rocking unit who recorded two albums on the Purple label (`Bullet Proof` and `Bolex Demtia`) then split. The band consisted of John Cann (guitar), ex-Atomic Rooster bassist John Gustafson and Paul Hammond (drums).

Hawkwind

You know the Hawks. Been together for years, once a people`s band, latterly spaced-out cosmic trippers with a diverting light show. Heavy as an asteroid; loud as a rocket blast; entertaining as a sci-fi novel. Their albums on UA are all readily available: `Hawkwind`, `In Search Of Space` (a classic), `Doremi Fasol Latido`, `Space Ritual` and `Hall Of The Mountain Grill`. Freak hit was `Silver Machine`. Follow-up `Urban Guerilla` was almost a success, too, but got deleted because of political implications. Current effort, `Kings Of Speed`, is the plague of the SOUNDS office.

Heavy Metal Kids

Came shortly after Silverhead and had that same punk rock appeal about them. Headed by mouthpiece Gary Holton they have been progressively building a strong following although their debut album on Atlantic didn`t sell as well as expected. Since then Micky Waller (ex Jeff Beck drummer) has left to form his own band and the band have changed their name to the Kids.

Hendrix

If the Troggs took Chip Taylor`s `Wild Thing` and made it kind of sleazy, Jimi Hendrix took it and gave it a sense of menace – which is why Makowski decides to include Hendrix but exclude the Troggs from this exhaustive list. One presumes. When Hendrix was on he was magnificent – one of the few men who could take the solo guitar and make it sound so good it didn`t need another instrument within a thousand miles. He could also be unbearably tiresome, over-extending licks and riffs until they bled white. But who else could have taken `Star Spangled Banner` and made it work for young America?

Humble Pie

At one time the Pie looked like strong contenders for the rock and roll throne the Stones had been so comfortably sitting on. They had a hard rhythmic style to put them in that league. The band were formed in `68. The combination of Steve Marriott, both from huge groups of that era (the Small Faces and the Herd respectively), sealed the band`s success from the start. Ex Art and Spooky Tooth bassist Greg Ridley and Jerry Shirley completed the line up. Their move to A&M from Immediate in 1970 coincided with a transition in the band`s style, a more aggressive brutal sound. This plus their consistent roadwork led to their imminent success in States and this country (they released three albums during this period `Humble Pie`, `Rock On` and `Live At The Fillmore`). It was obvious that Frampton and Marriott were taking two opposite musical directions and this led with the departure of the former who went to form his own band – Camel, who are still recording on the A&M label. The Pie took on the guitar services of ex Bakerloo, Colosseum man Dave Clempson. The band`s sound became more basic, the `white man soul` vocals of Marriott came to the forefront and they produced one killer of an album titled `Smokin“ in `72. This was followed by three less inspiring efforts (Eat It`, `Thunderbox` and `Streets Rats`) and the band are in the process of splitting.

Hustler

Formerly Flesh, this band first made their mark at the Marquee club where they built up a strong following. The line up then consisted of Steve Haynes (vocals), Micky Lluelyn (guitar), Kenny Lyons (bass), Kenny Daughters (organ) and Tony Beard (drums). They recorded their debut album last year on the Firefly label called `High Street` produced by ex Vinegar Joe guitar player Pete Gage. Since then the band have seen the departure of Beard who has been replaced by ex Tundra man Henry Spinetti.

Hydra

Out of the same camp as the Allmans/Marshall Tucker/Wet Willie, the guitar of Spencer Kirkpatrick and vocalist Wayne Bruce make this band a powerful, up front outfit. A four piece with only one album to their credit but worth watching. A big reputation down South.

I

Iggy Pop

He emulated his heroes – Jagger and the Doors – with unrestrained and exaggerated vigour. A showman supreme, he got a band together in his Ann Arbor home town in `69. Their sheer punk rock enthusiasm made up for their lack of musical skill, but essentially they were a live band and their albums sounded empty save a couple of songs that just happened to work. They recorded two albums on Elektra (`The Stooges` produced by ex Velvet John Cale, and `Funhouse`). Later Bowie produced them (`Raw Power`) an improvement, it was hailed by critics, but Iggy mysteriously disappeared and has had an uneven career since.

Iron Butterfly

Iron Butterfly are, arguably, the most successful, as far as record sales go, of all heavy bands. Their album `In-A-Gadda-Vida` shifted an incredible amount of copies and was just about the Sixties most successful album – it was the first to be awarded a platinum disc and stayed in the US charts for 140 weeks (Butterfly sold, in all, some seven million albums in that decade). They began in San Diego in 1966 and recorded their first album `Iron Butterfly – Heavy` within a year. Six albums were released by the band and all hit the US charts. Their original line up was Erik Braunn guitar, Lee Dorman bass, Ron Bushy drums and Doug Ingle organ and vocals. Later Braunn was replaced by two guitarists, Mike Pinera and Larry Reinhardt. They were basically a heavy blues based outfit with an irritating penchant for electronic gimmickry. Ingle, the band`s leader, had an eerie vocal style which became their trademark. Butterfly have recently reformed with two original members, Braunn and Bushy, and two new members, Phil Kramer bass and vocals, Howard Reitzes keyboards and vocals. They have an album, `Scorching Beauty`, out currently on MCA. It`s marginally better/worse than anything they`ve done before, depending on which way you look at it.

J

James Gang

Formed in Cleveland, Ohio the original band consisted of Joe Walsh (guitar, keyboards, vocals), Jimmy Fox (drums) and Dale Peters (bass). The band produced a versatile range of what could be described as tasteful rock and roll. Walsh`s musical ambitions led to his departure and current solo successes after four albums (`Yer Album`, `Rides Again`, `Thirds`, `Live In Concert`). The remaining two employed the talents of Dominic Trojano for two albums (`Strait Shooter` and `Passin` Thru`), then left to record a solo album and is currently with The Guess Who. He was replaced by Denver guitarist Tommy Bolin and they have recorded two albums (`Gang Bang` and `Miami`). Now they`re a good rock band but nowhere near the standards of the original Walsh line-up.

Jo Jo Gunne

They never managed to sustain the success they had with their first single `Run, Run, Run`. The band was formed by two ex Spirit members Jay Ferguson (keyboards) and John Locke (bass). After three albums guitarist Matthew Andes left to be replaced by John Stahaley (formerly Spirit and Stahaley Brothers).

Judas Priest

Birmingham five piece who look like they could step into Sabbath`s shoes judging by the response they`ve been getting on tour. They have an album out on Gull records and are currently working on new product.

K

Kiss

Rock and roll meets Hammer films. Kiss have tried to combine glamour, horrorock, showmanship… if there was a drink comparable to their mixture of styles you`d have to have a strong stomach to hold it down. The band consists of Peter Criss (drums), Gene Simmons (guitar), Paul Stanley (guitar), Space Age Frehley (lead guitar) and they`ve recorded three albums (`Kiss`, `Nothing To Lose`, `Dressed To Kill`) on the Casablanca label.

L

Love Sculpture

Featuring Dave Edmunds and a bit bemused when their heavying-up of `Sabre Dance` was Number One here in 1967, they were “A local band that was never meant to be” according to their leader. They toured America because it was a good way to get their air fares paid, but split up when they got home. What really put the cap on it was when they found themselves topping the bill over Joe Cocker. They thought the joke had gone far enough.

Lynyrd Skynyrd

Seven piece Skynyrd have taken the States by storm over the last couple of years, their first album setting some non-Southern dudes back on their heels. Three guitars lead the Skynyrd attack but from evidence of their last (third) album they`ve taken their foot off the gas a bit.

M

Mahogany Rush

When Frank Marino was only fourteen years old, he had a bum trip. When he recovered in hospital he discovered he had suddenly acquired an adeptness for playing the guitar, he could play the solo on Garcias `Viola Blues` note for note even though he never heard it before. Then Hendrix overtook his style.

May Blitz

Headed by ex-Jeff Beck drummer Tony Newman, this band were given a lot of promo but didn`t live up to it. They recorded two albums on the Vertigo label (`May Blitz`, `2nd Of May`) and split.

MC5

`Brothers and sisters! I wanna see your hands up there! Lemme see your hands! I wanna hear some revolution out there brothers! I wanna hear a little revolution! It`s time to move! It`s time to testify! And I wanna know – are you ready to testify? Are you ready? I give a testimonial – the MC5!` So begins one of rock`s heaviest (if not the heaviest) live albums, the Motor City Five`s `Kick Out The Jams`. The band had several albums released over here on both the Elektra and Atlantic labels, but all have long since been deleted. The only MC5 material currently readily (or easily) available is a track on the `Age Of Atlantic` sampler album, `Tonight`. Brief facts: the band originated in Ann Arbor, Michigan, in the early/middle Sixties; their trademark: unsubtle, unsophisticated, often barely competent metal which assaulted you (both live and on record even at the most moderate volume) with the force of a fragmentation bomb and the intensity of a dentist`s drill; they were extremely politically orientated, turning up and gigging at many a revolutionary, extremist party rally; Rob Tyner, vocalist, was (and probably still is) the epitome of the perpetually screaming, practically out of tune rock singer. The MC5 once proted Norman Mailer to write a particularly gruesome account of one of their concerts. It`s a fact not too widely known that the jingle for Noel Edmonds` jolly `Kick Out The Jams` spot in his morning show comes from the album of the same name, except that it`s cleverly censored: the MC5 scream, `and right now it`s time to – kick out the jams, mother fuckers!`, while Noel has sensibly toned this down for his listeners and inserted `brothers and sisters` for the offensive final word.

Montrose

American band featuring ex- Edgar Winter sideman and sessionist Ronnie Montrose on blistering guitar. First album, released in 1973, was a rocker from end to end. Curiously, the band (at least on the two occasions I`ve seen them) fail to match up to their recorded sounds in live performance. Original line-up: Ronnie Montrose guitar, Sam Hagar vocals, Bill Church bass, Denny Carmassi drums. Alan Fitzgerald replaced Church for the second album `Paper Money` and Hagar recently left to form his own band, Sammy Wilde And The Dust Cloud. A new vocalist has not yet been announced, though Montrose is still intact.

Mott The Hoople

Mott the Hoople were always a schizophrenic band. Being the brainchild of Guy Stevens, they couldn`t have been anything but – he wanted a group that merged the Rolling Stones with Procol Harum. So their early albums zigzagged from manic, bad tempered thrash to reflective ballads – a quality that wasn`t reflected in the anarchy of their invariably shambolic live gigs. Finally, they gave up and split up. Then Bowie, `Dudes` and success. But Mott had always been a loser band, stumbling from one crisis to the next, and they remained so – once the original line-up split (Mick Ralphs and Verden Allen moving on ultimately to Bad Company and Cheeks) and the permutations of guitarists and keyboardmen started, the rot had set in. They fizzled out with Ian Hunter unable and unwilling to carry on as the group lynchpin any more. His solo career continues with the last Mott guitarist, ex-Spider, Mick Ronson, on another schizoid course; while the Mott remnants are about to record their first album with a new (secret) singer and guitarist. The future is uncertain as ever the past was.

Mountain

If Cream had never existed it`s doubtful that Mountain would have followed. Felix Pappalardi (Cream producer and bassist in his own right) pulled together the talents of Leslie West (guitar), formerly with a band called the Vagrants, Corky Laing (drums) and Steve Knight (keyboards) and broke really big in America but couldn`t repeat the feat in Britain. Felix had a great influence on Cream in the studio and some of these themes were much evident in albums such as `Nantucket Sleighride` and `Flowers Of Evil`. The band split in 1972 and spawned West, Bruce and Laing but reformed following the WB&L collapse only to work sporadically. Best albums vie between `Nantucket` and `Climbing`.

N

Nazareth

A dynamic rock and roll four piece (Dan McCafferty, vocals, Manny Charlton, guitar, Pete Agnew, bass, Darryl Sweet, drums) from Dunfermline didn`t take off until the release of their third album `Razamanaz`. This was followed by chart appearances (`Broken Down Angel`, `This Flight Tonight`). Their next two albums (`Loud `n` Proud` and `Rampant`) sold well but their popularity waned in Britain when they concentrated their energies abroad where they are in the big league. The band have returned in powerful form with `Hair Of The Dog` which was produced by Charlton (the previous three were produced by ex-Purple man Roger Glover).

New York Dolls

`Too Much, Too Soon` was an appropriate title for their second album, the Dolls never quite seemed to make it. Visually and musically they were meant to represent New Yawk debauchery, the kid of the street sound. The band – David Johansen (vocals), Johnny Thunders (guitar), Sylvain Sylvain (bass) and Jerry Nolan (drums) – built a large following at Max`s Kansas City which captured the heart of the critics but were limited in their audience appeal (mainly confined to areas that were attracted by glitter rock).

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Frank Zappa, Gladys Knight, Women In Rock, Betty Wright, Steve Harley, Peter Frampton, Labelle, Peter Skellern, Ray Davies, Larry Uttal, Chris Spedding, Anne Murray, Sweet Sensation, Bernard Purdie, Mike Harding, Ronnie Lane, Yes.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT The A-Z of Heavy Metal FROM SOUNDS (Part 3), April 26, 1975

And we continue with part 3 in these series. I must admit that I didn`t know all these bands/artist before reading about them here. Funny how some fell by the wayside and others became household names.
Read on!

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Rock from `eavy to `umble or
The Sounds A – Z of Heavy Metal

Compiled by Pete Makowski and Geoff Barton

D

Deep Purple

Originally the band sounded like the culmination of all the things that Vanilla Fudge had striven for. Elaborate arrangements, well played rock. The band was formed by ex Artwoods and Flowerpot man Jon Lord, Ritchie Blackmore (ex Screaming Lord Sutch, Neil Christians and the Crusaders) and former Searcher Chris Curtis in `68. Curtis left and was replaced by bass player Nick Simper plus the addition of vocalist Rod Evans. The band recorded three albums with this format – `Shades Of Deep Purple`, `Book Of Talysein` and `Deep Purple`. Evans split to the States to form Captain Beyond with ex-Iron Butterfly guitarist Mike Pinera and Bobby Caldwell. Simper went on to join Warhorse. Simper and Evans were replaced by Roger Glover and Ian Gillan respectively. They recorded `In Rock` in 1970, and the distinct sound of Blackmore`s piercing, innovative guitar style that took Hank Marvin`s tremelo one step further, plus the screaming banshee vocals of Gillan made this THE definitive progressive rock album. Purple rose from the underground following when they achieved commercial success (`Black Night`, Strange Kind Of Woman` and `Fireball`). They achieved gargantuan popularity in the States with `Machine Head` which was the top selling US album in `73. An album later Gillan and Glover split and the future of the band was dubious, but they went on and added unknown vocalist Dave Coverdale and ex Trapeze bassist Glenn Hughes. This made for a change in the band`s music, but not in the impetus of their success.

Deviants

While the rest of the world was dressing up in beads and kaftans, Mick Farren and the Social Deviants, taking their cue from the MC5, hopped into their leathers and became a street punk rock politico band. In other words, they bashed it out loud and had titles like `Let`s Loot The Supermarket`. They were born in Spring 1967 with Farren, Duncan Sanderson and Russ Hunter as the core and the fluctuating guitar team of Paul Rudolf and Sid Bishop. By the end of `67 they`d dropped the social bit (well, says Farren, “it was a bit long and cumbersome to say”) and they broke up during a tour of America in 1969. Russ and Sandy joined up with Twink and Rudolf in the Pink Fairies. The Deviants left behind three albums – `Ptoof`, `Disposable` and `Deviants`. The Pink Fairies were worthy successors, but they too are defunct now. Paul Rudolf now has The Paul Rudolf Bugs Bunny Drugs Band.

E

Eire Apparent

Eire Apparent is notable for two things – the presence of guitarist Henry McCullogh, subsequently with the Grease Band, Wings, and, occasionally, Frankie Miller and the production of Jimi Hendrix. One Buddah single, `Rock`n`Roll Band` shows just how well the combination worked.

F

Fanny

This four piece all girl group stripped away all the pre-conceived chauvinistic views of women in rock. They could hit as hard as a battering ram. Formed in California the original line up consisted of June Millington (guitar/vocals), Jean Millington (bass/vocals), Alice De Buhr (drums) and Nickey Barclay (keyboards/vocals). The popularity of this band opened a market for other female rock bands (Isis, Birtha, Mother Trucker). June Millington was the first to leave the band and was replaced by Suzi Quatro`s sister Patti. Nickey Barclay, who was the band`s main writer, left last year to form her own band, Good News.

Foghat

Energy laden, blues based rock and roll laced with glamour. Foghat were one of those bands, like Climax Chicago, struck big in America but haven`t even created a ripple of interest in this country. The original band were ex-Savoy Brown members Rod Price (guitar), Tony Stevens (bass), and Roger Earl (drums). They were soon joined by `Lonesome` Dave Peverett on guitar. They have recorded three successful albums (`Rock & Roll`, `Energized`, `Rock And Roll Outlaws`), on Bearsville label and recently Tony Stevens left to be replaced by Nick Jameson.

Andy Fraser Band

Fraser surfaced with a new band following Sharks and an aborted liaison with Frankie Miller – Nick Judd on keyboards, Kim Turner on drums and Fraser on lead bass and vocals. They`re the loudest I`ve heard in a long time and as cocky and as unsubtle as you like.

Fusion Orchestra

Later re-titled Jill Saward`s Fusion Orchestra, this band is not so much heavy as flashy, visually and musically. When last seen, Jill would whirl dervish-like from instrument to instrument as if seeking an electric Holy Grail. A somewhat frenzied band, in which the drummer has been known to do a solo stretching from one end of the hall to the other.

G

Brian Gamage And The Spikes

Issued a single, `Brain Damage`, in mid-1974. It featured a guitar solo played by hurling a meathook at a highly amplified Stratocaster. The band were first formed in 1963 and the current, ever-changing line-up stands at Brian Gamage vocals, Carole Lewis bugle (the only two remaining original members), Arthur Boonstock harpsichord and Ollibund Socket assorted tympani. Their long-awaited album `Blue Funk` is set for release in the distant future.

J. Geils

Energised R&B driven by the `Wolfman Jack` type vocals of ex-art student and disc jockey Peter Wolf and the screaming mouth-iron, courtesy of Magic Dick. This band of Americanos started life in `67 by Wolf and drummer Steven Bladd. The rest of the band – Danny Klein (bass), Seth Justman (keyboards), J. Geils (guitar) and Magic Dick Salwitz were picked up from a technical engineering college. They started out as a gritty, down to earth boogie band. Their last two albums (`Ladies Invited` and `Nightmares` – on the Atlantic label) were a little more sophisticated. Still a premier live act.

Geordie

Brash Newcastle band, formed in early 1972. Powerful stage act, had some success with the singles `Don`t Do That` and `All Because Of You` – the latter a blatant rip-off of all (at that time) current singles styles, notably Bolan`s `Solid Gold Easy Action`, but great fun all the same. Toured with Slade, have made two albums, `Hope You Like It` and `Don`t Be Fooled By The Name`. Line-up: Brian Johnson vocals, Vic Malcolm guitar, Tom Hill bass, Brian Gibson drums.

Golden Earring

Dutch band, guitarist George Kooymans formed it in 1965 as a bubblegum outfit. Gradually became influenced by early Sixties styles and developed into musically excellent, visually superb band but without much originality. They first came to Britain in 1973 in the wake of Focus` success and soon notched up a hit single, `Radar Love`, and an album, `Moontan`. Current efforts, `Kill Me (Ce Soir)` and `Switch` are disappointing – the band seem to have become too preoccupied with their flashy image.

Groundhogs

The archetypal heavy rock three piece, the Groundhogs originally derived their familiar sound in `68. They were a four piece blues band, but after the departure of vocalist Stephen Rye, Tony McPhee took over and in 1970, two albums later, they established their niche with `Thank Christ For The Bomb` which with the followup `Split` could be described as their definitive product. The moody hard edged sound of the band along with Tony McPhee`s sad sounding `droney` vocals made this mob a popular gigging band. In 1972 after the release of `Who Will Save The World`, drummer Ken Pusteinik left to be replaced by ex-Egg drummer Clive Brooks. This is when McPhee`s guitar and songwriting completely took over and after `Hogwash` he recorded a solo album in 1973 – `The Two Sides Of Tony `T.S.` McPhee`.

Grand Funk

Detroit punk rock at 14,000 watts. GFR were the first of the Teeny bop heavy rock gladiators. Originally put together by ex-Detroit disc jockey Terry Knight in late `69, Don Brewer (drums) and Mark Farner (guitar) were formerly from his backing band the Pack. They got Mel Scacher from Question Mark & The Mysterians. Funk went straight to the open air festivals, their main assets being volume and energy, and soon captured the hearts of a new generation of kids. The band suddenly became a monster (their fifth album `Survival` sold a million on the day of release) they became a liberated status symbol to the masses of teenagers who weren`t interested in The Cream or the Beatles. The band had produced their own album `Phoenix` after splitting from Knight and in fact rose back from the ashes and back into the charts. They added ex-Pack organist Craig Frost to their line up and their next two albums were produced by whiz kid Todd Rundgren.

Gun, Three Man Army, Baker-Gurvitz Army

Lots of Gurvitz brothers for your money. `Polecat Woman` is about the best thing they`ve done and is available on `Three Man Army Two`. The B-G Army sound promising.

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Frank Zappa, Gladys Knight, Women In Rock, Betty Wright, Steve Harley, Peter Frampton, Labelle, Peter Skellern, Ray Davies, Larry Uttal, Chris Spedding, Anne Murray, Sweet Sensation, Bernard Purdie, Mike Harding, Ronnie Lane, Yes.

The original music paper this article came from (pictured at the top) is for sale!

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