Month: January 2014


I have personally transcribed this from the original paper and you are free to use it as you like. If you use it on your own webpages – please credit me or put up a link to my blog. If you really like this sort of thing – follow my blog! Thank you!

Once again, a great edition of the NME with many fine artists interwieved. But I really had no other choice than to publish the interview below, as Deep Purple is one of the bands that I dearly love. Such a fine musical legacy – such fine musicians! Enjoy!


Purple battle against ill health
By Julie Webb

After a bad patch towards the end of `71 – when lead singer Ian Gillan was ordered to rest, and the band had to cancel an American tour – Deep Purple are back again. They`ve completed a short tour and almost ready is their next album, `Machine Head`, expected to release in March. This week NME`s Julie Webb spoke to bassist Roger Glover – a lesser-known quantity in Purple, because he does few interviews, but an interesting and articulate person just the same…

Q: How has Ian Gillan`s illness affected Purple: I understand he now has to rest considerably.
A: “Ian`s illness, hepetitus, was complicated with jaundice. His only cure is rest. We layed off for four or five weeks, and now Ian`s got to take it very carefully. He can`t lift anything now – not even a suitcase. But as long as he gets rest, he`ll be fine. Apart from that the band is very happy together.”

Was it ever suggested you bring in a temporary replacement?
“No, we never even considered getting another singer in – no one suggested that. Mind you, a few people outside the band suggested we do some gigs without him. As it was, they almost had to force us on stage in Chicago without him.
“I think the rest period was very important, in that when you rest you think much more clearly. The resulting album, “Machine Head”, was 100 per cent better as a result.

Was there any special reason for recording the album in Switzerland, which I understand to be the case?
“No – we chose Switzerland to record the album simply for business reasons. It wasn`t cheaper, or anything like that. We hired the Stone`s mobile, and that isn`t cheap. And by the time you add up things, like hotel bills, it works out pretty expensive. I`d hazard a guess at £8,000 – as compared to the last one, which cost around the £6,000 mark.
“Getting the Stones` mobile was our idea – we`d heard it was a good one, and it cost us around £5,000 for the time we had it. We recorded the tracks from December 6th to 21st, working at least twelve hours a day, and the whole thing was mixed in three days.
“You know, it`s a bit sick how people spend thousands and thousands of pounds building a recording studio, when we got the right sound in the corridor of a hotel. We hired a whole floor of the place. And had mattresses up in the windows to avoid people outside from complaining about the sound.”

Why write most of your numbers actually in the Studio. Surely it must work out expensive.


“When we make an album we`ve got to be happy and relaxed, and if you`ve got hassles of getting equipment in from a rehearsal room, it doesn`t help. It`s worth the extra money we spend in studio time, just to be able to avoid the hassles.”

Is it always a joint group venture, writing a number?

“Officially it`s a five-way split when we write, but different people contribute different things to different songs. We know who wrote what, but I don`t think it`s apparent to the listener.
“For example, `Fireball` was written mainly by Richie, John and Ian. The basic ideas usually stem from Richie and myself.
“On the new album I got most of my ideas during the four weeks off, just because I was able to take time off and listen to some music and also drive around in my car and relax.
On the lyrics side, sometimes Ian Gillan will do them on his own, or we`ll get together. With one particular track on the new album, `Smoke on the water`, that particular phrase just came to me. My first thought was to write it myself as a folk song.
“I mentioned the idea to Ian, and no more was said until we came to write the lyrics of a song in the studio. So that`s how that number came about.”


Isn`t it annoying, for those of you who contribute more than others`, to still have this five-way-split on the songwriting side?

“Sometimes I feel I`d like more credit for some of the stuff I do, but the decision to split it five ways was made ages ago before “Deep Purple In Rock.”
That`s because our music is basically the result of a jam session. I think it avoids friction this way, though I can`t say it won`t in the future. As soon as money comes into it, people change. Some for the better – some for the worse.”

So many groups split because of personality clashes, and as a group you all seem of incredibly different personalities. How have you managed to stay together so amicably?

“We`re pretty polite to one another, although I admit that can be a bad thing. Bad in that if you have a grudge against someone else, you don`t always come out with it.”

Do you socialise with each other?

“The only one I socialise with is Ian Paice, simply because we live together. Certainly we`re the two best people in the group to live together, the bass player and drummer. More in sympathy with one another.
I`ve learnt a lot from Ian. He`s forever practising, and he`ll play records of drummers and players that turn him on, and I`ll buy records by people who turn me on. So we both hear all kinds of different music and musicians.”

You said earlier that the new album was 100 per cent better. How then does it compare with `Fireball`?

“The feeling in the group is that `Machine Head` is the best album we`ve ever made. When you look back, `Deep Purple In Rock` was a good album that said everything we wanted to say – it also had a lot of fire. `Fireball`, was made in between tours. We didn`t have a month off before, like we had with this album, and at times we`d be sitting in the studio desperate for ideas. The end result was technically better than `Rock`, but it didn`t have that inner spark.
“Machine Head` is technically one step further than `Fireball`, plus it has that inner spark.”


Have you any thoughts for the immediate future of just becoming a recording group, as opposed to a band who tours most of the time?

“I don`t know how long we`ll go on for, but speaking personally I couldn`t be happier in the band than I am now. We still enjoy playing – and when we go on tour, the most enjoyable thing is the actual playing on stage. Sure we drink, and go to clubs and bars, but we try not to drink too much before we go on stage. You`ve got to look after yourself.
“We always have one drink before we go out there, just to loosen us up and take any worries away we may have. But heavy drinking – if at all – is done on a night off in a club.”

Obviously health is an all important factor, certainly since Ian`s illness…

“Oh yes – and six months ago there were some rumours circulating around about me leaving the group because of illness. Every time we went on stage. I had a bad pain where my appendix scar was. I spent a lot of money going to various doctors to find out what it was, but none of them could tell me.
“It got to the stage, in fact, where I was seriously thinking I`d have to leave the band because literally the pain was so bad I was doubled on stage.
Anyway, my doctor suggested hypnosis, and after several treatments it worked, I`ve never had any trouble since.”


Being part of a band like Purple must obviously have it`s financial advantages. Do you know how much you, or the band is worth?

“As a group we`re probably one of the best paid. For an English gig we get around £1,000, and although that sounds a lot, you`ve got to realise it costs us that a week just to run our business. The expenses are enormous.
“We all pay individually for our own instruments, and every six months we go and see our group accountant and he tells us how much money we have. We started off in the red – our management put £20,000 into the group, and it took us till the end of `70 for us to pay it off.
“My only thoughts are how incredibly lucky I am. I buy a lot of records, and I have good stereo equipment, but I haven`t really spent that much money. If I`m in a restaurant somewhere, I always want to buy everyone I`m with a meal.
“The most expensive thing I`ve bought is my house in Iver, which I`m hoping to move into soon, Ian Paice is the only one who hasn`t bought a house now – I think he`s waiting for somewhere like Buckingham Palace.
“Obviously, money invested in a house is well spent, but apart from that I like to paint – not very often, just for a few days in bursts – so one of my bedrooms is going to be a studio. A studio come darkroom actually, because I`m also interested in photography. I`ve recently bought a good camera. It`s something I want to take up seriously.”

You were going to take up a career in art at one time – do you ever regret your decision?

“No – not at all. Whilst I was at school I made my decision to be an artist, and towards the latter end of my schooling, after two years at art college, I became pretty disillusioned. I gathered I couldn`t become an artist simply because I was told I didn`t have enough 0 levels.
“As it was, I had to do a vocational course, and I started doing interior design. After a while I decided to sling it in favour of being in a group, but everyone else said I`d be an idiot to give it up. Whilst I was deciding. I had a nervous breakdown.
“I remember there was a woman teacher at college who helped me a lot by saying `don`t do what you think you ought to do – do what you want to do. Then if it turns out wrongly, you won`t have any regrets.`
“So I took her advice, and I`ve always gone by what she said then. I`ve learned that whatever happens, whatever I do, regret never changes anything.
“I seem to have found happiness within myself. No matter what goes wrong, it never affects my happiness.”

This number also had an ad for Wings latest single over a full page. It was written in response to “Bloody Sunday”  in Northern Ireland on 30. January 1972. This single sparked a lot of controversy and were banned by the BBC and also Radio Luxembourg. 


This number of the NME also contains articles/interviews with these people: Roger Daltrey (The Who), Tina Turner, Neil Young, Steve Miller, Bread, Frank Zappa, Marc Bolan, Faces, Chuck Berry, Nick Mason (Pink Floyd), Don Kirshner, Ron Wood, Captain Beefheart and Elton John.

The NME this article came from (pictured at the top) is for sale!

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I have personally transcribed this from the original paper and you are free to use it as you like. If you use it on your own webpages – please credit me or put up a link to my blog. If you really like this sort of thing – follow my blog! Thank you!

This edition of the New Musical Express was the first in a major change for the paper. More pages, longer articles and generally a better music magazine.
I had a really hard time choosing one interview among several great ones in this number. I could have chosen an exclusive Jerry Garcia (Grateful Dead) interview or lengthy concert reviews of Elton John or Humble Pie, a great interview with Marc Bolan or also a lengthy interview done with Steve Howe from Yes. In the end i chose the one that I did because I like Frank Zappa, not only as a musician, but also for many of his viewpoints. He was a true genius, and people deserve it to themselves to be challenged by Frank Zappa, musically and politically.


Forget the leg a while. It`s
on rock, porn and blues.

He looks a bit like an identi-kit picture of our own most infamous anarchist Guy Fawkes, this much-vaunted, often-maligned rock guitarist who more than anyone else in contemporary music personifies the cult of the Unsuper Star.
The name is Frank Zappa and here he sits in his London hotel sipping dinner in the suitably unorthodox shape of a peach melba – having already returned the wine for a surplus of cork, floating about inside the bottle – and articulating instant copy on subjects as far apart as pornography and John Sebastian.

Eric Burdon once publically referred to Frank as “the Adolph Hitler of rock”, in retaliation for Mr. Z allegedly – Zappa refutes the charges, although it sounds in character – referring to him in print as “the Charlton Heston of rock and roll!”
He gives the impression of being a man of extremes – compassion tempered with hatred – the nice mixed with a fair-sized dollop of the nasty – which makes him, unlike Sebastian, who apparently has no weeds in his garden, a believable human being.
Somehow one gets the impression that if someone had pushed John Sebastian off the stage at the Rainbow, he would have sprouted wings and flown. Not Frank. He went down like a good `un, breaking his leg, just like one of us.

I still remember the first occasion on which the Mothers of Invention`s first single was played on the thankfully-extinct “Juke Box Jury” and no one, including David Jacobs (remember him), could take them seriously. “They must be joking” was the general census of opinion, and of course, they were. But the joke was on them.
“I would say there are very few other groups who treat themselves the same way as the Mothers”, said Frank. “We can afford to laugh at ourselves, whereas I don`t think that other pop groups or artistes, in various mediums, actually take the time to consider how absurd things really are.
“It`s not a question of ridicule, but we just take a different viewpoint to the next guy. Ridicule seems like a cruel sort of thing to do. The attitude we take is that we would all be laughing together, if the other guy didn`t take it so seriously. That`s the way I look at it.”



When Zappa formed the Mothers, the record company promptly refused to allow them to use that name as it appeared to have obscene connotations, and `of Invention` was tagged on to the name. At that time most of the trendy acts about were good looking young men with shining hair and flashing teeth, to wit the Dave Clark Five and Herman.
“Most of the Mothers were unattractive old men. So we immediately had a merchandising problem,” says Frank.

Their first album “Freak Out” was totally ignored by mass media, both here and in America, but it sold approximately 30,000 copies purely by word of mouth and some smart advertising by Zappa who cut their sleeve up into a jig-saw puzzle and had one piece per day, for two weeks, delivered to the reviewers.
Zappa is curiously enough, for such an anti-establishment figure, an extremely acute business man. And one of the “cutest” features of the deal he negotiated with Warner Records is that at the end of their five-year contract the group get their masters back.
“…That`s what I call a good deal,” says Frank. “You make a record, and what normally happens is that the record company owns the tapes for ever – it`s not your music anymore. I happen to like the idea of retaining my so called works of art.”

It comes as something of a surprise – somehow, anything orthodox connected with Zappa is a surprise – to find him happily married to his second wife with a son aged two and a daughter aged 4. His first marriage broke up because the young lady found it “difficult to be comfortable with the lifestyle I was involved with.” He intends his children to go through the formal state education for which he has them “well prepared”.
Zappa describes his relationship with his own parents as “cordial”, although they were disappointed he did not take up something as scientific as his father before him, who was in turn a maths teacher, a physics teacher, a meterologist, a metalurgist, a barber and then worked on ballistic missile projects.
He says: “My father wanted me to do something scientific and I was interested in chemistry, but they were frightened to get the proper equipment because I was only interested in things that blew up.
“…I don`t think there`s any reason to assume my parents should derive pleasure from what I do for a living. It`s just not their bag! They like cowboy pictures on TV…stuff like that.”

For those of you who have followed Zappa`s early work, and indeed even some of his more recent material, it should not come as too great a shock to learn he holds rhythm and blues dearest to his heart.
“The first band I ever played in was a group called the Ramblers, in which I just played drums. I used to listen to rhythm and blues a lot – Johnny Watson when he used to play guitar, Clarence `Gatemouth` Brown, the Orchids and the Nutmegs. Our repertoire consisted of early Little Richard stuff…
“I still enjoy that music, and it may seem a little absurd – but if I were in the proper circumstances, and I told the guys in the band this, I would be just as happy playing R and B. That`s because I love it, it sounds good to me. It has definite musical merit.
“Just because it could be considered to be musically illiterate in some instances by academic standards, that has no relationship to what the real value of that music is.
“The emotional quality of the music of the `50`s, and the feel of those performances – everything thay have is cheap. But the sound that comes out is just great, it inspires you. When they have the cheapest stuff they come out with a piece of art at the end.”

A greatly underrated guitarist, Zappa talking on what makes a good guitarist is interesting: “I listen for melodic and emotional content in the playing, and interesting rhythmic influences, technique and harmonic.
“Depending on what style of guitar playing it is, if it`s rock or blues-type playing, I listen for the generalised feel of what the guitar is sounding like, rather than trying to figure out whether that guy is faster than Alvin Lee or not.
“I think that generally, the criteria most pop writers use is how fast is that guitar player, it doesn`t matter a shit to them whether the guy can actually invent a melody on the spot.
“Think back over how many guitar solos you have heard over the last ten years. How many of them could you hum?
“Is there any melodic content at all? Is there any structural relationship at all between the line that`s being played, and a challenging set of chords that`s happening?”

Today there are very few if any sacred cows in Zappa`s morality, and he refuses to accept unconditionally, or standard of behaviour, advanced by the Establishment under the guise of morality. An active social conscience, he attempts to expose and explore the motives of our Society in order that we might put a few of those so-called principles into perspective.
His sense of the absurd stretches to those who most closely identify with him and even himself. Could, for instance, anything be more absurd than Ringo playing Zappa in his film “200 Motels” which deals with some of those social anachronisms?
“One of the things which worries me most about the youth of today is their inability to laugh at themselves,” says Frank.
“For example, if I appear at the Roundhouse and poke fun at that dirty old middle-aged man, it`s O.K. But if I make a reference to dirty, long-haired drug-infected hippies there`s an immediate `you can`t talk about us like that` attitude.”

Zappa commands attention by adopting a position of attack as the best form of defence, and his shock tactics usually produce the desired result – reaction.
His heart-felt shriek is `Why?` when it comes to the question of morality, and his concern is usually for the despised, or those held in contempt by a Society inbred with hypocrisy at high levels.
“I never realised groupies were a persecuted minority until Rolling Stone began writing about them as if they were dirt. Some people assume that any girl who takes her pants off for a guy in a rock and roll band must be a pig, a dog or some kind of preying mantis.
“To me, groupies are girls you meet on the road. Some are nice, some are nasty, some have a sense of humour, some have none, some are smart and some are dumb. They`re just people.”

Zappa believes, quite fervently, that obscenity is usually bred by ignorance in the mind of the individual, and his film and his music often reflect his frustration of illogical ethics. He may not be Mary Whitehouse, but he does make some kind of moral sense.
“I would say obscenity exists for the edification of people in the legal profession. People in the politics business, and people in the religion business, perpetuate a myth like that in order to gain control of certain sectors of the human consciousness.
“Outside war and certain types of physical distraction, there is no such thing as an obscene act. But then you`re just juggling a word around and making a semantic application. Ordinarily death and destruction are not considered obscene. As a matter of fact, they`re commercial!
“I can see pornography in a different light, when I look at it in the terms of radically-orientated photographs, or things you can place in that category designed for the purpose of stimulating an erotic sensation.
“Pornography is something designed to stimulate you sexually. For people who get stimulated by pictures or hot books, it serves a function in society when they do not have ready access to sexual intercourse, or find it difficult to get off on some other things. Pornography serves a function to those people, and it should be made available to them. Because those who are mal-adjusted sexually will wind up doing things like having wars, and committing murders, and doing a lot of other stuff because of repression.”

Have a look at the concert listings in the NME at the beginning of 1972. Fascinating stuff! Too bad I can`t travel back in time and enjoy some of these concerts when they happened!


This number of the NME also contains articles/interviews with these people: Badfinger, Maggie Bell, Poco, America, Siffre, Marc Bolan, Steve Howe, Jerry Garcia, Roy Young, Elton John, Chuck Berry, Humble Pie, Strawbs, Black Sabbath, Can, Hawkwind, Rick Nelson, James Gang, Bob Ezrin, Dr. John, Grace Slick, Chi Lites and Lou Adler.

The NME this article came from (pictured at the top) is for sale!

  1. Send me an e-mail, if you are interested. Send it to:
  2. The offer should be around or upwards of 10 $ (US Dollars) to be considered. (This includes postage).
  3. We conduct the transaction through my verified Paypal account for the safety of both parties.


Hope you like this interview from the beginning of 1972. I have personally transcribed this from the original paper and you are free to use it as you like. If you use it on your own webpages – please credit me or put up a link to my blog. If you really like this sort of thing – be a follower of my blog! Thank you!


by Danny Holloway

On the day I was to meet David Bowie at his home in Beckenham, Kent, I really didn`t know what to expect. I had heard and seen very little of him recently.
The last time I saw him perform was at London`s Roundhouse over a year and a half ago when he showed up unannounced, wearing a gold outfit and curled hair. At the time his music sounded too busy and I couldn`t pick up on it.

After that came the big splash about David and his desire to dress in female attire. I felt sorry for him because it was obvious that a lot of people would dismiss him as a freaking transvestite and not give his music a second chance.
Then came the news that he had written “Oh You Pretty Thing” for Peter Noone, which hit the charts. After that came nothing, until news spread like wild fire of an album totally worthy of every praise and exaggeration that Bowie-maniacs attached to it. “Hunky Dory” displays David`s versatility and talents as a songwriter.

As we sat in the living room of the huge Victorian house he shares, David played the new Biff Rose album, followed by tapes of his next – titled “The Rise And Fall Of Ziggy Stardust And The Spiders From Mars.” It`s about the adventures and eventual break-up of a pop group. Ziggy Stardust is the lead singer and The Spiders From Mars are his back-up group (David is trying to persuade his group to call themselves the Spiders.)

On the carpet lies a copy of Forum magazine, a Yamaha steel string acoustic and a Fender Jaguar guitar, as well as scores of albums including the first Pretty Things albums, the Yardbirds and the Stooges.
Thick wall-to-wall carpeting cushions the room, while the furniture appears to be tucked close to the walls. David stretched himself out across the carpet and skipped from subject to subject.

I remarked on his newly-cropped hair style. “Oh yes, I had it cut a couple of weeks ago, I`m still getting used to it.” That got us around to talking about images. “I`m just an image person. I`m terribly conscious of images and I live in them.”
Was David serious about that dress bit or was it just a put on? “I`m certainly not embarrassed by it or fed up with it or ashamed of it, because it was very much me. But unfortunately, it all detracted from the fact that I was also a songwriter. The dresses were made for me. They didn`t have big boobs or anything like that. They were men`s dresses. Sort of a medieval type of thing. I thought they were great.”

Yeah but didn`t people get the wrong idea of him after that escapade? “Oh, it doesn`t matter! Because whatever their wrong impression of me is, it`s probably right. Things like that don`t bother me at all. The only thing that saddens me is that less attention is given to music. I am an outrageous dresser. I always have been. I adore clothes and a dressmaker friend of mine makes them for me. But I don`t stay with one thing very long. I think I`m like a grasshopper. I really want to move on all the time.”

He pushed himself along the carpet so that his back was supported by the sofa and scratched the top of his head like Stan Laurel used to. His body is thin and pale and there`s a faint smile on his pin-up face as he continues. “I change all the time. My zip code to life is constantly being changed. “I`m still very much a teenager. I go through all sorts of fads.”


Unlike many musicians, David Bowie is interested in all types of theatre and art. As he points out, his music is NOT his main concern. “My life does not revolve around my music. My music is my mode of transport. I write melody to the best of my ability. The melodies I do write please me temporarily and have a very singular effect on me. I quickly put them down. I write songs very quickly because I get bored very quickly with my own stuff.”

Soon we got around to talking about his present plans and what he`s hoping to do. “We`re going to play a few select dates. The line-up is the same as on `Hunky Dory.` Mick Ronson on guitar, Trevor Bolder on bass and Woody Woodmansey on drums. We`re going to rock on stage. We`d like to consider ourselves to be in the same sphere as the Who. We want to be visually exciting. But we`re going to present ourselves on a very solidly routined and rehearsed basis.”

Does he have any special surprises up his sleeve? “No, I`m not going to pull any big prima donna things like that. I don`t think we need anything like that. Everybody`s expecting me to show up doing an Alice Cooper-type thing. But when Alice came out and I saw what he was doing, I decided to veer away from that angle because I didn`t want to go out and ask people to compare me with Alice.
“I would have loved to put on a theatrical show like that, but I wouldn`t have wanted to fall into that category. But I do have plans for a theatrical experience if and when the money comes in.”

And what about the future? “Well there`s a world tour which starts in the States in March. And when we get back we`ll complete mixing the fourth LP. Bowie is everybody`s best bet to be the next homegrown boy to become an international superstar. When I asked him if he`s likely to become a cult figure, his only reply was: “What kind of cult would I develop? Gay lib? Spaced-out queen?”

This number of the NME also contains articles/interviews with these people: Rolling Stones, Pink Floyd, Henry McCullough (Wings), Donnie Elbert, 5th Dimension, 1972 Lanchester Arts Festival, Sha Na Na, The Rock And Roll Allstars, Flying Burrito Brothers, Jimmie and Vella and Barry Ryan.

The NME this article came from (pictured at the top) is for sale!

  1. Send me an e-mail, if you are interested. Send it to:
  2. The offer should be around or upwards of 10 $ (US Dollars) to be considered. (This includes postage).
  3. We conduct the transaction through my verified Paypal account for the safety of both parties.


Hope you like this interview from the beginning of 1972. I have personally transcribed this from the original paper and you are free to use it as you like. If you use it on your own webpages – please credit me or put up a link to my blog. If you really like this sort of thing – be a follower of my blog! Thank you!


Pamela Holman talks to Ossie Osbourne

You may remember your disappointment when Black Sabbath had to cancel their first British tour in months at the end of last year.
Well, They`re back on the road again, kicking off on Monday at Birmingham Town Hall, when they`ll have a host of new material to offer as well as many of their old favourites.
“I`m really looking forward to playing in Britain,” said Ossie Osbourne when I met him on a grey winter`s day in London last week. “We haven`t played here for such a long time and I feel that we`ve let down a lot of our loyal fans.
“Unfortunately we`re not doing any London dates. It would have been nice if we could have started the tour in London. We may be doing a separate gig at the Albert Hall later, but there`s nothing definite yet. It was really emotional when we last played there: we`d never enjoyed ourselves so much.
“The reason our December tour had to be cancelled was because I was very ill when we returned from the States in November. I had a septic throat and a temperature of about 105 and was out of action for a month.
“As a result we`ve been really pushed to get some new material together for our act, and it`s been hard work.
“We`ve got so much planned for 1972. We`ll be doing this British tour, then we`re off to America once again in March for four weeks. After that, there`s a Continental tour, then Japan, Australia, New Zealand, Africa – a worldwide thing.”
Black Sabbath`s fourth album is scheduled for release in April. This time the em- (emphasis? Blog Ed. note) will be on melody, but will still retain Sabbath`s characteristic heaviness.
“This album will have a number of short tracks in order for there to be a lot of variety,” Osbourne continued. “I think that long numbers get boring, and if we want to retain our popularity we`ll have to have a change.
“As yet we`ve only recorded about half of the backing tracks. We`re getting some weird effects in the studio, and doing insane things. For instance we got everybody to march to the top of this big staircase the other day singing “I-Ho” like the Seven Dwarfs. It was amazing; everybody just let themselves go, people who wouldn`t normally do that. We took it down on tape and are thinking of including it on the album but we`re not too sure yet. It really was an incredible effect. It sounded like there were a million people there.

I asked him if there was any chance of a follow-up to “Paranoid,” their immensely successful single released over 12 months go.



“I just don`t know,” he said. “We didn`t want to get into the rut of producing one single after another because if you do that you get the wrong kind of image, and apart from that there`s too much to do when you`re trying to get an album together.
“Of course, we gained a lot more fans when that was a hit – many of them much younger than our usual followers. But I don`t care if people who come to see us are 10 or 110, provided they come along to listen to the music.
“But it drove us round the bend at some gigs. People kept jumping up on the stage and at one Northern date the kids accidentally damaged the speakers because they`d squeezed so many people into the place. The promoters kept letting more and more people in until it was like a gas chamber. Hitler would have had a field day!
“Since we released that record we`ve had a bit of extra money, but I think that money is pretty evil. Sure you need it to survive, but it`s brought me a lot of unhappiness. Through wealth you lose much of your identity, and you can`t communicate with people the way you could before. Your old friends look on you as if you`re not there, because they want you to change.
“I want to keep as many of my old friends as I possibly can, but you can`t always do that because they change their attitude towards you.

What can he see for the future of the band?

“All I can see is hard work for at least the next 12 months. We`re going to try to vary our music as much as possible, different approaches but maintaining the heaviness because we all dig heavy music.”

My note: The album Ozzy (or Ossie as he is called in the article) talks about was to be called Vol. 4. Among many die-hard Sabbath fans still regarded as one of, if not THE best album in all of the Sabbath catalog.

This was also a time when T. Rex and Marc Bolan ruled Britain! To understand how big he was, take a look at this 1971 poll from this edition of the NME:


3 singles among the 10 best singles of 1971. T. Rex is also number 1 in the category “World vocal group”. As voted by the people.


T. Rex shares first place with none other than John Lennon in making 1971`s best British album. Not bad at all, considering what kind of album Lennon made that year. A lot of other big names down that list too.

Anyone remember Marvin, Welch & Farrar? Voted 6th best British vocal group? Nah, me neither…but you may remember two of these three in their other group: The Shadows. Here is a song by Marvin, Welch & Farrar:

This number of the NME also contains articles/interviews with these good people: T. Rex, America, Tom Fogerty, Stevie Wonder, Byrds, Dave Mason and Papa John Creach

The NME this article came from (pictured at the top) is for sale!

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Hope you like this interview from the beginning of 1972. I have personally transcribed this from the original paper and you are free to use it as you like. If you use it on your own webpages – please credit me or put up a link to my blog. If you really like this sort of thing – be a follower of my blog! Thank you!


The Cat in his lair
– An exclusive NME interview by Roy Carr

Putting an artist on a pedestal has always been a common practise and the worship of the graven star image a much exploited cult. Once it was the magnified animated reflection on the silver screen, today it is the contemporary singer-songwriter whose every word and gesture is taken as gospel by those seeking some kind of substitute spiritual fulfilment. Such is the frailty of the human ego that many of those directly subjected to this phenomena allow their life-style to be moulded beyond recognition by the lip-service bestowed upon them.

Not Cat Stevens. For he states with down-to-death directness “I find that it`s all really nothing more than a great joke.
“As far as anything is concerned, be it politics, generals…whatever, it`s all a great big game and you play it the best that you can. That`s as far as it goes.” He stresses: “The important thing is not to take anything seriously.
“Like the general who thinks that he is the `Father of the Army` has got to be crazy, because most of them hate his guts and you`ve got to remember that. You`ve really got to look at it with a sense of humour.”
However, Stevens admits that when he doesn`t think along this line, it brings him down.
“My most depressing time is when I start getting serious with myself,” he states with complete honesty. “I find that it comes through in my music. I`ll get all wound up in a particular line and I`ll start thinking about it while I`m putting it down on tape.
“Then when I listen to it a couple of days later, I say, `Forget it…that`s not what I`m thinking about, that`s hitting stone! You go as far down as you can possibly go and then inevitably you hit stone.”

Despite his success, which is still a source of amazement to him, Cat Stevens has remained levelheaded. The paradox is that he is almost the antithesis of his vocation. This trait is revealed in the simplicity of his domestic life, for Stevens has just bought himself a new home.
It`s not the expected sprawling multi-roomed mansion complete with a swimming pool hidden away in the green and pleasant heart of the English countryside. It`s a converted split-level terraced dwelling, a mere stall holder`s cry from the busy North End Road street market down at Walham Green. Outside, kids kick a football at the silent crocodile of parked cars – a queue of old ladies with bursting shopping bags form outside the brightly lit Top Rank Bingo Palace – the aroma of freshly baked bread that emits from the corner shop tempers the chillness of the air.
When I arrived at Chateau Cat, a gang of workmen were busy bashing, plastering and hammering everything in sight with a maximum of noise. Surely this was not a conducive atmosphere for a prolific songwriter, I commented when I initially came across Stevens seated cross-legged on the floor amongst a heap of books, paints and guitar cases busily cooking scrambled eggs and burning toast on a small electric ring plonked, for the time being, in the stone fireplace on the first floor.


“Ahhhh well, being a city lad,” Steve chortled in mock tones, as he looked up from his culinary duties, “I enjoy living in London…in actual fact, I like all cities. Apart from London, the only other city that I`d like to live in though is Toronto. Now that`s a really fantastic place.” Having been exiled myself in that city of his choosing I had to agree.
“I would never live in New York,” he commented, while continuing his whisle-stop appraisal of the capitals of the world. The reason for this statement was: “New York finally eats you up. No matter how long a stretch you have there, you always get eaten up.”
Strange as it may seem, this urban atmosphere of almost perpetual motion in which Stevens exists, nay positively thrives in, acts as a stimulus for his numerous creative outlets.

“I like to be as close to the city as possible,” says Stevens, “having all these workmen around me is creating a constant stream of movement…only in that way is my mind free to move.
“For me, it`s great to write in a car.” That`s a somewhat surprising statement which I`m sure will immediately destroy any mental visions you may harbour of Stevens seeking inspiration in an aura of etheral tranquility.
“It`s great, `cause if I`m being driven somewhere in a taxi, I find that my mind is being constantly taken over by new sights. Therefore, I haven`t got the time to concentrate on any one thing and get lost in it, so I have to think and consequently my ideas are constantly changing. “A car is a great place to write in,” he concluded.

Totally aware that the contents of his music reflects the inverse of his turbulant environment, Stevens who until recently lived above his parents restaurant on Shaftesbury Avenue, feels that subconsiously it`s his natural reaction against this background of continual noise.



“I`ve had lorries outside my window for the last ten years,” he recalls. “I guess it`s that which I am combating.”
Be that as it may, Stevens takes great and personal care to safeguard his mental equilibrium from the constant pressures which beset an artist of his rapidly growing stature.
He admits: “I am my worst judge, or if you like, I am my best judge,” a wry smily etching deeply across his face. ” I`m very self-critical of what I`m constantly doing, all it needs is for someone to say something to spark me off and I`ll most definitely react against myself as to what I`m doing then.

“It`s just a safety catch that I have in my head that says when I`m being flattered and when I`m not being flattered. That`s how I change so much, I get involved with what other people are doing and what I think I`m doing.”

However, Stevens still finds time to allow for everyday idiosyncrasies, his most recent being his beard, which he is hurriedly regrowing after having taken razor firmly in hand and succumbed to the overwhelming compulsion to see what lays underneath.
“Before I shaved it off, I found that my beard was almost ruling me,” confessed the demon barber. “I was almost frightened to see what was underneath, it got so much that I thought I`ve got to beat it.” A brave man indeed, for I myself have never had the courage to do likewise.

“Well, I eventually did it,” he continued, “and I felt so clean, it was the first time that I have actually felt rain on my chin for I don`t know how many years…it was fantastic. But then I realised I didn`t want it like that so I`ve started to regrow it again.”
Elaborating on the virtues of facial fungi, Stevens is of the opinion, “you find that you can conceal things, not internally, but when you have an open jaw you automatically find that you conceal things within yourself…mainly in your head.
“Now normally, you`d take it inside of yourself when reacting to something, with a beard you can react quite openly and as you have a covering it doesn`t affect it too much…it`s not so internal, it`s an outgoing reaction.”


Success has turned more heads than a good looking woman, but again Cat Stevens is adamant in his determination to retain a sense of priorities and avoid being sucked up by the destructive superstar syndrome. Even the immediacy of his Stateside acclaim – being one of the few artists to actually show a profit on an initial expeditionary trip to the New World – hasn`t clouded his personal credo.
“The trouble is, that many artists become performing puppets, but they don`t know it. They still think they are in control which can be very dangerous because they`ll suddenly blow up and they won`t know why.

“The thing I found is trying to get as much control over my life as possible. It`s just a question of you working and struggling for that moment when you`re on top so that you can then do what you want. It doesn`t matter what thing you`re into, it`s just that you`re constantly working to reach that peak.
“There are those people who give up at a certain point and that`s something I haven`t done yet. In fact I don`t feel that I`m going to do it for a long time because I have so much energy to give myself that actually works.
“I don`t know what it is,” then with a hearty laugh suggests, “probably it`s just sexual frustration.” Still laughing, he makes a point to pass that remark off strictly as a joke. “Just recently I`ve had so many offers for life-long security as far as record companies are concerned, but I`ve said, `No.`

“Then it would just be like being fed through the mouth – I wouldn`t have a thing to do – so what`s the use. That`s not what I work for…to suddenly be given a throne and have people say, `Hey Man, you`re a success, we can forget about you.”


“I don`t want to forget about myself. I`d rather struggle as much as I can and get totally involved with the stupid things that really bring me back.”
Conscious of his audience, Stevens is forever striving to present a good concert in the best possible surroundings. To this end, he still avoids performing in those vast American stadiums, where the name of the game is: See How Many People We Can Pull In.
“I don`t go in for all that,” says Stevens taking a stand. “They`re only in it for the bread, it`s definitely a bread thing. The only thing is that you do get heard by a lot more people, but then you don`t really because you sacrifice the quality of your performance. They only see the event, that`s all. Now that`s what I call a drag. That`s not what it`s about.
“Records are private things, personal things and it doesn`t always mean the same thing to everyone who is listening, yet it has to be heard.
“You see, in America a large proportion of the audience comes for the event instead of the artist, now Elton John got caught up in this trap and he didn`t know it at the time.
“I guess that`s what festivals were really all about. It didn`t matter who was on, it was a nice summer and you`d go along to dig it because you knew other people would be there.


“Honestly, I didn`t expect things to happen in the States like they did. But when I got there everything just felt right. Though I was angry at the time that `Mona Bone Jakon` didn`t get off the ground, but then it didn`t get off here or anywhere for that matter except in France.
“I was really upset about that, so when I went over I was really determined to make it on my first trip. I wasn`t into like doing three trips and like they say earn money gradually. I earned money on the first tour, even though it was only 100 it was enough to come out and say, `I`ve done it.` You don`t have to do loads of tours and like you don`t have to go through all that hassle. Not if you really mean what you say.”

Stevens yet again admits as an afterthought that he still is very much surprised by the reaction. “And that`s why I don`t want to get too hung-up on it, and let`s face it so many people do.”
With astute know how Stevens is instigating his own demand by only doing four week Stateside tours of selected dates at any one time. “I don`t want to play before 40,000 people in a football stadium, because that`s it…what`s the next thing?
“The only alternative then is to do jingles.”

The performer and writer of such classic music as “Wild World”, “Moonshadow” and “Morning has broken”, Cat Stevens (or Yusuf Islam as he calls himself today) will rightfully be inducted into the Rock and Roll Hall of Fame in 2014. (Listen to “Wild World” here)


Loon pants were hot fashion at the start of 1972.


And Black Sabbath were busy on tour, just like today. 🙂

This number of the NME also contains articles/interviews with these good people: Siffre, Ginger Baker, Rick Grech (Traffic), Marmalade, Sandy Denny, Osibisa, Robert Fripp, Keith Moon and Roger Cooke.

The NME this article came from (pictured at the top) is for sale!

  1. Send me an e-mail, if you are interested. Send it to:
  2. The offer should be around or upwards of 10 $ (US Dollars) to be considered. (This includes postage).
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