Month: February 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!

Here is Ian Hunter guiding us through what we today consider a real classic album! Enjoy!


What`s Mott?

By Julie Webb

When the news was first released that David Bowie had written and produced the single “All The Young Dudes” for Mott The Hoople, reactions were mixed.
Some people were knocked out with the whole concept, while devout Mott fans wondered whether they had “sold out”. Did Mott really need Bowie? the latter faction reasoned. The simple answer (and the correct one) is yes.
Without Bowie there would be no Mott THe Hoople today. Without his help their very fine new album would perhaps not have reached such a high standard. And over and above everything else, Bowie has given Mott a new confidence in themselves and injected a new enthusiasm into their music.

Lead singer Ian Hunter was delighted with the new album when I met him at their new record company CBS – where it was blaring away on the turntable. (“It should be played loud,” says Hunter.)
“You can`t compare it to our other albums – this one is how Mott should have sounded all along. David likes a very perfect album and this one is so much cleaner and clearer – after the mugginess on previous albums.
“In the past we just didn`t know how to record. I think we could have done this album a year ago if we`d had the right producer.”

Hunter talked to me about each track…starting with “Sweet Jane”, the Lou Reed composition – and other than Bowie`s “Dudes”, the only track not written by the band.
“About the same time as `Dudes`, Bowie played us a riff and we leapt on, wanting to know what it was. It turned out to be “Sweet Jane”.
“Mommas Little Jewel”: “Overend wrote this with me while we were still at Island. We recorded it then but it was too fast – it`s one of David`s best tracks. He really has got the knack of knowing what to do – just a little thing makes all the difference.
“All The Young Dudes”: “There`s a jerk in the tape here just before it starts – I like a jerk, it`s cute, makes you think.”
“Sucker”: “I don`t think anyone has noticed Mick Ralphs. I know certain people who play guitar notice him, but if people can`t relate to the guitar solo on `Sucker` then there`s something wrong. It`s funny, with guitarists, the emphasis often seems to be on speed – but character is important and I think Mick`s guitar playing is very individual.”
“Jerkin` Crocus”: This is about a lady who is good at pulling. The title was taken from a girl Overend knew. It was written fairly recently – just before we went into the studio to do the album.”
“One Of The Boys”: “David liked this a lot. We did it at the time of the `Dudes` session, and towards the end of the second day we knew `Dudes` would be the A side. It was written just before the Circus tour. Again, Mick had a riff – and usually that`s how it works. We got the phone effect at Trident – there`s a bit I like where the track dies away and you hear it come out of the phone reciever.”
“Soft Ground”: Verden had this in mind for three or four months. And when something`s in his mind it totally absorbs him. He lives it. It came out at rehearsals – just before the album.”
“Ready For Love”/”After Lights”: “Although on the album they are two songs, it`s really just one song. Mick wrote it, and there are two hook lines. You think it`s all over – and then it goes into the next hook line.”
“Sea Diver”: “Writing songs is almost a perversion. Most writers can go six months and not get a song. They panic – and then suddenly they start again. That`s what this song is about.”

Album and single aside, the best thing Bowie did for the band was to keep them together. Hunter explains:
“We were looking for material, and David sent us a demo of `Suffragette City`.
“Anyway, we split up in Switzerland. So Overend phoned David to thank him for sending the demo and told him the news. David went quite mad on the phone about it, and Overend rang me and said Bowie thought the group was great and shouldn`t split.
“At that time we`d all heard David`s “Hunky Dory” and dug it, but didn`t want to form again because we were so pissed off. Pissed off with being told we`d be put on half wages…and they were taking our lights away.
“Anyway, three hours later Bowie rang Overend again and in that three hours he`d written `All The Young Dudes`. He`d said to Overend, `if you want to split, then split – but please do this number first.”

It was after a gig at Guildford that Mott came under the management of Tony DeFries, and Bowie offered his help with the album.
“CBS were at the gig and Tony said he wanted to manage us. And David said `if you want me to write a song, or produce you then I will! He didn`t want us as an extension of his personality. He wanted people to understand he was helping and not taking over. He even wanted us to have co-producer credits on this album.
“When it came to making the album David had some numbers and so did we. We played him ours and he said they were okay – he liked the stuff we`d written. The basic arrangements were done by the band then David set about embellishing it. He`s been a great assett just when we needed it.”

For all the help Bowie has given the band, the most refreshing thing is, as Hunter says, the fact that the band are exactly the same as they always were.
I asked Hunter if having Bowie as a producer would be a permanent thing – or if this album was a one shot idea.
“Nothing is ever permanent in the music business, but as far as we`re concerned the relationship with David is amazing, and he wants to carry on. He genuinely digs the band – he needn`t have had us, after all the band was over.”

Hunter denies any allegations that Mott are now portraying a camp image.
“The last thing we want to be called is camp,” he says, and certainly looking at him swigging back a glass of scotch, a mop of curly hair flopping around his shoulders, he looks anything but camp.
“There`s only one person who can do that well and that is David. And he`s not a fairy. It`s just that what he does on stage he can do infinitely better than anyone else. We ain`t fairies – not one guy in the band is. And we figure we`ve got to lay back a bit on stage so that our audience will lay back on looking and start listening.”


As a bonus – here is the review of their then new album, also in this same number of the NME:

Mott-Bowie compromise

Mott The Hoople: “All The Young Dudes” (CBS)

There`s the story that David Bowie saved Mott from winding up completely when the band were at an all-time low. And it could be true, because he penned their “All The Young Dudes” single – easily one of their best numbers ever – and their status and success have increased immeasurably since.
But, Bowie`s guidance brought an obvious danger: the band could fall into an abyss of emulation and be criticised for cashing in on the Bowie – Reed – Underground syndrome. After all, aren`t Roxy showing just a few of those roots?
Therefore this album is important for the group, as on it their own talents will be judged.
And thankfully, Mott have NOT been manipulated and stylised by producer Bowie in such a way to exclude personal flair and inventiveness. Yet neither do they show themselves to have a totally individual style.
The latter fact is quite surprising, because most of the material – apart from the title track and Lou Reed`s “Sweet Jane” – is their own. Yet for the first four numbers there is a resemblance to the Underground – in the chords, and in Mick Ralph`s guitar style; simple but chunky. With Ian Hunter`s vocal phrasing reminiscent of Reed, and Yule.
Then there`s “Jerkin` Crocus” (which sounds so much like the Stones` “Brown Sugar”) and “One Of The Boys”, which both have a Stonish quality. This again is down to Ralphs and his gritty tone, and exaggerated by that Stax drum style from Buffin.
“Soft Ground” – with Verdan Allen`s vocals mixed well back – seems to be closer to their own style and sound, and the song is well put together with a twanging clock-like timing.
With “Ready For Love/After Lights” there`s a comparison to Free in the structure and style, down to Ralph`s vocals – which are excellent. But this number is not exactly straight rock, because of the time signatures and vocal melody.
There can be no denying this is much like a group`s “first” album. Though it is more professional and interesting from both the musical and production point of view.
“One Of The Boys”, quite a beaty, driving number, starts with a phone being dialled, then halfway through a phone bell rings, is answered, and the music comes through like you had your ear to the earpiece. A cute gimmick, which doesn`t make the music more original – but more appealing. Mott`s problem has always seemed to be communicating on record. Now they have done that. And as far as musicianship goes there is little to criticise.
The guitar is used tastefully, with grunting and soothing tones. The organ acts as an effective foil, and the drums and bass keep all the movement there.
It`s a good album, probably their best. But from the pointers here, it`ll take them a while to formulate a style. Aside from the comparisons, Mott still play good music. No more so than on the emotion packed last track “Sea Diver”.
– Tony Stewart


One of the many great festivals you could go to in the 70s.

This number of the NME also contains articles/interviews with these people: Slade, Alice Cooper, Valerie Simpson, The Faces, Muddy Waters, David Cassidy, Quintessence, Renaissance, Edgar Winter, Leo Sayer.

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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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!

The first Alice Cooper album I bought was “From The Inside”, released at the end of 1978, and I became an instant fan. If the only Alice Cooper song you have heard is “School`s Out” or “Poison”, then I envy you for the chance that you have to discover this absolute goldmine of recorded treasures.
Have a nice read!


Shock `n roll

By Jim Smith

Dining with a man named Alice is still a weird experience.
The maitre d` blanched when he saw us coming, Alice resplendent in lightly-rouged cheeks, savagely-mascaraed eyes that were highlighted by an intriguing wagon-wheel spokes effect, and a half-opened multi-colour see-through blouse.
Complementing him perfectly was Alice`s drummer, Neil Smith. Neil`s dangling ear-ring in the right lobe was partially obscured by his flowing hair, but his patterned, basically-white, loose outfit was offset by a massive turquoise bracelet, a sizeable turquoise ring, and a huge chain necklace.
“The dining room is closed…uh…sir,” the maitre d` hastily explained.
The diners did their best to look elsewhere, but inevitably all eyes returned to Alice and Neil.
“Man, this dining room better be closed when the next person comes,” Alice informed the maitre d`.
The coffee shop clientele was similarly bemused but no effort was made to bar the doors there. Alice and Neil, probably because of lengthy exposure to such matters, appeared not to notice the furtive glances around them.

The waitress came, fighting valiantly to be nonchalant, and scurried out to the kitchen. Neil grinned.
“Rock and roll should be shocking,” Alice theorised.
“Remember how great rock and roll used to be? The parents hated it, of course, and that`s one reason it was so much fun. But America has never really had a great rock and roll band with a wild image.
“Britain was able to produce hundreds of groups that had good (to Alice, that means outrageous) images but America has only produced the Doors. Even there, the only person in the group with an image was Jim Morrison.”

Morrison had made his image quickly, remember the famous Miami concert when the late Doors leader casually opened his trousers and committed what was generally considered an indecent act.
That`s the kind of showmanship that Alice envies. The old hard-sell.
“It doesn`t matter what you do, so long as you get a reaction from the audience,” is the Cooper motto.

Neil Smith, brushing his over-shoulder-length hair away from his face, agreed passionately: “When we first started, people used to walk out on us by the thousands.
“That was cool, too. You`ve got to get some kind of reaction and even if it`s completely negative, that`s great. Now we get just the opposite reaction. It`s the old rock`n`roll star type of trip and we like that even better.
“Did you see those crazy kids rush us after the show tonight? It`s been like that wherever we go lately. All these kids seem to get a great kick out of showing their affection by taking everything we own off us.
“I can`t even wear a pouch-purse anymore because, tonight, some chick took everything out of it. Even my glasses. Of course, that`s a reaction, so it has to be cool.”

Audience response to the Alice Cooper Band has changed markedly since the day three years ago when Alice threw his first chicken at the audience and methodically beat a watermelon to bits with a hammer. All in the name of art.
Of course, not everyone regarded the early Cooper performances as great art. There were indignant protests against the “chicken killers” when all that could be found of Alice`s chickens after the shows were battered carcasses.
“We never killed a chicken, you know,” Alice mumbled with a hurt expression. “When I threw the first chicken, I thought it would fly away. I didn`t know chickens can`t fly. After all, they`ve got wings, right? I guess the crowd scared it to death. We never liked being called chicken killers. The act was supposed to be fun.”


Beneath the brassy exterior, the mascara, rouge, and jewellery, is a clever but sensitive mind. Alice wants to be regarded as a rock and roll great, and correctly realises that theatrics is the only way to make it work. Ask Jerry Lee Lewis or Elvis.
“We have a better idea how to perform now,” Alice noted. “When we first started at art school in Phoenix, we just knew that we wanted to shock the people and have fun.
“Today everything is carefully worked out. Whenever part of the act becomes too familiar and loses its shock value, we discard it and develop something else. I knew what the response to the straitjacket would be when I wore that onstage.”

Neil Smith admits that he was nervous in the beginning: “It wasn`t easy to do the things we did – at least at first. The only way I could go on stage was to get completely stoned. The first few gigs I was so stoned I hardly knew what I was doing.
“Today it doesn`t take as much to get me off. Three or four beers are all that`s necessary.”
He pulled up his shirt to reveal a bottle of beer stuck in his waist-band. “I always have a spare,” he commented blithely.

You really wouldn`t expect this carrying on to be easy for a minister`s son like Alice.
Not all his father`s parishioners back home in Phoenix are ecstatic about Alice`s chosen profession.
“People ask him why he doesn`t do something about me. He tells them that he has no right to interfere with whatever I do. Anyway, he really likes what I`m doing. He flew up from Detroit to see us and thought it was great.
“Is there any reason why he shouldn`t like us?” Alice was still ignoring the curious stares from around us. “What we`re doing is putting fun into music. People who don`t like us are afraid to have any fun. There isn`t much fun in rock, you know.
“I don`t even listen to rock music. My favourite composer is Burt Bacharach. People think I`m kidding when I say that but I really mean it. Rock can be so unimaginative. It takes everything so seriously.”

Virtually nothing about Alice Cooper and company is serious. Life is a continuing round of parties and displays to shock the people.
Earlier in the day I met a man who had attended the previous evening`s party without undergoing prior conditioning. He looked like a candidate for the morgue.
“When I left, it was just warming up,” he confessed.
“We don`t know how to live any other way,” said Neil, looking surprised that anyone could imagine living without nightly parties. “We thrive on the travel and parties. Sitting at home we just get bored.” The entire entourage, including a cast of harlequins, is a travelling party.
The least conspicuous part of Alice Cooper`s act is the music. But Alice insists, “The theatrics are very important but the music is even more important.”

To anyone who remembers the early Alice Cooper act, that remark seems ludicrous. For it was uncertain whether the repulsive stage antics or the equally repulsive music was responsible for driving the audiences away from the stage.
Since then Alice sat down and developed some very effective (which is to say, very suggestive) rock`n`roll numbers to go with the staging.
The last Alice Cooper album, “School`s Out”, is now high in the British album charts, the single of the same name taken from it being a No. 1. Even the previous “Killer” set is picking up healthy sales. And that from a group that relies heavily on visual effects.
“We`re waiting for video cassettes,” says Alice. “Can you imagine what we`ll be able to do with that?”


The British charts that week.

This number of the NME also contains articles/interviews with these people: Marc Bolan, Phil Townshend (The Who), Genesis, Van Morrison, Reading Festival, Sam Cooke, Stone The Crows, Janis Joplin.

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.


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 interview is kind of special, as it was the start of the band later known as “Beck, Bogert & Appice”. Throughout the interview Tim Bogert is referred to as Bogart, but to preserve these transcriptions for true historical value, I choose not to correct this mistake in the text.
The vocalist, Kim Milford, unfortunately only played six shows with this group. On June 16, 1988, Milford died of heart failure following open heart surgery several weeks earlier. He was 37 years old.


Beck with a vanilla flavour

By Danny Holloway

A week ago last Sunday, the Jeff Beck Group played their last date at London`s Roundhouse. The following Tuesday a completely new band met for a week`s rehearsals before flying off to the States to start a tour in Pittsburgh, Pennsylvania on August 1. The band will play 17 dates in 19 days before wrapping the tour up in Seattle, Washington, on August 19.

The first Jeff Beck Group emerged in 1968 with three relatively unknown sidemen backing Beck. On drums was Micky Waller while Ron Wood plucked the bass strings and the inimitable Rod Stewart handled vocals. Here Jeff explains how he happened to get Rod into his group.
“Well, Rod was out of work. I knew this because I went into this club and saw him in there alone on different nights watching the band. At that time
there were only a half a dozen groups of any consequence – and I thought Steampacket were really good. I loved Rod`s voice, so I asked him to join.”

That first Beck group lasted long enough to present one very fine debut album, “Truth”, and one rather disappointing follow-up, “Beck-Ola”. Following the bust up of that band, Beck was hot on forming a group with the rhythm section of Vanilla Fudge – bassist Tim Bogart and drummer Carmine Appice.
This union of talents was prevented from coming together by a number of mishaps, but at the top of the list was a car accident which left Jeff recuperating for months after.
Bogart and Appice formed Cactus, a group which never quite lived up to their expectations, and Beck later re-emerged with a new Jeff Beck Group. Whereas the first Beck band had been a good rocking unit, this second band concentrated on bringing in a more melodic element that was often lacking in Jeff`s music. Pianist Max Middleton in particular added new textures to Beck`s familiar pastures of heavy riffs.
This group was a let-down to many of Beck`s avid devotees. They knew he was capable of a stronger and more original entity. And his guitar playing had been suffering since his year long lay-off after the accident.
This second Beck group recorded two albums also, “Rough And Ready” and “Jeff Beck Group”. Both offerings were very bitty; there was a general feeling that he was scraping the surface of his creative abilities.

So, here we are up to date. Beck dismissed his most recent band at the Roundhouse and today we have his new group. You could call them the Jeff Beck Group chapter three, and if they follow the pattern set down by the first couple, they`ll probably be good for two albums.
But who really knows, because this is something special. This is what Beck has been waiting for for so long. His dream band. Get the idea?

I went on an exclusive mission last Friday evening with photographers Robert and David Ellis (unrelated) to the Rolling Stones rehearsal room near London Bridge. The area surrounding the rehearsal studios is made up largely of blue collar factories with lots of agieng brick, while the streets are nearly desolate of pedestrians. It`s not the sort of place you`d fancy for a midnight stroll, that`s for sure.

Once inside, we meet the boys. On bass we have Tim Bogart, and the man behind the drum kit seems to be – yes it is – his pal Carmine. (These two are fresh off the boat.) Another American, Kim Milford, has taken over from Bob Tench as the new lead vocalist, and aside from Beck himself the sole survivor from the previous band is Max Middleton on keyboards.


The band posed for a few shots while it was still light outside, taking in the colour of the neighbourhood for the backdrop. The Ellises make use of a gate, some dustbins, and a street sign that reads Crucifix Road before moving on to the local pub which turns out to be the band`s favourite set.
On the way back to the studio, more pics are taken of Jeff sitting on his bright red Corvette Stingray. Once inside, he agrees to do the interview.

“The idea for this group started in 1969 when they (Tim and Carmine) rang me up while I was in America. They heard that the original group was splitting up. And unfortunately, owing to different circumstances, we`ve been unable to put it together before now.
“We`ve been forced to do material from the last two albums because of lack of time to get things sorted out. It won`t be long before we drop all those. The thing is: we`ve never played what the people wanted to hear in America. They expect vicious, violent rock and roll. That`s what I`m known for, but I was avoiding all that in this previous band. I was trying to play subtle rock and roll. That stuff was more suitable for clubs, not big stages. This new group will play much heavier music.”

Kim Milford is the kind of lead singer girls will go crazy for – definitely on a par with Robert Plant. His long blond hair passes his shoulders, fully encompassing his delicate baby face. He`s an excellent shouter and will most likely present a focal point for on stage activities.
His main background has been in singing with various Broadway shows, including leads in “Hair” and “Jesus Christ Superstar”. His last band consisted of remnants from Genya Ravan`s Ten Wheel Drive, called Eclipse.
I asked Milford how he felt about going out on tour in the States after a week`s rehearsal with the band.
“I`m sort of used to it because I used to have a lot of that when I replaced people in shows.”

I put the same question to Tim Bogart and Carmine Appice. First Tim: “The only thing that worries me is whether I`ll remember some of the licks that I`m a bit shaky on.”
Now Carmine: “All the licks that I play are right up my alley anyhow. I don`t have to remember all those notes like Tim. And basically I know the tunes because I listened to the albums. I think it`ll be a pretty incredible band.”
Meanwhile, Max Middleton says: “I know my licks, I`m not worried.” As you might guess, Max is the quiet one.
And finally, back to Mr. Beck. Would there be any line-up changes after the current U.S. tour? “Well, that remains to be seen,” he said.

We hung around for a bit to check out what they were sounding like. The cold, claustrophobic basement was soon bombarded with a ferocious thunder. They warmed up and moved through a couple of Beck originals. “New Ways-/Train Train” and “Ice Cream Cakes”.
All in all, I`d say there`s going to be a lot to be heard from this Jeff Beck Group. It seems as though these musicians will bring back the man`s creative and technical genius.


Before “American Idol” and other “talent”-competitions, this was the way they did it in England anno 1972.

This number of the NME also contains articles/interviews with these people: Dave Brock (Hawkwind), Arlo Guthrie, Report from the Elvis Fan Club Convention, Rod Stewart, Roberta Flack, Bruce, West and Laing, Arthur Lee, ELP, Uriah Heep, Slade.

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.


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!

I feel a bit sad for Uriah Heep. Have they ever been fashionable? Forever doomed to be a band that`s just there, but never getting the credit they truly deserve. Still touring the world and creating records as they did at the start of the 70s.
Personally i feel that Heep is among the four originators of hard rock, and should be mentioned equally among the other three: Sabbath, Zeppelin and Purple. The Rock and Roll Hall of Fame proves that it is a clueless institution with random inductees when two of the aforementioned; Deep Purple (estimated 150 million albums sold)and Uriah Heep (estimated 40 million albums sold) still isn`t inducted. But The Clash (Estimated 16 million albums sold) and Tom Waits (Estimated 2 million albums sold) is.

I rest my case your honour!


A leap for the Heep

By James Johnson

Uriah Heep can now afford a quick smile at the expense of the heavier breed of rock critics who have sneered at the band in the past. Their new album is showing in the charts and proves that with the public at least they have quite a considerable following.
Even so, nobody could admit they`ve ever been a fashionable band. They`ve never particularly appealed to rock`s supposed intelligentsia. They`ve gone down better with the much-talked-about second generation of rock fans; fans who probably also dig Black Sabbath and Deep Purple and probably have to think twice before deciding whether they can afford this week`s gig at the local club.
Those kind of clubs, in fact, have been Uriah`s bread and butter for some time. They`ve always been a hard working band, playing the same places over and over again and drawing a few more people each time. But it needed a hit album to kill the sneers of the past once and for all.

“I think we came in at the wrong time as far as the Press were concerned,” thought guitarist Mick Box, trying to explain why they had been so often criticised. “We came in when heavy bands were going out and all the softer stuff was coming in. As we were decidedly a heavy band and promoted as such, we were going to get put down and we knew it.
“The only way for us to ride over the storm was to keep together, keep working and move forward musically.
“To be honest though, we`d always thought we`d be proved right in the end simply because despite what anybody has ever said, audiences have always been very good for us. We`ve never died a death, and when this slating was reaching a height we`d be going on and getting three encores.
“So we thought, `Who is wrong? It can`t be us.`
“Personally I don`t think the Press ever gave us a fair listen. Consciously we`ve been trying to progress from each album and I think it`s obvious if you listen.”

The band first came in for a lot of knocking at the time of their first album. It was released almost before the band had played any gigs, put on the market with a pretty appalling title, “Very `Umble and Very `Eavy”, and promoted in an enormous publicity campaign. Everybody agreed there was a whiff of hype in the air.

“Really it was taken out of our control,” said Box. “We didn`t agree with all that publicity at all but our record company at that time asked us to describe our music. We said there was heavy stuff and some lighter stuff. They went off and came back with `very `eavy, very `umble`, and when we saw the advert it was like – ugh – twinge. Even we had to admit that from the outside it looked like a hype, but it wasn`t meant to be. It was just taken that way.”

In fact Uriah Heep weren`t just an artificially created heavy group as was generally thought at the time. Each of them had been playing in groups before, and the formation of Uriah Heep was a purely natural process.
Box had previously formed a group with David Byron called Spice, and were later joined by Ken Hensley from the Gods, a group that at various times included such luminaries as Mick Taylor and Greg Lake.


Mick Box as a young man.

“Even after we had formed the first Uriah Heep we had terrible problems finding the right bass and drummer,” said Box. “You see, we`ve never wanted any weak musicians. We`ve always wanted people with push and drive, but it took ages to find anybody. Then after a long series of changes we`ve now settled in with Lee Kerslake (drums) and Gary Thain (bass).
“It`s a really nice unit now because we`ve got five strong vocalists, five strong personalities on stage and five people who write. I think things are beginning to happen now because we`ve got five strengths to our bow.
“To me, that`s great because we really dig each other as people, and really dig each other on stage. That`s quite rare you know, because with a lot of groups it can get so bitchy, even if it`s all smiles up front.”

Do they feel they appeal to a particularly young rock audience?
“I think it`s getting younger,” replied Box. “At first we were really afraid of this, and we sat down and discussed it among ourselves. But then we thought we`re lucky because we`re still pulling in the older crowd we had before as well. They tend to sit at the back while the younger ones come down to the front and leap about. I think that`s great.
“In fact this album success has already made quite a difference to the size of our audiences already, which, of course, is very pleasing.
“We put a lot of hope into this album and I think it`s quite a big step from `Look At Yourself`, which was more of a rock thing. I feel the new one is better in every way, although we`ve always kept certain Uriah Heep ingredients.

“For instance, like it or lump it, I think our music is very honest. All our words mean something, they`re all about experiences we`ve gone through, rather than a lot of rubbish about the sky is green or the wind is brown or something.
“I feel that many groups who are classed in our category don`t worry too much about the lyrics, or even the vocals for that matter.
“Overall, we`re trying to create our own scene, something that is unique to Uriah Heep.
“And I think we`re broadening all the time. The success of this album puts us up another rung. In a way it was a sort of make or break album because by the fourth album you`ve had a chance to establish yourself. If you haven`t proved yourself by then it`s time to start worrying.”


Some of the concerts you were able to attend in the summer of `72.

This number of the NME also contains articles/interviews with these people: Marc Bolan and T. Rex, Pentangle, Marilyn Wilson, Robert Fripp, Andrew Oldham, Glencoe, Rolling Stones, Edgar Broughton, Chi-Lites, Slade, Mama Cass, Cliff Richard.

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!

It seems to me that almost every number of NME in 1972 featured an article about Marc Bolan and T. Rex. They were, without a doubt, one of the hottest attractions around at this time in history. I chose to print this interview because it is a nice document of an extremely excited Bolan at what would  possibly be one of the happiest times in his short life. Enjoy reading, man! 😉


Bolan and America

By Ritchie Yorke

In a recent interview in New York I found Marc Bolan, a breathless young musician in such a hurry that he barely had enough time to provide me with a progress report.
Bolan is the new grand star of the American rock scene in the true English tradition and – even if only a scant few of us realise his success was not as would appear, an overnight event – his new-found fame clearly becomes him.
After a string of number one hit singles, unrivalled since the booming of the Beatles across England and Europe, Bolan has, of course, finally brought home his talents to the North American market, which hitherto had completely ignored him.
In the past couple of years, U.S. taste makers have become increasingly wary of obediently grabbing onto foreign success stories, particularly British.
As a result of this it took Yes a full 18 months to ultimately equal their U.K. triumphs in NOrth America; Slade have yet to make any impression here, despite their recent English upsurge; and although Lindisfarne are beginning to nudge the market the like of Gilbert O`Sullivan remain relatively unknown.
It would seem that the days have gone when every English musical discovery, no matter how minor, automatically broke through into the States.
Be that as it may, T. Rex (or more precisely, Marc Bolan) have finally begun to make their presence acutely felt on these shores. “Bang a Gong” (“Get It On”) made the U.S. top five (unlike earlier singles, which flopped) and the “Electric Warrior” album also made the LP Top 50.

Bolan is aware of this and more. He came onto the phone for an interview on his last visit here, and within 30 seconds, I felt like I`d known him for years. He has that sort of overwhelming manner.
“Hi man. Whew. It`s too incredible for words. Dynamite. I must admit I was surprised it happened so fast. So much is happening. I`ve just spent an hour with John Lennon. It was incredible.


“I`d been trying to get hold of him for three days to invite him to our gig at Carnegie Hall. But we just couldn`t get hold of him. I mean, they`ve got to screen the calls. There`d be 2,000 groupies ringing him up every day. I finally got to him after the concert, and I found out he had wanted to go but couldn`t get tickets.”
And how was the redoubtable Mr. Lennon? “He`s fine. Fine. I`d never met him before. But I always felt strongly towards him and his music. He was saying something that got me.
“The Carnegie Hall gig was incredible. I thought I saw Paul Simon dancing in the aisle, and when I came off, I found out it was Paul Simon. He`d just bought a ticket, man, and came in and got off on it. It`s so nice. That`s rock`n`roll, man. I hope.
“You`ll have to excuse me. I`m slightly loose at the moment. There`s just so much happening. Yeah, it was a beautiful gig at Carnegie Hall. It couldn`t have been better. On the whole tour, we`ve drawn more people than I ever expected. We had 15,000 in Philadelphia. Incredible.

“Yeah…something`s happening here for T. Rex at last. I never thought America was going to come into it. I`m happy in that it happened the way I always wanted it – just people to people. I told myself we had to come and play here before it would happen.
“We`d been here once before…in May of last year. But it was much too premature. I`d only just begun to establish the way in which I`m working now. It wasn`t ready. We really hadn`t tried it out in England, and we then made the mistake of trying it first in America. This time we came with our shit together, man.
“And the people who know their music have been getting off on it. Like Mick Jagger. Mick came along to see us in Los Angeles, and told me it was the best thing he`d seen since the last Stones` concert. He was really rockin`…everyone wants to rock. That`s what it`s all about.



I mean, as a musician – sometimes you`re bad, sometimes you`re good. Most of the time on this tour we`ve been good.
“Did you hear that we sold out the Wembley concerts in London? That really did my head in. Yet for all the crap of making it or whatever, I`m still pleased just to be able to make records. John Lennon`s the same.
“The record sales figures are becoming frightening. It just does my head in. You know they sold 500,000 copies of `Telegram Sam` in England in only two days? Two days man! And it`s still on the charts – number two I think. I didn`t know there were that many people in England. I`m pleased it`s going down the charts now. I didn`t want it to be a hit for too long.
“Hot Love” was a real freaker. It was number one in Britain when I went away for a five-week European tour. It was still number one when we got back. That was incredible.

“The American thing is incredible because we were doing well for 18 months around the world before anything happened here. We were absolutely unknown in America all that time…I don`t kid myself. Nobody knew about us except a very small cult.
“It`s all the more amazing to get these incredible sales figures when you realise that we were lucky to have sold 500 copies of the first album three years ago.
“Singles have been terribly important. So many people said I was wrong when we started making singles. I`m pleased I was right. You need the singles for flash, and the albums for substance. I mean, as far as rock`n `roll goes, that`s it. Singles and albums. Then comes movies, opera – whatever you`re into.”

I asked him if he`d managed to get into any exciting new sounds by other artists during the U.S. tour.
“There`s not a lot of good things happening at present. I did hear a group called the Persuasions, who were doing the best vocal things I`ve ever heard in my life.
“Mick Jagger turned me onto that record by Betty Wright…`Clean Up Woman`. Have you heard it? It`s nice. Obviously I like the Neil Young single.”

I wondered if the pace of it all would not start to get to him.
“No man. We love it. But we`re really worn down. I haven`t slept for a couple of days. I need some time off. We`ve just been rockin` about. It`s still a joyous thing to experience. I know it will become a bore, but now it`s still pleasureable. And I want to make the most of it.”


The advertising was great at the start of the 70s. I really like the style!

This number of the NME also contains articles/interviews with these people: Joe Cocker, Gilbert O`Sullivan, Stephen Stills, Alvin Lee, Miss Flo Bender, Chicago, Jimmy Savile, Doors, Strawbs, Tom Jones, Middle of the Road, Brenda Lee, David Cassidy, America.

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.