Month: April 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.

I haven`t printed any articles about Faces or Rod Stewart before. Time to change that, as Rod was a rocker at the start of  the 70s. Quite an interesting article, especially seen in the light of today. Have a nice read!


A Mod`s Progress
The life and times, trials and tribulations of R. Stewart Esq., Folk singer

By James Johnson

Rod Stewart ruffles his hair, gazes down thoughtfully at his red patent-leather shoes. It`s early evening in an office above Wardour Street and, a floor below, the Marquee Club is just warming up for the night. Thick, muddy, distorted rock seeps up through the floorboards.
Stewart grimaces: “That guitarist doesn`t sound much good does `e?” – then pauses before continuing with a slight edge of wistfulness to his voice:
“…Yeah, I`d like to play the Marquee again – if we could get away with it.”

In some respects the early days must have been great for Rod Stewart and the Faces, when they used to play places like the Marquee. Admittedly there are few guys around who seem to enjoy the flash of success more than Stewart yet, in some ways, life must have proved much easier then. Certainly less complicated.
Just sometimes Stewart must wish he could get back to that, especially over the last six months when one could hardly blame him if he occasionally felt a little desperate.

On their last British tour the Faces were roundly criticised for sticking too closely to their old material. Then Stewart was quoted as saying he thought “Ooh La La” was a mess. And now, for whatever reasons, Ronnie Lane has left the band. So here he is tonight, forgoing an invitation to a fashion show at the Savoy to put the record straight.
“I ought to get some kind of award for being the most misquoted and most misunderstood person in 1973. I`ve been misquoted a lot lately and it can hurt, y`know. Believe me, it can hurt.”
He speaks cautiously now. Despite his brash, arrogant onstage persona he`s a guy with sensitive spots like any other; edges and sides that have sometimes been hidden behind the boozy, outgoing exterior.

Even so, tonight, he`s content with the world, and perhaps rightly so. Over the previous weekend the Faces had played a series of heartening concerts at the Edmonton Sundown. On two or three of the nights they had been ace, simply tremendous and Stewart knows it.
If the band have been through a bad patch just lately it now seems over.
He doesn`t put one completely at ease, stretching back smiling and saying “Well, what do you want to know James?” but he`s a likeable soul, a little more homespun than sometimes presented.
He sips a pint of bitter and starts to talk, firstly about Tetsu.

“It was either going to be Andy Fraser or Tetsu. Tetsu was the first we asked and he jumped at the idea. We were a bit wary at first `cos we`re really quite close to Free, not so much as friends but we really love their music and we didn`t want to bust their band up.
“But Tets reckons Paul Rodgers was great about it and we were with Simon (Kirke) a couple of nights ago and he was great about it too, so…
“It was Simon who said it`s brought the two bands together – which it has. Free`s music is maybe more of a down type of music than ours but there`s a similarity. We tried one other guy who was brilliant but not as good as Tets.
“He`s just the right shape y`know,” Stewart rubs his hand down his hip. “He`s got a tiny little rib cage and little spindly legs and his guitar kind of fits in the middle.
“The first night he came he brought some scotch with him. I don`t think he`s ever drunk so much in his life till that night. Now every time I see him there`s a bottle of scotch sticking out of his pocket.” Stewart laughs in satisfaction.
“You could say we`re getting `im well trained.”

He moves on to explain how it`s good to get some new blood in the “orchestra”, and he`s looking forward to getting Tetsu on stage.
Nevertheless he admits it won`t be quite the same again without Ronnie Lane. “There`s only one Ronnie and it`s impossible to look for another one. The guy`s a character and we`ll never replace `im.”
But hadn`t Ronnie Lane`s increasing interest in Meher Baba – and perhaps his more homely approach to life – meant a certain contradiction of life-styles within the band?
Stewart draws up his shoulders slightly. “Let`s get one point clear: we`re all parting on the best of terms. Let`s get that on record, there`s no bad feelings.
“If you look back at the interviews I`ve done since we first got together, I`ve always said Ronnie Lane is one of the best lyricists Britain`s got, and he still is. He`s got a great career ahead of him.
“I think he probably just got tired of being on the road, which I don`t really blame him for. It was just at a point, though, when the rest of us were really getting into doing it on the road. Y`know, we love it now – me, Woody, Mac and Kenny – we love being on the road. But I don`t think Ronnie did.
“On the American tour we had two rows, and that was really because we wanted Ronnie to stay and he didn`t want to. There are no bad feelings. Two little rows, y`know, that`s not bad.”


Fair enough. But, just to check it out, how about the old rumour that Rod`s thinking of leaving the band? That he doesn`t need the Faces as much as the Faces need him?
“Well, I don`t know whether they need me but I know I need them. If something was to happen I could always make my own albums, but I`d be lost without them.
“I get depressed if I don`t see the boys for a while. There`ll always be a Faces and I think I`ll always be in it. I hope so anyway. Unless they kick me out of course…”
Stewart grins.
“I don`t expect, though, to sustain the same level of success for ever. Name somebody who ever has. Everybody has to level out and I can`t expect to have another album as successful as `Every Picture Tells A Story`. That was a freak album. It sold a ridiculous amount of records.
“Yet `Gasoline Alley` was the best for me. If I could capture that again I`d be well pleased.”

Stewart says there`s a peak he`s aiming for – records and concerts that he`s totally satisfied with. “When that happens I`ll retire – I`ll knock it on the head.
“I look at it like all good footballers should – I want to retire at the top. It doesn`t tend to happen in this business and it`s sad. People just sink lower and lower and hang on to the music business.
“I want to disappear,” – he snaps his fingers – “like that.”

So what does he feel is still missing from the albums?
“Aaargh…”, his face creases, “That`s where I got misquoted last time, on `Ooh La La`. What I`m trying to say is that we can do a better album than that.”
He emphasises it. “We can do a better one and we`re going to.
“As for me own albums – the same, really. Except I`ve got to start being a bit more honest with myself – move on to songs I really want to sing.”
Such as…?
“Oh, I don`t know because last time I said that with `Amazing Grace` everybody else went ahead and did it and beat me to the punch. These days I keep the songs I want to record up my sleeve.
“Of course, having said that, the next solo album will probably turn out to be all Stewart/Wood songs. You just can`t tell.”
He taps his forehead. “It`s all up here at present. With Ronnie and things, it`s all been held back a bit.”

Is there any more he`d like to say about it? Stewart considers.
“Well, I`ll probably use the same crew…yeah, I think I`ll use the same crew. And there`s a strong possibility it could be the last one.
“In future I think we`ll combine the two – my albums and Faces albums – so I can put one hundred per cent into both. I think that`d be a good move.
“Then I`ve got this album which is a kind of `Best Of` coming out in about four weeks time which I`m really pleased with. I went to the trouble of re-mixing some of the tracks and cross-fading some of the others. I`m glad the record company had the courtesy to ask me to put it together myself.
“Then I think we`ve got a live album coming out but everybody`s doing that…” He trails off. “I don`t know…music`s so boring to talk about. It`s an active thing. Not something to sit and discuss.”

He gazes at the floor again, then perks up. “I`ve got more guitars than I know chords. Did you know that? I`ve been collecting acoustic guitars lately and I worked it out the other day that I own more guitars than I know chords.” He looks pleased.
“What else do you want to know James? Do you want to know where I`m going for a holiday?”
Where`s that?
“Suggest somewhere”.
Stewart smiles and talks about football for a while. He says he`s still allright as a player but finds it hard to get a game without attracting vast crowds who`ve come to see Rod Stewart – Rock Star. He says he can no longer combine the two lives.

In many ways Stewart is remarkably unassuming. He`ll talk about football but don`t expect any great insights into the state of the world or more etherial subjects. He`s interested but doesn`t see that he or any other artist should know more about it than anybody else.
“You`ve got to be honest and admit that the level of intelligence among rock musicians is not all that high. I`m not saying they`re all idiots, but, generally speaking, most musicians come from a working-class background so why should they particularly know what`s going on?
“You can only reflect your life and times. I think I did that with `Silicone Groan` – y`know, everybodies having it done in the States, having their tits blown up with silicone. I suppose you could say that`s social comment if you want.”

Also, Stewart is not particularly interested in the supposed new rock phenomena: decadence.
“Each to his own, y`know. I don`t think I live a particularly evil life but I don`t allow myself to get bored either. I suppose I come in between the two.
“I dunno. What is decadence? MPs getting knocked off by hookers? Good luck to them – why should we pry into it?”

How does he feel about Ian McLagan once describing him as “a bit of an old folkie at heart”?
“Yeah…that`s true. You`ll catch me at the dirtiest of folk clubs sometimes. I went to see Deroll Adams, the old banjo player, at the…where was it?…the Shakespeare the other night. Y`know I really blew it. I sort of walked in, in me yellow suit, and they were all sitting there…you know how they are.”
He grins again.
“But I`d like to play one…I wish I could do that…just get up and do `Mandolin Wind`. I`d really be nervous because it`s not something I`m one hundred per cent sure I could do. It`s a very different scene.”
He thinks for a moment. “Y`see I`ve always personally got to remember that I`m a singer of songs. I don`t need a sensation to get a crowd on their feet. I don`t have to take me trousers off or something. It`s sometimes easy to forget that.”

But doesn`t a certain amount of spectacle on stage help to sell records? “Yeah, I think maybe it half-sells them. Like, I think I`ve been flash since I left school but I do think I`ve got a pretty good voice as well. You can`t forget that.
“I mean, there was a time when I was with Beck that I used to hide behind the amplifiers and my voice hasn`t improved that much since then. It`s just audiences – and audiences, particularly in America, have brought me out of myself on stage.
“I really need an audience – the bigger the better. It`s a great boost to the ego – that`s something that everybody needs.
“Also, I need to be told how good I am. And everybody needs that.
“Unfortunately you can get in a certain position where people take you for granted and forget to tell you how good you are. That`s the point when you begin to doubt yourself.”


Did anyone ever read this ad through from start to finish? 

This number of the NME also contains articles/interviews with these people: Terry Reid, Jimi Hendrix, Paul Simon, Gilbert O`Sullivan, Fleetwood Mac, Edgar Winter, Led Zeppelin, John Entwistle, Jimmy McCullough, Marc Bolan, Nickey Barclay.

This edition is sold!


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.

I met the members of this band when I worked as a radio reporter/presenter for Radio 1. It was long after their heyday in the 70`s, this must have been at the end of the 80`s. I met them at the top of a restaurant/disco in my hometown where they had their own improvised bar full of whiskey and other “refreshments”. They were in a good mood when I came, but luckily for me Darrell Sweet (RIP) was fairly sober while conducting the interview.
Their press agent warned me beforehand that whatever I asked I had to remember they were scottish and never use the B or E word when speaking about nationality. Good advice.
Really great guys – and I really enjoyed speaking at length with Darrell. Enjoy this interview from their early days!


Nazareth – gigging fit to bust…

Steve Clarke: Liverpool

`Have you seen those chairs out there?” asks Nazareth`s Dan McCafferty, gesturing towards the demolished front two rows of Liverpool Stadium. “That`s why we don`t take our car to gigs.”
Okay he`s joking. McCafferty jokes a lot. But the point is made. Nazareth`s audiences are beginning to react in the timehonoured way. And tonight`s gig at Liverpool is no isolated incident, as the band and the scratches along their publicist`s arms will testify.
McCafferty leaves the converted boxing ring which serves for a stage at the stadium and a posse of girls pounce on him like a wild cat clawing its prey.
“It scares me a bit that guys up front might get pushed against the stage. It could have happened tonight,” says drummer Darrell Sweet, expressing fear more for the audience. Nazareth guitarist Manny Charlton agrees: “The thing that worries me is that some of the kids might get crushed up front. At least I can take a few steps back. They are only kids.”

Liverpool was the 32nd of 40 gigs on what is really Nazareth`s first headlining major tour. On their last trek around the nation, they were supporting Deep Purple – a band Nazareth have often been compared with.
They share a healthy respect for one another and Purple bassist Roger Glover produced “Razamanaz”, Nazareth`s third and what`s likely to be their first hit album.
“Roger was like a member of the band. He contributed quite a lot to the actual structure of the songs. He understood us and we understood him,” says Sweet.

It`s the single from the album “Broken Down Angel,” and its subsequent rise in the charts, that accounts for the growth of crowd hysteria.
At the beginning of the tour, says Sweet, their audiences were the nucleus of Nazareth fans who had supported them from the beginning. As the single took off, audiences got younger and now consist of 12 to 18 year olds, split 50/50 between male and female.

The band`s stage act leans heavily on the last album, opening with “Night Woman” – loud and heavy with McCafferty screaming out the words.
Look around and there are heads shaking everywhere. At the end the crowd leaps up ecstatically arms stretched out and peace signs pointing towards the sky.
It`s not until Charlton squeezes out the opening notes of “Morning Dew” (not that it`s easy to recognise the Tim Rose song unless you happen to be a Nazareth freak) that the crowd rush forward.
Arms are stretched out. McCafferty goes into a teasing routine, stepping nearer then retreating just in time. At the end of a number he too stretches out his arms.


To his left, bassist Pete Agnew looks slightly ridiculous as he trots around in circles, not taking any chances with his platform soles. Charlton wears knee-high silver boots and a black Gibson which, towards the end of the set, he unhitches to swipe at the mike stand.
Sweet hides behind his huge yellow drum kit, every now and then making his way around the row of tom-toms. He`s a fine drummer.
“Broken Down Angel” has the audience out-singing the band and the set closes with “Bad Bad Boy”. McCafferty bares his chest and allows his shirt to dangle by his hips awhile before throwing it into the crowd. They encore with rock `n` roll.

Although their music offers little food for thought, it`s difficult not to like the band. They obviously enjoy what they`re doing and are only now reaping the success they deserve after two years of heavy gigging.
At one time Nazareth used to support Rory Gallagher, who himself has a reputation as Britain`s hardest working rock `n` roller. It wasn`t until Gallagher`s bassist Gerry McAvoy came to watch Nazareth on several occasions that they actually realised they were, in fact, working harder than the Gallagher band.
“Over the last 18 months, we have probably been the country`s hardest working band,” claims Sweet.

As the current tour winds its way to a close, Nazareth do admit to being a little ragged round the edges. But backstage at Liverpool they still have time to meet the fans and go through the laborious task of autograph signing.
“The kids have paid money to get in. It doesn`t take much to sign your bloody name, and we are here to make friends,” says Charlton.
After the tour the band will rest, and then cut another album. Another single from the album, possibly “Bad Bad Boy”, is on the cards, though the feeling within Nazareth is that one single from an album is enough.

They`ve already toured the States twice, last time with Ginger Baker`s Salt – not an altogether successful tour. The band don`t want to risk another American tour as unknowns, and are hoping “Broken Down Angel” will give them the necessary recognition when it`s released there.
Meanwhile, their management are surveying the aftermath of the Liverpool gig, weighing up just how much will be deducted from Nazareth`s fee. But then, it is good publicity.


Right….just so we are clear.

This number of the NME also contains articles/interviews with these people: Roxy Music, Greg Lake, Slade, Gary Glitter, Mott The Hoople, Silverhead, Clarence White, David Bowie, Lou Reed, Soft Machine.

This newspaper is sold!


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.

Here is an interview with the guitarist of one of the most popular bands in the world ever. Have a nice read!


A walk on the dark side…
Dave Gilmour looks back at the Floyd record career

By Tony Tyler

“Don`t take any pictures of me outside the house”, says David Gilmour, making a quick, impatient gesture like brushing away flies. “I can`t stand the pop-star-in-his-country-house syndrome.”
Sure David, but in the broadest sense you are a pop star. And when you`re the guitarist for famous, bestselling Pink Floyd, and you`ve made as many decent albums as Pink Floyd have, and you`ve gone the whole route long ago, and you`ve still got your wits about you, and the money keeps rolling in, what else is there to spend the bread on?
And it has to be said that Dave Gilmour`s spent his allotted share of the Floyd takings in a manner befitting one of the most tasteful bands of our time. His Essex mock-Tudor residence positively screams good taste – the real sort, not Ghastly Good Taste – and is conspicuous for its lack of middle-class accoutrements.
All rooms are in that happy state of disarray that comes from a relaxed lifestyle, the world is fenced out by a high hedge and the BMW in the garage and the swimming pool out back give off identical expensive glints.

Gilmour, wearing a T-shirt that says “Didn`t they do well” in sewn-on white letters, is lounging in a rocking-chair in front of a gorgeous, ornate, teak altar-screen that just radiates antiquity.
This morning though, despite the surrounding comforts and the presence of his lady at his side to succour him, the Floyd guitarist is in a somewhat fragile state, having visited the Marquee the previous evening (in the company of Roger Waters) to catch Roy Buchanan`s set.
He`s a little tired and he may, or may not, have been a little inebriated the night before – he can`t quite remember. Anyway, it isn`t important because this is the first interview he`s done for ages and neither of us can quite remember the procedure and there`s a lot to get through before lunchtime ennui sets in.

First off, David, congratulations on finally attaining the exalted No. 1 spot in the States with “Dark Side of the Moon”. A slow smile spreads across the Gilmour face.
“Yes, it is nice isn`t it? We`ve never really been above fortieth position before – but, even so, we`re still selling more albums there than we would in the English charts.”
He`s reluctant to be pinned down as to why this should suddenly happen, after five years of being a cult band in America. (I suppose we`ve always had this sort of underground image over there”), and he`s even more reluctant to define what Floyd`s appeal is in the States, or even what type of audiences the group attract. In fact, he doesn`t seem particularly interested in anything, taking the whole process with a combination of affable ennui and the tiniest hint of indifference.
“I don`t think it`ll make any change – I mean, we`ve never had any problem selling out even the largest halls and I don`t really see how that can change. We can still sell out the Santa Monica Civic two nights in succession and I`m not sure that the album will make any difference to that”.

Nonetheless, one is aware that perhaps the success of “Dark Side” took the band a little by surprise, as no tour has been planned to actually coincide with the peaking of the album. Though they are off again in June. Anyway…
Tea arrives and conversation briefly returns to the Marquee, where Gilmour had been spotted a couple of weeks ago. He seems to be a regular denizen. “In fact, I was down there that night to see Quiver.”
Gilmour was, at one time, a member of a group which included one of the present Quiver lineup, and Gilmour takes an interest in the group`s progress.

An interesting sidelight is his reference to Floyd as – “this band – I`ve been five years in this band” – as if he expected Floyd to finish tomorrow; and then you realise that he`s first and foremost a musician and the lead guitar chair in Pink Floyd is just another gig.
Floyd may one day disappear but Gilmour intends to keep right on playing…


Back to “Dark Side”, and I advance the hypothesis that the album shows a marked return to solid purpose that, for me, had been somewhat lacking in Floyd`s last three or so albums, good though they`ve been individually. Gilmour ponders this.
“I suppose so. Certainly there`s a sort of theme running through it which we haven`t really done for a long time. There`s two opinions about this in the group – half of us wanted to play a thematic piece, the other half wanted to play a collection of songs.”
Which half did he belong to? A reappearance of the slow smile. “I didn`t object, anyway.
“It`s basically Roger`s idea. We`d all written songs beforehand, and then Roger got the theme and the words together.”
I point out that, for the first time, the band have considered album lyrics important enough to print on the sleeve. “Yes, I generally don`t like sleeve lyrics”. End of subject.

The theme behind “Dark Side” is, of course, the various pressures that can drive one mad – “pressures directed at people like us, like `Money`, `Travel`, and so on”.
I remark that the piece has changed markedly since I saw it premiered at the Rainbow in 1972. Gilmour agrees, mentioning that the entire show had been on the road for about six months before the group took the project into the studio.
“Normally, we go into the studio, often without any concrete ideas, and allow the circumstances to dictate the music”.
Sometimes, though, this results in filler tracks (for example, the jokey sides on “Ummagumma” and “Atom Heart Mother”) and besides, isn`t it an expensive way to record? “No. We don`t pay. EMI do”.

Another marked feature of the album is Gilmour`s own blossoming into a tough, bluesy player – especially on “Money”, which features several verses of really hard, spectacular licks.
Gilmour shrugs this off modestly, although Ginger, his lady, chimes in with her agreement that it represents Gilmour at his best. He thinks some of his playing on “Obscured By Clouds” is better, but concedes that “Money” was designed as a basically guitar track.
Other features from “Dark Side`s” live performance are also missing – noticeably the taped finale which uses extracts from the Collected Rantings of Malcolm Muggeridge. “Yes. Well, you didn`t really expect we`d get his permission, did you?”

He confesses that he never really listens to Floyd albums, and he`s reluctant to assess them in retrospect – but I detect a leaning towards “Obscured by Clouds”, which he has been known to direct into the garden on a summer`s day.
Others? Well, he likes some of the tracks on “Saucerful of Secrets”, mainly the title track and “Set the Controls for the Heart of the Sun”.
“Atom Heart Mother” he admits to have been an experiment, not a new direction, and he would record it completely differently now, had he the chance or the inclination.
“The trouble was, we recorded the group first and put the brass and the choir on afterwards. Now, I think I`d do the whole thing in one take. I feel that some of the rhythms don`t work and some of the syncopations aren`t quite right.”

Another period which Floyd dabbled in, but which didn`t really communicate itself to our ears via concrete Floyd music, was their flirtation with the French avant-garde and with ballet.
“In fact, we did that ballet for a whole week in France. Roland Petit choreographed it to some of our older material… but it`s too restricting for us. I mean, I can`t play and count bars at the same time. We had to have someone sitting on stage with a piece of paper telling us what bar we were playing…
“We also did the music for `More`. We hadn`t done film scores before, – but they offered us lots of money. We wrote the whole thing in eight days from start to finish.
“We did `Zabriskie Point` for Antonioni, and in fact we wrote much more than he eventually used. I feel, even now, that it would have been better if he`d used most of what we`d written.”

I put it to Gilmour that these wanderings from the band`s direct line of progression have been received by fans with disappointment.
He gets a little heated. “That`s the trouble – you can`t really break out of the progression-from-your-last-LP rut. People`s minds are set to expect something and if you don`t provide it, well…”

Many Floyd aficionados still feel that “Ummagumma” was the group`s high point. Gilmour disagrees. “For me, it was just an experiment. I think it was badly recorded – the studio side could have been done better. “We`re thinking of doing it again”.
But we don`t have time to explore the meaning behind that because now it`s time for Gilmour to show off his music room and, for the first time since this interview began, he comes to life.

Earlier, he`d told us that his opinion of the Music Press was that it was, well, irrelevant to Pink Floyd (“we don`t really need the Music Press and they don`t really need us”) and his attitude during the interview had been one of mild amusement coupled with disbelief at the workings of the journalistic mind.
But when we cross the carpet and enter the little room full of electronic equipment, he becomes a New Man.
Most private music rooms I`ve seen have been sterile, formal places, not, in my opinion, suited vibewise to the creative process – but Gilmour`s is lived-in and it works.

The usual tape recorders and eight-track stuff are there but there`s also a drumkit (Nick Mason`s? “No, mine”), about 12 guitars, ranging from a Strat through a `59 Les Paul Custom to a Les Paul Junior hanging on the wall, a Les Paul-type electric guitar (“custom-made, naturally”) and a beautiful classical guitar (“custom-made, naturally”).
But pride of place goes to the newest toy, a special synthesizer made by EMS (who make the VCS3) which, Gilmour assures us, is not on the market and never will be.
He plugs in the Strat and this device, rather like a plastic pulpit with pedals mounted underneath, gives off some of the most incredible sounds we`ve ever heard. And that includes every Pink Floyd album.
There`s a fader that lowers the note an octave, a whining fuzz device which couples into that, and, most uncanny of all, a phase “Itchycoo Park”-type effect that resembles a Phantom doing a ground strike somewhere in South East Asia.
Believers, you`re in for some hair-raising sounds when Gilmour gets this weapon on the road, as he says he intends to.

Looking at David Gilmour as he coaxes these apocalyptic noises from his guitar, one can see why he and the rest of Pink Floyd feel remote from the workings of the music business.
Gilmour in our interview never really came to life because he hasn`t any stake in successful musicbiz rapport with the Press – but he`s said more about Pink Floyd in 30 seconds of divebombing with the Strat and the Synthi HiFli than all the interviews in the world would ever do. And, really, isn`t that what it`s all about?


A real nice ad in tnis NME for the newest album by Suzi Quatro. Can you spot the album`s name?

This number of the NME also contains articles/interviews with these people: Roy Buchanan, Golden Earring, Linda McCartney, Alice Cooper, Faces, Strawbs, David Bowie, Hatfield and the North, Jack The Lad, John Surman.

This edition is sold!


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.

I have set some rules for myself on this blog – one is that I will never publish an article with the same artist until I have had at least 5 updates with other artists. Today I am going to break that rule.
When I published the article about Status Quo, someone posted it on a Quo forum on the internet and suddenly I had hundreds of hits on my blog. As a signal for all of you out there – I really do like hits on my blog, and also as a “thank you” to the Quo fans – here is another Quo-related article! 🙂


Musicians talk tape
This month: Rick Parfitt of Status Quo

Equipment: A phillips N2 607 car stereo cassette player. This can be mounted on its own bracket under the dashboard or direct on the transmission tunnel. It takes little room, is easy to fit and operation is simplicity itself. Just lower a cassette into position and click down – the deck automatically switches on and begins playback. The unit will automatically switch-off at the end of the tape and the cassette can be semi-ejected by squeezing two buttons.
Specification: Cabinet Dim. 10 x 112 x 57 mm Fast rewind time: 70 secs. for C60. Output: 5 watts per channel. Wow and Flutter: 0,4 per cent. Signal To Noise Ratio: Better than 45db. Frequency Response: 100 – 10,000 Hz. Recommended Retail Price: £38.74, including speakers.

Parfitt: I`ve only just had the new tape deck fitted and the first thing I did, as soon as I got it installed, was to get the new Humble Pie tape “Eat It”. I find that sort of thing makes good listening when I`m driving. I really dig driving and like to listen to tape all the time.
During the day I usually play things by Pie, Zeppelin, Rod Stewart and the Faces – that`s really the sort of thing I`m into.

Then I sometimes play “Piledriver”. I`ll play it and think to myself, “oh Christ! We should have had so-and-so going there”. But that`s cool because you can use some of those ideas on the next album.
Playing tapes of your own music helps you learn and progress – as far as I`m concerned that`s true anyway.
I find my taste in tapes is different to my taste in records because of the different playing environment. Because I dig driving, going down the motorway, playing something like Zeppelin while I`m doing a ton, really gives me a buzz. I get a little distortion off the set when I`m trying to blow the back windows out but I hope to remedy this when I have another two speakers fitted. I don`t want two at the front and two at the back, I`m having four fitted in a line across the rear.


I don`t always play loud music though – I also have a selection of down-volume, funky, nice-music things. At night, when there`s not much traffic around I might play something like the Carpenters.
I`ve had both cassette and cartridge systems but I much prefer the former – eight-tracks are more prone to problems and a cassette is neater and less bulky. Status Quo used to have a cassette-deck in the old band car and I can remember the number of times we used to play old Chicken Shack tapes on our way back from gigs – particularly “O.K. Ken”. That one, for us, was really great.
Another great one was that Fleetwood Mac set with “Albatross” on it.

Some music turns on mindpictures for us. When we recorded “Oh Baby” we all visualised pedalling a bike, and on the album we`re recording now, there`s a track where we visualise three Arabs walking across the desert.
I know it probably sounds mad but it has that sort of feel to us. It`s like when we did “Don`t Waste My Time”, that brought top-hats and gaiety to mind – it`s got a lot of flair and cheekiness about it.
We`re now doing a country-type track, country to me being the sort of thing the Byrds did on “Easy Rider”. That`s a beautiful tape. But now I`ve got to forget about cassette-decks for a while and get back to the sixteen-track at IBC.
We`ve done about four tracks of our new album so far including “Claudy” which I consider to be the best thing we`ve ever done.


Full page ads in colour for the all-girl band Fanny – someone really believed in them!

This number of the NME also contains articles/interviews with these people: Carly Simon, Roger McGuinn, Tempest (Jon Hiseman), Dory Previn, Glencoe, Grimms, Jack Bruce, Tony McPhee + a special on the music scene in New York.

This edition is sold!