Month: January 2016

ARTICLE ABOUT Rainbow from New Musical Express, August 30, 1975

Rainbow will soon return to the world`s stages, and I hope there will be an album somewhere in there too. If there is, I hope it will be received better than the very first album reviewed by New Musical Express in 1975. The reviewer was not entirely convinced. Personally, I think it was (and is) a great album even if some of the songs here were even better on their later live album.


Record Review

Ritchie Blackmore`s Rainbow

By Tony Stewart

When a musician (in this case Ritchie Blackmore) decides to leave a band (in this case, Deep Purple), presumably because of musical differences, you`d expect him to adopt an approach dissimilar from that of his former band.
But not our Ritchie.
This is the same kind of metal rock, the lineup is similar (Ronnie James Dio, vocals; Gary Driscoll, drums; Craig Gruber, bass; and Mickey Lee Souls, assorted keyboards) and even the packaging sniffs of a Purple influence.
The only significant difference I can discern between the two are that (1) Rainbow are not as accomplished musicians as Purple, and (2) their breadth of vision isn`t as great.
In fact this album is duller than a March morning.
The majority of the cuts are the same old riff stews; admittedly they do it capably enough, but that hardly seems sufficient.
Out of the nine tracks, there are only two which are worth complimentary remarks. Those are the gentle melodic “Catch The Rainbow”, and the acoustically based “Temple Of The King”.

The rest are just cliched structures, such as the pounding “Man On The Silver Mountain” and “Sixteenth Century Greensleeves” where Blackmore and Dio reclaim a Uriah Heep riff which they`d borrowed from Purple originally.
And even the inclusion of The Hat`s instrumental re-working of the Yardbird`s “Still I`m Sad” does nothing for me at all.
Besides their lack of imagination in the composing department, with seven originals from the pens of The Hat and Ronnie James, the band lacks any real feeling.
With the exception of Dio.
Now he is a good singer who has a lot of passion, good phrasing and pitch (particularly on “Temple”) and puts a considerable amount of effort into the songs.
Whereas The Mad Axeman and Gruber merely illustrate their technical manoeuverability, Souls (despite the name) is recording in the studio next door and you rarely hear him, and Driscoll is what you`d describe as solid.
But it is a group album. The Hat keeps a low profile, filling out songs and taking the occasional lead, sounding, particularly on “Rainbow” and “Temple”, like Peter Green, but there are no real instances of inspired madness.
So in conclusion, all I can say is that they`re an imitation of Purple, and not a particularly good one at that.


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.

This number of New Musical Express also contains articles/interviews with these people: Bryan Ferry (Roxy Music), James Stewart, Chapman-Whitney Streetwalkers, Roger McGuinn, The Selling of Reading, Kursaal Flyers, Loudon Wainwright, Leo Kottke, Isley Brothers.

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

1. Send me an e-mail, if you are interested. Send it to:
2. The offer should be 15 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Kiss from New Musical Express, August 23, 1975

Once more we have proof that critics really don`t know a turd from a diamond. We all read record reviews, but ultimately you have to listen to the album yourself to decide if you like it. “Rock and Roll All Nite” is one of Kiss’ most well-known songs, almost like a signature song for the band. Many of the other songs on this album are among the most popular among their fans today – songs like “She”, “C’mon and Love Me” and “Room Service” are still in high regard.
Have fun with this review!


Record Review

KISS: “Dressed To Kill”

By Max Bell

This record has unscented anti-perspirant smeared over every groove. It doesn`t sweat, it doesn`t move, it doesn`t even make me feel particularly violent.
In other words Kiss have gone the way of all flesh and cleaned up. If this change in direction goes much further though they`ll end up dying a desultory death.
Main problem is that bossman Neil Bogart has carefully extinguished the buzzing, sub-manic, nod-out doze of “Hotter Than Hell” and substituted pristine clarity. New, but not improved… ie., “this guitar goes in that channel.” Worst of all you can actually hear the lyrics, which on a Kiss album is the last thing you want.

Seems that as soon as they made a conscious effort to reveal their I.Q.`s, Kiss lost their real claim to fame (making straightforward rock so dumb it was good). The urgency is gone, riffs are thin on the ground, and ears are still intact. Besides, it`s too hot to jump up and down.
No more deranged HM and gluttonous dual lead. There`s even a tasteful classical guitar intro to the stunningly titled “Rock Bottom”. In the barely passable league we`ve got “Two Timer”, “Getaway” and “She”, while the last single, “Rock-And-Roll All Nite” is only pleasantly retarded. Most of the time Kiss sound like a Rubettes Silverhead hybrid. About as heavy as a flimsy negligee.

I conclude that this is one of the most expendable, vapid formulations of the time-tested excursions into nowhere since Lord Rutherford tried to stick the atom back together again. And being one of the only people in this office who liked their previous two albums it comes as some disappointment to be presented with such tired, mill-grist by way of the third.
If this is progression, I don`t like it. And by the way, whoever organised the sleeve, lose ten points for getting the band names totally out of synch.


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.

This number of New Musical Express also contains articles/interviews with these people: Les Perrin, Robin Trower, Guide to Reading Festival, Judy Collins, Third World, Max Merritt, David Bowie.

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

1. Send me an e-mail, if you are interested. Send it to:
2. The offer should be 15 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT David Bowie from New Musical Express, August 23, 1975

David Bowie was a great loss for everyone enjoying his creative output. It makes it even more important to preserve those interviews that he made, to share among the current and future fans of his. Here is another contribution from me to the future of humanity!



The Next Step?

From the set of “The Man Who Fell To Earth” David Bowie peers into our future – and sees nothing to laugh at…

Interview: Anthony O`Grady
Pics: David James

“WE THINK we’ve got an audience,” says the spokesperson in the Bowie suite. “We’re pretty sure the operator will be listening in..”
“This is the Los Angeles operator… we think we have a connection and we will not… repeat… not be listening…”
“They always say that,” says the Bowie person.
“A big hullo to all of you people over there from all of me over here. What’s happening?” Eeeeek! It’s Dah-aaaaah-veeeed!
And what’s happening is his voice keeps fading into blurry white noise. (Telephone operators bootlegging the conversation?) As always, he speaks with an accentless clipped tone, very English but very anonymous all at the same time. The sort of voice that goes with whatever personality its owner is wearing at the time. Ziggy Stardust to Diamond Dog to Flame haired Androgynous Dandy. But it’s weird and quite ghostly when you hear it without seeing the visual effect. What you become aware of, more than anything else, is the man’s Scarlet Pimpernel-like intelligence. They seek him here, they seek him there…
For Bowie is someone who speaks out strongly, yet won’t stay pinned down to any opinion. Or indeed lifestyle. And of late his lifestyles have undergone startling changes.

Early in the year, there was the “Young Americans” album which confirmed his flirtation with American soul; it sure was a change from the surrealistic R & B of the previous “Diamond Dogs”, anyway. About the same time as “Young Americans”, he upped and left longtime manager Tony De Fries. But soon afterwards there were rumours he was planning a concert tour of Brazil. No Brazil. But he did spend some time recording Detroit street punk artiste, lggy Pop (the midget who had inspired the Bowie song, “Jean Genie”). And the next word on Bowie was he was huddled in a room drawing pentangles, burning candles, chanting spells. And then he started work on a film “The Man Who Fell To Earth”.
Definitely it was a rapid-change program.
MEANWHILE… back at the telephone receiver…
David why don’t we start talking about the “Young Americans” album?
“OK. Go Ahead.”
Um… well … the “Young Americans” track, what’s the story behind that one?
“No story. Just young Americans. It’s about a newly-wed couple who don’t know if they really like each other. Well, they do, but they don’t know if they do or don’t. It’s a bit of a predicament.

“The next track ‘Win’ was a ‘Get up off your backside’ sort of song really – a mild, precautionary sort of morality song. It was written about an impression left on me by people who don’t work very hard, or do anything much, or think very hard – like don’t blame me ’cause I’m in the habit of working hard.
“You know, it’s easy – all you got to do is win.”
The voice fades into white noise, then comes back.
“‘Fascination’? … there’s not much I can say really, it’s pretty self-explanatory. . .” And Bowie fades away … pauses … comes back. “Like over here, it’s bright young Americans, you know, the lilting phrase before the crashing crescendo. In England it’s a dirge – the days are all grey over there. It’s a bit worrying.
“Like that uncertainty stretches from where I am to where you are. There’s literally no economic confidence in any one nation in the world. There’s not one confident central source anywhere on this whole damn planet.
“It makes you want to shoot yourself – it’s very demoralising. I think we should maybe strengthen up a bit.
“I think the morals should be straightened up for a start. They’re disgusting. This whole particular period of civilisation … it’s not even decadent. We’ve never had true decadence yet. It borders on Philistine, really.

“If you, like me, believe the current morality… or the signals for each morality really… are pushed by an established power or media… well, it’s really just another way of suppressing or ridiculing the working man, so he has less to look up to in his own life.
“I mean, to put on pornographic movies in a truly free society is one thing; to put on pornographic movies in America is very dangerous because it intimidates and ridicules the average family man. He watches himself being portrayed six inches tall on TV every night, and he wakes up the next morning and he feels six inches tall, he thinks he is six inches tall…
“There’s a continual dirge of music on radio. I like music, but … conversation on radio is totally missing, there’s no gambit no motivation on the radio any more. It used to happen some years ago on FM radio but it’s totally lacking now. With the FM stations in America, if they don’t start slipping into a Top 40 format, they go broke, and are then bought by the Church. I think over 45% of the older FM stations are now owned by the church or religious organisations.
“It’s absolutely incredible the way media is used over here. With all it’s potential power and the vast implications of what could happen, it is confounding. It just repads what is padded. You have absolutely no feedback in America as to what the real situation is by listening to TV, radio, reading newspapers.
“And unfortunately, at this moment, listening to music as well. It’s a pretty sorry state.”

This is somewhat stunning from a man who has manipulated the media significantly himself.
Like many years ago, there was his coy admission of bi-sexuality that set English newspapers screaming – a story by the way that probably had little basis – Bowie has certainly denied any bi-sexual leanings since.
Then there was his prediction that a major rock star, maybe himself, would certainly die on stage within the next few years. And yet, after a year’s retirement from stage performances he returned with a wilder more frantic act yet. Scalding audiences into a frenzy.
And now, David The Guardian of Morality. One thing for sure – or rather – four or five things for sure – Bowie is a rapid change chameleon. It’s always been part of his appeal. The new Bowie though is more than a little startling. It’s almost a Saul/St. Paul type change…
“I just want to do some things I want to do,” he says. “I’ve recently gone through some pretty interesting changes” (He ain’t kidding).
“I’d like to do something that’s actively concerned with trying to clear up the mess. I have an idea, but I’d rather do it than say it. But as it is, the situation’s just nonsensical, it goes round in never decreasing circles. Rock and roll certainly hasn’t fulfilled its original promise.
“Like the original aim of Rock and Roll when it first came out was to establish an alternative media speak voice for people who had neither the power nor advantage to infiltrate any other media or carry any weight and cornily enough, people really needed Rock and Roll.

“And what we said was that we were only using Rock and Roll to express our vehement arguments against the conditions we find ourselves in, and we promise that we will do something to change the world from how it was. We will use Rock and Roll as a springboard.
“But it’s just become one more whirling deity, right? Going round that never-decreasing circle. And Rock and Roll is dead.”
Does he really believe that?
“Absolutely. It’s a toothless old woman. It’s really embarrassing.”
So what’s the next step?
“Dictatorship,” says Bowie. “There will be a political figure in the not too distant future who’ll sweep this part of the world like early Rock and Roll did.
“You probably hope I’m not right. But I am. My predictions are very accurate … always.”
Actually, Jean Dixon, the religious clairvoyant who predicted John F. Kennedy’s and Robert Kennedy’s assassinations – has predicted very much the same thing. Only thing is, Jean’s political figure rises in the East and presents a grave threat to Western democracy.
On the other hand, Jean Dixon also foretold Nixon’s Watergate troubles, but prophesied Tricky Dick would squirm through OK.
But back to Rent-An-Apocalypse…

“You’ve got to have an extreme right front come up and sweep everything off its feet and tidy everything up. Then you can get a new form of liberalism.
“There’s some form of ghost-force liberalism permeating the air in America, but it’s got to go, because it’s got no foundation at all, apart from a set of laws that were established way back in the bloody 50`s and early 60`s and have no bearing at all in the 70`s. (The Supreme Court in America was at its most liberal in the late 50`s, early 60`s.)
“So the best thing that can happen is for an extreme right Government to come. It’ll do something positive at least to the cause commotion in people and they’ll either accept the dictatorship or get rid of it.
“It’s like a kaleidoscope,” says Bowie. “No matter how many little colours you put in it, that kaleidoscope will make those colours have a pattern … and that’s what happens with TV – it doesn’t matter who puts what in the TV, by the end of the year there’s a whole format that the TV put together. The TV puts over its own plan.
“Who says the space people have got no eyes? You have – you’ve got one in every living room in the world. That’s theoretical of course…”
Not to mention very disassociated… bordering on dislocation.


On the subject of Bowie’s own chameleon character…
“Well, I never had much luck telling people I was an actor, so I let everyone else figure it out. I don’t really want to go into any of that. It’s been chewed around and boiled around, I mean a man does what he has to do.
“Whatever thing I was doing at the time, I adopted a character for it. I’ve said that so many times now, I’m getting used to trotting it out. I might look like Zsa Zsa Gabor next month, or Marlon Brando, you never can tell, ’cause I don’t know what I will feel like then.
“If anything maybe I’ve helped establish that Rock and Roll is a pose. My statement is very pointed – except it’s very ambiguous. My statement is `Rock and Roll is walking all over everybody'”
“Yes, really. Like, I tried to do a little stretch of how it feels musically in this country, which is sort of … the relentless plastic soul, basically. That’s what the last album was.”
Would you repeat that?
“What?” says David. “The relentless plastic soul? But, Christ, that’s what decadence is … talking about one’s album. Who needs to hear another bloody artist talking about another album. Come on!…”
But it is a business. This never decreasing circle that is Rock and Roll. And talking about your albums helps sell them.

“I know,” says Bowie. “And I don’t help at all, I’m afraid. I’m not the most manageable artist in the world.”
Ex-manager Tony De Fries agrees, in case you’re wondering.
“Anyway,” continues Bowie, “I think what we’ve talked about is more interesting quite honestly, and I think it’s more interesting to you.”
That`s true.
“Actually, I want to say a few things on the album.
“Like, ‘Right’ is putting a positive drone over. People forget what the sound of Man’s instinct is – it’s a drone, a mantra. And people, say: ‘Why are so many things popular that just drone on and on’. But that’s the point really. It reaches a particular vibration, not necessarily a musical level.
“And that’s what ‘Right’ is…
“Oh, alright … let’s talk about the rest of the album. Very decadent this is [laughs]. ‘Somebody Up There Likes Me’ is a ‘Watch out mate, Hitler’s on his way back’… it’s your Rock and Roll sociological bit.
“And ‘Across The Universe’, which was a flower power sort of thing John Lennon wrote. I always thought it was fabulous, but very watery in the original, and I hammered the hell out of it. Not many people like it. I like it a lot and I think I sing very well at end of it.
“People say I used John Lennon on the track … but let me tell you … no one uses John Lennon. John just came and played on it. He was lovely.

“‘Can You Hear Me’ was written for somebody but I’m not telling you who it is. That is a real love song. I kid you not. And the end of the thing is ‘Fame’ which was more or less sung about what we’re doing now.”
Bowie seems less than bubbly about his latest collection. He is even less so about the chances of himself performing again.
“Frankly, I’ve just started this film, and after that, I’m going to do some directing. Unless I see a particular reason for going out on stage and getting involved in another dramatis personae there, then I won’t bother. It has to serve a constructive purpose.”
Ah yes, the movie, “The Man Who Fell To Earth”…
“Yeah, that’s right, it’s being made by Nick Roeg. (He did `Performance` and a film called `Don’t Look Now`.) This film’s about Howard Hughes I think. Well, it might be, might not be. I play the starring role. How about that for a piece. Isn’t he a jammy bugger that Bowie. I don’t know… in the business five minutes and he’s taking work away from veterans!”
Bowie’s been in the acting business a few years longer than five minutes. What happened about the role Liz Taylor wanted to use him for?
“No way, that was a rotten film she wanted me to do. And a rotten part. She’s finding out about it now. She’s in Russia stuck out there. The thing she’s in is called `Bluebird`, a very dry, high French fairytale with nothing to say. It`s being directed by a wonderful director.
“But the whole film stinks and I turned it down.”

Has Bowie seen “Tommy”?
“No I haven’t.”
Does he intend to?
“No I don’t.”
“Yeah. I don’t like Rock and Roll very much.”
Well what do you think of Ken Russell as a director?
“I don’t like him at all. He’s… no we’d better skip that.”
One of the things Bowie may do after “The Man Who Fell” is to produce-direct himself in an original screen play.
“I’ve done nine screen plays over the past year. I spend so much time on that damn road, and I do things like write films. I’ve got a lot to get on with. Well, I have, but I don’t know which one to do.
“I’ll probably do the one I wrote for myself and lggy Pop and Joan Stanton. I haven’t even got a title for it yet and I don’t really want to go into the story. But it’s very violent and depressing, it’s not gonna be a happy film. It’ll probably bomb miserably, I’m sure.
“I want to make it in black and white to boot. I like films made before the ’30`s – they seemed to have a lot more genuine expression.”

It could have continued for hours. The operators could have bootlegged a lot longer and Bowie himself was warmed up and running nicely. However…
“Hey,” says Bowie cheerfully. “They’re taking me away – truncheons and tommy guns – and they’re saying ‘Come with us, David’. I’ll speak to you next time I’ve got an album or something else – and we’ll talk about something else…”

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.

This number of New Musical Express also contains articles/interviews with these people: Les Perrin, Robin Trower, Guide to Reading Festival, Judy Collins, Third World, Max Merritt.

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

1. Send me an e-mail, if you are interested. Send it to:
2. The offer should be 15 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT The Who from New Musical Express, August 9, 1975

This is the kind of interview that you don`t see too often these days. Today a band of The Who`s magnitude would be surrounded by managers, press agents or people from the record company that would control everything being said. Such honesty as revealed in this article would simply not be allowed. And probably for the better, as it would break up most bands. The Who are still an ongoing entity with Pete and Roger in the band. Quite interesting really, considering the odds after the articles published in 1975. Have a nice read!


A few weeks ago Pete Townshend, in an interview with NME, got all hot and steamy and despairing about his role with The `Oo – and about The `Oo themselves. This week Roger Daltrey, also in an exclusive NME interview, returned Pete`s fire – with interest. And after this furious exchange of invective, the question on all our lips is: can The `Oo survive…in any shape or form at all?

Tape Op: Tony Stewart Camera: Joe Stevens

Who`s Last?

Just how do you conduct yourself when interviewing a man who`s destined to become A Living Legend?
Do you ensure your shoe laces are tied, your hair`s neatly brushed and that your breath smells sweetly? And then humbly sit opposite your subject, dutifully silent as you wait to hear his proclamations?
Or perhaps you just take along a bucket and spade in case the Centaur – as his latest album sleeve depicts him – craps on the rug.
After all, this is how Polydor are promoting Roger Daltrey.
The Centaur photograph exploits all the romanticism of Greek Mythology to intimate Daltrey is A Living Legend, as well as incorporating the sexual blatancy of the classic Satyr – the lustful beast which is reputed to be part man, part goat. But moulding the hindquarters of a goat onto Daltrey`s fine torso would project a considerably less virile image than those of a stallion.
Look at the shot closely, and you`ll see my (or his) point.
“It`s nothing to do with me mate,” Daltry asserts. “I can never consider that. I wish I could become Charlie Bloggs. I`m pissed off with it, because I feel it`s not me. I`m not A Living Legend. A lot of old bollocks. It`s all half-truths and I don`t really want to be associated with that kind of thing.

“I don`t really want to be A Pop Star, believe it or not. I`d like to have successful records, but that`s it. And I`d very much like never to do any more interviews or anything.”
Gee thanks, Roger.
“Well, you know, the occasional one. I suppose it`s the price you have to pay.”
Yes. But Roger also has an ulterior motive in talking to us, and that`s to answer Pete Townshend`s attack on The Who, carried in a recent NME article.
Stick around because the dirt flies like a sand storm.
Somehow though, you just can`t come to terms with Daltrey`s new image. Here he is, in the Goldhawk Record company offices in London, sandwiched into a comfy chair between a filing cabinet and a stack of audio equipment, taking large hungry bites out of a pear, causing juice to trickle down his chin, the flow of which increases as he tries to talk with his mouth full.
His moods change faster than a streetful of Belisha beacons, going from Sullen to Friendly, and from Aggressive to Rationally Polite. And invariably he`ll laugh at his own moods, throwing his head back and roaring like a triumphant bar-room brawler.
You could describe him as an earthy streetboy.

The interview, though, comes at an appropriate juncture. Sessions for the new Who album, “The Who By Numbers”, have just finished, and after our rap Daltrey will go off to hear the final mixes.
“I`m really pleased with it,” he says, chewing on the pear. “One song particularly, called `Imaginary Man` I think is the best song Pete`s ever written. There`s a few mysteries in there, but it`ll be a good album.
“The shape and form of it is similar to `Who`s Next` with a lot of varied material unlike `Quadrophenia` which was really one vein. But I don`t know what it`s going to do, because I don`t know what people are expecting.
“I think it`s going to be surprising.
“There`s not been a lot of style change at all. How can we? Moon still plays like Moon, John still plays like John, Pete still plays like Pete, and I still sing like me.
“The only time that we really change is after extensive touring, never when we`re in the studio.”
Yet the conversation doesn`t dwell on the album for long, as it`s quite apparent Daltrey wishes to discuss another topic. Like the Townshend feature.

“I never read such a load of bullshit in all my life,” he comments, angrily. “To be perfectly honest, it really took a lot of my Who energy out reading that. Because I don`t feel that way about The Who, about our audiences or anything in that way.
“It was an unbelievably down interview. And I still haven`t come out of it properly yet.
“I`ve talked to fans,” he continues, “and I think Townshend lost a lot of respect from that article. He`s talked himself up his own ass. And there are quite a lot of disillusioned and disenchanted kids about now.”
(In fact the tone of Townshend`s rap was itself disillusioned. He was highly critical of the band as a working unit, their audience and even of their future. In his introduction to the piece Roy Carr admirably precised the prevalent attitude the Axe man expressed.
“Pete Townshend didn`t die before he got old. Yet death isn`t his problem, it`s the passing of the years and his current position in what he feels is a younger man`s occupation”.
But that`s not 32-year-old Daltrey`s chief beef about the article. “My main criticism,” he elaborates, “was the generalisation of saying the Who were bad. The Who weren`t bad. I think we`ve had a few gigs where Townshend was bad… and I`ll go on record as saying that.

“I think we had a few gigs where under normal circumstances we could have waltzed it. We could have done Madison Square Gardens with our eyes closed, only the group was running on three cylinders. Especially the last night.
“You don`t generalise and say the Who was bad,” he stresses, his rage stronger now. “Because The Who wasn`t bad. Wasn`t quite as good as we could have been, but it was because Townshend was in a bad frame of mind about what he wanted to do. And he didn`t play well.
“Sure, we all have our off nights. But don`t go round saying the Who was bad.”
Did Pete sound like a Rock And Roll Martyr to you?
“Yes. Very much.
“You`re putting words in me mouth, ain`t ya?” He laughs.
Well sure. But only if there`s room with the pear.
“Right. That`s the impression I got. And it riles me when he generalises it to say the Who weren`t playing well. The Who can play as well as they ever did, if we can get down to it and take it for what it is. He`s just trying to make the Who something it isn`t.
“I can understand his musical frustration,” he continues. “He must be so far ahead now with just writing songs for The Who. But surely if The Who isn`t a vehicle to get those frustrations out he should find another vehicle.

“But use the Who for what it is. A good rock `n` roll band, that`s all. And one that was progressing.”
“I say was because we haven`t done anything for such a long time. Hopefully when we get back on the road we`ll still progress. But if we have any more statements like that I don`t see how we can. Cos I know it`s taken a lot of steam out of me and I`m sure it did with the others.”
But Roger you said, was progressing, which strikes me as a rather strange comment to make just as you complete a new album.
“I`m just talking about the road side of it,” he clarifies.
“I mean, we are still progressing. We`re never really The Who in the studio. That`s one of the difficulties getting records made with the band. There was a lot wrong, but we rectified it on this album. We all got stuck in and made a record.
“But there`s not a lot of room for a group because it`s becoming more and more dominated by Pete. It`s very hard to make a group contribution outside of what you actually do in the band. Outside of me just singing, for instance.
“John seems to do alright at it – but every suggestion I make I just get laughed at.
“But I can live with that. I don`t care if I`m just the singer anyway.”

On this point, though, it was Townshend who complained he had to bear too much responsibility for The Who. There was, he bemoaned, too much pressure on him.
“There`s all sorts of problems going down at the moment that have got bugger all to do with the music side of it,” counters Daltrey, “which is usually lumped on my bloody shoulders. But I don`t ever complain about it.
“I agree that because he`s been the mainstay songwriter of the band he`s obviously going to be under that pressure. But I think he enjoys that. As far as going on the road goes I don`t think he`s under any more pressure than any of us, really.”
Townshend`s argument – just to refresh your memories – was also that because the other three guys heavied him into the studio any songs he`d written for a solo album would be snapped up by them. And inadvertently he seemed to be moaning about the fact that Daltrey, Entwistle and Moon could work solo – but that he never saw his own efforts come to fruition – because of The Who.
Daltrey does feel it would be a good thing for Townshend if he did record a solo album, but denies it was impossible because of The Who situation. “You see, I think if he made a solo album he would get some of the musical frustrations out which he can`t accomplish with The Who. Because he can do fucking incredible stuff that The Who`ll never do. They just haven`t got that sort of scope.

“That`s why solo LPs are nice to do. They let your head run riot for a while.
“And I don`t see why he couldn`t have done his own album before this Who set, because I can`t see this one getting released for ages because we`ve got so many problems, outside of just the music. Then The Who would have had second choice.
“And I don`t see it would have hurt The Who.”
“I think we needed this year break. We need to sort certain things out. Like, two months ago it looked as though we weren`t ever going to record again – and now at least we`ve made another record. And I really want to get back on the road.
“I just don`t feel I`m in a group unless we`re playing on the road. It feels like you`re just another session man.”
He pauses, having said his piece.
“Want a cup of tea?” he inquires politely.
Snippets of Daltrey`s rap keep flashing up on the brain`s screen like trailers at the cinema. And it could just be possible that`s yet to come.
At intervals he`s made oblique, but apparent, references to some kind of internal problems other than musical that are having a detrimental effect on The Who`s well-being.
Something seems greatly amiss.

But as the mugs of tea are handed round – and you`ll be glad to know Centaurs do have sweet teeth, because Daltrey started to crunch sugar cubes. Roger seems reticent to divulge the relevant information.
“There`s just certain things going down at the moment,” he does proffer, not particularly helpfully. “You`ll probably hear the whole story in about two month`s time.”
Can`t we hear it now?
“I can`t. There`s a lot of litigation going on between our record company and our management and everything else.”
A clue. But not exactly a scoop.
With a little gently prodding he does, however, begin to open up, revealing in unguarded terms there is, er, disagreement between the Who and their management.
“If we were free now to do what we wanted to do we`d have our record out in the first week of October and we would be touring England in the third week of October and the first week of November. And we`d be off to the States in the second week of November, then back here for some Christmas shows.” He comes out with a series of anecdotes which, due to the laws of libel, I can`t repeat. Worse luck.
“If the record doesn`t come out I don`t know what`s going to happen.
“We could still tour – but we wouldn`t tour with a new act because it`s hopeless trying to play people unfamiliar material. It`s like, the worst thing any band can do. Even if it`s vaguely familiar. Like Elton John at Wembley playing `Captain Fantastic`.
“It didn`t work.



“I wouldn`t mind touring with the old stuff. But that`s what it`ll have to be.”
Any dates pencilled in?
“There are, but I can`t even talk about them because it`s so vague at the moment.
“Maybe it will sort itself out and it`ll go ahead, but I can`t really see it somehow. It`s probably gonna be December before we actually get on the road. The way things are going, and the lack of decisions and various things.”
Christ. Some Main Feature, huh?
Going back to That Townshend Feature – and considering all Daltrey has just said – it does seem somewhat unfair Peter Meter should blame Daltrey`s involvement in “Lisztomania” for holding up the recording of the new album. Which he did.
“Obviously he doesn`t want to talk about these other problems in the Press,” suggested Roger quite rationally. “I do it reluctantly, but I suppose it`s got to come out at one time.
“I can see if it does happen then I`m gonna come out as The McCartney Of The Piece. But there again, what do you do? You can`t live on lies forever. But the last thing in the world I want to do is break The Who up. Anything I can do to stop that happening…I`ll do.
“Now The Who have acted.” (Daltrey`s referring to the legals). “But I don`t know how long I could have gone on without them acting. I really don`t.

“If the legal hassles hadn`t been going on, yeah, then Liszt would have held up The Who recording for three months. Which isn`t a long time.
“I know it was a drag for The Who, and I don`t ever really want it to happen again. But there was nothing I could have done about it.
“As it`s worked out, it didn`t really matter anyway.”
Perhaps at this stage it`d be useful to clarify one or two other matters with so many insinuations whizzing around. Roger, how important is The Who to you then?
“Obviously very important,” he responds immediately. “I mean it`s part of me life, and it`s the last ten years of me life.
“I can accept the fact now it`s not going to go on forever. That`s for sure. You do start to see the boundaries. But I just don`t ever want to give up.
“The Who comes before anything really. It didn`t come before Liszt but it was a group thing. I said, `What do I do?`
“I think Liszt will do The Who good as well. That`s one of the main things in my mind about it, because people – especially in the States – are gonna start thinking I`m Tommy. And I`m not Tommy. I don`t think `Tommy` is – The Who`s best piece of work.

“Liszt is a quick way of showing people that I ain`t Tommy. Which is, at least, a start in destroying that whole `Tommy` stigma.”
But again, when discussing his career in the movies, Daltrey is prone to relate it to his musical pursuits and his role with The Who. For instance, working with Russell, he says, has given him a better understanding of PT`s song writing. “Ken is very similar to Pete,” he explains. “He`s very visual and thinks all the time. But unlike Pete I can talk to Ken. And he`ll explain how he sees a situation to me, and I`ve got a terrific rapport with him.
“Unfortunately me and Pete have never actually got on, on that level. But I find now it`s not so important, because just working with Ken so much has taught me a lot about getting into things in the way I think you should.
“It`s given me a lot more confidence.
“If you can`t communicate on a talking level with someone, and you just go on feelings, and he`s given you a sheet of lyrics and you`ve got a demo to work with, then you need quite a lot of confidence.”
At this point, however, Daltrey is understating his turbulent relationship with Townshend because, as our conversation unfolds – covering The Who`s music and the sheer aggression and frustration it incorporates – it`s necessary for Roger to explain why this should be such an overt facet. And in doing so he reveals considerably more about the personality structure of the band.

“It`s probably because we`re so different,” he says, “and don`t particularly get on that well outside the band. I don`t want to be in a group with anybody else, although if I could choose three friends to go about with it wouldn`t be those three.
“It`s a very weird situation, but it does lead to frustration. But it`s always worked because it`s led to creating something.”
And also led, it should be noted, to fights. On occasion.
“Yes. On occasion.” Agrees Daltrey.
Well, your knuckles aren`t bruised so the recording sessions must have gone well.
“Look!” He cries, laughing, and holding up his right fist. “Look at that!”
He displays one severely swollen and purple set of knuckles.
“No, no, no. We didn`t have any fights at all,” he points out. “That`s a mosquito bite. Believe it or not.”
A likely story.
“No. We didn`t have any fights this time. We had fights in `Quadrophenia`.”
Tell us more.
“I`ve only ever had one fight with Pete and that was during `Quadrophenia`. It was a bit of a shame because it was a non-argument, and the last thing I wanted to do in the world was to have a fist fight with Pete Townshend.

“Unfortunately”, he adds petulantly, “he hit me first with a guitar. I really felt terrible about it afterwards. What can you say? Pete should never try and be a fighter.
“But when he was being held back by two roadies and he`s spitting at me, calling me a dirty little cunt and hitting me with his guitar I become quite angry. And I was forced to lay one on him. But it was only one.”
That was sufficient?
“Well,” he roars with laughter, “when he came out of hospital…”
But according to Daltrey there has always been a clash between him and Townshend – with Entwistle and Moon as mediators. And perhaps for this reason Daltrey is able to contend with being laughed at in the studio when he makes suggestions.
“Like I say,” he explains, “I can put up with being just the singer. It doesn`t really bother me that much. It`s just one of those things that make you feel – what`s the word? – makes you feel a bit of a misfit.
“But I`ve always felt a bit of a misfit in the Who. That`s another reason why solo things are good for me.”
Cue. Change of reel, and subject.
Everything seemed to be going well for Roger Daltrey, the solo artiste.
He`s now grabbed himself a prestigious slice of the Movie Biz by doing the films “Tommy” and “Lisztomania” – with another, of which he`ll reveal nothing except he has to have his hair cropped, on the starting blocks.

Even his solo-singing career had an auspicious debut, with the excellent “Daltrey” album, “Ride A Rock Horse”, however, isn`t too good.
The vocal performance is good, the musicianship is good, OK, but the material just doesn`t have that stamp of quality.
And to date, business has not been brisk with the set, which is certainly not the kind of sequel one would expect (either artistically or sales-wise) following his first album.
“I`m pleased with it,” comments Roger. “I like it. But then I`m bound to, ain`t I?
“It`s a very American kind of album and it`s not particularly the English people`s taste. But that was intentional. I aimed it at America.
“Maybe I aimed it too much at America.”
Perhaps, though, Daltrey, who as a prominent British vocalist would have the world`s established writers scrambling over each others` backs to get him to use their songs, has taken even more of a chance with the material than he did with the first set. Once again, he`s used unestablished writers (like Leo Sayer was).
“I know it`s a gamble and maybe this time it hasn`t paid off, but I`m gonna carry on doing it.
“It`s just that I get so many kids coming to with songs – and they`re not all good – but occasionally you get the good ones, and I think it`s worth taking a gamble. Maybe I`ve picked the wrong numbers this time… I don`t know. Obviously I haven`t in America. It`s in at 60 this week.
“With a bullet.
“So my judgement`s right somewhere.

“I just remember the days when I would have done anything for a helping hand. If I can help somebody who can`t get a look in elsewhere… then it`s a valid thing to do.”
Not, I wouldn`t have thought, if the album bombed, along with Daltrey`s sole reputation.
Polydor (who can improve your image as Charles Atlas helped build your body) do seem to be putting the big promo wheels in motion. This when discussed, moves onto Roger`s own reluctance to be drawn into the area which he describes as “poshlust”.
“But that`s the business, I suppose,” he remarks mildly. “I don`t suppose kids want to buy records wrapped up in paper bags. They want a bit of glamour.
“You do need your Jaggers and Rod Stewarts, but they`re trying to make me into one, and I`m not. And I never will be.”
Just why is he in the business in the first place then?
You guessed it. “Cos I sings in a band called the `Oo and I likes it. And That Is It.”
But according to Townshend (in That Feature) Daltrey would like to believe rock and roll was “making records, pullin` birds, getting pissed and having a good time.”
“That” retorts Daltrey disgustedly, “just shows he doesn`t understand me at all. Because that proportion of my life which is devoted to that kind of living is such a minimal proportion. If he thinks that`s what rock and roll is to me he must be kidding.

“Just coz I don`t live in a studio like he does doesn`t mean to say I don`t like rock and roll much.”
He pauses.
“There`s a terrible battle going on between me and him, ain`t there?”
In fact you could say this last quote of Townshend`s proves to weigh heavily on Daltrey`s mind. It isn`t until near the end of the interview when he decides to elaborate on the point.
“I`m just thinking about what he said,” he said. “That I`d like to believe that rock and roll was birds, booze and fun. The naivete of that is that the last few bad gigs the Who did were, in my opinion – apart from his head trip – bad because they were physically out boozing and balling all night. And by the time it got to the show at night they were physically incapable of doing a good show.
“So… put that in your pipe and smoke it.
Was that all of you?
“No. That was Townshend. Moon does it, but he can control it. On a few of the last gigs Townshend was pissed and incapable.”
Now Daltrey`s anger is rising.
“So don`t talk to me about booze, because I`ve never been onstage drunk in the last seven years, Mr. Townshend! I don`t know if you`ve ever noticed, maybe he hasn`t but I have. I remember every show we`ve ever done!

“I`m just getting a bit fed up with these left-handed attacks.”
And now he`s retaliating.
“One of the sad things is that Pete and I are probably never gonna be able to communicate,” he explains coolly. “I think I`ll have to sit down and write a letter to the band, because there`s no way of ever speaking to them about it.”
Jesus. What`s the future going to bring then?
Maybe Daltrey is outspoken, vitriolic and often enraged by the circumstances surrounding The Who, and yet underneath it all runs a deep devotion for the band. He may criticise Townshend for what he describes as “pathetic” guitar playing on one gig, and yet he`ll get back up on stage and work with him again.
“The only other way is to give up, init?
“From my point of view… I think I`ve got better on stage in the last six years… and it really frustrates me that the people who were heads, hands and feet above me before are starting to fall by the wayside. I think it`s unnecessary.
“That`s why i want to get back on the road and do it. Because I know they can do it.
“And if they don`t, then the Who breaks up. We`re not a government. It`s only a rock and roll band, after all.
“It`ll be a terrible shame and a lot of people will be disgusted with us for letting it break up. But what can you do?
“In a way,” he continues, “I don`t mind if the Who do finish, because I think we`ve done a helluva lot and I`d hate to see it fizzle. I`d hate to see anything mediocre come out by The Who.”
And in a more dis-spirited moment he comments: “If I feel I`ve come to the stage where I can`t give anymore into rock, and I can`t do the things I like, then I might as well take up acting.
“I might as well.”


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.

This number of New Musical Express also contains articles/interviews with these people: Gary Holton, Rod Stewart, Colosseum, Aston Barrett, Isaac Hayes, Mike Gibbs, Tim Hinckley.

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

1. Send me an e-mail, if you are interested. Send it to:
2. The offer should be 15 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Colosseum from New Musical Express, August 9, 1975

What a terrible start to the year of 2016 – not before we had come to terms with the loss of Lemmy, then we had to cope with losing another great artist – David Bowie. Many have tried to express in words what these losses mean for them, but there really ain`t no words doing them justice. We will just have to be grateful for the music that they brought to the soundtrack of our youth and to our life as adults. In this interview we meet another great artist that the world lost in 2011. Have a good read and may the rest of the year be better than the start of it!


`What we have here, I think, is quite extraordinary (It bloody well better be)`

Colosseum, dismembered 1971, comes together again under the guiding fist of drummer Jon Hiseman. Steve Clarke was there (and glad of it).

Like a brand new love affair, the most optimistic part of a band`s history is just after its being formed. There are exceptions like the recent Jack Bruce/Mick Taylor-/Carla Bley falling out, but usually that`s the rule. And Jon Hiseman`s Colosseum II are no exception.
Ever since the original (well, hardly original because the first Colosseum had four line-ups) split up back in 1971, Hiseman`s credibility has suffered measureably. Tempest, the band Hiseman formed to play rock `n` roll as opposed to the synthesis of rock, blues and jazz which was Colosseum, went through personnel changes almost from its inception.
And while there was nothing wrong with the musicians who made up the band (two of England`s finest Seventies guitarists Alan Holdsworth and Ollie Halsall served in the band for varying lengths of time) the music was hardly entirely successful.
The material wasn`t that strong, the concept behind the band didn`t suit Hiseman`s playing the way Colosseum`s or, come to that, John Mayall`s music had and the band often seemed at odds with each other musically.

Tempest fell apart last year, each musician, says Hiseman, getting involved in different projects on their days off; Halsall gigging more and more with Kevin Ayers and bassist Mark Clarke working with Uriah Heep`s Ken Hensley until it became clear that the musicians weren`t that keen to work together.
Nevertheless, Hiseman refuses to admit that Tempest was a failure even if he does concede that the band were exceedingly erratic in performance.
Jon`s new partner in Colosseum, Gary Moore, thinks otherwise and, what`s more, believes Hiseman, himself, thinks otherwise. While we chat in the band`s publicist`s flat waiting for Hiseman to show up – delayed because of an accountant`s meeting – he postulates as to Hiseman`s true feelings on Tempest. “Jon didn`t enjoy that at the end,” confides Moore, an exceptionally affable Belfast-born Irish guy with a certain hippy ambience, long straggly dark hair and patched jeans.
“That band got silly. Any criticism you could level at that he`d shake your hand on it. It`s the endless search for finding people to play with and to write with.
“I thought Tempest was a failure,” Gary concludes.

Moore, you may remember, originally appeared on British shores with an Irish three-piece heavy-metal outfit back in `68 called Skid Row. Moore was their rather extravagant guitarist.
But, like almost everybody else, they split, Moore forming his own band for a time called, aptly enough, The Gary Moore Band. They recorded one album for CBS which according to Moore wasn`t very good. “You get bands complaining about record companies, saying they lost our last album. That`s bullshit, if an album is good enough it`s going to sell. That wasn`t good enough.”
Moore subsequently joined that other Irish band, Thin Lizzy, with whom he parted company last April because their music was too simple for him “It wasn`t enough of a challenge. I wanted something more interesting”.
From then on Moore would be more choosy about just who he played with. “I didn`t want to get into anything permanent unless it was with the best musicians I could find,” he says.
Moore had, in fact, been a long-time admirer of Hiseman, Blackheath-born, now in his 31st year, and one of the numerous musicians responsible for the British r`n`b movement of the mid-Sixties when he gigged with the late Graham Bond, taking over from one Ginger Baker.

“The first thing I like about Jon`s drumming is the sheer power behind it,” explains Gary. “You really feel that when you`re playing with the guy. It`s not just a thing you hear. It`s a physical thing.
“He`s a very misunderstood musician. People always regard him as a jazz musician (Hiseman spent some of his early days playing in various jazz combos). He doesn`t want to know about playing that kind of stuff. He`s a rock `n` roll drummer. A rock `n` roll musician today isn`t someone who bashes chords out and plays them four-four all the time.”
And here Moore digresses to talk about just what he thinks is going on in music these last few years: “Whereas before you had all the old Yardbirds things and John Mayall and a big blues thing happening, you`ve now got people like John McLaughlin who`ve really opened up a lot of doors for people. It was there all the time but no one would kind of step out.”
So who`s gone through these doors? “There`s been a lot of little counterparts since the Mahavishnu. You`ve got Billy Cobham coming out of that with his band. You`ve got Larry Coryell and Chick Corea getting into new forms of music.”
But surely that`s not a dominant force, but part of the whole diverse scene? “I don`t think it is that diverse any more. I think that kind of thing is going to set the direction. If you look at what Eric Clapton and Jimi Hendrix were doing seven years ago, that was very diverse in its way because it wasn`t the kind of guitar playing people heard on 45s.

“When Hendrix came along, people said, `No. That`s going too far`. And the next thing you know… Look at singles today and you`ll see that everybody`s playing that kind of guitar, even Mud. They`re all playing Sixties blues guitar.”
True enough, but I think we`ve lost the point. Carry on though. “John McLaughlin has just taken it one stage further. He`s brought a new approach to playing. I don`t like John McLaughlin. I never will but he has taken the whole thing a stage further. And if ever there was a new Cream I feel it was the Mahavishnu. Cream to me was a collection of the best musicians in their respective fields who came together and burnt themselves out after a few years.
“The Mahavishnu did the same things `cause there was so much creative energy involved in that project…”
But to get to the point… because believe you me this is a story of how true searching won in the end… Moore had quit Lizzy and was looking for the perfect band. Hiseman wasn`t doing too much in particular apart from watching his band go off with other people.
Then Moore read that Hiseman was looking for new musicians to re-form Colosseum in “of all papers” (Moore`s words) Melody Maker. So he called him up. And that was about last spring/early summer.


Over to Hiseman who has now turned up from his accountant`s meeting, apologising and sweating most profusely. He asks his lady publicist for a cold drink. There`s no beer so he settles for an orange squash.
As he tells it, he, Moore, Mark Clarke – Hiseman`s bassist since about two-thirds of the way through Colosseum Mk. 1 – and Graham Bell, a singer who was once signed to Charisma Records and has been seen at various ligs a little on the legless side, got together for “exploratory talks and a quick knock”.
It didn`t work out though, Clarke splitting to America to work with Hensley and Bell losing interest. The two of them stayed together though.
Moore: “Jon and I decided we had a very good basis for forming a band.
“We hit it off musically and wanted to do something that nobody else was doing – to find a hot instrumental-based band with strong vocals. You`ve got people like the Mahavishnu who do great instrumentals and you`ve got Zeppelin who`ve got a good vocalist, but there`s no one doing both.”
Page, Paul-Jones and Bonham might have something to say about that, but to continue: “At this time you could categorise everyone`s material. They`re either into funk or they`re into jazz-rock… You can put them all into little bags of their own. We want to do something different, to get away from the easy categorisation.

“We decided to stick it out till we found the right people. I`d written a few things for Jon at the time. He was writing the lyrics and I was putting the music to them and we had to find someone with a tremendous range to cope with the material.
“I`m one of these people who, when I write on the guitar, I tend to forget people`s capabilities. And the next thing you know is that you`ve written this amazing collage of notes that people can`t really reach unless they`ve got a wide range.”
Hiseman and Moore then spent a rigorous few months searching the pubs and clubs of the land until, Geronimo, Mike Starrs was discovered singing in some East End pub… a Scotsman who in the past has sung with such non-entities as The Debonaire Showband and Spinning Wheel.
Meantime some guy called Duncan McKay, then with, of all bands, Cockney Rebel, was due to come in on keyboards. He didn`t make it, though, and after auditioning something in the region of 55 keyboard players they found Don Airey, formerly of Cozy Powell`s Hammer. Neil Murray, also from Powell`s band, completed the line-up on bass.

Colosseum II have been rehearsing as a band for two and a half months now and apart from new material, composed by Moore and Hiseman, they`ll probably include the old Graham Bond/Colosseum chestnut “Walkin` In The Park”, Jack Bruce`s “Morning Story” from his “Harmony Row” album and, would you believe, a version of Joni Mitchell`s “Down To You” from her “Court And Spark” album. They reckon it`ll be better than how Nazareth covered Joni`s “This Flight Tonight”.
It needs to be.
Unlike some artists who`ve previously tasted mucho acclaim, Hiseman`s band`ll start at the bottom, touring British clubs and colleges in November after which they hope to go into the studio (they`re signed to Bronze records) in time to have an album out in the New Year. Tickets for these gigs will be kept to a minimum, says Hiseman.
Regarding the decision to call the band Colosseum – it contains only Hiseman from the original band – Moore says it was mostly his decision: “A lot of people were pushing Jon to use it. It was my decision if anything because he felt obligated to the others from the old band. He didn`t want to feel as if he was riding on their backs.”

Of the band, Hiseman has this to say: “What we have now, I think, is quite extraordinary. It bloody well better be or there`ll be trouble,” he grins. “I think for a start we`re playing in an area of music which isn`t being played by anyone else.
“I still think it`s worth calling it Colosseum II because it has this quality about it which makes it quite different – just as the first Colosseum was something totally extraordinary in terms of what it was playing for the time.
“The various influences and the crosses that were in it, I feel there are in this band too.”
He does, however, say that you can`t compare the two bands musically. “I think the people who enjoyed the first band will enjoy this. And it wouldn`t have surprised me if with a few judicious personnel changes we wouldn`t have been playing roughly in this kind of area had the band continued in the first place.
“The key to it was Gary who seemed to think about things the way I do. To be absolutely honest in the first Colosseum I never found anybody who was exactly where I was at which is why it broke up so quickly.”
Gary says that he and Jon haven`t had one single cross word in a year. “It`s never even got like an argument,” he says. Ah, true love.


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.

This number of New Musical Express also contains articles/interviews with these people: Gary Holton, Rod Stewart, The Who, Aston Barrett, Isaac Hayes, Mike Gibbs, Tim Hinckley.

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

1. Send me an e-mail, if you are interested. Send it to:
2. The offer should be 15 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.