Month: May 2017

ARTICLE ABOUT Tony Iommi (Black Sabbath) FROM NEW MUSICAL EXPRESS, February 14, 1976

I wonder what kind of guitar the Broom is? You haven`t heard of either? Well, you will read about it in this article, but I can not give you any answers. I guess that Mr. Anderson really knew how to spell this famous guitars name, especially when you know that one of his interests is Greek. The writer of this article lives in South London and runs his own company called Rexclusive these days – for the most of the 70s he worked for NME.
The other person mentioned in this article, John Birch, sadly passed away in november 2000. His company still exists under the name of John Birch Guitars UK.
Tony Iommi just recently ended all concert activity with his band Black Sabbath, one of the greatest bands that will ever exist for all eternity.

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The Secret Of The Hidden Valley

A thrilling melodrama by ever-popular Rex Anderson, in which two intrepid explorers recount the adventures that befell them in the upper reaches of the M1 – homeland of the Iommi tribe.

Somewhere in the upper reaches of the M1; in the untamed lands where the swarming bees drive the natives indoors in the summer-time and lone wolves prowl at night in search of a tasty morsel of visitor`s ankle; somewhere, on a lesser tributory of the 47th intersection is a land where no white man`s eye has ever set foot.
There lives Tony Iommi, lead guitarist of the Black Sabbath tribe with his stunningly attractive native bride, Susan, whom some believe has strange, enchanting powers and whom some call simply She.
There too, in the misty, murky foggy nights of the forgotten country-set mansions of the awe-inspiring Leicestershire landscape, dwells the great mystic witchdoctor, friend of the Brum-brogued Iommi and soothsayer to those in the lead guitar fraternity who have read the signs.
Some call him “Ablokeimet,” – but locally he is known by the strange, almost unproununcable native name of John Birch.
Our story begins one mild-but-drizzly-on-high-ground January afternoon (visibility good, outlook fair) when two intrepid explorers set out from Long Acre (the old NME base before the great river crossing) with our trusty native guide in search of the wisdom of Iommi.
We were destined not to meet the legendary Birch, but rumour has it that he speaks a strange tongue which few men (other than the mysterious tribe of Electrical Engineers) can understand, and that when he speaks this tongue he is often siezed in a mystical and sacred trance so that none can stop him for several hours.

Our journey passed uneventfully. We found the Iommi palace without mishap. It was indeed a grand residence, of such a size that Birmingham council could have built an enclosed shopping precinct in the hallway and erected a council estate in the conservatory.
We were welcomed and made comfortable by the hospitable Iommi and having put him at his ease and explained the functionings of the camera – dispelling all ideas that his soul would remain imprinted on the image of the negative – I questioned him as to his dealings with John Birch and as to what of his teachings concerning the guitar he could pass on to me.
Iommi explained, in almost perfect English, that the jungle telegraph – what he described as the grape-vine – first brought his attention to the great wizard but that at that time he was conversant in only the common magic of electronics and that it was Iommi himself who encouraged him to research the higher magic of guitar manufacture.
He said: “I went to see him with one of the guitars to do one of the pick-ups or something. He wasn`t actually making guitars at that stage, but there were so many people going to see him, asking him to repair this or that – broken necks and other bits that went wrong – that he started up a little business at home doing repairs.”
Birch`s initial interest and expertise had been in electronics, but Iommi says he became involved with the rest of  the make-up of guitars and began to criticise the workmanship in many well known makes.

Throughout the conversation Iommi referred to a guitar which he said was very popular by a strange name that I was never able to translate and so I will refer to such guitars throughout as Brooms.
Please remember that whenever I mention Brooms I really mean a famous make of guitar that, as I say, I was never quite able to catch the exact name of.
Iommi said of Birch: “He said that a lot of workmanship in the guitars was bad and I can agree with him. It is. The newer Brooms are not as well made they used to be. I have a Brooms that is badly made and it`s not even one of the later ones. The later ones are worse.”
He produced a red one which he said was terrible when he first had it but which had been doctored by the amazing Birch.
“I think if you can get hold of the older ones the work is there. Now they are mass produced. They are just churned out.”
I asked him if he didn`t think the newer ones were merely immature and that possibly the older ones seemed better because any faulty ones had been thrown away or repaired so that only the best had survived.
He agreed that there was some validity in my argument. He said that he liked to play a guitar that felt as though it had been used, and that one of the great feats of magic that the amazing Birch performed was to produce a guitar, a brand new one, with a neck that felt as though it had been matured by time and use.

“With most new guitars you buy now, the frets are rough. It just doesn`t feel right. That`s how it was with that Broom – I picked it up and it was terrible, but I knew I could get work done on it. I brought it back to John, had all the neck taken down, had new frets, new tuning keys and a new pick-up put on. It`s virtually a different guitar now.”
What is it that John Birch does to his guitars, apart from that, to make them distinctive and better than other guitars?
“The guitar itself is made of one piece of wood from head to tail – whereas Brooms are joined at the neck/body junction and they`re weak there. They`re also weak at the head/neck junction. If you drop them they snap. But Birch guitars will stand up to very rough treatment, so they`re perfect for taking on the road. Look at this Broom.”
Iommi picked up the guitar, strummed it and applied light pressure to the neck. The strings immediately dropped a semi-tone.
“You can sit down and tune it and when you stand up it goes out of tune. I like the old guitars and this one has a particularly nice feel, but there is that problem – which is why with the newer ones they`ve tried to stop it by building this heel where the neck meets the body. But I can`t say it`s a well-made guitar.”
Iommi is very critical of the instrument. He doesn`t like the heavy tailpiece, but says he bought the guitar for a particular job and because he knew he could have it worked on.

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“But you can`t compare it to one of these,” he said, indicating his Birch guitars. “Even in looks alone they knock spots off it. And now he`s (Birch) got these different pick-ups so they`ve got tone as well.
“Why people bought the old Brooms was to get that old, dirty rusty sound and because Clapton has used them and all the rest of it. But if you`re playing at volume, especially like we do (chuckle), that sound becomes squealier and howlier and God knows what else.
“I`ve had a few Brooms before. I had a rare 1951 three-pick-up model or something in the days of `Paranoia` – in fact, I done `Paranoia` on it – and as soon as you plugged it in it squealed. The coils were so loose in the pick-ups that they just used to vibrate and cause feedback.
“What Birch has done is produce the sound of the Les Pauls, that raw gutsy sound, but made it really solid so that there`s no whistling.”
Another Birch innovation is a guitar with interchangable pick-ups. The pick-up itself can be slotted in from the back. He and Iommi have a patent on this idea, which was perfected as a result of Tony`s need for one guitar with the different pick-up sounds of all the others for studio work.
“Normally you can alter the controls on the guitar or on the amp or use a different amp, but you don`t actually change the effect of the pick-up itself. If you put all the bass on the amp you get a muffly sound and if you take the bass off and put on all the treble you get a thin sound, but the pick-ups have a sound of their own and you can only build on it with the amp.

“Like the Fender sound… a Fender guitar, with those single-pole pick-ups has a thinnish sound. If you have power behind you from the stack you can get a really gutsy sound from them.
“Using an AC30 with a treble booster you can get a particularly good sound with the Strat, but I`ve tried it on recording and I find it really thin in comparison.”
Iommi has a Birch Interchangeable for recording and another Birch, with beautiful inlaid crosses all up the fingerboard, which is now his favourite for stage work. He is unstoppable in his praise of the amazing Birch.
“I think he`s a genius in his own right. The difference with him is he`s trying all the time to make something better. He`s trying to make the perfect guitar – the perfect instrument for anybody, not just one particular player.
“He can make anything you want, including the sound of the pick-ups. I tell him what sound I want, perhaps play him a record and tell him it`s something between that and this, and he can produce it. He`ll just keep doing it until it comes right.”
Birch doesn`t just make custom guitars for the stars. He also makes standard models that come off a small production line and are slowly finding their way into the musical stores.
When buying one, the customer, presumably for a fee, can request any adjustments he likes. Iommi believes Birch`s retail price for a production-line guitar is about £250.

“But people think they can get a Broom if they pay just that bit more… they think because it`s a Broom it`s got that much more in it. But it hasn`t. It fools a lot of people. If they would only pick up a Birch and feel the difference…
“Birch also has a different system for truss-rods that I don`t quite understand. And he sets all the controls in epoxy resin so everything is absolutely solid. Another nice thing is this plate right across the back so you can never scratch the wood. He only employs one type of timber now, too.”
Examining the guitar, it`s apparent that Birch has coated the fretboard with polyurethane varnish, sanding both fingerboard and frets between each coat. The result is a scalloped effect similar to that seen on some antique classical guitars which were originally made that way so that ladies would find them easier to play.
The guitar also has a virtually flat fingerboard; there`s no bevel to speak of – a feature that Tony apparently prefers.
“Nothing is impossible for him. It got to the stage where I was asking him silly things. Making things up like – can you build a little tape recorder in the guitar? And he would say: `Yes… yes I think that can be done if we…”
“He`s also got a pick-up now that`s two sounds in one. It`s got a switch to give you a different sound… He`s more or less built two pick-ups into one. He was even talking about building one to fill all the space between the bridge and the end of the neck. It would be so powerful and gutsy it would just blow the amps up. But this one is as near as damn it to the Broom sound I wanted – and he hasn`t ripped a Broom pick-up apart, he just knew what was wanted electronically.”

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The controversial LP-cover once made for the band Boxer.

I have personally transcribed this from the original paper. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of New Musical Express also contains articles/interviews with these people: Led Zeppelin, Queen, The Fania All-Stars, David Bowie, Sailor, Gay and Terry Woods.

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

1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 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.

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ARTICLE ABOUT Queen FROM NEW MUSICAL EXPRESS, February 14, 1976

This is a really good article about Queen, but at the end of it there seems to be some “filler” when we get an update on what Ian Hunter and Bernie Taupin is doing. But all that is fine when the rest of this is so good.
Enjoy!

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`I conquered New York in a maroon velour bath robe`

Actually it took a little more than that – like a satin jump suit slit two feet below the navel and four impressive Queen shows at The Beacon Theatre. Here`s the full story.

By Lisa Robinson

Things seem different this time around for Queen. No one has to ask who they are, there are even girl fans standing outside the entrance of the posh Sherry Netherland hotel where the band have a penthouse suite.
High-powered publicity people are taking care of the press, and an expensive party in their honour follows the first of four sell-out shows at New York`s Beacon Theatre.
And yet, once again, when Freddie Mercury and I sit down to do an interview, we both have the `flu. Even John Reid, manager of Queen and Elton John, can`t do anything about that…
“But last year, with our previous management, I couldn`t even talk to you in person,” Mercury laughed. “This year, I can at least sit up, and talk face-to-face… So that`s the difference.”
He coughed, seated on a couch, dressed in pink Biba (circa 1973) pyjamas and a maroon velour bathrobe.
Brian May also seemed a bit under the weather – but was fully dressed in a black velvet suit, having done an interview previously in the hotel dining room.
“There`s just so much to take in in New York,” said Freddie, explaining his touch of the `flu. Pressing further, I ask how much they feel their new management has had to do with their continuing rise: “Absolutely nothing!” laughed Freddie, then adds, “he`ll kill me…”
“I think it`s very hard to pin down, really,” says Brian. “We feel better. Some of the things that have come about because of John Reid have helped us settle down and finish the album.”

“It`s a whole new outlook,” said Freddie, “and certainly the new management has helped a great deal. It`s given us a release, and opened up whole new areas of thinking. We`ve done things that we wanted to do for a long time.
“And it`s just shown in our music in a way, and in the way we`ve come up with this new album… and subsequently it`s led to better chart places and sales… Things trigger off…”
What about the rumours of Brian leaving the band? “Oh, that,” May shrugged. “No, that was really blown out of… that happened a year before, it was never a serious thing. I got friendly with Russell and Ron Mael, live quite near them and we sort of got on well, and we talked of doing something together at some point. That was really as far as it went.
“It was at a time when Queen weren`t doing very much and they probably thought that I wasn`t doing very much but in fact it was when I was recovering from being ill. It was no big deal, you know; it was just a friendly talk. There was never any danger of my leaving Queen.”
“The only reason he`d leave Queen is to become an astronomer,” Mercury added, “not to join another band. My god” – he sneers.

“It`d be silly,” said Brian, “because we`re so fortunate in having this combination… and especially at this point when we`re just beginning to find ourselves. It`s all rubbish about that…”
Mercury: “Especially when it`s just starting to be fun.”
What do you mean, starting to be fun?
“Well, you know… we`re riding on the crest of a wave, and things have finally opened up for us. The rewards are finally beginning to show in the sense that we`re now being respected as musicians, and our songs are hitting the right kind of people. And that`s very rewarding.”
I wondered if, with the astonishing success of the single, as well as a worldwide prominence, they felt “respectable” in a way that had previously eluded them.
“We`d always had confidence in what we were doing,” Freddie answered, “and little things – like the press – didn`t really get us down. If it`s a bad review I tear it up.”
Brian: “It always hurts. I mean, even if there`s an audience of ten thousand and there`s one guy saying `rubbish`, it hurts.”

Queen performed at the Beacon Theatre here – four shows with about 3000 audience each night. Why not a larger hall?
“Well, all the places we`re playing are small halls that work well with the act at the moment,” said Brian.
“Instead of doing one big show we`re doing four small shows,” said Freddie.
How would the visuals change if there was one big show?
Mercury: “I`d just have to project further – grins, hand poised on his chest, which brings me to… ahhhh… his nails.
What shade of black is that? Black is really hard. You have to be careful… it can rot your nails.
“I know. I used to use Biba, but now I use Miners… do you know them? Do they have that here?”
No. How many coats to get it that dark?
“Only one,” he said, “and it goes on really smooth. Reminds me, I have to do them for tonight…”
We look over a photo of the group on stage… Who did your blouse, Brian?
“Zandra… I`d used some other things, but went back to her this time. I`m really pleased.”
“What about you, Freddie, are you changing clothes mid-show this time?
“I change after every number now,” he cracks. “You`re coming to a fashion show, not a concert…
We touch on the length of time the single`s been number one in Britain.
Freddie: “Slim Whitman in 1955 was Number One for 11 weeks… couple of others that have been eight weeks, nine weeks, but we`ve reached that, which in this day and age, I think is rather nice.”

Brian: “Once it got up there, and really caught fire, it just sold more and more. We couldn`t believe that people were still going out there and buying it.”
Freddie: “It sold over a million and a quarter in Britain… just outrageous. Imagine all the grandmothers groovin` to it.
“I think our music is becoming even more versatile, so we can please a pretty wide range of people. And the people who have come to see us, even in the few concerts we`ve done at home, have spanned a wide age group.”
Talking about “Night At The Opera” (record not film) Freddie explains: “Every molecule on that album is us, just the four of us, every iota. No session men, not for strings, not for anything… and we don`t try to reproduce that onstage, we present the music in a different way for stage.
“Sometimes we think about performing with more musicians, or a set… but at the moment, there`s just so much going within the four of us, that it would be a shame to latch onto something else. Because we haven`t quite burnt up our energies doing what we want to do now.”
“Maybe at some stage,” says Brian, “but at the moment the stage act`s evolved in its own right. It`s separate from the album. The songs are the same, but the treatment is so different, and that`s just what we do onstage. But for the moment it is what it is, this is not the time to do it otherwise.”

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David Johansen (New York Dolls) and Freddie Mercury

I`ll say Queen`s management is classy. I arrive (with a mild flu in the midst of a snowstorm) at the Beacon Theatre and, predictably enough, find two people in my seats.
No ushers to be found anywhere, and the huge men guarding the doors refuse to help. In the midst of my plight – for I am blind as a bat unless I sit up front – manager John Reid comes to my rescue. He manages to con the 7` 4″ black man at the door (after various red tape and approval) to help me get to my seat, accompanies me down the aisle, stands there while everyone in the row is checked out, and at last manages to evict the two who have obviously trespassed.
So… sometime after “Flick Of The Wrist” and before “Killer Queen” I sit down. Well, I thought, no matter how the concert goes, John Reid gets a rave review for his performance.
“HE`S THE SEXIEST THING I EVER SAW!!”, shrieked Linda Stein sitting right in front of me. “Oh my god…” I whisper to my associate, look at his… errr… “Socks?”, he asks, not hearing me properly because of the volume.
The object of these observations was, of course, Freddie Mercury, who had the audience in the palm of his hand. Dressed in white satin, chest exposed… a flash of Flash Gordon at the wrists, he was all over the stage, down the ramp (very showbiz), at the piano, and his voice was in total control in a theatre that has had its share of sound problems.
The crowd was completely hysterical with every number; “Prophet” featured a digital delay system that was dramatically effective for Freddie`s voice… technology is wonderful when it doesn`t enslave you…
At the end of that number a cone-like silver object with flashing red lights was lowered to the stage over the drums as the band went off… and when they returned Freddie was dressed in… a black version of the satin jumpsuit, slit all the way down to there.
They went straight into “Stone Cold Crazy”. Girls were literally screaming all around.

It`s easy to see why Queen have made it here; they combine a sense of the theatrical (without the outrageous gimmicks) of the biggest American band – Kiss; have a legitimate hard rock appeal – like Aerosmith; and above all, have the added aura of being a Big British Band with the respectability of musical complexity.
While some critics here find Queen pretentious, I thought this was a stunning concert; they have a keen sense of showbiz humour that saves their songs from being too heavy, and what they do is so extreme that it defines its own terms, sort of a baroque stage show.
Meanwhile, it was freezing in the theatre. Freddie sat down at the piano for “Lap Of The Gods”, and it was time for the smoke machine… This year it worked. I`m not a big dry ice fan, but this stuff certainly is a crowd pleaser…
The lights were lavish and spectacular. The audience, who`d been on their feet for the last few numbers, went beserk for an encore…
Billie Jean King (yes, the tennis player) was standing in the back of the theatre wearing a maroon sweater and skirt and a backstage pass… (I can already see the photos… Billie Jean and Freddie… King and Queen…)
Freddie came back for the encore in the flowing white satin Zandra Rhodes top… and then “Big Spender” with the strip tease… no doubt about it, next time Queen`s here, they`ll be in Madison Square Garden if they choose to.
(I later found out that the band were annoyed because the flashpots didn`t go off: “It looks like the whole stage explodes,” Reid said, and Freddie laughed. “Every time you come and see us something goes wrong technically. Last year, the smoke machine, this year, the flashpots. Come and see us tomorrow night, it`ll be so much better…”)

At Le Pouilailler, an elegant restaurant near Lincoln centre, a magnificent buffet is set. Bottles of red and white wine are on the tables, and the bar is open and well-manned.
The party for Queen is being held in this welcome contrast to the blizzard raging outside; and everyone is here.
Bernie Taupin, Ian Hunter, Todd Rundgren, David Johansen, Ahmet Ertegun, David Nutter, John Reid, Clive Davis, Mel Posner, Steve Ross, (all the WEA brass), press – including Punk Magazine! – Paul Drew (important radio programmer who was recently slapped by Bette Midler when he told her he didn`t like her record…), Ron & Ellen Delsener – celebrating their 10th wedding anniversary, Renee Wexler, Connie Pappas, Billie Jean King, Frankie Rudge, Joe Armstrong, more, more, more.
Freddie, Roger and John arrived late, seemed tired. Brian didn`t come, he obviously was hit with a serious sore throat.
Freddie, after having a thousand photos taken (with Billie Jean King, etc. etc.) finally sits down, eats some food, throws some food at – I think – David Nutter who is wearing a Stevie Wonder backstage Madison Square Garden button on his lapel, chats with David Johansen.
We all talk about Bowie (“Send him my love,” Freddie instructed), Robert Plant (“I know he`s said nice things about me but you know, it`s really true – he always was my favourite singer,” said Fred), everyone called everyone darling and it was one of those very successful New York parties.

Ian Hunter talked about his new album: “It`s called `All American Alien Boy`, I think, and it`s amazing. I thought it would take two months to do and it only took 24 days, mixing and everything… Chris Stainton played on it with me, but he didn`t produce it. People think that, but I arranged it, wrote everything and produced it.
“I think it`s gonna surprise a lot of people, and I know that some people will think it`s a heap of shit because it`s very heavy. There are cuts on it called `Apathy`… `Religion`… no rock and roll. I had too many cuts for it so I eliminated the rock and roll ones… But I`m really writing well, and the musicians on it are incredible – David Sanborn, Cornell Dupree, this great guitarist from Reno who used to be with Edgar called Jerry Williams…
How`d you get them all together?
“Money.” He laughs.
As for missing England, Ian`s American wife Trudy says she misses it more than he does. “I had to come here to write,” claims Hunter. “I was just fresh out of words there; I needed to come some place where I would have new inspiration for lyrics.”

At another table Bernie Taupin talks of his solo album: “Oh, it`s really a good laugh,” Bernie smiled, “it`s like Bernie Taupin at the bar. The name? Well… I think it might be `Bernie And The Jets`… I`d really like to use that. And I do all these versions of other people`s songs – `Let It Be Me` with Phil Everly singing on it with me. It`s really corny, they`ll love it in England. And `Cryin Time`, Ringo sings on that with me.”
As the party ends, Freddie and I discuss a story that ran here about him. An amazing Hit Parader writer named Josephine Mori had written a piece on him that was, to put it mildly, euphoric.
Speaking of sphinxes… he was a Creature to me… a 70`s minotaur, half pop artist half Arabian Knight/Night (K or N optional with reader) – an impossible combination, like singles charts and scimitars, that somehow he could make work, the way he made another impossible combination the ether of Faerie and the heavy metal of rock music, somehow work. In a sense he was no more “real” to me than Scheherezade or the Big Bad Wolf… though in my fancy at least, he might well have been a bit of both.”
Hmmmmm… the Creature that Captured New York…

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I have personally transcribed this from the original paper. If you have a music-related web-page where this fits  – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of New Musical Express also contains articles/interviews with these people: Led Zeppelin, Tony Iommi, The Fania All-Stars, David Bowie, Sailor, Gay and Terry Woods.

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

1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 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 Robert Plant (Led Zeppelin) FROM NEW MUSICAL EXPRESS, February 14, 1976

I`ve said it before and I`ll say it again: I really like the way this journalist let the interview objects speak to us readers without a lot of interruptions. Even if there is a lot of talk about corners at the end of this.
Have a good read!

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Sensitive Plant pines for British soil

And occasionally New Jersey Shoulder to cry on by St. Laurent of Paris

Reporter: Lisa Robinson

Robert Plant was acting like he didn`t care.
But when I started to tell him what Mick Jagger had said about him, I detected a strong glimmer of interest in his eyes.
“Mick`s been so nice,” Robert said.
He brings you up all the time, I insisted, in a pleasant chiding way of course, things like “should I get a tambourine like Robert Plant.” And more in that vein.
“Actually,” says Plant, “I remember talking to Mick at the Plaza one night, about the sort of separatism, or lack of communication between one rock band and another.
“You know in the old days there was a constant sort of jousting for position, a definite ego number that was apparent all the way up to a certain point. I guess I realized talking to him that there isn`t all this clanship and unity between bands in this rock and roll scene.
“Then, when this accident happened, there was a giant rally round from a lot of people who I never think of that often, you know?
“Wishes and regards sent to Maureen, to us both. From people on all levels of the business, you know.
“It was a really great gesture, it brought a new validity to it somehow, just a great surge of energy. Just at the time that we were both pulling out of the worst of the accident. It was an enlightening thing.
“Maybe in times of need you do get this sort of camaraderie…”

It is obvious that the near fatal car accident suffered by Robert Plant and his family last summer in Greece has affected his life profoundly.
Whether he talks of Led Zeppelin, their new album “Presence”, possible plans for touring, or his wife and children, an awareness of what life means to him since that experience is always at the very front of his mind.
Discussing his “tax exile” status Plant was bitter. Then again, he related it to his situation.
“I really cannot believe the criticism that I`ve had hurled against me, the remarks made by people about leaving my wife when she was in hospital… all that. It`s a very sad situation, you know, to have to leave one`s own country for the sake of money.
“It makes good sense, obviously. That is the motivation for 99 1/2 per cent of the people who have done it. With me well, not only did I want to preserve some of the reward for what I`ve worked like hell for – what I sit racking my brains to try and create – but it was almost the principle of the thing.
“The government in England is almost saying, `Well, never mind, they`ll come back you know… they`re English and they`ll come home`.
“And the loneliest times… just to know that you`re a prisoner… it`s really more sad than any accident to be thrust out of your own country. If the government tried to work out a reasonable deal… but they`re adamant, and sure that `they`ll come back`. And they`re damn right… the number of times we have come so close to getting on a plane and going home. The spirit of Albion is really imbedded in everybody`s soul.”

Robert talked longingly of his farm: “That little farm is a lot of my life, and so are the two little seeds that run around it. So those are the saddening moments… but it really is the principle. If the government could lead a renovation, under reasonable terms I`d have no qualms about going back and saying okay, let`s make a deal. And I know everybody else feels the same. But it`s just this attitude of gotta get it all, gotta fill me pockets. Which is not where I`ve ever been at despite a few rather uneducated people commenting that that is all. So…I suppose when I do go home it`ll be Hallelujah and I shall kiss the soil again.”
The last time Led Zeppelin “performed” anywhere was in Jersey, at an impromptu gig egged on by Bonzo, and Plant says it was great.
“You see the possibility of playing and who can avoid it, you know? It was like rock and roll night at this dance hall that was like some place ten years gone by, in the best old English tradition.
“Guys with dickey bows and evening jackets ready to bang your head against a wall if you stepped out of line, and chairs and tables lined up in escalation. Chicks wearing suspenders and stockings and a lot of rock and roll.
“Bonzo said `C`mon man, let`s plan on going`. And I said, `look man, I can`t even walk for God`s sake, don`t embarass me. I can`t hobble across the dance floor and onto the stage.” He said we`d go through the side door and then up the back steps. And with amazing grace, that`s what I did and I found myself plunked on a stool. But I really was shy.

“Every time I went to hit a note, I stood up. Not putting any weight on my foot, but just sort of standing. Oh, there were some great photos.
“You know these guys in holiday areas with the cameras who come and take your photo and then you have to call midday the next day and show up at the pier where he will present you with whatever snaps he took the night before, and you find out how silly you looked or how drunk you in fact were for an extortionate price?
“I gave the guy a free hand to shoot like crazy, you know… shoot all these shots of Led Zeppelin in this antiquated ballroom, you know, backing this pianist. And we never even announced it. It was such an exciting experience, nobody even sat down. It was just rock and roll, but in the most basic sense of the word, it was great.
“Of course,” he continued, “I made sure that I sat almost behind Bonzo, wedged between the drums and the piano… but then I found myself edging forward just a little bit. Then, after the third number, I was wiggling the stool, past the drums and further out, you know. And it was like another flash of white light. It was great, really good. Except for we wouldn`t stop playing. They kept flashing the lights inside the place and really like, `Get them off the stage now, they`ve done enough`.
“I just talked to old Ralphsie – Mick from Bad Company – and they played the same gig.
“So this tiny weeny little dance hall is getting the pride of English musicianship for nothing. Just for the hell of playing, you know.”

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Talking about how Zep came to do their new album in a mere (count `em) 18 days, Robert recalled: “I moved to Sunset Strip because the trek to rehearsals from Malibu was a bit long. And I got bored with the Hyatt (Hotel) in a shorter amount of time than it normally takes, so I knew I must be getting better.
“Then I hopped on a plane and went to Germany. After getting used to it, the studio turned out to be okay, and as soon as we came to an understanding with the machinery and the equipment, we were off.
“I think we only went out twice; we were really too tired to do anything but put our heads down. It was like 14 hours a night, 18 days.
“Jimmy worked like a Trojan, no two ways about it. It`s his energy that got this album together so quick. I mean I was not really in any physical condition to hop around with gusto inspiring the situation greatly… although I was surprised the vocals were so good. The lyrics were coming thick and fast, presenting no problems at all.
“I had no second thoughts about the lyrics, they were all reflections on the time near and before the accident and that time afterwards, that contemplative thing, so I was very determined lyrically and vocally, but Jimmy put his energy into it. He worked so hard, and the guitar playing on this album surpasses anything I`ve heard for ages and ages. Brilliant, so much life in it. It`s like hallelujah and we`re back.
“There`s one song called “Achilles Last Stand” – you know, immortal but for the heel, or for being a heel, I don`t know which. No, I mustn`t joke about it, because I am very proud of it.

“There`s one song I wrote when I was very sad and missing Maureen in Malibu, and it`s very personal. You know times go very slowly when you get up every day and you can`t even kick a ball… run and kick a roadie… even kick your drummer. So time has been the teacher and I`ve been the pupil.
“Whew, that was heavy, did I really say that?”
`Fraid so, Robert.
“It`s hard to find the words to say it, but the whole experience of doing that album was very inspiring. It`s come from a different corner altogether of us, I think it`s come from that corner called survival.
“The only time that I wondered that it might not be there anymore was because of the physical. Only because there was a time when my soul was so covered by that cloud that I really didn`t know… what`s the point… but that only lasted a few seconds every day until it finally wore off. I mean I believe that we could start another album right now. Three weeks is amazing to record and mix and walk away.”
We change the subject – the Zeppelin movie. Does Plant have aspirations to the silver screen? The next Roger Daltrey?
“To be quite honest, I don`t think that I could… I mean for us, with that movie, it was basically the gig that was filmed…”
But what about the other stuff? You riding around on a horse and all?
“How dare you… me riding around on a horse… what do you think I`m doing, advertising men`s hairdressing or something like that?”
Sorry.

“Well… if I act onstage, I mean it`s not a sort of dance macabre, it`s not something premeditated. It`s just an extension of me, you know. But the whole process of being involved in any sort of serious filming bores me to tears. I mean just seeing those clips, adverts for films here makes me think. When we deliver something, we do it with as much as we`ve got. If we sink to the floor after that next note, or get dizzy reaching such a high pitch, or all the dogs start barking in Brooklyn… you know, only they can hear it folks… But you know what I mean, just to sort of waddle around with a script in front of a camera, I couldn`t possibly do. The interjections between the music on the film are just enough to give it the relish it requires.”
As for future plans, Plant said that he didn`t think Zeppelin would be doing anything on our shores for at least twelve months once he was able to go back home.
Really?
“Well, as much as I can be on the road ad infinitum, I really can`t be without Maureen and the kids and the farm and that whole thing back there which I love. I`ve really got to go back. I`m not at the sort of desperation point, but it`s only fair to tour when you`ve had a lot of that which inspires you to lift yourself above… You`ve got to go home to get a little bit of fire in you to go back again. It`s like going back to your corner.”
How long?
“Well, who knows, you know. I mean I`d been away a year when I went home. I was so pleasantly thrilled and intoxicated by the atmosphere and everything. It must be the same for everybody, it must be the same for Mick, for Elton. You can only come out of your corner giving something wholesome and brilliant or good or whatever if you`ve been back in your corner to sort of shuffle around and sort of fire yourself up again.”
Twelve months?
“Well, you can look at it two ways. You can say that, but then you can say is twelve months long enough to be at home after everything I`ve been through? I could do with just sitting down with my family and just thanking the gods that I`ve got one, that I`m part of one. That doesn`t mean that I`ve lost the grease at the bottom of my shoes, it means that I`ve got to go back to my corner for a little while.”

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I have personally transcribed this from the original paper. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of New Musical Express also contains articles/interviews with these people: Queen, Tony Iommi, The Fania All-Stars, David Bowie, Sailor, Gay and Terry Woods.

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

1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 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 Black Sabbath FROM NEW MUSICAL EXPRESS, January 24, 1976

This article can be difficult reading in parts for those not so familiar with English slang. This is the sort of review where you`re not sure if he slags the band off or if he really likes them. Make up your own mind!

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OWOTTA LARRFF

Black Sabbath
Hammersmith

By Charles Shaar Murray

The bastards weren`t loud enough!
Not even halfway loud enough. No right-thinking individual can get off on the Sabs unless they`re loud enough to make yer braincells seep out yer ears and run for cover in the warm safety of your trouser pockets.
You need to feel as if Geezer`s sproinging away on the coils of your cerebellum while they`re connected up to a light socket, if you wanna get technical about it. Simultaneously Tony Iommi`s got to be heaving giant slabs of semi-sentient guitar gunge around just behind your eyelids and Bill… well, Bill`s probably out the back smashing his way through a brick wall by the simple expedient of hitting it with his head, while Ozzie caterwauls about something or other in a locked basement.
That`s the way yer real Sabs conna sewer likes it.
`Cuz when it ain`t that loud, it becomes uncomfortably apparent that Black Sabbath are one of the dullest gaggles of clowns ever to haul onto a stage (Ozzie, this means you, schlubbo. Do you know what you look like in those trousers?) Luckily I gained access to the photo pit after about twenty minutes of the set and was thus able not only to see the boys close up to hear the music at a decent volume.
I really enjoyed it after that.

There was some horrible object tricked out like a giant seashell with a cross on it behind Bill Ward`s drum kit. Their S. Pokesman told me that Bill had recently delivered a jest (larf a minute, Bill is) about how they were gonna sell it to Blue Oyster Cult after the tour, but Blue Oyster Cult are American and therefore have much better props – not to mention better costumes. Just wait`ll you see Ozzie`s outfit.
Larf? I thought I`d never start.
Lessee now – they did “War Pigs”, “Children Of The Grave”, “Snowblind”, “Iron Man”, “War Pigs” – `ang on, I think I`ve already mentioned that one – “Sabra Cadabra” and lots of other good stuff. Geezer and Ioomi had the equivalent of six Laney 200-watt stacks each piled up into a neat little battlement across the back of the stage (but it still wasn`t loud enough) and Iommi was playing a really nice John Birch guitar with little crosses inlaid on the neck. Couldn`t see much of Bill, but he kept knocking his cymbals over so he must`ve been having a good time.
Once you`re in a position to get yer cortex shook, you can just settle down and groove while the band lumber around grinding it out. Occasionally they stop so that Tony Iommi can look pained and blat out one of his patented fast bits. The hall-mark of an Iommi fast bit (to use the technical term) is that it doesn`t really fit into the band context so “Sabba Cadabra” (the number into which it`s usually slotted) has to crunch to a halt while he jabbers away at Velocity Mark 10 for a few minutes.

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Ozzie looks great. He`s got this yellow T-shirt with a glitter V on the front and fringes on the sleeves and the world`s most ridic trousers. They`re tight around the ass (bad move, Ozzie) and baggy round the crotch (no Freddie Mercury I`ve-got-the-whole-world-in-my-pants tactics from these boys) and show his navy-blue underpants off to excellent advantage. They also clash exquisitely with his knee-length blue platform boots.
All joking aside, folks, I really like the Sabs (`specially when they`re really loud).
Most people I know who don`t like them generally make the mistake of taking them seriously (or trying to) and failing to get off because the whole Sabs trip is so patently dumb. The trick is to regard the whole thing (performance, audience reaction etc) as a huge joke mounted especially for your amusement and then (provided it`s loud enough) you can have a wonderful time.
I mean, what other band can provide a moment when their entire audience howls the word “Paranoid!” as loud as they possibly can? That`s always worth the price of admission by itself.
The food was unspeakable.

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I have personally transcribed this from the original paper. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of New Musical Express also contains articles/interviews with these people: Alex Harvey, Elvis Presley Fan Club Convention, Lou Reed, Howlin` Wolf, Hot Vultures, Aerosmith.

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

1. Send me an e-mail, if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 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 Aerosmith FROM NEW MUSICAL EXPRESS, January 24, 1976

Lisa Robinson is pretty much spot on in every way in this article. I like the style of writing and it is a good,  honest interview with comments that gives more insight for the reader.
Enjoy this piece with a band on the rise in early `76.

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Steven Tyler feels like an old shoe…

A band called Aerosmith are currently America`s second hottest act. Is this an acceptable state of affairs?
Lisa Robinson reports.

The girl sitting next to me in the 747 out of New York for Los Angeles grabbed my arm excitedly. “Guess who`s on our plane,” she gasped… “Mick Jagger!!!”
Oh no, I thought, as I turned and, predictably enough, saw Steven Tyler settling into his seat a couple of rows back. What a perfect beginning for my piece on Aerosmith. Except that it`s too perfect… no one will ever believe me.
“You know what really pisses me off,” says Tyler later, as we somewhat drunkenly chat our way to L.A., “… this bit about me and Jagger. I don`t know, I guess I do look like him from far away, but I don`t see what that has to do with anything. I mean, for a writer to compare us… they must have nothing else to write about.”
Aerosmith (Tyler on vocals, Joe Perry lead guitar, Brad Whitford guitar, Joey Kramer drums and Tom Hamilton bass) have been together for some five years, have racked up one platinum and two gold albums (respectively “Toys In The Attic”, “Aerosmith” and “Get Your Wings”) and are currently one of America`s hottest rock properties.
And although some people in their own country may still wonder who and what they are, it`s a fair bet that they`re outselling the Bruce Springsteens of this globe hand over fist at the disc department. Then again, especially when it comes to frontman Tyler, if the men don`t know or understand, the little girls sure do.

For a while now Aerosmith have been proving themselves capable of selling out the larger venues across the U.S.A., and one remaining semi-hostile territory fell victim to the band`s charms when at a Madison Square Gardens gig with Black Sabbath the New York audience rose to them with rousing acclaim.
The party at the St. Regis Hotel following the Garden gig featured the usual clutch of New York writers hovering in attendance, and was notable for the amount of Columbia Records top brass on view. Columbia (CBS in the U.K.) know when they`ve got something hot on their hands. President Irwin Segelstein, wearing a suit, headed the record company entourage, mingling with radio promotion men, and assorted relatives of the band – all posing for the mandatory bar mitzvah photos with their respective kin.
Oh, and also Linda Blair (she of gossip columns everywhere since “The Exorcist”). Success??
“Oh listen,” says Steven Tyler next day on the plane, “I know what people are going to make out of that. I can see it now, but Linda`s really pretty cool. I liked her. She`s actually pretty smart and she knows what she`s doing.”
Chitchat aside, we get down to what I expect to be a serious discussion regarding Aerosmith, but Tyler has other plans.
I ask why he got involved with rock`n`roll in the first place.

“Tits, sex, cars…” He laughs. Finally – an Honest Rock Star???
“Well seriously, that is a part of it… but you can`t just write that. I used to have a good time on the road, but I got the grunt twice so I kind of have to lay back. I don`t have that much fun on the road anymore.
“You know, I`d like to ball everything I see. Well, not everything but at least one a day. But, since I had the grunt twice, I have to be real careful. So where`s the fun anymore?”
He pauses, then warms to the subject. “I`ll tell you what`s fun. It`s finding the right stewardess and having her take you to the back of the plane… It`s the greatest… just the very fact that you might get caught. That`s the extent of our fun on the road – waiting for it to happen, waiting for it not to happen.”
Uh, but the music? You know, chords and all that?
“Yeah, well it`s like writing a song – it`s the same thing. You hear what you sat down and tinkered with at the piano… coming through all those amps. You know… the whole building to a climax bit.
“It sounds like I`m pushing a sex number here doesn`t it?” Tyler laughs.
He changes the subject: “The people who consider us an overnight success… hah. All those people who didn`t believe in us at the beginning, we had to take more shit. Overnight success, indeed. I really hate a lot of those people, and there`s no way I can get back at them.
“But the kids know.”

Aerosmith are your basic rock `n` roll band; a bit of boogie, a little blues, garnished with vocal harmonies. The presence of a Charismatic Lead Singer also helps. Detractors have said that they`re doing nothing special other than persist. If that`s true then you would have to concede that they do it with more style than most.
The band in its present form was started in 1970 by Joe Perry and Tom Hamilton in New Hampshire. Steven Tyler, who had been in some bands previously as a drummer (The Chain Reaction, The Left Banke… Boston bands during that period of the “Bosstown Sound”), went to New Hampshire where his parents own a resort, “Trow Rico”, and joined up.
They added Brad Whitford on guitar, and decided Tyler should be lead singer. The line up was completed by Joey Kramer on drums, an old school friend of the vocalist.
Tyler claims to have listened intently to New York radio stations during his formative years, and to have used his findings as a basis for current Aerosmith material.
Finger on the pulse of teenage America, eh?
“Well, I remember the first time, I think it was in Boston, when I came out onstage and it really clicked. I knew… I knew the kids were digging what I was doing.”
Which is what? Why is Aerosmith so big??
“I can`t answer that. I can say that I think we`re really rocking out, and nobody else is doing that.
“People are getting dressed up for a masquerade, doing this, doing that… but nobody`s really going on and rocking out.”

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Aerosmith have been rocking out on the road for the better part of the past three years. Steven claims that he flies nearly every day (he even has to put three coats of moisturizer on his face to prevent in-flight skin dryness and eventual crows` feet) from one gig to another.
A recent “vacation” allowed them two weeks off to return to their homes around Boston and play with their cars. “Sometimes I think this is ruining me,” says Steven. “What… No, I don`t want to get married and have kids?? I`d make them insane, the way I`m living now. But I definitely want a little me – before I get too messed up. Because I sit in front of a colour TV, I listen to all that noise, and God knows what the decibel level onstage is, what that`s doing…
And what do I eat on the road, you know?” he looks worried.
What do his parents think of all this (Mrs. Tyler was in the front row at the Madison Square Garden show)?
“She loves it,” he smiles, “she`s always on my side. I said to her – this was way back then, just to show you what an asshole I used to be – `Mom, we`re gonna have to move out of this house, kids are gonna be all over the place`…
My father is a professional musician, he`s a piano player, teaches, plays classical. I grew up on piano, and so the whole thing came natural. It was easy to get involved with music for me.”

Discussing their albums, Steven asserts, “Everything we did, everything we`re doing, is on that first album. The last one is very smooth, the edges are all cut out, but we`re not a band that puts tracks over track, you know? Bob Ezrin heard our first album and thought we needed a lot of work. Which we did, but dig it, we`re honest. And I`ve heard from so many people that they dig our first album better than the last one, just for that very fact.
“I miss playing instruments very much… I play on the albums, a little guitar, drums here and there… but I definitely miss that when I`m touring. It`s something to do. There are a lot of dead spots up there onstage, so I just hide behind my scarves…
“It might be a little more fun if things weren`t so hectic. If we have more time to cut more albums… maybe do something live, and then really take off.”
Take off… time?
“No, take off in whatever direction.”
We`ve only picked at the lunch that`s being served, but the stewardess tells me later how impressed she was at Tyler`s politeness. “They`re usually not like that,” she confesses, and I assume she`s talking about rock stars in general.

Steven appears nervous about flying. “Hey – when is it going to happen?” he asks philosophically, “I`m on a plane every day for three years… that`s why I keep a tape recorder with me at take-off and landing. I have my finger on the button, in case my last words have to be on it.”
The jet lag has taken its toll, and although we`re supposed to finish the “interview” over dinner several hours later, neither of us is really up to it. We sit overlooking Sunset Strip, and neither of us feels like eating.
Aerosmith are due to headline at the L.A. Forum (18,000 seat capacity, sold out weeks in advance) the following night with Mott and Montrose on the bill, and Steven is exhausted already. He picks at a salad, then asks them to wrap it up so he can take it back to the hotel.
“I feel like an old shoe,” he says…
“You know, sometimes I`ll be looking out at the audience and I`ll be in the middle of a song, and I`ll just stop dead. I`ll look out at them and I`ll think… what is this? There`s one thing that keeps me doing it though: I really love it. I believe in it.”
There was something about Aerosmith at the Forum that next night that reminded me of Led Zeppelin. That band came here in the late 1960`s, played what was described as “Heavy metal rock” and nobody understood what was happening.
Nobody, that is, except the kids.
Zeppelin built a huge following… a huge following, by merely rocking out. And in these days of manufactured pre-packaged rock muzak, there is obviously a growing number of kids tired of the “laid-back” harmonies that have characterised recent American rock.

Aerosmith really has nothing to do with any Jagger/Richard – Tyler/Perry comparison, and name calling (as in “derivative”) is beside the point.
They do what they do well, they`re the second biggest rock group in America today, Steven Tyler knows what to do with a microphone, and the more I think about it, it`s very similar to what happened with Zeppelin here first time round…
And so – the Hollywood party after the Forum saw the whole L.A. sleaze/scene out in full force. Steven Tyler stood with his lady Julia and just winked. Joe Perry sat down with his wife, Alissa – who looks 18 and is extraordinarily attractive – and the whole band just looked generally tired.
The next day would take them to San Francisco, Seattle, Portland, one of those “quick West Coast jaunts”. But the highlight had to be the Forum – you don`t sell out California`s prestige arena as fast Aerosmith did and not get noticed.
Persistance, youth and attrition among the front runners, rather than any distinctive musical style or extraordinarily exciting image, seem responsible for the continued prominence of Aerosmith in the heart of the teenage rock audience, which has apparently transcended the threshold of boredom.”
– L.A. Times review of Forum concert
I seem to remember reviews like that years ago… The Who, Stones, Zeppelin. You name them, the list goes on. And still, as I said, the little girls know…
Aerosmith should be somewhere near your town for their first-ever U.K. tour in April, 1976. You can decide then.

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I have personally transcribed this from the original paper. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of New Musical Express also contains articles/interviews with these people: Alex Harvey, Elvis Presley Fan Club Convention, Lou Reed, Howlin` Wolf, Hot Vultures.

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

1. Send me an e-mail, if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 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.