Month: June 2017

ARTICLE ABOUT Phil Collins (Genesis) FROM SOUNDS, March 13, 1976

Just as the NME did, the music paper Sounds also had a regular column for the musicians out there. The column that Sounds did were named “Blowin`” and it is from there this article comes. One for the drummers out there, and especially those of you trying to emulate Genesis. Here you have the name and the size of Phil`s drums! Not too much tech-talk in this one, so it should be readable for other people too.
The journalist, Dave Fudger, also played bass for the punk band Snivelling Shits – a band that also had a couple of his pals from Sounds playing in it, among them a certain Mr. Pete Makowski. Great name for a band by the way!

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Which xciting, xtravagant, xtremely x-rated, xquisitely xtroverted band sends you into flights of xtasy?

By Dave Fudger

Phil Collins, not content with being the rhytmic mainstay and now vocalist/frontman with Genesis, likes to spread his talents around. While the world was chewing its nails in troubled anticipation of the future of the band after Peter Gabriel`s departure last year, Mr. Collins was busy.
From the summer up until November Phil`s wide percussive talents were being applied to eight albums including the new Argent album, Eno`s `Another Green World`, John Cale`s `Helen Of Troy`, `Peter & The Wolf`, the Tommy Bolin album as well as `Trick Of The Trail`. He also contributed to two film soundtracks – one, `Operation Daybreak`, is currently doing the ABC circuit.
On top of all this stuff, apart from rehearsing the new four-piece Genesis he has been taking out on the road an adventurous instrumental jazz-rock combo, Brand X, which demands from the man a totally different role from his part in Genesis.
Collins names influences that include Billy Cobham, Harvey Mason, Steve Gadd and Tony Williams. These influences are amply evidenced in the exciting direction that Phil`s playing and the music of Brand X are taking.
Phil explains the cause and effect of his `other` full-time musical departure:
“Well it started around Christmas `74. A friend of mine who was working at Island Records at that time said to me `Do you want to come down and have a blow with a group? They need a drummer,` and I wasn`t thinking of leaving Genesis, really. But I wasn`t pushing myself with Genesis like I wanted to and this seemed like a good idea.
“So I went down and had a blow with the guys.

“At that time it was a five-piece group and the drummer would have been the sixth guy. There was a singer who played percussion, two guitarists, and a keyboard player and myself; oh, and Percy on bass. They were basically doing songs, funky songs, and they had a deal with Island Records and I started having a blow with them and it really worked well.
“We got together quite regularly to rehearse, to do an album. They knew that I was in Genesis and they knew that nothing could really come of it.
“Anyway, we made this album and the backing tracks were great but I don`t think that Island really liked the vocalist. He`s a friend of mine and I don`t want to say too much on the hard side about him but he was probably the weak link in the group.
“Island decided not to release that album, so we decided to go back and write some more material. But at this time there was a split in the group. There was the four of us who are now in Brand X veering towards the more instrumental, adventurous things and Pete (the old second guitarist) and Phil, the singer they wanted to write songs.
“I think basically we`d like to be thought of as session musicians that come together as often as possible, but it has to be fitted in with the Genesis commitments.”

I put it to Phil that when this interview was originally mooted his publicist, to give weight to the idea, proposed that Phil was in fact playing in two full-time bands prompting visions of Mr Collins tearing from Genesis gig to Brand X gig.
“Well I am in as much as when Brand X is on the road it`s full-time. Genesis, since November when we finished the album, have been pretty inactive. We did a few weeks rehearsing, for the tour, in January but apart from that and a few press things there`s been a bit of inactivity. So at that point we decided to get a few Brand X dates in.
“We`ve done about twelve dates, I suppose. But we won`t be playing again until May. The band, God willing, will stay together. Percy, Rob and John have got things to do while I`m away with Genesis. They`ll write some new material and providing the album comes out we`ll record it, in fact we`ve got most of it already.”
Anyone fortune enough to have caught any of Brand X`s gigs will have heard this new material which for the uninitiated will come as quite a surprise as it`s just about as far from Genesis as you can get – tight, punchy jazz-rock instrumentals, leaning heavily on Percy Jones` fretless bass mastery and Phil`s high-speed precision to cue the changes in the arrangements.
Being essentially a non-vocal concept Brand X is a far more rythmically based operation than Genesis and consequently Phil utilises different technique and equipment with the band to the requirements of Genesis.

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“Well, I think with Genesis in the future I`m going to keep it as loose as I do with Brand X, in terms of what I use. I`ve got two kits – one is a Premier kit and the other is a Gretsch kit. The Premier I use for stage work with Genesis. It sounds good but the Gretsch one I feel more personal with and so feel more at home with it on music that is more experimental.
“The Premier kit is the Kenny Clare outfit which has got double shells and there`s a 20X15 bass drum, 14X5 snare drum, wooden, and 12X8, 13X9, 14X14, 16X16 tom-toms. On the Gretsch kit there`s a Gretsch 20×15 bass drum, a Premier 12X8 tom-tom and 13X9, 14X14, 16X16 Gretsch tom-toms.
“I`ve also got a custom-built perspex snare drum which is 14X6 1/2 which was built for a friend of mine. The cymbals, I`ve got a deal with Paiste and I`ve just recently got a couple of sets, but I`ve also got some old Zildjians so I kind of use what I feel like at the time. But I`ve got a range from the four-inch Chinese gong up to the 26-inch sizzle. So I`ve got a cross-section of the kinds of cymbals that I`m likely to need.
The pedals I use are Speed Kings. I`ve never used anything else. I`ve tried changing recently to something that I thought might be faster. I tried using these Japanese pedals which Percussion Services are changing to have chains on instead of the leather straps but they didn`t really suit me.
“I`ve been playing with Speed Kings since I was 15 and I changed to try and get better but I wasn`t getting any better. I`ve got Slingerland hi-hat pedals, which are the best that I`ve tried.

“The timbales that I`ve been using are Slingerland – a 13-inch and a 14-inch, and a 14-inch and a 16-inch Shaftesbury cos they`re the only ones that I could get that were that big. I`ve been trying to get someone to make 16-inch metal timbales because I reckon they`ll be incredible.
“I`ve got a lot of stuff from Premier. I`ve got a set of vibes and tubular bells – they`re very good, they`ve got a very good service. Premier had a sort of face-lift two or three years ago, and Eddie Haynes, who`s the promotions manager is very good.
“I use the Gretsch kit in the studio, and on the Eno album and all the Genesis albums. I`ve never had any damping on the kit for recording. The tom-toms are live, tuned really tight, and I`ve got the see-through heads, I used to use the black dot ones and I got hold of some that are completely clear and they sound like deep timbale which is the kind of sound I like. When you go round the kit when you do a roll they sound like a tuned instrument.
“So I just have the drums without any damping at all in the studio and that`s including the snare drum; the bass drum usually has something in it. The see-through heads are very bright and that`s the sound I like.
“I tend to throw myself around a bit more with Brand X but, with Genesis I`m more disciplined because there are things like `Reliant` where I have to do certain cues at a certain pace and it`s a different kind of game.”

With his changed role in Genesis, following the departure of Peter Gabriel, Phil will now have the responsibility of fitting another drummer into the established Genesis constitution.
“It`s hard really because some of the songs we`ve been doing for three or four years and it`s hard to imagine them in a different vein. We`re not really up-dating the old material apart from the odd rearrangement here and there. And whoever the drummer will be they`ll be left to work their own devices as long as it stays within a certain framework.
“I`m not trying to restrict anybody`s style but I want to have the feeling that I don`t want to have to get up there and do it myself and there are only a few drummers that I could let do it.
“I`m probably less bothered about playing drums all the time with Genesis now cos I do have sessions and I do have Brand X. I still want to be thought of as a drummer. I`m still going to be playing the more demanding pieces like `Cinema Show` and `Los Endos` from the new album.
“For things like that which are basically instrumental tunes I`ll be nipping back and playing my kit and whoever it is will be percussing or playing with me. I will be a front man but I want to do it in a drummer`s way not in a sort of sexy singer`s way.”

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. 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 Sounds also contains articles/interviews with these people: Evelyn Thomas & Ian Levine, Shaun Cassidy, Jimmy Page, Cate Brothers, Julie Tippetts, Adam Faith, Pat Travers, Yes, Jesse Winchester, Deep Purple.

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 Ian Gillan FROM SOUNDS, March 13, 1976

A really great interview with Ian Gillan this one. As a bonus you get a little talk with Roger Glover and you get to hear a little bit about that famous “man in black” Ritchie Blackmore.
Pete Makowski is another one of those journalists that are almost as famous as those people he writes about. Actually, when he writes about some of the newer bands, he may indeed be MORE famous than his objects.
He has written for, among many publications, Sounds, Kerrang, Metal Hammer, Q and Classic Rock. I guess he will be involved with that spanking new magazine called “Planet Rock” too! (I have bought it, not read it yet, but it looks terrific).

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Ian Gillan left Deep Purple to start a mini-cab firm but found that…

Rock and roll`s in Gillan`s soul

By Pete Makowski

“We all came out to Montreaux, On the lake Geneva shoreline.
To make a record with a mobile, We didn`t have much time.”

The immortal words above, as y`all probably know, are from one of Deep Purple`s most successful toons – `Smoke On The Water`. It tells the true story of the great Casino disaster which occurred when the band went to Switzerland to record `Machine Head`.
Apart from being a pretty slick crap joint, the Casino was also a highly respected European venue and was going to be the location the band were going to record utilising a mobile unit. I say `were` because just before they got there disaster struck.
It was on the night that Uncle Frank and the Mothers were playing there that, as the Purps put it: “some stupid with a flare gun, burned the place to the ground.”
“Smoke on the water, a fire in the sky!”
Purple ended up recording the album at the Grand hotel. The casino had to be completely rebuilt, which brings us to the story.

Montreux is essentially a retiring home for rich persons. Like Brighton only a bit classier. It`s a place where a millionaire can spend his last years in the healthiest of surroundings before pushing off to that great Swiss deposit account in the sky.
It`s also the home of the Montreux jazz festival which, so the city`s tourist officer informs me, is overtaking the legendary Newport jazz festival in popularity and repute.
Montreux is also now the location for a new venture. The Mountain recording studios which have been installed into the brand spanking new casino building and is run by Jack Grod and his attractive American singer wife Anita Kerr.
Although it started business last July in time for the aforementioned Jazz festival it celebrated its official press opening only a couple of weeks ago which is how I got there.
As it happened Ian Gillan and Roger Glover were present there at the same time on business. Gillan was completing work on his new album with Glover acting as producer.
Almost three years after the Casino incident the ex Purple vocalist and equally ex Purple bassist find themselves at the same location that acted as a catalyst for the album that broke Deep Purple worldwide. Could this be more than fate?
On with the story…

Since his departure from Purple, Gillan has remained fairly anonymous, apart from the occasional press release advertising his various new business ventures which included a motorcycle factory and a minicab firm.
There were sporadic reports of projected solo albums but nothing ever actually transpired and it seemed that we had lost our silver throated screamer to the world of high finance until one day, about a month ago, it was declared that Gillan was making his return with a new band and album.
Now it was obvious the guy really meant business!
Fortunately Gillan and Glover were residing at the same hotel as myself. Both parties had spent a heavy session in the studios the night previous to my arrival so I didn`t expect any contact with them until later that evening. Surprisingly enough Glover managed to submerge from his well-earned rest quite early on in the afternoon.
Since he left the ranks of Purple, Glover has involved himself in quite a lot of production work, so lack of sleep and late nights have become a part of his daily repertoire. Eyes glazed and looking generally fragile he ordered a pot of tea and we sat ourselves in an unassuming corner of the hotel lounge for a chat.

Roger Glover is a nice guy. He`s one of those people you could spend all night talking with about anything and everything. He`s a great observer of the music business and he`ll always have an interesting answer for any question you care to confront him with.
When I asked him what he had been up to over the last few months he revealed that the Gillan project has taken much longer than expected as there had already been one album recorded about a year ago.
“It was a good album”, said Glover, “but it was too much of a solo album and in the end Ian decided that he wanted to get a band together and he wanted to record something that would be much more representative of a band effort.”
Gillan and Glover have been close friends for quite a while now, even before their days with Purple they were playing together in a band called Episode Six. In fact it was the band`s drummer, Mick Underwood, who inadvertantly got Glover the job in Purple.
Glover explains: “Mick used to play in a band with Ritchie (Blackmore) and Ritchie phoned him up and said `we`re looking for a singer` and he said `why don`t you listen to Ian Gillan`. So they set up an audition and I used to write with Ian at the time so I just sort of tagged along with him `cause they were also looking for a bass player.
“They must have decided that it would have been a good idea to get two guys who had written together because they were looking for writers.”

I asked Glover how it felt to be producing an old colleague.
“It`s quite enjoyable really. I learned a lot of production from Purple. I used to do a lot of mixing with little Ian (Paice). The way Purple used to record was to do a backing track first then the vocals. Ian (Gillan) would get most of the lyrics together, but having done that he would be lost for an idea, so it would be the pair of us who would decide what`s to go on top.
“I virtually learned production by producing Ian. So doing it now in a way is almost like stepping back in the past.”
Has Gillan`s sudden revival given Glover any inclination to get back on the road?
“No, I`ve been through various stages of wanting to be back on the road. For two reasons, one because I miss the life to a certain extent for all the bad things you get on the road it is quite exciting. And the other reason is that I want to write in a group format `cause writing on my own doesn`t come out the same way. If I`ve got nothing to write for then I write rubbish. If I`ve got direction then I`ll drag something out of the depths.
“Looking at the economics of getting on the road and looking at the things I`ll have to give up I don`t think I want to go back on the road. Before Deep Purple I had been on the road since 1965 professionally, that`s a fair while.
“It was hard to settle down at first but now that I have settled down I find that I`m more creative in all directions. If I went on the road then I`d have to give all that up.”
Even without the roadlife Glover is one of those people who has an endless source of energy and channels it in as many directions as possible. Although production probably supplies a major part of his income (he also co-owns a studios in London with Gillan), he certainly has no plans to make a future out of it and still feels that his talents are more musically inclined.

He has already displayed his versatility with his musical interpretation of William Plomers book of poetry entitled `Butterfly Ball` which has already seen one extravagant charity performance at the Albert Hall. There are plans for it to become a cartoon series for which Glover will provide incidental music.
“What `Butterfly Ball` did for me was to make me strong enough not to reject my past, but not to emulate it. When I first did `Butterfly Ball` I thought what`s everyone going to expect of me? I`m not a household name I know. Everyone`s not going to be waiting for my album with baited breath to see finally what the master`s done. At the same time there is an awareness of me, somewhere along the line, and I don`t want to let people down.
“It took quite a few months for me to get the courage to say `I don`t care what the people are going to think I`m going to do it the way I see it right? Now whatever I do in the future I`m not going to care whether it`s rock or classical, I don`t care what it is as long as it means something that`s all that matters.”
At this point a medium sized figure wearing a grey army type coat, looking slightly unshaven strolls up to the table to greet us. Why, it`s Ian Gillan looking mucho less business like than indicated in recent photographs which showed him to be sporting a matching suit and paunch.

Next to him is a tall skinny guy with long black hair who looks as if he`s been on the road all of his life. This is John Gustafson and he probably has been on the road for the whole of his life. He is the bass player and vocalist with the Ian Gillan band.
The Ian Gillan band are as follows: Ray Fenwick (guitars), Gustafson (bass/vocals) and Mark Nussyef (drums/percussion) and Mike Maran (keyboards).
Both Gustafson and Fenwick are guys who have done excessive mileage on the road with musical histories as long as Elton John`s optician bill. The former spawning from the Liverpudlian scene playing in such legendary units as The Big Three and the Mersey Beats.
In recent years Gustafson has played with Quatermass a brilliant trio who almost achieved the recognition they deserved, and more recently he has involved himself in session work like Fenwick whose most recent success was in a band called Fancy who released a hotted up version of `Wild Thing`.
Nussyef is an American drummer, he`s also a tutored percussionist and has toured with quite a few bands including, believe it or not, the Velvet Underground.
All parties have been associated with Purple in the past. Gustafson played in a short lived outfit called Hard Stuff who recorded on Purple records. Fenwick has been involved in various projects on the same label including some work on Jon Lord`s concertos. While Nussyef played with Elf for a short while, playing on their last album `Trying to Burn The Sun` before they split up to become Ritchie Blackmore`s Rainbow.

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I introduced myself to Gillan and we arranged to meet after the studios reception (which I shall delve into at greater length shortly in the more technical pages of SOUNDS).
Later that evening…
Glover and Mac (all the way from Munich`s Musicland) set up the desk. Click! the tapes were rolling and the music began to surge out of the studios four powerful high quality speakers.
First impressions – the band sounded tight, straight to the point. Gillan certainly hasn`t lost any of his vocal form, he can still sustain his banshee screams longer than any vocalist I know. The album has more depth, light and shade than I expected with some very nice slow tempo material. There`s one number which Gillan shares some vocal
interplay with Gustafson.
The only song that registered with me immediately was an interesting new interpretation of `Child In Time` (which incidentally is the title of the album) which features some beaut soloing from Fenwick. It sounded like one helluva an album and an cassette version that`s been rolling on my machine since I got it confirms this.
The Ian Gillan band are going to be one shit kickin` band to reckon with and if they sound as hot as they do in the studio live will undoubtedly become one of the big bands of `76.
Gillan and I sauntered back to the hotel leaving Glover and Mac with the rest of the songs that had to be mixed, they had an early deadline to meet and needed all the remaining hours that were available.

Gillan, looking slightly worn, sat himself down and began to pour countless cups of tea as we both proceeded to stabilise our heads which were suffering from the evening`s celebrations. He had been out for a meal with Glover, they had been reminiscing the old days, toasting them with cognac coffees which took their toll, the mixtures of wine and spirit I indulged didn`t do me that much good either.
After being cut off from the music scene for so long Gillan seems to have renewed amount of energy.
“I`m like a kid again”, he announced with unhidden glee, “I feel like an animal”. Which is the exact opposite to the way things were when he left Purple.
“When I left Purple I was completely dissilusioned, I lost interest.”
“Do you want to know why I left Purple?”, he asked. I told him I thought it was basically through differences between him and Blackmore.
“No that wasn`t it”, he replied firmly.
“We did have our differences but that wasn`t it. In fact I`ve just spent a very pleasant weekend with Ritchie. I better get the record straight and tell you exactly why I left Purple.
“I left Purple because it was stagnating, that`s why Ritchie left Purple too. The Purple I was in got into a formulated pattern and it was great to start with but then it started to be like… it was nothing to do with people, it was like being in the civil service. I left Purple for the same reason I fell out of love with Elvis Presley when he left the army and started doing `Blue Hawaii`.

“I decided I`d never come to the point where I would have to compromise my artistic feelings, it was getting to the point where Purple records were being churned out. We started off as a progressive rock and there was no way we were a progressive rock band by `Who Do We Think We Are?`.”
Was this due to the output demanded from the band due to their success?
“No, I think it was laziness, fear. There was a difference in thought and attitude. There was a discrepancy in thought. I thought that `Fireball` was a great progression. After `Fireball` I felt we lapsed back into formulated music.
“Machine Head` was like harking back to `In Rock`, everything was the same formula. It was a shame really because there was so much talent in that band. I left Purple because I was bored, I was bored with the same old thing. I found myself pacing the shows.”
I asked Gillan what his immediate feelings were when he left Purple.
“Horrible, I didn`t even want to listen to their next album. I felt so horrible that I decided to leave, I refused to buy or listen to anything… I wouldn`t even turn on the radio. I think it was a bit of sour grapes actually, `cause I had been a part of it. I didn`t want to leave but I had to.
Was he wary of singing again?
“Yeh, there was no direction at all, like the first solo abortive attempt I recorded. That was two years after I left Purple. But then I started working with Roger and the band and it all came back to me just like that! I`m singing better now than i ever sang with Purple.”

Glover in fact played quite an important part in getting Gillan to return to the studios.
“I trust Roger implicitly, he`s forced me into all the good things in life.”
But what`s really given Gillan his confidence is the band who he can`t compliment enough. He even admits that at one time he thought: “I`d never be able to play with musicians of such high quality again… and I have!”
The whole band seem to have committed themselves fully to this venture with the same enthusiasm as Gillan, and you`ll be able to appreciate that fact when you hear the album which should be out at the end of February.
“It`s a fucking good line up”, said Gillan, complimenting himself for his choice.”
“They`re a bunch of shitkickers. John (Gustafson) is great, he thinks the same way as I do. He`s got a great voice, he pushes me.
“I`ll tell you an interesting story. There`s this song on the album called `Down The Road`. I sung that for about ten hours and I just couldn`t get it together. The other songs I did in one or two takes – great. Then Ray (Fenwick) said `why don`t you and John sing it together`. So we sang it together and did it in virtually one take. We drank twelve bottles of champagne, the two of us in about an hour and a half and the third verse sounds really drunk, it`s really great, way over the top. I`m singing `ahhhhh` with a really slow vibrato and John`s going `RAHHHHHHGGGG!!!` anywhere. And it came out really good. It means something. It`s in your stomach, not your hair. I`m not interested in head music. It`s shivers down your spine all the way down the line, that`s what influenced me.

“Listening to Jackie Lomax, The Big Three, Cliff Bennett a million other people, Jerry Lee Lewis all these people who shivered my spine when I was a kid, they really knew how to sing, really singing with power not just warble, warble, warble. I think that sensuality has so much to do with rock. One of the first bands I saw live was Screaming Lord Sutch and The Savages and the guitarist used to hold the axe next to his groin like a phallic symbol and I thought `wow, cock music!`.
“I like quiet music too, it doesn`t have to be raving, any sort of music that has earthiness to it. Even something like Solomon Burke`s `Down In The Valley`. And it`s sexual, rock and roll is very sexual, if music hasn`t got something that appeals to my animal instincts then I don`t like it.
“Anything that I record has got to have some earthy quality, basics, the lyrics on this album are all to do with sensuality, sexual connotations, everything is basic.”
A good description of Gillan`s music-basic, straight down the line. Having such a powerful line up around him is going to cause a lot of creative electricity. After playing in a band with as much individual talent as Purple Gillan obviously wanted equally potent musicians around him. I asked him if he liked competition in a band structure.
“Love it!” was the immediate reply, “Ritchie said to me, one day at the end of a series of rehearsals before Purple started going on tour, he came up to me and said `if you start putting on a good show, really doing well then I`m going to try and blow you out. That`ll make you do better and it`ll make me do better.` So me and Ritchie had a great threatening hold on Purple, the music never suffered. There was a great sense of competition between us.
“It`s the same with this band. I set the band up I`ve chosen the people I wanted and that`s it. I want them all to really entertain the people, I want them to come through. I don`t want people to just come and see me, I want them to come and see the whole band. And if anyone in the band starts to shine through then it`s going to make me work that much harder.”

Straight after the album`s finished the band are all going to meet up in Paris and begin rehearsals in preparation for their onslaught on the world. Gillan has already thought of some interesting visuals for the show, which I won`t reveal, but he basically wants to keep the whole thing straightforward, although he`s very concerned that the audience get their moneys worth.
“I mean, if we just played the music, then the kids could sit at home and listen to the album, they`ve got to be entertained.
“By now the Swiss birds (of a feathered variety) were beginning to chortle their dawn chorus (the bastard things get up at four o`clock in the morning out there) and we were slowly beginning to dissolve into our seats. Before heading for our sleeping quarters I finally asked Gillan about the re-recording of `Child In Time` the song that used to be a showcase for the man`s amazing vocal delivery.
“The reason I recorded `Child In Time` was because people told me it was a song that people would remember me by. Roger tonight said to me `that`s the best lyrics you`ve ever written`.
“I would say that `Child In Time` is a connection. There`s a certain amount of logic behind using it, because I suppose out of all the Purple songs, if somebody was to pick out a song which was my particular thing in Purple then I suppose they`d pick out `Child In Time`, `cos I suppose it was more me than anything else I did with Purple.
“I was listening to some of the tracks earlier today and the only connection between this album and Purple is my voice, `cause that doesn`t change… maybe it`s got a bit better since I left Purple. Ray doesn`t play anything like Ritchie, Mike`s keyboards don`t sound anything like Jon and the same goes for the rest of the band.
“The whole sound is different, the whole attitude and approach is different. But you`ve got that connection, a link. So when I make my re-entry which is what it is after two and a half years since leaving Purple for those people who would like a link, something to relate to, then that song is there.
“I`m taking the same attitude I did with Purple: if people like it then I`m really pleased and I`ll do everything I can to pursue the particular things they enjoy. If they don`t like it then I`m really sorry, it`s a shame, tough shit `cos I`m really enjoying it.”

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. 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 Sounds also contains articles/interviews with these people: Evelyn Thomas & Ian Levine, Shaun Cassidy, Jimmy Page, Cate Brothers, Julie Tippetts, Adam Faith, Pat Travers, Yes, Jesse Winchester, Phil Collins.

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 Deep Purple FROM SOUNDS, March 13, 1976

Well, well, well…. someone`s been a little naughty since I said that I would always post articles of the five bands/artists in my all-time hit-list on this blog. In the two days after I had a great number of hits on certain artists on my blog. I like it when people are a little naughty, trying to help their favourites up the list!
So status now is the following: Rainbow, Deep Purple, Lemmy, Ian Hunter and Steve Howe (Yes) is in at the moment.
Ian Hunter is a newcomer and Beck, Bogert & Appice just fell out from the top five.

The article was written by Geoff Barton. When the history of hard rock and heavy metal is written about 100 years from now – he will be among a small elite of writers they will mention. Still actively writing today for Classic Rock and with a great career writing for Sounds and as a founder and writer for Kerrang Magazine. He is, and will always be a true legend, as famous as the people he was writing about. Check this excellently written article as proof of his ability as a writer. Enjoy!

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You keep on moving

Is the new Purple as good as the old?
Geoff Barton joins the band`s 24th tour of America to find out.

“This is my twenty-fourth American tour,” remarks Jon Lord, staring abstractly into his steadily diminishing glass of Cognac, “my twenty-fourth.”
Have they all been with Deep Purple?
He nods affirmatively, his empty gaze changing to one of mock despair, and finishes off his drink in one large gulp.
“But, you know,” he continues, “life on the road isn`t that bad any more. In the band`s early days, it was a trifle hectic. Now, eight years on, we can afford to relax a little.”
Indeed. A Deep Purple US tour is, today, a smoothly-organised, well put together affair – lots of long, black limousines which, even in the midst of a queue of similarly tank-like American cars, cause heads to turn.
No soundchecks, the roadies are veterans too, it`s a case of on the stage, off the stage, with a one-and-a-half hour set in between.
There`s even a customised plane, with the name `Deep Purple` emblazoned on its side, to fly you the 200 mile-upwards distances from gig to gig.
Yes, they can afford to relax a little – but they daren`t become complacent.

Jet lagged, weary and fighting off a flu bug, I arrive at the airport of San Antonio, Texas, in the early evening. Lois, Purple`s delectable American publicist, is there to meet me. The band, she informs me, are playing tonight. Did I want to go to the concert? Or would I like to go back to the hotel instead, to sleep off the journey and start afresh tomorrow?
The prospect of a soft bed sounds tempting… but no, although I`ll doubtless have several opportunities to see the band during my stay, curiousity gets the better of me. I`m interested to see new guitarist Tommy Bolin, I`m anxious to find out if the various disparaging reports about the band that have filtered across Britain since the beginning of this tour are founded and hold water.
“Deep Purple are going to break up,” a colleague had said, with a good deal of conviction, just before I left Britain for the States.
Are they?
Certainly, it seemed possible, watching the band from the back of the stage on that first night. Tommy Bolin, with streaked hair, tight velvet trousers and snakeskin boots, seemed less than convincing in his role as lead guitarist, front man, mainstay of the outfit.
Vocalist David Coverdale spent an inordinate amount of time offstage, graciously allowing bassist Glenn Hughes additional singing space.

Jon Lord seemed only mildly interested in the proceedings, his keyboard solo, save for the endearing snatch he played of `Yellow Rose Of Texas`, being mechanical and uninspiring.
Only Ian Paice had a good time, battling it out with his drumkit, his wiry hair flying in the breeze of the fan behind him.
It was, in all, disappointing.
But now, looking back, having seen subsequent sets at Abilene, Fort Worth and with the whole trip culminating with a supremely powerful concert at Houston Coliseum, I can safely claim true enthusiasm for this incarnation of the band. There are some faults, admittedly, but overall, I`m happy to report, Deep Purple are alive and kicking. Often fiercely.
But it was rough to start off with, touch and go for a while. Much of my initial reluctance to accept Purple Mk. IV stemmed, obviously, from the absence of Ritchie Blackmore. Tommy Bolin`s talents as a guitarist are not in question here – it`s just that he often fails to impress a positive identity onstage.
He`s not flashy enough – well, maybe `flashy` is the wrong word. Let`s say that he fails to flaunt his expertise, inflate his ego, straighten his shoulders and say, `Hey, I`m Deep Purple`s new guitarist. I`m better than Ritchie Blackmore. Here, I`ll show you what I mean…`
It took the aforementioned Houston concert to fully dispel any doubts and completely lay Blackmore`s ghost to rest – up until that time, things had looked decidedly dicey for the band.

Flying to Abilene the next day, I voiced my fears, albeit in a restrained manner, to the now-bearded David Coverdale. I mentioned that, as far as I could tell, `Come Taste The Band`, the debut LP with the new line-up, had had a pretty cool reception from Purple fans and critics alike.
“The last thing I heard, which was at the beginning of December, the album had sold 130,000 in Britain,” Coverdale counters, “I think at one stage it was at number nine in the charts, which is cool, Christ, what do people want? Worldwide, the album had sold well. I, for one, am not complaining,” he concludes, brusquely.
I asked him for his honest opinion of the album.
“It`s the freshest thing Purple have done since I joined the band,” he proclaims, “possibly even since `Machine Head`. I can only speak personally of course, but I`m very proud of the performance of each musician on the album.
“I`m very happy with my progression as a singer and as a writer. `Come Taste The Band` has lyrically and melodically, my best work on it to date. I can still listen to it after six months of living with it, which is incredible, amazing.”
As I said before, Coverdale spent a large amount of time offstage during the San Antonio concert, allowing Glenn Hughes additional space to exercise his own vocal chords. I wondered if he found his role in Purple`s current stage show rather restricting.
“Oh yeah – but I have no-one to blame for that but myself. I suggested the songs without realising how limiting they were, for me at least. They`re very monotone. I miss doing `Mistreated`, we`ll probably get that together for the British tour. But after all, I`m one-fifth of a concept and at the moment it`s very frustrating for me, because I know I can sing.

“Also, at the moment, we`re trying to get Tommy Bolin across – a lot of the act is centred around him, the same as it used to be around myself and Glenn, when we first started.
“But it`s really been all right so far – this tour`s profitable musically and profitable financially, which makes a change. Socially, it`s a lot more pleasurable.”
As the conversation continues, it transpires that a solo project is uppermost in Coverdale`s thoughts at the moment. Indeed, the ambition to prove oneself as a performer in one`s own right is a current preoccupation of several Purple members.
As well as Coverdale, Hughes has a album forthcoming, as does Lord (admittedly, his fourth) and of course Bolin`s `Teaser` LP is currently on release. In many cases, these solo plans override any thoughts about Purple.
“I`m very keen to find out what I`m able to do in a studio, on my own,” Coverdale reveals.
“When I record my album, it`ll be without any members of the band, because if I used any of them it would be judged as a Purple recording, not my own. I`m going to sing on this album, rather than scream my balls off. I`ve been fucking screaming for years now, you know…”
That night, in Abilene, the gig goes OK. Not spectacularly well just OK.
Apparently, Texans are wont to do a lot of ski-ing at this time of year. Somehow, it seemed sadly ironic when, mid-way through Purple`s set, a victim of a ski-ing accident who was present in the crowd thrust up his crutches high into the air, in a gesture that was supposed to denote appreciation.
To me, however, the action epitomised the situation onstage – Purple in some plight, having been dealt a serious injury with Blackmore`s departure. They were limping along, struggling desperately to equal past glories and falling far short of succeeding.

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The next day in Dallas, near Fort Worth, some personnel friction makes itself evident. The afternoon`s round of interviews and personal appearances takes Tommy Bolin and Glenn Hughes to two record shops, one a vast disc emporium, the other a more intimate concern. In both places, however, displays for Bolin`s `Teaser` album far outweigh those for `Come Taste The Band`. Hughes becomes, not surprisingly, a trifle annoyed.
In the first store, the record supermarket, the manager entices Bolin to climb a stepladder and autograph a six feet square, handpainted cardboard poster of his `Teaser` LP sleeve, stuck high up on a wall. In the second shop, matters become worse.
`The Teaser on Nemporer Records – here, in person, today. 6.30 thru 7.30.`
Runs the banner outside. The whole of the right hand shop window has been taken over by Bolin publicity material. A `Come Taste The Band` cover is displayed unceremoniously in another window, alongside many others. Hughes is understandably peeved.
Later, when Bolin is busy signing autographs in the store proper, it is `Come Taste The Band` and not `Teaser` that blares out of the shop speaker system. A token acknowledgement to Hughes` presence, a passing nod to the fact that Bolin is a member of Deep Purple. The atmosphere is tense.
However, when I eventually talk to Hughes about Bolin`s role within the band, his enthusiasm for the new guitarist seems to hold no bounds. If he does resent Bolin`s success as a solo figure and its apparent interference with his identity as a member of Deep Purple, he hides it very well.

“Tommy`s come a long way in a short space of time,” Hughes relates, “he hasn`t even started properly yet. I`m sure that, by the end of the year, he`ll be a force to be reckoned with.”
Deciding not to push the matter much further, I nonetheless suggest that, in Britain at least, people are sceptical about Bolin`s position as Deep Purple`s guitarist.
Hughes disagrees, “I don`t think British audiences expect Deep Purple to be Deep Purple as before. They expect to see a new show with some of the old guys and a new guy. I think they`ll accept the change, I really do. I think it`ll be knockout.
“The band`s a lot funkier now, we have to be, I can`t play any other way. At the moment, I`m doing as much as I can do within the band, I can`t go any further because then it wouldn`t be Deep Purple. I`m almost totally in R`n`B, so much that it sometimes hurts to play with this band.
“But still, I feel a lot freer in Purple now than I`ve ever done before. I`ll feel even better after I`ve done my own album in May – or maybe August, it all depends on the availability of the people who I want to play with me. I`ve been working on the LP for some time now at home in LA and I`ve put down a few basic tracks in Herbie Hancock`s studio. I`ve got a lot of people in mind to do the album with me – Tommy (Bolin) might play on a few tracks, Ronnie Wood too, maybe even John Bonham…
Bowie`s going to produce it, along with myself (Bowie and Hughes being close friends). The album will contain lots of personal songs, very much in an R`n`B mould.”

With this consuming love for R`n`B in mind I suggested that Hughes might feel somewhat frustrated, playing with Purple.
“I don`t like heavy rock music, believe it or not,” he says, matter-of-factly. “But `Smoke On The Water`, `Machine Head` and all that is Deep Purple, I can`t change it. I don`t feel frustrated onstage when I`m playing, but I do sometimes when I`m offstage and I begin to think about it.
“That`s why I have to do this solo album – I want to get into the whole lead vocal trip again. I need to sing, my whole life is singing. I have to sing onstage. There`s no competition between me and David, I just want to sing.”
The Fort Worth concert followed much the same pattern as the one at Abilene. I was getting a little disenchanted.
Houston, space age city, all towering tinted glass, was my last night with the band and it just had to be good. As I walked out to sit behind the mixing panel and see the band out front, I was mildly depressed.
My mood, if I`d bothered to analyse it, was, I suppose, one of cynicism. But happily, at the end of the concert, I was aglow. Archetypal high energy, loud volume rock`n`roll had blown my doubts to pieces. At last, Deep Purple had come on as a brash, arrogant, self-assured, supremely confident band. They played the proverbial storm. It was great.
The Houston Coliseum, a large, old-fashioned, dusty hall, set just the right scene. Its grimy, sweaty atmosphere was much more suited to a concert than, say, Abilene (a massive dome-like structure, stuck out with the cacti in the middle of nowhere) or Fort Worth (imposing and clinically-clean baseball stadium).

As always, Purple opened the show in fine style with `Burn`. The stage all in darkness, the orange lights suddenly flicked dazzlingly on to reveal, backed up by regimented amps and grinding guitar, five almost malevolent figures – Coverdale adopting his ramrod pose immediately, mike stand held high in both hands, horizontal above his head, flanked by Hughes to his right and Bolin on the left, a formidable threesome in themselves.
Bolin, as the number progresses, still seems to be content to play an economic role, somewhat afraid to assert the power at his disposal as lead guitarist, but he pumps out the licks with appropriate rapidity. The rest bolster the sound – Hughes, Lord and Paice battling it out, each seemingly trying to maintain dominance over the other. Coverdale howls. It is loud, the loudest concert so far.
At the end of `Burn`, the sound mixer, a Scottish gentleman, remarks, “There`s a bit of power in those speakers tonight, eh? This is real Deep Purple”.
And how right he is. A selection from `Come Taste The Band` follows – `Lady Luck`, the US single `Gettin` Tighter` and `Love Child`. Bolin is more at home with the recent numbers and actually begins to strut a little, some of his cocksure offstage manner beginning to seep through. Coverdale leaves the stage during `Gettin` Tighter`, allowing Hughes to play a short bass solo, to sing a little and do a voice-guitar exchange with Bolin, impeccably rendered.
Predictably, the biggest cheer of the evening comes with the announcement of `Smoke On The Water`.

“This song tells the story of an album we made in Switzerland…” declares Coverdale, back onstage. The rap becomes mildly ironic, however, when you pause to consider that only two of the current Purple line-up – Jon Lord and Ian Paice – survive from `Machine Head` days and experienced the events in Mountreux first-hand.
Although Bolin corrupts the famous opening chords slightly, the number is still very classy and full of dynamics. It`s here, for the first time, that I manage to accept Bolin as Deep Purple`s guitarist. Sure, it`s strange to see him crashing out what is essentially a traditional Blackmore riff, but tonight he attacks it with such gusto, such genuine exhilaration, that at last the absence of the man in black doesn`t really seem to matter any more.
Nevertheless, it`s unfortunate, but necessary I suppose, that Purple`s present set still pivots around `Machine Head` – three songs are included in all, and each make a far more definite impression upon the audience than any of the others.
`Lazy` follows `Smoke On The Water`, a loosely constructed rendition this, leaving space for two solo spots, Lord`s and Paice`s. Both offer powerful testimonies to their respective abilities, while adding little to their past, pre-Bolin showcases.
`This Time Around` is next, turning out to be the most successful number of the evening. Hughes` sophisticated vocals give way to Bolin`s perfunctory guitar spot. Introduced as `the best new guitar player in the world`, Bolin, finally, successfully proves equal to the big build up. His past solos have been mundane – fingers running up and down the guitar neck, plenty of heavy strumming, little else noteworthy, together with a general lack of dexterity.

At Houston, however, he was very much in control. It was good to see – there was some clever use of the echoplex, some deft picking, some macho string bashing. The crowd was responsive and Bolin, gaining confidence, shook his fist at them, then made a gesture for more applause and received it back in spades. Even from the mixing panel you could see his eyes flicker with delight as he suddenly realised that the audience was his, his to shape and fashion, to silence or to inspire to rapturous cheers. He was enjoying himself.
`Highway Star`, the encore, saw me up front, five feet away from the stage, in the middle of the surging crowd. It may not have been 117 decibels, but it was awful loud.
Alive and kicking. Fiercely.
Backstage after the encore`s echoes had died down, I remarked to Purple`s manager that, as Houston had been the last gig I would see on the tour, that the concert had been a good way to end.
He shrugged, “An end for you perhaps, but not for us. We just keep rolling on.”
Hmm. Although Purple may never again match the triumphs of the Blackmore-Gillan-Glover line-up, at least that twenty-fifth American tour is assured.

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. 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: Evelyn Thomas & Ian Levine, Shaun Cassidy, Jimmy Page, Cate Brothers, Julie Tippetts, Adam Faith, Pat Travers, Yes, Jesse Winchester, Phil Collins.

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 Alan White (Yes) FROM SOUNDS, March 13, 1976

Great to read a interview with one of those people that usually miss out on the attention from music journalists. So, for once, a drummer claims the spotlight in this interview with Vivien Goldman. Miss Goldman is known as the “punk professor” but have written several books on reggae. Still only 62 years old, she lives in New York and have her own web-page for those of you who want to check her out a little more: http://viviengoldman.com/
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Can a White man sing…..?

Alan White shows Vivien Goldman where you put the vegetables if you want to make a solo album.

`Now tell me honestly, what did you really expect when you came to meet me?` The disarming question is posed as yet another Yes album hits the turntable, placed thereon by the toughened hands of Alan White, drummer in officio to Yes themselves.
Well, pal, you`ve got me there. At the time you asked me my mind went completely blank; I think basically I`d had no preconceptions about you, but in retrospect perhaps someone a little more – errrum – pretentious, and shall we say, humourless?
Because try as I might to `get into Yes`, those adjectives recur with alarming frequency.
Heavens be thanked, Alan White is another kettle of seafood entirely, being as he is a charming, mellowed-out individual with an endearing capacity of respecting the fact that you don`t dig his band, although you do dig him. Fair enough, old thing?
But each to his own, and as my papa used to say, if we all liked the same things what a dreary place the global village would be.
It don`t worry Alan none, firstly because I`m sure he`s doing very nicely thank you, what with Yes being the second-biggest selling band in the whole of South America and all that, and secondly he digs them and that`s what really matters. To elaborate in his own words, “I believe in music that Yes play, and I never get bored playing with them. That`s the whole thing about Yes music, it always keeps you interested. I`ve been playing with them since 1972 and I find Yes as incredible now as I did then.”
Can`t say fairer than that, what?

So how did you get involved with them in the first place?
“I was on tour with Joe Cocker in Europe, on the same tour with Chris Stainton`s All-Stars, and I got a phone call saying the band wanted me to join them.”
That was rather flattering surely? I meantasay, Yes weren`t exactly peanuts in 1972 either.
That aspect of things doesn`t seem to have occured to Al – he looks bewildered for a moment. “Yes, I suppose it was kind of flattering in a way, they did pick up on my playing just from hearing me on records, but it was a split decision in a way.
“I didn`t really know whether I wanted to join a band like that – a progressive band, I mean. I`d always been happy just playing the way I was, with musicians I enjoyed playing with. And the music I was playing was usually a funky kinda thing. But it was a challenge, playing with Yes.
“It took me about a year to learn to play with the band, like something always moving forward with your instrument, learning to develop the sound in a certain way, and still keeping the basic roots of your instrument in the music. It really works now.
“You`ve got to remember that I`d been very ignorant that Yes were ever around in the first days. I remember when I used to play with Terry Reid in the way, way back days I heard an album, and was very interested in the kind of things Yes were up to.
“I was living with Eddie Offord, who was Yes` producer, in London, for about a year. I never actually met them, though I went down the studios to hear them a couple of times.”

Was it very difficult to fit into such a tight unit? For example, everybody knows, that Yes are ardent vegetarians. Was there any conflict there?
“None at all, because I was a vegetarian before I ever joined up with Yes. Eddie Offord was the guy who turned Yes onto vegetarianism, and he got me into it at the same time. I feel much better for it as well. Steve Howe`s probably going to stop eating dairy foods as well… there`s a lot of energy in the band that I think comes out of their vegetarian attitude, the band can communicate on a much higher level because of it.
“If most people thought about what they were putting into their bodies (shudders with disgust/distaste) I agree with you, though, the self-discipline on its own has a lot to do with it. Steve Howe and myself own a health food shop, y`know, in Hampstead High Street, the one with the bear on the front window, Brownies`.”
Great, does that mean I get a discount? (“No.”)
The point of all this pleasant social intercourse is (yup, you`ve guessed it, isn`t it always?) Alan`s new Solo Album. It`s called `Ramshackle` and is released on the Atlantic label.
“It`s an enjoyable little collection, with a spot of this and a spot of that gracing the black wax (vinyl, actually). There`s a touch of soul, a touch of funk, a touch of Yes-ian acrobatics, and even a Touch Of Reggae. That`s not so unusual these days, but more on that point later.
And by the way, weren`t you always noted as a funk/soul drummer all through your days with Griffon (“NOT to be confused with Gryphon,” Alan points out with a delicate combination of anxiety and boredom)?

Alan comments modestly, “If you count soul as swinging and playing in 5/4 time and yet funky, I suppose I might be. But there`s a load of different things on the album, the numbers change from number to number. (Yes, he really did put it like that, but who can blame him? I mean, after a while you get tired of scrabbling around for other words that means the same as `number`.)
“I tried to get a lot of different kinds of music on the album because I like playing lots of different kinds of music.”
Does that indicate that within Yes you`ve generally got to play the same kind of music?
“Not at all, because within Yes you can express your feelings of doing something nobody`s ever done, we`re always trying to see round the corner or over the hill, trying to take your particular instrument in a new direction. It`s quite simple, I just made an album of music I really enjoyed playing with a good band.
“It`s really a drummer in a band`s album, rather than a Yes solo album. The band on the album is the kind I`ve been associated with for the past four or five years, we were all in Griffon together.”
So tell us summat about these lads, then.
The keyboards player (Kenny Craddock) came from Lindisfarne, he`s not doing too much now, sessions mostly. The guitar player`s (Peter Kirtley) last band was called Riff Raff, and he was involved with Carol Grimes for a while. Basically they`re all really good musicians that are trying to find their hole… the bassist (Colin Gibson) plays with Snafu.

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“They`re all really good friends of mine from up North. I come from Durham City. Why the accent? (a strange hybrid of Northern English and L.A.) My girlfriend comes from America and we`ve been together for a few years, and I`ve spent lots of time over there anyway. EVERYONE asks me that!” (despairing) You win some, you lose some, I guess.”
So will there be any special Alan White Band gigs to help promote `Ramshackle`?
“Unfortunately I don`t have time to gig with the band because of Yes` commitments, we`re pretty committed for the whole of next year, in fact.
“But there is talk of a Yes gig sometime with everyone doing some numbers from each of their solo albums at the end of the show – this is the third solo album from the five of us, Y`know – it would be nice, but I don`t know whether it`ll happen.
“I was having a good time living out a lot of memories from the past and really enjoying myself, believing in a certain type of music that was conceived over a number of years. I finally had the chance to let it come out to the public, and this was the first opportunity I`d had.
“It has been an ache for a few years, but Yes is my first commitment right now. In fact, at the end of the album, I really needed to get back to Yes, to the adventurous kind of music that Yes play. I`m really very happily surprised perhaps at the amount of good reaction to my album, especially as it hasn`t stuck as closely to the Yes format as Steve`s (Howe) or Chris`s (Squire).”

Do you think the drums are very differently positioned, much more prominent than they would have been had it been a Yes album?
“I`ve been told they are more prominent, but I didn`t put them there! (laughs). The person who brought them out was the engineer/producer, Bob Potter, he`s a good friend of mine, used to do the Grease Band. People usually complain that the drums aren`t loud enough on Yes records.
“One of my faults is that I always listen to the drums first, and then up through the music to the singer. But through producing an album you learn to listen to the whole unit much better. I`m not finding that I play differently now, but I`m more aware of the role drums play in a band now.
“Usually when we`re producing a Yes album there`s five pairs of hands controlling exactly what they hear their own instrument doing and putting it onto the record, and sometimes it gets all cluttered and squashed in. But through each member doing solo albums, I think that when it comes to the next album, which we`re rehearsing right now, everyone`s gonna sit back a little more, and see their own position in the music much better, it won`t be as cluttered.”
Let`s get back to album specifics for a moment. That reggae track, `Silly Woman`, how come that got on the album?
“They wanted to release that as the single, y`know, but I wouldn`t let them do it because it`s too obvious, I didn`t do it because it was in vogue. It was really because I`d spent the last two Christmases in Jamaica and really enjoyed the music, and a song came up that was appropriate for the reggae rhythm. It`s a white reggae, really.”

Did you design these macho lyrics deliberately to fit in with the reggae?
Ahh you silly woman I`m beginning to believe you can`t even see. Why aren`t you here next to me. I don`t want to mock you. I know you`re running to be free, it`s just the way you`ve been carrying on I ought to put you across my knee.
“No, they`re just a bit of fun! I didn`t write any of the lyrics, I`m not a lyricist in any way. The guy actually wrote it from personal experience (launches into an involved and highly personal story of love, betrayal, to-ing and fro-ing in young couples, winding up with `so we can`t play it when that chick`s around because it`s about the other chick.` Got that?).
And how about the `Song Of Innocence` track, taken from the poem of the same name by Wm. Blake?
“I`m not as clued in on Blake as some people but I do like him very much, I`ve read his biography and a couple of books about him. His pictures drive me round the bend (grins enthusiastically) they`re fantastic, the colours, the themes…”

And talking of pictures, how about the rather risque offering on the inner sleeve? It`s an old geezer whose visage is composed entirely of naked female bodies.
“Oh, he`s a 77-year old artist I`ve known for a long time. The original version from the 50`s is on the label, look. I own the copyright on the new one, you see he did it slightly differently. He came down to the studio and really enjoyed the music we were making, he doesn`t like knocking around with old people too much… that poem on the back of the sleeve, that`s by a poet called Tom Pickard, he`s a guy from Newcastle that everyone`s known for a long time.”
As Alan genially led me to the door of his manager`s plush golden office, we were standing on the gi-normous carpet in the shape of the Yes logo (pretty shprauntsy, that one), and was studying the pencil drawing of Alan on the white sleeve. It doesn`t look much like you, I commented (it doesn`t).
“You`re right,” said Alan, with a pleased grin, and quipped, it doesn`t really matter, does it – all that matters is what`s on the vinyl!” And on that heartfelt note, I took my leave.

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. 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: Evelyn Thomas & Ian Levine, Shaun Cassidy, Jimmy Page, Cate Brothers, Julie Tippetts, Adam Faith, Pat Travers, Deep Purple, Jesse Winchester, Phil Collins.

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 Jimmy Page (Led Zeppelin) FROM SOUNDS, March 13, 1976

Checking the All-Time stats for my blog I find to my surprise that articles about Jimmy Page and Led Zeppelin is not as far up in the total number of views that one would expect. It may be that the Zeppelin fans are so fanatic that they have read it all before, but I expected these articles to be better ranked. I will try again with this article.
Most people visit my blog straight onto my main page, but there are some people clicking directly onto the article, probably because it has been shared by someone. I like that. I like as many readers as possible as I`m doing this for all you music-lovers out there.
So… to give you all more motivation to share my articles I will promise you this: The five bands or artists with the most views on my blog at any given time will be given special attention. Sometimes I skip certain articles, meaning that I don`transcribe them. The five in the lead at any given time will from here on out NOT be skipped, but transcribed for your pleasure EVERY TIME I see them in an issue.
Right now those five are the following bands/artists: Rainbow, Deep Purple, Lemmy, Steve Howe (Yes) and Beck, Bogert & Appice.
Let the sharing games begin! 😉

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Technological gypsy

An interview with Jimmy Page

By Jonh Ingham

Here I am, trying to think of a snappy opening and all I think about is Paul McCartney: What`s that man movin` cross the stage? It looks a lot like the one used by Jimmy Page` (mental association of Page at Abbey Road, plugged into a tiny, antiquated looking Vox, except that across the top at the back were a row of knobs jutting from a decidedly new-fangled looking box), and what kind of snappy opening is that?
So, maestro, if you will keep the fanfare low key, we`ll dissolve the visual into the comfortable-rather-than-plush offices of Swan Song Records.
Jimmy Page has been up all night, first meeting with Peter Grant and then viewing videos of Led Zep`s Earls Court performances. (Ah, to have a VCR and friends in high places.) He shrugs off condolences. “Two nights is the norm.”
If some of his dialogue sounds fractured and impressionistic, there are the reasons. Dressed in black pinstripe suit, black shirt buttoned at collar, black boots, he looks incredibly fragile and painfully shy. Shades shield his eyes.
But he is energetic and at the least, loqacious. When he gets fired on a subject, there`s no stopping, talking so precisely and at length that half one`s questions never get asked.
He speaks very quietly in a hypnotic monotone, the words pouring out quickly, fleshing out his dialogue with his hands, or playing with a ring made of a snake wrapped around a thin slice of rich brown agate. On his right hand is a complex gold signet ring with a tiny ruby at the top. Occasionally, his fingers shake.

He doesn`t waste much conversational space, though this isn`t apparent until you check the tape and find a lot said in very little time. The lack of volume causes such concentration that the speed with which he thinks isn`t apparent until played back. It`s very fast.
The reason we are meeting is, of course, the continuing career of Led Zeppelin, rock band. Having decided to work they have maintained a schedule with a vengeance. When Robert Plant`s accident prevented them from performing a world tour the band concentrated on finishing the now legendary film and recording an album.
As Plant continues to recuperate – he`s beginning to run, sports fans – and the band begin to plan a touring schedule they no longer have to worry about those items known in the Biz as `product`, which Mr. Page calls “a pretty strong footing”.
Having written and rehearsed in Malibu, the group recorded at Musicland Studios in Munich, the first time they have recorded in a studio since the fourth album, completing an album in three weeks.
“The novelty of that knocks me out. Although we rehearsed there were still two tracks written in the studio. But the overdubs, Robert`s lyrics, the spontenaiety… There`s still the excitement of the basic tracks. It was all finished before Christmas, and then the artwork…”
Ah yes, the artwork. Zeppelin have had a penchant for complicated covers ever since the kaleidoscope adorning the third album. The fourth album went through some five or six different covers. `Houses Of The Holy` was held up for months while the colour was got just right.

And now `Presence`, as the new platter has been entitled, has been held up by what was intended to be a simple cover so nothing could hold it up.
“It always takes so long. It`s amazing, they`ll have the artwork as a yardstick and send back two alternatives, neither of which are like the original. You know that once it becomes a matrix number, God help you. All you can hope for is to hold onto the quality through the initial pressing, because you know that in two or three years someone will give you a copy to sign and all the colours will be off, the centrepieces will be too short…”
As to what the album sounds like, reports vary. Some say it has a heads down dedication to rock and roll, while others reckon that the diversity shown on `Physical Graffiti` is explored even further. Jimmy poetically confuses the matter even more.
“It was recorded while the group was on the move, technological gypsies. No base, no home. All you could relate to was a new horizon and a suitcase. So there`s a lot of movement and aggression. A lot of bad feeling towards being put in that situation.
Also, we`re playing more as a band than any LP before. Everybody`s playing in such a way as to bring out everybody else. I`m really happy with it, and I`m not usually that optimistic about them because I`ve lived every mistake over and over.
“There`s so many things that have come out from those conditions of having to finish it in a certain time. I was amazed at the inventiveness, the fact that no overdubs were wasted. …Just totally taking chances, experimentation, and they seemed to work. Everything seemed to be on our side, to flow out.

“There`s a blues that`s so held back. Seven minutes long and at no point does anyone blow out. That`s one of the solos I thought I`d never get out. Everyone`s been doing blues since 1964. `It`s going to fall into clichès or it`s going to be too jazzy,` but everything worked okay. So things like that really encourage me.”
The group originally moved their recording environment to country houses in an attempt to extend the environment that had surrounded them writing at Bron-Y-Aur cottage in Wales, so that you could record sitting around the fire, and if the logs crackle, what does it matter? “No-one`s going to hear – probably think it`s the needle or something.”
Also, on early records you could hear the acoustic qualities of the rooms it had been recorded in, but starting in the mid Sixties there began to be an illusion of the room`s acoustics, the sound being very dry with lots of overdubs, echo added afterwards to give perspective.
“I wanted to get away from all that and try and create the sound of the room, and space. The only clear example I can give is `When The Levee Breaks`, where it sounds on the surface as though it`s very simple until you start to listen to what`s happening.”
But the crucial factor, regardless of the environment, is to get a good `live` drum sound, with harmonics aplenty.
“There can`t be anything worse for a drummer than going into the control room knowing he`s got a great sound in the studio and hearing cardboard boxes. Keeping the front of the bass drums on, that sort of thing – not many people do that, it`s the mike inside and lots of blankets.

“It`s a pretty unorthodox way of recording, actually. Sticking the mike up three flights of stairs to get the drums… The depth.” he laughs. “That`s one of the secrets.”
Most of the group`s songwriting is handled by Plant and Page, though there is no set method.
“Of late the music`s been coming first – little bits that I`ve orchestrated, an instrumental that gets a vocal. Or we sit down together, tinkling around. And then there`s 1-2-3-4 and we`ve gotten through two verses before we realise it. That`s the rock and roll. Counting it in and suddenly… whew.
“So there are those with a lot of personal thought and those that just jump out, so there`s a lot of different aspects. I`ve heard that Elton just writes music to lyrics he`s been given.”
He shakes his head. The phone on the coffee table rings. He looks at it, irritated.
“When things develop as a group they start off instrumental, Robert`s there, singing anything that`s coming to mind, the same way you`re playing anything that`s coming to mind. I guess at that point he`s another instrument, and then he moulds the feeling that he finds is relating, and crystalises it. He kicks them over as well. He`s very conscientious about that.”
The phone rings again before he can get a word in edgewise. In one quick movement he grabs the receiver and flings it against the wall, clattering to the floor. The other telephone next to it rings a second time. Jimmy laughs, beaten by technology.

“I contributed lyrics on the first three LPs. After `Stairway` I realised he`d come such a long way on his level, and everyone else was improving on their level, I thought I`d just concentrate on what I was doing. I`ve had lyric books and lost them, so it`s like the writing on the wall. And why not? Robert writes damn good lyrics.”
Page started producing via his fascination with technology. Sound interested him, the changing of an instrument from what it should sound like via effects like echo and phasing, at a time long before it was the norm.
“It`s the challenge of it, being able to come up with all these sounds.”
I mentioned that Led Zep and technology seem synonymous with 50,000 watts and a cord plugged into the wall.
“Well that surprises me.”
Yeah? I was surprised he was surprised. `Kashmir`, which is not Led Zep in the way that `Trampled Underfoot` is sonic attack Led Zep, still comes over as an awesome explosion propelled at majestic earblast volume. Only I didn`t get that far, because I used that classic definitive phrase `heavy metal`.
Jimmy interjected immediately.
“Well what do you class as heavy metal then?”
I reeled off a few titles that owed their livelihood to Alexander Graham Bell.
“Yeah, it depends what your classification is. We`re using dynamics – we can be really loud at one point and drop to a whisper at another. I can`t relate that to other groups I`ve heard who get to a solo and just ride, the same thing right through. Perhaps it`s our dramatics which is coming out.

“We`ve got volume for effect, plus when we play in America in really giant places and you just have to have that power to reach those people in the back, because they`ve taken the trouble to – well, the stories you hear about just getting tickets, let alone anything else. They`ve taken the trouble to go and they may be at the very back but they`ve made the same effort as the people down front, so you have to present them with as much as you can, which means being able to hear it.”
It didn`t occur to me at the time to ask, since he obviously didn`t consider Zeppelin heavy metal, how he felt being classified as the progenitor of the genre.
“We hadn`t toured America in over a year, and those stadium dates were the first two: Atlanta (52,000) and Tampa (59,000). They all came down – “You`ve broken this record and that record` – we`d virtually stepped off a plane. My God, what`s happening? Especially Tampa, Florida. I get really nervy before I go on anyway. A bag of nerves until
I`m into about two numbers.”
Zep seems one of the few super bands that seem to enjoy working live as well as recording, though Jimmy sees them as completely separate aspects.
“We try and change – no, that`s not right. It changes every night. A lot of it is done on signals; if we`re building up to a crescendo and stop and it`s just one instrument, slow cascading passage, a lot of that is just on signals, and spontenaiety. You might hit some really magic bits and everyone is really working together, and it`s not on record. You`re not frozen in time. Captured.

“Whereas when you`re recording it doesn`t have the vibrancy, because you haven`t built up this magnetic feedback between you and the audience. But you`ve still got the spontenaiety, if you manage to hit it, and sometimes it`s hard work, but when you`re out there and really enjoying yourself, then it`s really rewarding. Both aspects are as exciting and unpredictable.”
What maintains Page`s interest as a musician now is the mathematics of music, studying harmonies and melodies and within them chord structures and patterns and how they`re built and interlock and can be linked.
“I got into it knowing there was this gigantic devotion to the study of ragas, because it`s seven years before you even play one. Just doing scales and so on, practising 12 hours a day every day. Knowing that, I wanted to get into what they were actually having to commit to memory, what the problems were to overcome. There were things like splitting half-notes, not into quarter notes but into so many degrees. All this started to really fascinate me, knowing that in these ragas they use one scale ascending and another descending, and that instilled in your memory, you don`t even have to think about it. And time signatures…
“I started to pay attention to tablature and really get involved with the technical aspect of everything. It`s interesting… I wish I`d thought that when I started!”

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What was it then, trying to string a couple of licks together? But the vision of 11 year old Jimmy Page playing a cardboard guitar in front of the mirror was not to be corroborated.
“Yeah, well, you know… Until suddenly you realise the scope of the thing and what you`ve got to do to pull it off.”
He also professes to be “dabbling” with synthesisers, having completed a soundtrack for Kenneth Anger`s film `Lucifer Rising`.
Anger, a noted American experimental film maker who gained noteriety 12 years ago with a bike film called `Scorpio Rising`, and more recently with `Invocation Of My Demon Brother`, a short, intense, ritualistic film with a jagged, rough, almost naive synthesiser soundtrack by Mick Jagger that had a quite disturbing effect, began `Lucifer Rising` ten years ago. But friend and confidant Bobby Beauseloil (later a friend of Charlie Manson) stole large portions of the footage. (What was left eventually became `Invocation`.) Now he is shooting it again, a feature length film. With the first 20 minutes finished, he asked Page for his services.
“With a synthesiser every instrument is different from what it`s meant to sound like, which is especially interesting when you get a collage of instruments together not sounding the way they should and you think, (excited) `What`s that?` That`s the effect I wanted to get, so you didn`t immediately realise it was five instruments playing together. Because Anger`s visuals have a timeless aspect.

“The important thing with `Invocation` was that the visuals and music were like that-“. He interlocks his hands tightly. “And the music couldn`t really exist on its own. That`s how I wanted this music to be, but I wanted to hold up and keep the attention without people actually listening to it.
“The film`s pacing is absolutely superb. It starts so slow, and after say four minutes it gets a little faster and the whole thing starts to suck you in. The thing was, I only saw clips, and 20 minutes is a long time, and he put the music onto the visual – I know he didn`t do any edits because I saw the piece with different music – and things just worked out in synch. Like certain bits match certain actions. It`s so well crafted, and this undercurrent of everything working independently.
“It`s just so arresting. I had a copy and while I was in the States I hooked it up to a big stereo and frightened the daylights out of everyone.” He laughs softly.
“I was on the sixth floor and there were complaints from the twelfth. There`s a real atmosphere and intensity. It`s disturbing because you know something`s coming. I can`t wait for it to come out.”
Which conveniently brings us to the long overdue Zeppelin film, based around a 1974 Madison Square Garden concert, fantasy and documentary sequences lifting it out of the arena. It is now in the credits stage, and will be released sometime this summer. Although it may be considered a documentary it is more a musical.

“It`s so time consuming. It`s a horrible medium to work in. It`s so boring! So slow! Just shooting the fantasy sequence. `Can you do it again so we can get a different angle? Can you do it again?` I`m not used to that. It`s a silly attitude, okay, but nevertheless… The Anger things is completely different. Working with him is a unique experience.”
We`re interrupted by a phone call for Jimmy. When he returns we start talking about his love for travel.
“The complete shock of change of environment. The whole… what`s the word? I refuse to say vibe… The total experience and the impression it has upon you. The smell of a place, the linguistics, the general atmosphere. The difference of the music there – but I`ve put a lot of work into those sort of things anyway before getting there. It`s like an excuse to see how things apply, musically anyway.
“The attitude of people, too. When you get to a place where there haven`t been too many white people… Suspicion, overcoming that, and the hospitality. Arabs will open up their house to you; lay on these huge meals and you`re just blown away by the spectacle of it. Robert finds it especially stimulating for lyrics. And musically for me it`s ideal.
“If I had only got to a certain stage in playing and not gotten into that situation where you keep progressing with things I`d have definitely gone into field recordings.

“I`m obsessed – not just interested, obsessed – with folk music, street music, the parallels between a country`s street music and its so-called classical and intellectual music, the way certain scales have travelled right across the globe. All this ethnological and musical interraction fascinates me. Have you heard any trance music? That`s the thing.”
As it happens, someone wanting to record the Pan Festival at Joujouka in Morocco had played me a tape, a wildly hypnotic, timeless music accompanied by bright images of dancing and village life. Brian Jones recorded there, though it was merely a recreated festival.
“I don`t know how much they put into it. He got what he wanted. But I don`t know if he saw certain spectacles. Like they`ll be dancing in total trance state, one will smash a bottle over his head, and you know, skull, blood everywhere,and the next day, not a trace.”
Have you seen these things yourself?
“Well, I`ve witnessed one particular night that was very odd. But it`s not distressing, it`s refreshing, because it makes you re-evaluate everything. You know that you`re seeing a facade. What`s underneath it? What`s really going on? I`ve heard just so many stories of what people have seen. They`re not lying.
“For instance, there`s a man towards the south (of Morocco), in fact a holy man, but he`ll invite you to mint tea, and while he`s standing there mint grows up around his toes and feet and he picks it, makes tea and a small animal eats the stalks and it`s gone.”

As he tells you this his face lights up like a small boy with a big secret.
“I haven`t seen that, no, but the person who had and told me had no reason to lie. I`ve witnessed other things which I don`t care to discuss. I think if a person`s into it they`re the kind of things he`ll experience himself rather than having it related to him.”
When did you first get into altered states of consciousness and so forth?
“What, in relation to music? When I heard `Jerusalem` when I was about five years old and I wondered what the feeling was that was going on.”
Suddenly, he makes a connection.
“Yeah, yes, that`s what it`s all about! That`s just a mundane sort of thing you relate to and you start taking that on and on and on, you start relating that to particular themes, vibrations in music, things like mantras, and keep going, further and further… There`s a lot to learn.
“I don`t want to get too dippy about all this. If you take the view of the scientist and everything is in a state of vibration, then every note is a vibration, which has a certain frequency, and you know that if you put 40 beats into a frequency it`s going to be the same note every time.
“You take that into infrasound and people can be made to be sick, actually killed; taking it the other way, not to be too depressing, what about euphoria, etc., and what about consciousness being totally… No, I won`t go into that one. Time warps.”

We discuss various ethnic musics.
“What I`ve heard recently is festival music from the Himalayas.”
Have you been there?
Longingly: “No… It must be frustrating to look into Tibet. See the prayer flags and not be able to step over.” He laughs.
He mentions that during their aborted world tour they had planned to record in places like India, Bangkok, to try and infiltrate the hustle and bustle, the general noise… Playing also with local musicians.
“Obviously, you get interesting results, from anything, and anything new always gives me a charge.”
As he says, only George Harrison has tried the idea, with `Wonderwall`; he also mentions his trip with Robert to Bombay, recording some of their numbers with a local orchestra, and how it threw such a new perspective on their work.
We return to the subject of control through sound. The United States is developing an anti-riot weapon that hits you with a strong jolt of exactly 60 cycles, a frequency (as Eno discovered empirically) that makes mincemeat out of your bowel muscles.
“The euphoric state is taking it the other way – there has to be all these aspects. Not only things that create misery but things that create – Ah! That is the powerful weapon to use, not a weapon that makes you shit yourself but something that creates euphoria, and when they get that you`re fucked. They give you a dose of that and you won`t even know you`ve got it. I`ve obviously been listening to some Dick Barton films.”

He became interested in parapsychology and altered states at about 11.
“Reading about different things that people were supposed to have experienced, and seeing whether you could do it yourself. And sometimes, yeah, but I didn`t understand a lot until I grew up.”
It was at this time, too, that he discovered Aleister Crowley.
“But I couldn`t understand what he was getting at until years afterwards. It kept nagging me, I couldn`t fully grasp what he was getting at.
“I feel he`s a misunderstood genius of the twentieth century. Because his whole thing was liberation of the person, of the entity, and that restriction would foul you up, lead to frustration which leads to violence, crime, mental breakdown, depending on what sort of makeup you have underneath. The further this age we`re in now gets into technology and alienation, a lot of the points he made seem to manifest themselves all down the line.
“His thing was total liberation and really getting down to what part you played. What you want to do, do it. Anyway, that`s a minor part, just one of the things they couldn`t come to terms with. Saying there would be equality of the sexes. In an Edwardian age that`s just not on. He wasn`t necessarily waving a banner, but he knew it was going to happen. He was a visionary and he didn`t break them in gently.

“I`m not saying it`s a system for anybody to follow. I don`t agree with everything, but I find a lot of it relevant and it`s those things that people attacked him on, so he was misunderstood.”
Finally, there is the question of why a three hour live saga instead of a cataclysmic 90 minutes?
“The intention was to cut back in the January-February tour of America. `What are we doing? We`re mad, three hours.` So we attempted to cut it back to two hours, and I don`t know, it just went to three hours again.” He chuckles.
“Not having a set pattern is what does it. That way it`s such an invigorating catalyst at times, because everybody feels that way and somebody starts doing something and everybody smiles and away it goes off into another thing altogether. And you`ve got to keep thinking fast – when it`s working well it`s really great, four people building something, changing gear without crunching them.”
Oh by the way, have you found your angel with a broken wing?
He stumbles on the reply, reckons the question was below the belt, and settles on the simplest reply.
“Yes.”

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. 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 Sounds also contains articles/interviews with these people: Evelyn Thomas & Ian Levine, Shaun Cassidy, Alan White, Cate Brothers, Julie Tippetts, Adam Faith, Pat Travers, Deep Purple, Jesse Winchester, Phil Collins.

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

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