Month: November 2017

ARTICLE ABOUT Rick Wakeman FROM SOUNDS, August 28, 1971

This excellent article is also an example of how I think when I DON`T edit what I think may be a mistake in the text of an article. In this article there is a mention of someone called “Nick Simpler” who I think may be the former Deep Purple man Nick Simper. I don`t edit this in the small chance that there actually was someone called Nick Simpler jamming in Brentford. So now you know – I`m not just totally ignorant of these things.
Have fun reading.

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Just another Yes man…

By Penny Valentine

When he was six years old Rick Wakeman`s father dispatched him to a very fine lady piano teacher in Harrow. Two lessons later the infant Wakeman had decided to be a concert pianist. He never actually made it to the concert platform – all kinds of other small diversions like football, girls, and bands kept getting in the way. But he did make it to the Royal College of Music in London, where, at his first clarinet lesson, he stunned the entire teaching staff. Not exactly by his brilliant virtuosity, but because he collapsed at their feet in a drunken stupour.
From such humble beginnings mightly acorns grow and today Rick Wakeman is a fine musician who last week started a new and happy chapter in his life by joining the increasingly talented Yes.
To be honest he didn`t exactly look ENTIRELY happy when I met him on Wednesday, but then it had been an exhausting five days. After 124 hours without sleep our tall thin blonde hero was beginning to wilt – not unexpectedly. His days split between recording his first album with Yes and then rushing off to Trident to complete session work he was committed to and only time for a quick breakfast at home in between.
Musically his joining up with Yes couldn`t have come at a better time. The band had already decided that for their tour of Britain this autumn they would work on a whole new stage concept barring all old material in the act. So Wakeman comes in at the beginning of a new Yes era able to add his ideas and become an integral part of the band from scratch.
As the temperature soared into the clammy 80s in London, and we threw down as many cold cokes as we could. Rick brightened up and agreed that – by pure accident – it had all been a very lucky series of coincidences:

BENEFIT

“I think it got to the point with the Strawbs when we just weren`t right for each other. I`m sure we`ll all benefit from the split because we were beginning to compromise a lot on ideas – like we`d use half of my ideas and half of theirs – and I don`t think it was helping what was eventually coming out. We ended up lacking challenge. Complacency set in, and for the last couple of months we just weren`t working. I went back to doing a lot of session work and then three weeks ago, Steve Howe, phoned and asked me if I`d like to go along and play a bit with Yes and see how we all got on.”
For Yes, Rick turned out to be exactly the musician they needed – a man with ideas a very high standard on five keyboards including Moog and organ. For Wakeman, Yes turned out to be the most enthusiastic hard working band he`d ever met:
“I found all the ideas I`d had before but never used, waking up and coming to the surface. And what happened on the first session was that I found the ideas. Yes had about their music and direction were very similar to mine. We have a complete understanding and they`re incredibly enthusiastic. I think Yes are going to get much bigger than they are now and if they don`t, well, all I can say is that it certainly won`t be through lack of work or enthusiasm – I`ve never known a band work so hard it`s a wonder they haven`t all collapsed by now.
Yes, of course, it`s been great coming in now when they`re working on all new material. On the tour I think only about ten minutes out of the hour and a half act will be old stuff. Like they`ll probably have to do “No Disgrace”, and there is a piano solo I did with the Strawbs we`re thinking of putting together with Steve`s guitar solo “The Clap” but that`s all. I don`t think you can integrate old thought and new thoughts.”

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On stage Rick plans, for the first time, to use all five keyboards and so Yes`s live sound will have a chance to expand even further:
“I suppose it sounds a bit flash but it`s really for the sake of having exactly the right sound. We`re using four keyboards on the album and I think it`s only fair to an audience to get the sounds over live the same way – I don`t like substitute sounds anyway. If something`s definitely needed than I don`t see why you shouldn`t use it.”
Wakeman`s reputation as a musician has grown so huge over the past couple of years, he`s been one of those people that you think has been around for ever that it comes as a surprise to discover that actually Yes is only the second professional group he`s played with.
He started with semi-pro bands at 14 when he was still at school and the recollection of those halycon days brings him out in a rash of laughter. His first great break came with the “Atlantic Blues”, band where he played a Woolworth`s organ using the speakers from two old radios (“Needless to say the result was – dreadful”) and one of their first gigs was at the Neasden Mental Home.
“I think the crunch came when we were the interval group at the Byron Greenford for 30s. We were so bad it was the shortest interval in the history of the place.”
But things picked up after that. Fast and furious he moved into a trio dance band for gigs at the British Legion Greenford and Rick became the richest kid in his class, then to Ealing Social Club (£12 a weekend); Brent Borough Social Club (£15 a week); his own band at 16; Ronnie Smith`s dance band (£15 a week) where he joined the “ranks of the moth eaten jackets and punch-ups”. After joining the Royal College he worked as a freelance and then started session work for Denny Cordell and Tony Visconti. Then back to Ronnie Smith (£28 a week this time) because he`d just got married and needed the money. By now he`d left the Royal College and had started doing sessions with a band called The Strawbs: “The highlight of my week was at the Red Lion Brentford where jam sessions went on with John Entwistle, James Royal, Nick Simpler, Mitch Mitchell -everyone turned up for these incredible rock and roll evenings, and I was really honoured to be there playing with these great musicians.”

FAMOUS

By now Wakeman`s session work was becoming famous. He played the classic mellotron passages on David Bowie`s “Space Oddity”, and was a regular session man for Al Stewart, Ralph McTell, Cat Stevens only recently popping up on T. Rex`s “Get It On”.
The Strawbs, who he`d worked with on “Dragonfly”, one day said why didn`t he rehearse with them? And promptly turned up with a crate of beer and offered him a place in the band on piano:
“We had some fabulous times, there`s no doubt about it. I was knocked out the first time I saw my name in print when I was with them. It may sound flash but it`s great, I just sat there staring at it. But at that time the band were incredibly in debt and the equipment was farcical. I had an old Hammond I`d jumped up and down on for years and was a wreck and we had to shift all our own equipment because there were no roadies. Then we got new management and things picked up. I think the standout point was when we did the Kilby Hall gig it did us so much good it just built up from there.”

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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: Ten Years After, Elton John, Link Wray, Richie Havens, Tom McGuinness, Terry and Gay Woods, Monty Python, Bo Diddley, Edgar Broughton, Mike Harrison, Sam Charters, Miller Anderson, Allan Taylor.

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 20 $ (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 Deep Purple FROM SOUNDS, August 21, 1971

A short article on Purple and a little bit about The Faces. Not the greatest piece of journalism but it is always nice to read anything written about bands this early in their career. And these days, when we do miss the great, late Jon Lord, it is a pleasure to “hear” from him again. So enjoy, my friends.

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A purple passage in Texas

Allan McDougall reports from Hollywood on Deep Purple in America

It`s 3 P.M. on a 95 degree Hollywood Friday afternoon, and you`re sitting high in your office thinking Friday thoughts of the beach, or the mountains or maybe the desert. Your intercom buzzes and your secretary says there`s a Jon Lord at the gate, should the guard let him in?
Then you remember tonight is the night to go down to Long Beach. Not to tour the Queen Mary, all high and dry and hamburger and cake stands, but to see Jon Lord and his organ and Ritchie and Roger and Little Ian and singer Ian who are gigging at L.B. with Rod Stewart and the very big now Faces.
You run out and meet Jon and say, “Far out, didn`t think you`d have time to fall by, watcha up to?” And Jon, as elegant as ever in his Avis renta-thing says, “I came in early to buy an organ – bloody airlines dropped mine.”
But first: liquid refreshment. Which in 95 deg. Hollywood means not the boozer because (A) there`s no pubs in L.A., really, and (B) imagine the kind of hangover you`d get in that kind of heat.

TOUR

So, sitting sipping our strawberry malts, Jon tells us about this tour of America:
“Actually, it been the best tour Deep Purple have done of the States. The most worthwhile so far. Gigging with The Faces has been so good. You know, obviously in most places we`ve played it`s been their audiences – Especially in Detroit and Chicago, which is where Rod Stewart`s label, Mercury, is headquartered.

ENCORES

“But in Texas, it seemed like they`d all come to see Deep Purple. Anyway, we usually had to work very hard to get the audiences going, and always got encores – which meant that The Faces also had to work especially hard to follow us. All of which meant a lot of fun for the audiences at every show.”
Knowing that Ritchie Blackmore is not quite the world`s No. 1 America fan, we ask if the man in black is digging it?
“Yes, Ritchie`s really getting into it at last, bless him. Now, he can see the sense of it – we all can. Did you know that our new album, `Fireball`, shipped 55,000 in the last three days?”
We pause to faint for a minute, because that`s a whole lot of albums for 3 days, and we think that all the signs that told us “At last Deep Purple are going to really do it in the States”, all those signs spoke with straight tongue.
“And there`s re-orders coming into Warner`s from all over the place,” Jon smilingly concludes.

JAMS

Later that day my lady and I drive down to Long Beach, but the traffic jams caused by the 20,000-odd people with tickets (and the 10,000-odd ticketless people) all trying to get in make us late for the show, and we get there at the end of “Strange Kind Of Woman” which goes down well.
Then Purple sneak into “Child In Time” which really gets the audience going. Having seen Purple perform in Paris and Berlin and London last year, we observe one big change in the act, and a nice one, too. Ritchie does an incredible solo where his guitar sounds like some monstrous cello.
Then comes the usual closer, “Mandrake Root”, great as ever with the strobe-lights and all, and the audience go crazy and Deep Purple should be very proud and happy.

EFFECTIVE

A word or two about those Faces: they are fantastic. Rod was just great, prancing around in his leopard-skin suit and while Mac and Ron and Ronnie and Kenny may not be the world`s flashiest musicians, they probably are the world`s most effective.

BOPPING

From “It`s All Over Now” to “Maybe I`m Amazed” to the Everly`s “When Will I Be Loved”, through old favourite “Country Comforts” and “Every Picture Tells A Story” new favourites “Maggie May”, they had the entire audience bopping happily at their feet.
And that was the best rock show South California`s seen in some years.

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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: Ravi Shankar, Mickey Finn, Roger McGuinn, Rick Nelson, Howard Riley, Eddie Harris, Mike Albuquerque, Supertramp, Mark/Almond, East of Eden, Woody Allen, The R&B Show, Terry Reid, Viv Stanshall, Louis Armstrong, Joseph Spence.

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 20 $ (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 Supertramp FROM SOUNDS, August 21, 1971

A really good article from “ancient” times this one. Even Paul Kossoff, formerly of Free, shows up in it. Have a nice read everyone!

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Changing the face of Supertramp

By Ray Telford

The trouble with most groups nowadays is that none of them seem to think any further than what is expected of them. Fourteen months ago Supertramp was an exception to that because they brought out one of the finest British rock albums of last year and with a kind of unspoken promise it seemed as though they might well continue in their good work.
Since then, though, nothing`s happened except for the release of “Indelibly Stamped” a few weeks ago which got a noticeably cooler reception than did their first, “Supertramp”. According to Kevin Currie, the group`s Liverpool drummer, the reason why Supertramp lay virtually dormant for all those months was because of a serious clash of musical ideas.

CHANGES

“Yeah, it just wasn`t happening personally for the group at that time,” he said. “It got so bad that the drummer had a nervous breakdown and at the time of recording the first album everybody hated each other`s guts. Considering all that it came out pretty well. It was a very melancholy kind of thing and the mood of the group fitted the music. That`s why people dug it I think.”
The changes in the group now have been fairly drastic. Frank Farrell replaced Richard Palmer who was lead guitarist – and as Frank plays bass, former bassist Roger Hodgson took over lead. Kevin replaced Bob Miller on drums. The lineup is completed by keyboard player Richard Davies and Dave Winthrop on saxes.
A couple of months ago rumours were flying thick and fast that Paul Kossoff was about to step in and recruit Roger Hodgson for his own group.
“Well, that`s not strictly true,” said Kevin. It`s true that Paul was interested in the group and in Roger, but Roger flatly said he didn`t want to leave. We all really dug Free and Paul came down to the country and had a blow and he played a gig with us but that was it.”
Perhaps it isn`t so prevalent on “Indelibly Stamped” but Kevin says that they are moving towards a much more melodic and positive form of rock and roll which he reckons will come over to their satisfaction on their third album.
“We`re still basically a rock band and we don`t want to change that but there isn`t any one set direction because we have so many ideas and influences which we`ll have to get together. Everyone is more concerned with melody and this album we`re working on now shows exactly where we`re at.”
As their publicity handout truthfully observes it is a minor miracle that Supertramp are still together. Indeed they have a good name and I feel it is this alone which has kept them together more than anything. Their first album gained them a hard core of followers especially on the college circuit but Kevin reasons that that type of audience is a limitation on the group.

LIVE GIGS

“Most of our live gigs have been college dates which means we`re only exposed to people who want to know about us anyway. Recently, though, we`ve played some northern gigs at things like Mecca Ballrooms and really straight sort of clubs and the receptions have been great. These are the kind of people that wouldn`t normally associate themselves with groovy college bands. We`ve still got a good name and even the people who haven`t seen us come along and they expect something good. Yeah, I think they`re getting it too.”

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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: Ravi Shankar, Mickey Finn, Roger McGuinn, Rick Nelson, Howard Riley, Eddie Harris, Mike Albuquerque, Supertramp, Mark/Almond, East of Eden, Woody Allen, The R&B Show, Terry Reid, Deep Purple, Viv Stanshall, Louis Armstrong, Joseph Spence.

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 20 $ (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 Pink Floyd FROM SOUNDS, August 14, 1971

Another one with the Floyd. A couple of interesting opinions in this one. I recently saw one of the tribute bands, Brit Floyd, in my hometown of Trondheim and I would recommend them as the next best thing to the original band. The interest that there is in tribute bands to Floyd, shows how much we all miss the original band. Great music!

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Floyd – A buzz of interest

By Steve Peacock

There is a body of opinion, not so much in England but more in the rest of Europe and in America, which contends that the Pink Floyd never really did anything to match the things they did when Syd Barrett was with them.
Looking back over their work, and considering that the bulk of Syd`s work with the band was completed before the “Saucerful of Secrets” LP (he played on some tracks, but Dave Gilmour joined the Floyd while they were in the middle of recording that album) it seems a slightly ridiculous contention.
This is not to belittle Syd`s work at all – you only have to listen to that first album and hear things like his “Bike”, or to the two solo albums that he made since leaving the Floyd, to realise that he is an astonishingly original and inventive writer and musician.
And if you ever saw the group play live in the early days with Syd, you`ll know how important a force he was in their music.

FLOOD

But that was then, and I think it is fair to say that – whatever the politics surrounding his departure from the group – if he hadn`t left, we wouldn`t have had a Pink Floyd for as long as we have. It got to the point within the group where Syd and the others just could not work together.
Syd left, the Pink Floyd carried on with Dave Gilmour, and have since been responsible for some of the most exciting and novel pieces of rock music to emerge from the great flood of ideas we`ve experienced during the past five years.
When people talk about the avant-garde of British rock music, whatever that might be, there are always two names that are mentioned; Soft Machine and Pink Floyd. In their separate ways, both have contributed a great deal. They`re not leaders, as such, because that implies that people have picked up on their music and copied it and though you could easily point to a thousand Mayall imitators, or Cream imitators, you`d be hard put to it to find more than a handful of groups who have borrowed in such an obvious way from the Soft Machine or the Floyd.
They have had their influence though – mainly by opening doors and expressing broad ideas that other musicians have absorbed into their attitudes more than their musical form.
One of the oddest things about the Floyd is that, after “Saucerful of Secrets”, it is difficult to find any kind of logical development in their music. Obviously there is progression from one musical idea to the next, but it isn`t in any clearly defined “direction”, and after listening to their most recent work you don`t really have any idea what they are likely to do next.

ENDLESS

Each album – in some cases each track – is a project on its own; everything they`ve done had been unmistakably Pink Floyd, but everything fits into a general idea rather than a pattern.
Who could have seen “Atom Heart Mother” after the “Ummagumma” album, or “Alan`s Psychedelic Breakfast” on the same album as “Atom Heart”? Not me, and I suspect not the Pink Floyd.
They are all notoriously vague when answering questions about what they are going to do in the future, or even what they are doing at any given time, and they tend to work very slowly – trying out a lot of ideas before they make a decision on what to carry right through.
The list of projects that get postponed, or half finished, or dropped because something else came along, is endless.
But one thing is always certain; when they come up with something it is usually excellent, and it always creates a loud buzz of interest.

Equipment

PA:
6 100 Watt Hiwatt Amps
17 100 Watt WEM Amps
1 40 Watt WEM Amp
1 Leslie 145 Speaker
4 WEM 2 x 15 Speakers
8 WEM 4 x 12 Speakers
11 WEM 4 x 12 Speaker Columns
8 WEM 2 x 15 Speaker Columns
4 WEM Horn Units
2 WEM Mixers
5 Binson Echo Units
1 WEM 1 x 12 Speaker Cabinet
4 3 x 10 WEM Speaker Columns
2 Leslie 147 Speakers
2 WEM Horns
4 Tannoy Speakers
1 H.H. Electronic 100 Watt Amp
1 Leslie Amp

MICROPHONES:
6 Sennheiser Microphones
12 Shure Microphones
12 Microphone Stands

GUITARS:
2 Fender Stratocaster Guitars
2 Fender Precision Bass Guitars

DRUMS:
1 Ludwig Drum Kit with 7 drums and 9 cymbals assorted sizes

ORGAN:
1 Hammond M102 Organ
1 Farfisa Organ Pack

OTHER INSTRUMENTS:
3 Revox Tape Recorders
1 Gong and Stand

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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: Alun Davies, Roger McGuinn, Rev. Gary Davis, Judy Collins, Ottilie Patterson, Gentle Giant, Black Sabbath, Moby Grape, Henry McCullough, David Bowie, Marc Bolan, Yes, Family, ELP, Jethro Tull, Grease Band, Osibisa, Strawbs, Led Zeppelin, Mimi Farina.

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 20 $ (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 Led Zeppelin FROM SOUNDS, August 14, 1971

One more in this series where a short article are followed by a detailed equipment list for the band. Hope the cover band artists enjoy this one too.

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From ashes

By Martin Hayman

Led Zeppelin could surely never have foreseen the welter of superlatives that has overwhelmed them since they rose from the ashes of the Yardbirds in 1968. At the time they made their first foray to the U.S. on Boxing Day 1968 to name their debut precisely, the band was a collection of new faces and one of Jimmy Page`s old session playing mates.
In the Yardbirds Page had been somewhat overshadowed by Jeff Beck, whose fame had rapidly advanced in the U.S. with his collaboration with Rod “the Mod” Stewart. Page had taken bass until Beck`s departure and it seemed a bit too good to be true that the struggling Yardbirds could nurture yet another guitarist of comparable brilliance. But as it turned out, it was Page who took the larger slice of dollars and fame, for Page was a guitarist in a band rather than a guitarist with a few sidemen.
Page formed the nucleus of the new band with session drummer John Paul Jones, and eventually took on, independently, two of the former members of Birmingham`s Band of Joy, bassist John Bonham and vocalist Robert Plant. The latter has been one of their strongest assets. Not only could he sing, and sing with phenomenal power and projection, but he seemed to have an instinctive understanding of Page`s guitar pyrotechnics; such a close affinity was there between voice and guitar that at times one wondered whether it could be telepathic. He also had the right face and image, blond, tall, dramatic, obviously English.

DEATH

The combination of a heavy name on guitar and the teen-pulling power of Robert Plant proved a sure-fire combination for the concert-halls of the States. For rather less obvious reasons, Zeppelin never really got off the ground in Britain before they disappeared over the Atlantic.
Perhaps English audiences were still too fixated with the death of Cream and pre-occupied with finding another band who stuck more closely to the blues format. Although Zeppelin very honestly credited blues material to the composers, they only used it as a taking-off point for their own brand of what has appropriately been called thunder rock; nobody can accuse them, however, of not being in complete command of the blues format, as they demonstrate in their compelling rendition of the Howlin` Wolf Classic “How Many More Years?”

STRAIN

Their rise to such dizzy heights has not been without a certain amount of strain from within and backbiting from without, of course. Staunch allies have turned out to be a trifle lukewarm when it became clear that this was a group for everybody to enjoy, and yesterday`s superstars have cooled off on the whole set-up to a marked degree. Plant now feels that he has to hold back a bit to keep from burning himself out: “If you take up the reins that are given you, you end up destroying yourself.”
It was for that reason that the band put together their last album in the country with a mobile recording truck, and produced some pleasantly contrasting acoustic material.
A new album was recorded in February, and delays in mixing should be resolved in the near future.

Equipment

JIMMY PAGE
4 4×12 Marshall speaker cabinets, each have 3 35 watt speakers in each cabinet
2 Hiwatt 100 watt amplifiers, treble booster
2 Vox echoe chambers
1 Echoplex echo chambers
1 Sonie Wave (Therome)
2 Les Paul guitars
1 Rickenbacker 12-string guitar
1 Fender Telecaster
Ernie Ball Super Slinky strings
Vox Wah Wah pedal

JOHN PAUL JONES
Fender jazz bass guitar
Fender Telecaster bass guitar
3 acoustic cabinets
2 acoustic amp tops (pre-amp)
2 Marshall 4×12 horn cabinets = 3 SW speakers
2 Marshall 100 watt amplifiers
1 Farfisa Duo Pro organ
1 Farfisa single manual organ
1 145 Leslie speaker cabinet

JOHN BONHAM
Drums all by Ludwig
1 14 in. x 10 in. side Tom Tom
1 16 in. x 16 in. side Tom Tom
1 18 in. x 16 in. side Tom Tom
2 26 in. x 15 in. bass drums
2 14 in. x 6 1/2 in. snare drums
1 24 in. Ride cymbal
2 20 in. crash cymbals
2 14 in. Hi Hat cymbals

ROBERT PLANT
3000 watt JBL PA system
8 6 ft. x 4 ft. Wuffer speaker cabinets
4 long range horns
4 medium range horns
4 close range horns all with electronic cross-overs
1 Binson echo chamber

All instruments and drums are miked up with Shure Unidine microphones

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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: Alun Davies, Roger McGuinn, Rev. Gary Davis, Judy Collins, Ottilie Patterson, Gentle Giant, Black Sabbath, Moby Grape, Henry McCullough, David Bowie, Marc Bolan, Yes, Family, ELP, Jethro Tull, Grease Band, Osibisa, Strawbs, Pink Floyd, Mimi Farina.

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 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.