Month: January 2018

ARTICLE ABOUT Paul McCartney FROM SOUNDS, November 20, 1971

A really interesting article printed just a few weeks before the first album that Wings released. In itself a very good band with some good tunes, but nothing less than you would expect from one of the major songwriters of this modern world. Personally I have always had a very weak spot for the Beatles, and I think they are probably THE most important group of musicians that ever was or ever will be. Yes, I am a fan of the Beatles, and anyone with just a small amount of musicality in them would and should agree.
Enjoy this interview with Sir Paul McCartney from way back.


Trying to keep things loose

Paul McCartney talks to Steve Peacock

Paul McCartney, sitting on the control desk in EMI`s number 2 studio at Abbey Road – “I went to New York looking for the best studio in the world, but I prefer it here,” – was talking, not unnaturally, about his new band, Wings.
“The night before John said he was leaving the group and all that, we were at home and it suddenly dawned on me. `If everyone else doesn`t want to do it, I`ll get my own band, even if it`s just a little country and western thing or something like Johnny Cash, just so I can get in there and have a sing.` Because that`s all I wanted, just to play.


Everyone did really, everyone was trying to play, but no-one wanted to do it with the Beatles.”
It`s been a long time since then, and Paul`s the only one who hasn`t yet got out on the road. John`s done it – Cambridge, Toronto, Fillmore East – George has done it – with Delaney and Bonnie, and with Ringo and all the others at Madison Square Garden. But Paul`s been hiding away. There`ve been two albums which haven`t had very good reviews, and which personally I`ve found rather lifeless, plus the odd single.


But now there`s Wings – a band. There are no firm plans for going on the road, though at the moment they`d like to do it, but there`s an album. We listened to it at the studio – McCartney jiggling about in his seat to it, obviously delighted – and certainly to me it sounded as if after years of reaching out for handholds, McCartney had found out how to do it again.
One side rocks hard and loud, the other side moves more slowly – just like the old records, one side for jiving, the other for smooching. That`s the way he planned it. “Mumbo” is the first track, and maybe THE track. “Bip Bop” sounds a bit like the Stones` “Stray Cat Blues”.
“Love Is Strange” is the old rocker`s words set to a reggae beat, and it works, “Wild Life” is the title track, with a strong vocal, a nice guitar solo, and a sound that isn`t far away from the first Moody Blues album. Good old Denny Laine.
Side two has an overall sound that`s pretty close to the Beatles when they were close – ooh-aah backing vocals, rhythm guitars, short solos. It ends with “Dear Friend” – very slow, piano, strings. “That`s the only one that`s at all about the Beatles situation,” he says. “Throw the wine – shut up, stop messing about.” But on “Wild Life” there`s a line that refers to “a lot of political nonsense in the air.”
Later, he was talking about political nonsense, all the trouble between him and the others, between the McCartney`s and Linda`s father, John Eastman, and Allan Klein. Politics, Paul called it, and he didn`t like it. All he wanted was to be out of the whole thing, to own the copyright to his own songs, forget the Beatles, sign a piece of paper saying we`ve split up, everything`s going to be shared by four.


“And John said, “Yeah, but that`s like asking us to stop the bombing in Vietnam.” We eventually decided that we were all Vietnamese, so that`s all right…
“But I keep wanting to send him postcards saying `The war`s over if you want it” – tell him what he`s saying. It`s just crazy, I`m sure the truth`s a whole lot more simple than it`s made out.”
Talking about John: “John`s John. John wants to wipe everything away and start again, but in doing so he never wipes anything away. He wants it to be him and Yoko against the world, or whatever, but he`s still in with all the others, in with all the contracts and going in to the meetings and everything.
“He`s getting pissed off with it though – I sense it. I`ve had a couple of good conversations recently with just John, and I`ve felt a lot of common ground with him. And I watched him on the Parkinson show, and really a lot of the things he`s into, we`re into as well.”



Did he like John`s albums?
“I liked `Imagine`, I didn`t like the others much. But really, there`s so much political shit on at the moment that I tend to play them through once to see if there`s anything I can pinch.” And how does he sleep?
“I think it`s silly. If he was going to do me he could have done me, but he didn`t. That didn`t phase me one bit. `You live with straights`. Yeah, so what? Half the f-king world`s straight; I don`t wanna be surrounded by hobnailed boots. I quite like some straight people, I`ve got straight babies. `The only thing you did was Yesterday`. That doesn`t bother me. Even if that was the only thing I did, that`s not bad, that`ll do me. But it isn`t, and he bloody knows it isn`t because he`s sat in this very room and watched me do tapes, and he`s dug it.”
But back to Wings. There`s Paul, and there`s Linda, and Denny Laine, and drummer Denny Seiwell who Paul found in New York before he did “Ram”. He was auditioning drummers in a dark basement, and he asked for rock and roll beat. Denny went straight to his tom toms – all the others went to the high hat. Denny got the gig. “I play all the lead guitar on the album,” said Paul, “except for a few places where Denny (Laine) and I play in harmony. I fancy myself as a guitarist, see. He did have a solo but I took it off him.” Denny smiled.


Linda sings, writes with Paul, and plays a lot of keyboards. “I like what she does. Her style isn`t like that old, hard pro thing that`s got all the technique, but it`s like children`s drawings. That`s not a very good simile, but it`s got what children`s drawings have got… innocence.”
The album was recorded with very little rehearsal, and a lot of the basic tracks were done live in the studio – a far cry from the painstaking technical methods of something like “Ram”. Why hadn`t he done something like this before?
“Well in a way I did, but it was me playing all the instruments, and you can`t get into it in the same way. `McCartney` was more or less me testing out the studio in the house – the kids in the back, Linda cooking dinner, and me sitting down and having a play. That was just that album, and then “Ram” was just the next album. But whereas with `Ram` I tried so hard that I really wanted people to like it, with this one I don`t care so much because I like it.”
How important was it to him that people like reviewers liked his work generally? “It was a little too important to me, but obviously I hope people will like what I do, so it gets to me. With this one it might get to me a bit if it gets shitty reviews but I don`t think it`ll get to me so much. I had to rationalise things after `Ram`.”
Wings have made an album, but the idea has been to form a group – a group that won`t just make records but that`ll play together a lot, and go on the road.
“We don`t know exactly how we`re going to do that yet, except that we know we`re going to do it quietly until the band`s got the confidence to know we can play anywhere. But I don`t want to start with a big `Wings at the Albert Hall!` thing, with all the Press and business people there. The basic idea is for us to turn up at a place that we just fancy visiting at the time, and try to arrange a little gig. Do it under another name or something. If we do it the other way, then we`ve got to be THEM, and do the whole bit, and when it comes to the night we just might not fancy playing anyway.
“My best playing days were at the Cavern, lunchtime sessions, when you`d just go on stage with a cheese roll and a coke and a ciggie, and people would give you a few requests, and you`d sing them in between eating your cheese roll. That was great to me, I think we got something great going in those days – we really got a rapport there, which we never got again with an audience. And if an amp blew up or something, it didn`t matter, because we`d just pick up an acoustic and sing the Sunblest commercial or something – and they`d all join in.


We used to do skits and things too – I used to do one on Jet Harris, stagger around looking moody and a bit drunk, playing “Diamonds”. He`d been to the Cavern once and fallen off the stage.
“That was the stage with the Beatles I thought was best, and that`s the way I`d like to be able to play again – if a few people happen to turn up to a gig then it`s usually great, but if you`re all sitting there like penguins waiting to judge me, then I`m going to be nervous, and I`m not going to enjoy it. I`m not like John, who swallows his nerves in Toronto and be sick just before he goes on – that I`m not going to go through thank you. It`s not necessary, and if it`s not necessary, I`m not going to do it.
“With this band we play good together live because nobody`s too hung up about what he`s playing. We`ll go round to Denny`s house and just sit there playing songs that we half-know. It`s good.
“We don`t want to be a media group – we don`t want to go everywhere and plug everything and have knickers with our name on them and all that. That won`t work for me now – it`s all done. It was great while it lasted but its over now.”


Did he really enjoy all that while it was happening?
“Yeah, it was great, obviously, and I did enjoy it, loved it, but it got to be a bit tight at the end. It was when we got to be Beatles with a big B that things began to be difficult because even if we wanted to go out and play, how the hell could we do it? We`d have had to have done a big million seater thing, and that`s why I was suggesting them that we all just go away somewhere and play, like I want to do with Wings. Ricky and the Redstreaks at Slough Town Hall or something – and everyone turns up for the Saturday night dance and finds it`s us.
“We`re all musicians, and the fun of being a musician is being able to play live to people. For us, it might be a year, it might be two years, or it might be next week. We don`t know, we might not even fancy going live in the end, and if that happens it`s all right too.
“I`m just trying to keep things loose, because life itself is loose. I don`t want to have to say `I`ll be in Slough tomorrow` on the way I feel today, because tomorrow I might not feel like it, and it`s great to be able to give yourself the evening off. Everybody talks about freedom and all that, but all you`ve got to do to have it is just to take it. You don`t have to do a Santana and tour the world or something – I`d rather have a few people annoyed that we didn`t turn up, or rather that Ricky and the Redstreaks didn`t turn up, than go through all that again. And as long as we keep that basic freedom, I don`t think we`ll go far wrong.”


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: Ray Charles, Marc Bolan, Bell & Arc, Ornette Coleman, Rory Gallagher, The Who, Felix Pappalardi, Van Morrison, Mr. Fox.

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

1. Send me an e-mail if you are interested. Send it to:
2. The offer should be 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 Roger Daltrey FROM SOUNDS, November 20, 1971

This is in my mind a very early article with the Who, but at this point in their career they had already released five studio albums. There would be five more before they officially disbanded at the end of 1983. Later on they reformed several times, and even released a new studio album in 2006, and have been touring the world ever since.
I don`t know if we will ever see a new studio album from them, but with two original members left of their original line-up, they are still a band worth seeing. Go catch them if you can!


Daltrey`s Utopia in the wilds of Sussex

Penny Valentine talks to the world`s greatest mike thrower, Roger Daltrey

The world`s greatest mike thrower is feeding his horses – jeans tucked into boots, polo neck sweater, his hair blown in the cold autumn wind, a bucket in either hand. Looking as though he never does anything else.
To the cynical eye the scene wouldn`t look out of place in a smooth cigarette commercial, but in truth this is the easy relaxed life of Roger Daltrey for about five months of the hectic year.
Three or four years back Roger Daltrey wasn`t the sort of man you spent a cosy weekend with in the country. A city boy with an uneven temperament, he was known to be moody, explosive, subject to fits of depression. It made you feel ill at ease to be too long in the same room with him, and he had a way of fixing you with a baleful stare that would ice up the courage of the bravest man. Hence journalists, never known for their courage in the face of adversity, would steer away from him and it was rare that interviews with Daltrey would ever see the light of day.


There was even something of a driving ambition in him then that was a lingering throwback from the very early Who days. In fact his personality appeared to be an embodiment of the Who that the public viewed on stage. Moon was always the nutty one. Townshend looked fiercer than he ever was, but it was Daltrey who wrapped up all the aggression and spit within his own character – a phenomena that caught fire directly the band set foot on stage in those days when the Marquee was specifically their breeding ground and home.
Today the problems that he fought so hard against then no longer exist – eradicated not only by his own hand and through a sense of financial security, but one feels more because at last he feels he belongs. He belongs in fact to the Who and that the set-up is not only incredibly successful but so stalwart a unit has given him a sense of personal security.
So that talking to him in front of a blazing log fire in his Sussex house, drinking tea before we go off to feed the animals, you realise he finds it almost impossible to talk in specific terms about himself. Everything he mentions is in general or part and parcel of the group. He says it`s because he doesn`t really think he`s of particular interest, and certainly the early ambition and the need to desperately rate attention and be up front has gone forever.


Now his striving is only to be a better singer, not for himself, but the constant advancement of the band he loves:
“I don`t think I`ve ever been a really ambitious person in the sense of the word. Of course I`m always striving to be a better singer – I mean in the Marquee days I was bloody awful. Dreadful. I don`t know whether people noticed, I don`t know whether they notice now, but I know that really that`s what`s important to me.
“I think the Who as a group are important. I mean everyone is a good musician but I don`t think individually we`re that brilliant. If Pete or Keith left they`d only be half as good as they are with the Who.”
We talk about his new found peace and security, how at one time he might have headed a band of his own (“Oh, only in the early days when I was really out front with the Who certainly not any more. If anything happened to the band I`d get out for good.”) Earlier he`d proudly shown me round his beautiful Elizabethan house he bought six months ago just because he couldn`t resist it with its acres of gardens and lakes, its rose gardens and outhouses. Now he says that sometimes a sense of guilt creeps into him to have so much – in many ways an obvious reaction from a man who once only saw his own corner of life and never really viewed the world at large:
“I`m very very happy now but sometimes I wish I wasn`t quite so materialistic. I mean I have got that way and it worries me. I look round here and think what I`ve got and how little other people have.”
I point out that it`s the society we live in and that most of the people who accuse people of being materialistic are the ones who haven`t got anything to lose. “I suppose so,” he says thoughtfully. “Maybe it`s easier to give the world away when you`ve nothing to give.” But he falls quiet for a while and we have tea in near silence.


In fact Daltrey has tried harder than most musicians to actually do something concrete to help others less fortunate than himself. There have been artists he`s taken in and tried to help and invariably become disillusioned with.
But it doesn`t stop him trying. He has an overwhelming concern for the under-dog, for the ill treated which manifests itself most in his attitude to animals. His horses were all rescued from the meat axe, and amongst the seven dogs that run rampant throughout the house one was left uncaringly by the previous owners. Crippled by rheumatism, Daltrey spent unsparingly on it to bring it back to health.
“People can be rotten miserable sods can`t they? Fancy just abandoning an animal like that. I often wish I could do more but I`ve really been kicked in the teeth lately and – well it puts you off for a while.
“There`s some very talented people around and I`ve thought that if I took their material worries away from them they might get on and do something about their work. So I`ve given them a roof and money and some good grub in their stomachs and you know what – they`ve just sat on their backsides for six months and done nothing. I can`t understand that, it beats me to be honest. I mean where do you go from there?”
Daltrey`s admiration for extremely talented people has always existed. He may have no aspirations of his own but his enthusiasm for others is boundless. It`s always been noticeable that he`s never written any Who tracks and the reason is basically that he feels Townshend is so brilliant an artist that it`s just not worth bothering about, anyway – he grins – he couldn`t write a song to save his life.


When I last saw him a year ago he said that he thought the Who were finally established but that they still had a lot to do and a long way to go – does he feel they`ve achieved more in the past year?
“Well we`re still here and that in itself is something these days. We must be one of the few bands around that`s working all the time. I think we`ve progressed and I think that the last album helped a lot, it made a breakthrough for us if you like. I think the one sad thing about the last 12 months is that the Who film – yeah the ruddy Who film that everyone did so much talking about – never got off the ground. But we learnt from that.
“I mean basically it just wasn`t right that Pete should have had all that responsibility, it should have been put into the hands of someone who knew about the process of film making. Pete would be the first to agree with that. As it was he was left to do it practically alone. I mean, okay we all had our heads with him and the script was very good, but I think it was pretty obvious it wasn`t going to work.
“We are going to do a film though – a new one Pete`s got called `Guitar Farm` which Nick Cohn is going to write for us. He`s coming with us to the States and live with the Who first hand and then come back and lock himself up in a thought machine and get it going.”
The American tour kicks off in just over a week`s time and Daltrey grimaces at the thought:
“Not because of the gigs – for the two hours the Who are on stage it`s marvellous. It`s the other 22 hours in the States that are so bloody awful. I`m hoping this time over, which is the last time for a while because really we need a rest to get other things off the ground, `Won`t Get Fooled Again` will have broken new ground for us in America. You know last time we finally managed to drop `Summertime Blues` out of the act at long last. But we had to bring it back in because American audiences wouldn`t let us off stage until we`d played it.”
His constant references to “Won`t Get Fooled Again” pin-point how important he feels that album has been to the Who. As a band who have clung on in the meanest time and surfaced through musical trends galore to re-emerge bright and beautiful he thinks, he says, that album has been a landmark in their career:


“It was certainly the best produced album we`ve ever done and you see it was good for us to work with other musicians for once. People like Nicky Hopkins, Dave Arbus and Leslie West are so good and it sparked something off within the band. Because Leslie played lead guitar it meant Pete could give himself more room and really come up with some incredible things. It lifted a lot of weight from his shoulders and gave him more freedom which he`s never had before.
“To be honest I think it was the first album we really enjoyed working on too – all the others turned out to be such a huge drag. We only just managed to get through `Tommy` without leaping out of the window. Yes, I agree, maybe the album did lack something that`s always been connected with the Who maybe on reflection it lacked pure ballads. But it`s given us the chance to get back to that or move on or incorporate the two, it`s given us the chance of progression which is the main thing.”


When the US tour and all the hassles it entails is over Daltrey will be back to Sussex and all the things he loves – his American wife Ev and the chance to see his seven-year-old son by his former marriage, Simon, who is here this weekend. It`s a schizophrenic kind of life prevalent amongst most top musicians these days who, once they can afford to seem to scurry off to the wilds. Daltrey says he thinks that really it gives you a much better balance in life to split your existence in this way:
“I live here because I love it and because it`s the balance to the life I lead the rest of the time. I love touring and I love gigs with the Who, but I love being quiet and away from everything here too. I think, yes, it could be dangerous to just have this – I think you could get very stale. You`d stagnate after a while and feel you`d lost touch with reality. But in the same way it would be dangerous to live in the atmosphere I work in all the time and never have a sense of release.
“You see this way you get the best of both worlds and the addition of a good outlook. I can sit here and see what life was like two hundred years ago or more and I can go back into the city and see what`s happening and what`s going to happen in the future. It`s an opportunity for serious reflection.”
It`s dark by the time we get back from the horses. Too dark for Simon to sail the boat he`s just made, but Daltrey promises him a game.


Roger Daltrey – the world`s greatest mike thrower – leading a life that is really a personal Utopia. His own man down in Sussex more perhaps than he ever is on stage however much he loves it, maybe just because up there with his fringes swinging and his body bathed in sweat and the spotlight picking out the effort in his face he is for a while frozen within an image. A human being with something to live up to and all those yards of mike cable to do it with.
“I suppose, yes, to a certain extent we`re all trapped by our images. I mean there are some nights when I just don`t feel like throwing a mike in the air, just as there are nights when Mooney doesn`t feel like throwing his sticks at someone – so we don`t. But then you`ve got to remember that audiences expect that, that`s really what they`ve come to see. And we`re not always the same – the only reason people think we are is that for some weird reason we get reviewed about every week we`re on tour. You see really we`re just a rock and roll band. That`s all.”


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: Ray Charles, Marc Bolan, Bell & Arc, Ornette Coleman, Rory Gallagher, Paul McCartney, Felix Pappalardi, Van Morrison, Mr. Fox.

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

1. Send me an e-mail if you are interested. Send it to:
2. The offer should be 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 Marc Bolan FROM SOUNDS, November 20, 1971

There is still a lot of interest in Marc Bolan out there, even if he`s not been around for a while… In fact, in my all-time statistics for this blog, the blog article from NME dated November 11, 1972 is in 9th place when looking at the number of views on single articles.
I often wonder where he would have been today if his sudden departure from this world didn`t happen way too early. Unfortunately, we will never know.


Just a touch or sight of Bolan

Steve Peacock, on the road with T. Rex, reports from Liverpool

Marc Bolan grins and says hello, but he looks tired. In fact, all the band and their travelling entourage do, but then it`s the last night of a long tour and there are two shows to do that night.
Liverpool stadium is a boxing hall, or it was until boxers gave way to wrestlers and, on some nights, rock music. The equipment is set up on the ring, and half the stadium – behind the ring – will be empty. It`s not an ideal place for rock music, with every echoey acoustics, but then there isn`t really another good big hall in Liverpool except the Philharmonic, and they`ve stopped doing rock concerts.


The audience for the first house are filing in. They look mostly very young (it`s a 6 p.m. show) and a bit edgy – as if they`re not quite sure what to expect, nor quite what is expected of them. There`s the feeling in the air of schoolkids on an organised outing who aren`t quite sure how to behave; quick backward glances to see if someone`s going to push them back in their seats if they get up and rave.
Down at the front there`s a band of dedicated screamers – some close to tears at the frustration of being ten feet from Marc, Mickey, Steve and Bill, yet knowing that`s as close as they`re likely to get. They`re lip-biters and hand-claspers, rather than arm-stretchers. They came later.
The whole thing`s a bit tense in the first house, but it loosens up with the last few numbers. The band`s warmer then, punching out the hits and the “Summertime Blues” encore, and standing out in the audience you could feel the energy flowing. They`ve got a lot to get out, these kids, and it`s beginning to come now, but there`s still a block somewhere, and as the set ends you feel neither they nor the band quite made it.
Back in the dressing room everyone`s a bit more lively. It`s warmer in a physical sense and in atmosphere; it`s still essentially a musician`s waiting room, but this time you feel they`re building up to something, rather than hanging around, almost impatient to get out there and get it over.


The feeling`s different out in the hall too. The people coming in are still young, but a bit older than the last lot, and there are more of them. They seem more at ease, noisier, more alive. The girls gather in groups and chatter excitedly – there`s a lot of giggling – and the blokes move in in gangs, swaggering a bit, shouting to each other over the hall. Just before the lights go down, one guy stands up on his seat at the back of the hall to cheers from his mates, waves to the crowd, and drops his trousers, waving his arms around to a mime of exaggerated potency. A strange moment.
Bob Harris – the phantom autograph signer – takes the stage and gets some nice things going with the audience, starting off with the Who`s “Let`s See Action” and building through various moods to Rod Stewart`s “Maggie May”. Bob`s been doing a lot of the dates on the tour (the ones he couldn`t make B.P. Fallon did the opening spot) and later he said that he felt it was a good audience when it felt right to play Cat Stevens as well as the harder things. The electricity is building up.
Bob announces the band, and they bound on stage – Bill Legend, Steve Currie and Mickey Finn first. Pause. Then Marc. The place erupts with screams and cheers and clapping and shouts. Rock on. The joint was rockin`. The band`s playing well from the start a lot better than the first house, the people are stomping and round the stage – at the front and at the side – girls are leaning forward as far as they can, arms outstretched, trying to touch, trying to touch.



Will he notice me? Some of them scream a name, over and over again, some of them throw rings, pendants, anything, some of them have fingernails painted bright red, bright green. Will I stand out?
From the stage it`s a sea of faces and arms waving, pleading, pushing forward. It`s rare to see a couple – at the back maybe, but near the stage it`s mostly girls, with groups of blokes either dancing in the aisles or standing on their seats shaking shoulders and heads, arms up, flashing peace signs with the beat.
The band retire, and Marc sits crosslegged to sing. “Spaceball Riccochet”, “Cosmic Dancer”, “Deborah” with Mickey. Three or four times, girls make it over the edge of the stage and lurch towards Marc, grab him round the neck, hang on for dear life until they`re dragged off and gently but firmly pushed back into the crowd.


The band come back for the final push up – “Ride A White Swan”, “Hot Love”, “Get It On”. I`m beginning to get a bit scared. The bass cabinets have already been pushed over once, a spotlight has been toppled from the PA cabinets, and I`ve got visions of them tipping over on top of people. It doesn`t happen.
“You want more?” asks B.P. “Gimme a T”… and so on. They come back. “Summertime Blues” it is. It`s a good way to end – hard rocking but loose enough. You think back over the music, separating it in your mind from the whole thing, and you realise that without thinking about it you`ve been hearing some great playing.


Marc`s still out front, but his guitar playing is much less flash, much more part of the band than it used to be, and the rhythm section is really strong. Steve Currie, particularly, had been playing some excellent bass, and the combination of Bill and Mickey is just right.
Back in the dressing room, the group have gone, and so have most of the autograph collectors. Four girls are left, wandering around, confident they`ve every right to be there. They don`t say it, but you feel their attitude is “we pay their wages so…”
They`re picking over the debris on the table – empty bottles, cigarette packs, bits of paper. “Who smokes these?” One of them is holding up an empty cigarette pack. June, she`s told. “Marc`s June? Does he smoke them too?” No, we don`t think so. Disappointed, she drops it back on the table.


A really classy ad from Zeppelin. So famous they didn`t need their name in it all, just the symbols.

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: Ray Charles, Roger Daltrey, Bell & Arc, Ornette Coleman, Rory Gallagher, Paul McCartney, Felix Pappalardi, Van Morrison, Mr. Fox.

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

1. Send me an e-mail if you are interested. Send it to:
2. The offer should be 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 King Crimson FROM SOUNDS, November 13, 1971

I haven`t done any articles on this band before now. Not because I don`t acknowledge them or don`t like them, it is just that this one of the bands that have “passed me by”. I know they are a progressive rock band and I know that a lot of very good musicians have been in the band throughout the years. I just never got around to listen to them, even if I actually like a lot of progressive rock. Well, I think it is time to change that, and to redeem myself to the band and their fans I am now transcribing this very ancient article for you.
I hope I am forgiven for my ignorance and neglect, and that you will like this nice article.


Crimson, love and respect

By Steve Peacock

“I still can`t see how you can put a band together – or even conceive the idea of putting a group of people and making it a band, just like that,” said Fripp. “I mean, just imagine how difficult it is to find a chick you can put up with for three months, or who can put up with you. And a band`s got to stay together for at least a year to do anything.”
You hear a lot – often too much – about band`s splitting up, and the reasons they give usually come out as a variation of the “musical policy” theme. And then you talk to the people and find all kinds of undercurrents – like the drummer is a rat, or the lead guitarist wants to be a superstar, or the singer has dirty habits. Music is part of it, and the most acceptable part for quoting in pop newspapers, but more often than not it`s more a convenient excuse more than anything else. Because as Fripp was saying, the relationships within a band are as, if not more, important as the musicianship. Often, the people in a band spend more time together, and under more difficult circumstances, than they do with their families.


“Everyone has a role to play in the band as a personality, not just as a player,” he said. We were talking about how King Crimson nearly split up during their recent tour. Before Fripp arrived, Mel Collins had said: “There was the pressure of making the album (“Islands”) because it was a step for us that, at the beginning, we didn`t know whether we could make. We were all quite pleased with the album, but then we had to go straight into the tour, which was a bit…”
“Yes, that`s right. We found it wasn`t working out as well as we wanted it to. As a band we`re very demanding and have to aim for higher things all the time, and we had a few bad gigs. We were all rather frustrated, and Boz was going through a bad time with his bass playing, which obviously affected his singing as well.”


Fripp arrived later. “The reason we play together, you see, is because we want to play together, and the people involved are all fairly sensitive, so when the sensitivity is knocked on the head… if one man, myself for instance, becomes insensitive to the others, then you`ve got problems.”
Mel: “I can`t work at battle stations, as it where. I have to be in sympathy with the other people on the stand to play my best. I can see there are occasions when you can be productive when you`re uptight, but it doesn`t work for long.”



Fripp: “That`s the way the old band used to work, which is why it did a lot and then broke up. On the tour we were playing `Schizoid Man` better than ever – it was just right for that uptight feel – but it`s a very short term thing because it can`t build into anything.”
Fripp admitted that he was responsible for a lot of the recent tension, because instead of screaming at people he clammed up and sulked. “Word was laid on me,” he said slowly, and then they both burst out into helpless laughter, “that I wasn`t aware of the effect I was having on the rest of the band. In fact Mel emptied the contents of a table over Ian in the middle of the night once – instead of doing it to me, which upset Ian a bit – and Ian said that at several gigs he wanted to come over and lay one on me, and I was ready to throw the electric piano back if it happened.”


Eventually, it snapped and they talked it all out in the van one night. Mel thinks it`s probably made them stronger, as does Fripp: “There`s a sufficiently strong foundation of love and respect in the band, and common aims, to let it be talked through without a lot of personal recriminations or moody heavies or sulky sillies.”
Another problem they had, but from the outside this time, came from the audiences. “Personally I have great difficulty in relating to the adulation bit, encores and things, because I don`t think it has that much to do with the music. I suppose I`m a bit of a purist really.”
Fripp said that he`s evolved a theory that the music acted more as a catalyst for the audience to do their own performance: “The younger they are, the louder the cheering because there`s that much more energy to be released. But I think it`s fair to say we ran into a strong element of insensitivity to what we were doing – like people shouting for `Epitaph` all the time.”
How did he feel when they got a standing ovation for a bad set? “It`s a paradoxical relationship, because you can`t stand there and say `look, we just played a load of tripe, so why don`t you just piss off because you don`t know what we`re doing. You can`t do that because they might be applauding Mel, or Boz or Ian. When we all know we played a dreadful set we feel guilty, but as long as we`re not deceived it`s OK. It wouldn`t say the audience didn`t affect me, but it doesn`t affect my judgement.”


But for the moment at least, King Crimson are back together – not just in a physical sense, but in the way they relate to each other – and seem equipped to deal with outside pressures. The fast approaching American tour, said Fripp “will bring out whatever`s there, which is why it had to be sorted out before we left. If it hadn`t we would have split up without any doubt. But I think it`ll bring the band closer together now we`ve decided to pull together.
“And I think the ravers in the band will manage to get a lot more raving done than they did over here. It`s a rave culture – the facilities for raving are much greater over there.”


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: Jeremy Spencer, Grease Band, Groundhogs, John Marshall, Eddie Condon, Yes, Buffy Sainte-Marie, Francis Monkman, Edgar Broughton, Duane Allman, Colin Blunstone, Otis Redding, Dan Hicks, Arthur Brown, Gordon Giltrap, Brierley Cross.

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

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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 Alan White FROM SOUNDS, November 6, 1971

Apologies for all the Yes related articles at the moment. I just couldn`t pass this one up. Here is an article with well-known Yes man Alan White, conducted 8 or 9 months before he joined the band that would be his home in between solo work and session work for a lot of artists. Thought this would be interesting for a whole lot of people as he has played with a bunch of very famous people in his career.


Alan the thump and funk man

By Danny Holloway

Since his appearance with John Lennon in Toronto as part of the Plastic Ono Band, Alan White has had a hectic and enjoyable career over these last two years. He`s also become one of the most successful session drummers around and until now, Alan has been almost totally ignored by the press and public. (He wasn`t mentioned in the recent pop polls). His only recognition has come from fellow musicians, especially drummers, who are knocked out by his ability to literally “drive” the music with loads of punch and funk. His Geordie mumble was a bit difficult for my Californian ears to decipher at first, but once I got the hang of it, we settled into a long in-depth conversation covering the whole of his professional career.

When did you first start playing?

My first professional chance was when I was thirteen. I started in the workmen`s club circuit up North in a local group. We played six or seven nights a week. It was good experience I guess. All the miners would go to drink at night after work. We used to play other peoples` songs on stage. I`ll always remember, this guy came up to me after we finished playin` one night and he said, “You`ll be playing with the Beatles someday”. I always think about that. It was seven or eight years ago.

What made you choose to play drums?

I played the piano for eight years, before I played the drums. My uncle was a drummer and he got killed just after I started fooling around with some drums that my parents had bought us for Christmas. He played with dance bands and things and was really good at it. He could feel it. I just gradually built up from there. I really wanted to do something after his death because he was one of my favourite people. I still did piano lessons and that, but the piano started to fade out and the drums started to fade in. Especially since I was making money playin` drums while I was still at school.


What happened after that?

I played in that group for two and a half years or something like that and after that I left school. I then went to technical school for about two weeks and this new band I was in won a competition, down in London, at the Prince of Wales where Ringo, Cilla Black, Brian Epstein and some other person judged it. That was the first time I got involved with that scene. (The Beatles). It keeps coming into it at certain points in my life. The group was called the Downbeats and there was a lot of good groups and we just happened to win it. We did one single with Pye, but it was pretty ordinary.
After that I got asked to join a group called the Gamblers who were going to Germany and I joined because I wanted to go. They were from Newcastle. I spent about three months with them in Germany. We played seven and three quarter hours a night, six nights a week. Actually, they were Billy Fury`s backing group. It was when I was about 16 or 17 I played with them backing him for about two weeks in carbaret up north. It was really funny. He kept movin` his hands around.
The Gamblers broke up in Germany and I came back to join a group some friends of mine were starting called Happy Magazine. It`s a terrible name but two of the guys are still with me in a new group we`ve started called Alva Sefan. We did a lot of gigs in London and did all the club scene before I got asked to join Alan Price. He was the manager of Happy Magazine and he pulled me out of the band. I played with him for about a year. That band got me into playing with a big band. It had eight pieces, I really enjoyed it.


What happened to the Alan Price set?

Alan Price left and Paul Williams, now with Juicy Lucy, took it over as the Paul Williams Set which didn`t last long. Then this friend of mine called Peter and I started a band called Griffin. From then on I went into the whole thing with Balls and the Peace in Toronto happened.

How did you meet John Lennon?

I think he`d seen me play at a club or something. Terry Dornan, he`s a really good friend of mine, he was George`s right hand man. I came back and the gig had been cancelled for the weekend and we hadn`t very much money and we were all feeling down about a drag week-end with no food. I got a phone call from Apple, it was Terry Dornan and he said “Do you want to go to Canada tomorrow?” And I thought all my birthdays had come at once. And he said:
“John wants to do a gig and he wants you to do it. Eric Clapton is doing it too and Klaus Voorman, yourself and John.” It took a lot of guts to say “Yes, I`ll do it”, because I`d never played with any of them before, which is really frightening. So anyway I said “Yeah, man, I`ll do it. Better than a drag week-end at home”. (Sarcastically).


Were you confident?

This is like a different matter. We didn`t even have any rehearsal before we went on stage. We were all so nervous we were nearly sick. It was the first gig John had done in almost four years and we hadn`t rehearsed with the band, and I just met them eight hours before. In the back of the plane we ran through a basic idea of what we were going to do. I just had some sticks on the back of the seat. It was an incredible scene though. We had a convoy and had to be guarded by the police.

It must have been like becoming a Beatle?

Right. Like Beatle for a day. Nobody believed, when we got to the gig, that the Plastic Ono Band were actually going to play. We were hidden in this dressing room where they had a couple of amps and still no drums. When we were thrust out on stage, all the lights were out and the drums weren`t mine. I had to rush and see if I could get them into place and feel comfortable.
When they hit the first chord of the number, all the lights in the stadium went on. I didn`t play really incredible, nobody did on the album, because it was a “let`s have a blow” sort of thing. But there must have been sixty or seventy thousand people there.

Did you know it was being recorded?

No, not at the time. I thought the mikes were just for the P.A. system. And then, all of a sudden, it was all over. John went and freaked out with all them noises and feed-back. The atmosphere in the stadium was really strange. I don`t know how he created it, but just being him and doing something like that. Lennon, he was swinging guitars around and yelling out.


Was it all spontaneous?

Oh yeah! It was freaking me out man. I was thinkin`, “What do I do to that?” Do I kick all of my drums over or what? But, I just started freaking around a bit. Then, they left all the guitars on the floor and we all went to the back of the stage and lit a cigarette up. We just stood there and everyone stood there watching this noise. John banged the drums a bit and then we walked off and left the noise. Everyone thought we were going to come back on, but we had gone back to the dressing room, and it was ages before anybody had the nerve to turn the amps off.

What happened after that gig?

I came back with Griffin and things were a bit dodgy there. I think we all knew what was going to happen because I started getting a lot of publicity from the Plastic Ono Band thing. I got asked to do an album with Rick Grech and Denny (Laine) and Trevor (Burton). And after the album was finished, Denny and Trevor asked me if I`d fancy teaming together with them, which turned out to be an unfortunate mistake. We came together, and I started doing a lot of work with George (I did an album with Doris Troy) and a few sessions here and there with George and Ringo. The first time I met Ringo, there was some really strange vibes but after a while he`s a really nice person.


What was the situation that led you to join Air Force?

Denny was in Air Force first, and I was in Balls by then, and I got a phone call at the studio saying, “Ginger wants you and Trevor and a couple of horn players to join Air Force. Do you know any horn players?” I thought, “Yeah, I know a couple of horn players.” A couple of friends of mine named Beddy and Steve, who are now with me in Alva Sefan, and I got them into Air Force. And Trevor and I drifted into Air Force. And that lasted for about five or six gigs I think. The original Air Force band had some incredible looners in it. When I was in the band there was Graham Bond, Ginger Baker, Phil Seaman, Denny, Trevor, Rick Grech, Janette Jacobs, and Jenny, the two chick singers, and Harold McNair. All together there were thirteen pieces. In between numbers there was a mad dash for your next instrument and people all crashing into each other on stage. It was far too big a  band. Me and Trevor quit the band because it was all too hectic. And we just continued on with the Balls thing. I couldn`t see eye to eye with Denny at all. I played one gig with Balls. And I just can`t play bad music on stage. I feel guilty doing it for money.

You must have been offered a mass of session work after Lennon?

Yeah, I couldn`t do all of them. I did George Harrison`s solo album. That was really great. Did Johnny Almond`s solo album. I also did Gary Wright`s album called “Extraction”. And did a couple of sessions with Derek and the Dominos. I`ve done about eighteen or twenty albums in the two years since the Toronto thing. I`ve always done one main thing and lots of other things on the side with other people.

When did you get your band together?

Well, it was about a year ago.

When did you start playing with Terry?

It was around the same time I started my band. Before last Christmas I joined on a temporary basis because they had eight gigs to do. And I enjoyed it and they still needed a drummer, so I worked on a gig-to-gig basis just like a session guy.

Have you ever played in the States?

I`ve never actually played there. I`ve been offered to be flown over for sessions. Lots of work in L.A. I`ll go over soon, but I`m an Englishman at heart.


Do you prefer session work or playing live?

I prefer playing live actually. You get a lot of money for session work, but everything`s dragged out. I love doing it live. I get loads of feeling off that. Just get it all out of my system.

What type of bass player do you enjoy playing with?

Lee Miles (Terry Reid`s bassist) is very good. But, Colin, who`s playing with me in Alva Sefan, has got a rolling style, very clicky and he rolls through it all. I like that because I can stick the funk around it. Lee`s different, he plays funk rolls, in and out of the things I`m doing.

You have a hell of a thumping bass foot.

My right leg, yeah, everybody says that. It`s amazing that I don`t break any skins. I go through a bass drum skin about once every six or eight months. There`s a tremendous amount of feeling behind it. I don`t believe in playing unless you`re peaking all the time. There`s nothing worse than a drummer that sits back and rests on the rest of the band. You gotta be up there kicking them up the arse. That`s what they want. That`s what they need.

Do you like working with Klaus Voorman?

Yeah. He`s really tasty. He picks a lot of really nice notes. A really nice bass player. It`s a great atmosphere that surrounds the whole of that scene. John`s a very clever man.

How much were you on “Imagine”?

I was on about seven tracks. His material`s fantastic. He`s a really good person to be around.


How did “Instant Karma” come about?

Again, I just got a phone call, saying, “John wants to do a session at E.M.I.” I turned up, and Phil Spector was producing. He got incredible drum sounds on “Instant Karma”. We spent about a half an hour to an hour to get the drum sound right. I did the whole thing on the bass tom-tom with a cloth over the rhythm. And then we did those drum breaks in a completely different time which gave it a whole other thing. It was a tremendous atmosphere in the studio as well. There`s four of us playing piano on that. There`s two grand pianos with George down on one end and me up here and John on the other grand piano and Klaus playing an electric one. This is Phil Spector for you man! Phil Spector records the whole thing with tape echo.

Does he listen to the song and then paint his own picture of what it`s going to sound like?

Yeah, that`s his way of producing, but he`s a musician as well. He`s a great technician and he can appreciate sounds. Sometimes a hundred musicians play on a session.

What do you see in store for you in the future?

Alva Sefan is where I`ve always been at, this type of music with these people that I`m playing with. If it`s the last thing I do I`ll get it off the ground. We`ve been rehearsin` for a year. To me, they`re really top class musicians. I really dig them all. I`ll still do sessions but it`s just a matter of fittin` it all in. I like doin` things with the Beatles. They`re good people.


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: Lindisfarne, Buffy Sainte Marie, Savoy Brown, Kris Kristofferson, Thelonious Monk, It`s A Beautiful Day, John Morris, Judy Collins, Mike Pinder, Sam Mitchell, Bitter Withy.

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

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