Month: April 2018

ARTICLE ABOUT Hawkwind FROM SOUNDS, September 23, 1972

This band is quite fascinating because they are so different to all the rest. They really struggle with their new-found success in this interview and you get the impression that they are torn between the need for commerciality and a wish for something more anarchistic.
So here we go with this one – enjoy!


In search of Hawkwind

Interview by Steve Peacock

So how did you feel when that friendly bunch of freaks, the ones you always liked to go and see when you got really out of it, are at number two in the singles chart? “Was I tripping or did I really see Hawkwind on Top Of The Pops?” someone wrote to us, and a lot of people were similarly astonished.


But not Dave Brock. “It didn`t surprise us man, we knew it was going to be a hit.”
How? “Well, we just did; we know what we`re doing, see. At least, I knew it would get to number five or seven, but I was surprised when it got to number two.”
Outside the farmhouse the sun`s shining, down the lane in a converted cowshed someone`s overdubbing a track on the album they`re recording, in the rest of the house people are sleeping and falling about, and Dave Brock has reluctantly given up the idea of catching a pony and going riding to talk to “The man who gave Hawkwind a bad review at bickershaw”.
As we talk, the room begins to fill up with other people from Hawkwind and the people who surround them, all joining in, the interview getting more and more confused. Some of the things I attribute to Dave may have been said by someone else, but trying to sort out a tape of about ten different voices, all mumbling at once ain`t easy.
It`s Thursday, and they`ve been down at Rockfield since Monday, recording since Tuesday afternoon. “We`ve got enough down for two albums in fact, because it`s so nice down here. All the basic stuff`s done; we recorded bass, guitar, drums and vocals together, so it`s as live as it can be, and then we put on the other things afterwards. There`s just some sax and vocal to do now.”
Pretty fast for two albums. “Well, it`s easy for us to do – we don`t have any hang-ups. If you record in town you`ve got all that going on as well, and you have to go into the studio at a certain time, but down here it`s the country and you can just loon around and have a good time, it`s a nice farm, nice people who`re where we are, no difference, and we can relax.


“We just let the tapes run and play like we do when we`re playing live; do a three-hour track and then cut it up into pieces, use one piece as a complete section, and join it up to another piece with a synthesiser link or something. It doesn`t matter to us about doing tracks to a certain length or anything, we just do it.
“It`s improvised, but it`s together in the first place, that`s why we do it the way we do because the three of us know what we`re doing, so we put that down and then if the others don`t know it they can listen to what we`ve done, get some ideas, and lay their bits down afterwards.”
The thing about Hawkwind is that you feel they are, and always have been, the kind of crazy band that they`d like to go and see themselves if they were going out for a good time. You can imagine any one of them turning up in the audience of a Hawkwind gig and really getting off. They grew out of the street community of Notting Hill Gate, and despite all that`s happened, they still feel part of that community.


“See, what we`d eventually like to get together would be the kind of scene they originally had at the Roundhouse and places, where wherever we go to play there`d be this big thing, like a market place, so everyone in the area who`s into selling things could have a stall, and you`d have a complete environment, music, lights, food, stalls, art exhibitions, whatever people wanted. That`s what was supposed to happen with the Roundhouse things and others, but then people started to realise they could make vast sums of money out of it, so it didn`t.
“We`ve been through so many bad scenes with benefits too, so now if we do a benefit we run it ourselves, like we run most of our gigs, so we know exactly where the money goes. And then we get accused of selling out or something because we won`t do all the benefits we`re asked to do, but people don`t think about all the bad scenes you`ve been through with people milking money out of you.”
Strangely, the question of bread keeps cropping up when you`re talking with Hawkwind; not, I hasten to add, because they`re obsessed with country mansions and fast cars, but because they need a lot just to keep going, to help projects they believe in, and to equip themselves so they can create the right environment for their gigs. They resent strongly any implication that they`re involved with the music business: we were talking about the way they`d grown out of one community and, by becoming more successful and popular over the country, must have got involved more in the business.
“Ah, that`s where you`re wrong; we`re not involved in the music business at all. We`re still doing exactly the same things, seeing the same people, still living round the Gate, our friends are still the same people they always were. There`s so much shit involved in the music business that none of us want to be involved at all; we`re on the fringes, like having a record contract, but only as long as we can do what we want to do.”
Fine words, but a lot of bands say those kind of things and find it impossible to act them out. Was it possible?



“Surely it is. Everywhere we go we can create our own environment, and people can come and get turned on by what we stand for and by what we do. Most of the places we play, we hire the halls, and run the gig ourselves, and the thing we usually get is local councils and commissionaires and people putting a block on us doing things, like getting that market scene together or having a light show. They want us to have the hall lights up all the time and things, but that only causes bad scenes. What they don`t realise is that people will co-operate with us, because we`re into the same things they`re into but they resent them trying to impose their authority.
“Lots of bands could do the same things as us, but very few people want to – they start off saying they want to but they somehow, er, go astray. You just know how to get it together and set up the right situation.”
How had they managed to get to that point? “We starved, that`s how. You just keep on going and going until you`re skint, and then you start thinking you`ll give it up as a bad job, but you don`t and you keep going because eventually you know it`ll all slot into place and something will get together. You just keep steering the ship, and I think if we keep steering it in the direction we`re going we could do some really nice things, revolutionise a few things, without a doubt.”
The next big project will be the long-awaited Space Opera tour, due on the road in November. “It`s coming along slowly, but there`s so much work, really a lot, and you just don`t realise how much there is until you start. Our normal number of people on the road is 16, but with this we`ll need 24, and they all have things to do and they`ve all got to be paid. When I see it all written down, I tend to freak out, because apart from all that we`ve got to get it all together musically too.


“If we can get it done in time, all the speakers we`ve got at the moment will be done away with and replaced with new ones, all ridiculous shapes and sizes. We`re going to have them all directional, with lights inside them, and have a 360 degrees sound system, like the Pink Floyd use.”
Meanwhile the strangeness continues because however much they try to carry on as if nothing had happened, things are different for Hawkwind now. It shows on gigs, where the pulling power of a band with a hit single means they can`t play the small places they used to, and even when they play the big places, they sell out.
“It`s a bit of a drag because all the heads who used to come and see us usually turn up late, because they`re completely out of it, and of course now they can`t get in. It`s good in a way too, because the average age of our audience has dropped to 14 or 15 or something, and they probably get turned on to new things when they come to one of our gigs, see things a bit differently maybe, but we get really pissed off about the people who can`t get in.”


If they`d seen what was going to happen with the single, so clearly didn`t they see that problem coming as well? “Well, no. Not as much as it has. I mean there`ve been some really bad scenes, riots almost. Like when we played at Croydon, that was really silly – 1,500 people got turned away, and the alley where they got in was packed with people and they started freaking out, hitting each other, chicks with broken noses and cars getting turned over – really bad, you know?
“And there`s not much you can do about it except play in bigger and bigger places, but that`s all right if we keep the prices down and make sure we can create our own scene there.”
And will they be releasing another single?
“Ah. Well not yet, not `till the time is right again. Not ever yet.”


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: John Kay (Steppenwolf), Sandy Denny, Head, Hands and Feet, Maggie Bell, Ten Years After, Manassas, Frank Zappa, Rick Nelson, Barry Dransfield, Andy Brown, Carly Simon.

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 Nazareth FROM SOUNDS, September 9, 1972

It was really great to find this article from the very early days of Nazareth as a recording and touring band. It is incredible to think that Pete Agnew have been in this band for 50 years in 2018. I guess he could play some of the bass lines in his sleep if it was possible. I hope you enjoy this one.


Yearning for the sweet smell of success

By Jerry Gilbert

Having seen the crowd reactions to Nazareth in Germany and America as well as Britain it is easy to sympathise with the band`s wishes for a little bit of justice on home land.
And last week when I spoke to Dan McCafferty and Pete Agnew on the eve of their second stint in the States there was just a hint of perplexity about it all.
For although they tackle their American campaign with the kind of confidence that got them away to such a great start in the States earlier this year, they would frankly be happier reinforcing their names in Britain.
And as for Germany – well, that`s something else again. They command huge fees in Germany and reckon they play there almost every month. “We even know how to direct the Germans around their own country, telling them which autobahns to take and where to change,” quipped Pete.


At a recent German Festival the band opened the show and were still being cheered back when the last band finished – six hours later.
A combination of bad luck and a recent disappointing album seem to be the main reasons for Nazareth`s failure to get on. They missed the Reading Festival because they were late arriving – and it was a Festival which was crying out for some enthusiastic newcomers to steal the show.
Nazareth might have been the band to do it as indeed they might with their recent album “Exercises” had it lived up to expectations. But alas the word “might” is rarely written into the annals and in Nazareth`s case one feels the band have only themselves to blame for the comparative failure of “Exercises”. For they decided on a drastic swing towards acoustic rock and orchestration when the whole essence of their sound is based on layers of volume and the phenomenal singing of Dan McCafferty.



“Next time around we want to do an album that will suit Dan`s voice,” Pete explained. “So far we`ve done basically songs and some of them haven`t even been in his range so this one will be for his voice.
“We`ve already got a couple of things pretty certain for the album – `Teenage Nervous Breakdown` which was written by Lowell George of Little Feat and `Hard Living` which we used to do and then started to do again after it was put out as a single in Germany.
“We`re not sure yet about `Going Down` – we heard all the versions of that song, the dire versions and the good versions, and just decided to do our own.”
The Don Nix song shows just how cleverly Nazareth have built the song around McCafferty`s voice and it is already one of the stage favourites and a worthy number despite the fact that it has been recorded by Nix, Freddie King, Chicken Shack and other bands.
And so for the next couple of months there will be little to remind us how underrated Nazareth are (save for a recent splendid performance at the Marquee) as they wend their way about the States.


“We were really excited when we first went to America but this time all we`re talking about is `when the group gets back from America…` We`re doing this tour with Buddy Miles again and also Ginger Baker and as we`re the only band of our kind on the bill we hope to do well,” says Pete.
But both Dan and Pete are adamant that it is at home that they really yearn for the sweet smell of success. “When we first came down from Scotland we did all the wee clubs and since then we`ve done things with Atomic Rooster, Rory Gallagher and the Faces, but we`ve never really followed anything up and done any concentrated work here.
“I think we really took off in Germany after we did a `Beat Club` and the single `Dear John` and the album both took off. So as promoters started to offer the money for us so we began to play there more and more to recoup the losses,” they explained.


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: John McLaughlin, Faces, John & Yoko, Eagles, Genesis, Yes, JSD Band.

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 Jon Anderson (Yes) FROM SOUNDS, September 9, 1972

Now this should be a fun interview to read for fans of Yes. A young Jon Anderson speculating on what the future holds for the band, some musical discussion and a little bit of spirituality and environmental worry.
This is why I like to share these articles with you all.


Jon Anderson in the talk-in

Interview by Penny Valentine

With the release of their new album “Close To The Edge” this week, Yes have come to a real highpoint in their careers. The album has been greeted with critical acclaim as the band`s finest recorded work to date. On Saturday Yes previewed the album for the first time at Crystal Palace. Three days before, Jon Anderson, a week back from the band`s first US tour with new drummer Alan White, talked about the album, its motivation and the whole future of Yes.

“Close To The Edge”, appears to be a concept album in a sense – was there something you deliberately set out to say through it?

Well it`s very difficult getting hold of a theme to work on unless you`re in the heavy league – Pete Townshend with “Tommy”, “Sgt. Pepper”, there hasn`t been too many. It`s been one of the things we discussed. We`ve always been searching for say a little theme to develop round and it`s never gone “ping” in my head or anybody`s head of a certain aspect.
Emerson, Lake, and Palmer, did it with “Tarkus” – the idea of the monster. And you can run round in circles looking for a theme. The only thing that`s developed slowly but surely in Yes is that it`s developed through the songs – like on “Time In A Word”, there was a feeling of a search.


Herman Hess (the author) makes you realise there is the reality of life and there is another journey. Now once you start thinking about the journey, spiritual journey, a religion that hits you and that you can accept then you can start working on it. But it`s very difficult for modern day teenagers to accept any of the religions, most of them – Catholics, Protestants – it all seems to be a power crazed idea. The fact that they won`t join together and become a whole – because they`re all after the same trip so why don`t they become a whole with the Jewish religion, Buddhism, and develop it into something complete and strong, something that anybody can look up to.
I don`t think anyone can look up to the religions we`ve got at the moment unless they`re very deeply involved and brought up to accept and not question it. Through the development of the “Yes” album and “Fragile”, certain songs like “You`re move”, for me writing all the lyrics, I was questioning myself most of the time – what am I searching for? Because you can either write about love, moon and June, and so on. Or you can question the political status of the planet we`re on – which is very easy to do, but very hard to come up with any realistic answers.
I was listening to the answers last night and the way it left me was with a feeling that like a lot of people I`m still dreaming.
The idea with “Close To The Edge”, was to start with the river – something very, very natural – and then the river to become electronic and develop into some music and go through a few dreams that I`ve had… it`s very difficult to explain.


Would you say then that the album was very much a reflection of yourself and your own way of thinking?

Well yes. It`s the first thing I`ve written that I`ve related to anything that happened in MY life – the rest of it has been vague dreams of what I wish. At that time when I was singing “Time In A Word”, I was really on top of it. I was really feeling I`d grabbed hold of something deep inside and started a journey.
I couldn`t put it into any category of a set religion – just a feeling that through music and travelling, the only good thing you can do in life is give as many good vibrations out as is possible. Even to people who are not willing to give them back – just trying to find a code of life I suppose, a good pattern to work to, how you treat yourself, how strict you are with yourself.
It`s very difficult under certain circumstances to be strict with yourself. We were talking last time about drinking – I used to drink a lot and it`s very difficult to just turn round and say “no more”. Everyone`s got two voices knocking around in them and you have to accept which voice is the best of the two – one`s the Devil and one`s God in blatent terms. And once you accept there are two voices inside you and you`re willing to listen to the good one you`ve started the journey.
You can only reap from things that you see around you, the people you meet – you just learn from other people more than anything as you know. I have a feeling I`m being very vague about this.

If this album is the strongest reflection of your state of mind – wasn`t it a problem to transfer what was happening to you to the rest of the band, so the whole album turned out the way it did?

Not really. Because I think any band that stays together a long term starts searching for the eutopia of musicianship. Which is not having to say so much, and so much having to come out of five individuals, and nobody questioning each others acts – just accepting they`re good enough musicians to know what they`re doing, they`re not idiots. Consequently, if Rick comes up and says he`d like to try something he can damn well try it.
I think it`s having great respect for each other so that nobody questions anyone`s ideas and consequently the whole finished product is five heads together making music rather than say one person pushing a band and the rest falling in happily and accepting a leader.
At the moment we haven`t got a leader as far as the music`s concerned. When it comes to any heavy trips I possibly put my foot down sometimes – that`s possibly because I`m older than the rest. But that`s only on a logical personal level. I`d never question them on a musical level, because I`m nowhere near their kind of musicianship.
I can always question their logic because sometimes I feel I know a slight bit more of what the band could be doing in the future. I always look to the future faster than they do – probably because they`ve got so much to think about NOW, technically and musically. They have to perfect their playing whereas I`ve only got my voice to contend with, which just comes out after a while.

I presume you`re very interested in Yes` longevity, it`s lasting quality over a long period of time?

Yeah, well it`s got to the stage now where we`re following in the tracks of Jethro – the stage where you`re readily accepted in America. You forfeit a lot of British dates to do America because it`s such a big place. It`s not a question of going there to make more money, it`s just a fact that there are an awful lot more people there, and having played so many times around England you only want to play here when you`ve got something really heavy to show them.
That`s why, instead of rehearsing with Alan and doing an English tour we went over to America before we came to England. Because it was more important for us to do a good show at Crystal Palace. As far as management and record companies are concerned America is the best one. But as far as we`re concerned it`s not a question of  that – we`d rather go through the rehearsal feel of getting the show together in America where you`re playing a similar concert area every night and can really involve yourself in your music.
I think certain bands per year get to a certain stage and they stay there – never getting any higher as far as public acceptance is concerned. The only way you can do it is to develop your music. You`ve got all the facilities because you`ve reached this point with financial security if you like, knowing you can play where you want to. And once you`ve got over those barriers the only other barrier is your musical ones.
When we finished “Close To The Edge”, a month later you look back at it you wish you`d have done this here and that there, and know you`ll do it on the next album. Actually we wanted to do the next album straight away when we got back from the American tour.
We`ve all got so much music anyway, knocking about and we were all excited about Alan becoming such a very strong part of the band within a couple of weeks and talked so much of what we could get into the next time we recorded, that we all wanted to record as soon as we got back.
In fact we got ourselves to a bit of a fever pitch about it. So there`s no question of “Edge” being an ultimate in any sense, it`s just a good stride forward in terms of keeping 20 minutes going.
I was listening to it last night and I feel it really builds to that last verse which is a very strange last verse! Because everything drops out and it`s like standing on a hillside somewhere – it`s all very ethereal suddenly. I tend to think that maybe some people will start putting it down thinking we`re trying to be too God-like or something.



In that respect then do you feel you`re having to hold yourselves back?

The only times you question yourself as a musician is when you`re not really sure if it`s right. And I think if you`re not sure it`s right, don`t give it to the public. Because you`re just fooling yourself – just pretending, being pretentious. That`s the way it works it`s very easy to lose contact.
When we`d finished “Edge”, it just didn`t feel wrong. It felt perfectly right for us to do this long piece of music. While we were making it we didn`t know what we were doing,, we were just hoping it would turn into something worthwhile to listen to. We weren`t thinking in terms of making a heavy piece of music and it`s still quite a way from what we`re capable of getting into.
Maybe the next one I`d like to spend six months recording and try something really mammoth – I don`t know. When you listen to any music with a lasting value you don`t hit it off right away – Sibelius or anything – you have to listen to it and listen to it and then you get it and think “wow that`s what he was on about, that`s amazing how he developed that to get into that.”
Because we haven`t gone through the musical upbringing of heavy classical trained musicians it would probably take a long long time for rock musicians of today`s standard to reach that level. Instead of people who go through five years at a college of music, a rock musicians probably got to go through ten years or more to become as competent as musically intelligent and musically aware.
That`s why generally the good music of today is delivered by older people or people who have studied very quickly at colleges – people that have spent maybe 10-12 years on the road are the ones that come out with the goods at the end of it. People like Jim Webb studied to make music and it comes through his work. I think everyone has it in them to make music, it just depends how they make the approach.
All the things Jim Webb had in his head he could relate to through that training he had, he could put it down and the result was some brilliant music. And if he hadn`t had that he`d still be slogging away around America trying to get his music played. Now the fact that everybody in Yes has been going for over eight years means we`ve had that training and it`s starting to come out.


Getting back to your own spiritual outlook – were you brought up as a very religious person?

Well the first time I went to church seriously was when I decided to go and join the choir and I really thought I was going to find something in this whole church thing. My father wasn`t very well at the time and I went to pray – you know to kneel down with hands together, through these motions praying to something you`re not sure of – and I went home and my dog was dead.
It just didn`t seem right. It was illogical to me. That day I`d really decided to try and reach this thing in this church. Since then although I can accept people enjoying church and enjoying the social aspect of church as a meeting place. But in general I think there can only be five per cent of churches that makes you feel actually elated. I wouldn`t knock it but it certainly isn`t my idea of what the word religion is all about to me.
It just doesn`t seem logical that the Protestants and Catholics are killing each other 500 miles from where we are now – it`s illogical that can be called religion and has to do with this strange ultimate being that controls the planet. I have this strange fixation about the rivers, the trees, the mountains, the ocean – the ocean is alive, watching us.

I rather got this on the album – that it came over with an ecological feel…

People are realising the importance of the earth on a “let`s help the planet” kind of trip. But I don`t think it is that. I think if anybody needs help it`s us and the planet that has all the ingredients to help us so it`s not a question of “oh we`ll save our planet” I think the planet earth has all the ingredients to save US and if we look at it in the right perspective we`ll realise a hell of a lot of things.
Until we stop looking down on this planet and say we`ll save this river or this lake because it`s part of the National Trust and all this crap then possibly we`ll realise there`s much more going on than we`re ready to accept. We think we`re destroying earth but really it`s rebounding very quickly back on the human species.


I get very worried that people who read this will think “oh yeah he`s rapping on about something even we don`t know about.” People aren`t willing to accept that this could be the truth just as they`re willing to accept what Edward Heath says or a scientist says is the truth.
Nobody knows what the real truth is about the whole idea of life as a reality but all the things we`ve been brought up to accept people have come to realise are not so – that the English Government is not such a good idea that we spend more on making arms and looking after arms that are useless than we do about looking after spastic children, old people, people that have helped to perpetuate the life style in England.
It`s the same in America and whether the kids are going to vote. This November is very very important. This time in America I was telling them to vote, which I`ve never done before. I only did it on stage once because I don`t want to be heavy and tell people what to do. But every time I went on radio stations I`d say to them to use their vote because if you believe you`ve got something to say in life, for your children or your parents or whatever, you must do it.
It would tear the American political scene wide open if all those kids went out and voted heavily for McGovern or just heavily for something they really believed in. I only wish there was someone who`d come along in English politics and lay out the same trip. But I suppose musicians should stick to their music – it`s going to read  like I`m jumping on another bandwagon talking about politics and spiritualism… but it IS all in the music and whether it needs explanation is another thing.

When you said earlier that you were more concerned immediately with the future of Yes than the others – how do you see that future shaping up?

Well you can only dream about what will happen. I didn`t think Bill would be leaving, he did. I didn`t think we get such an incredible replacement as Alan but we did. I hope that next year we can put on some sort of – if you like – extravaganza, more of a show. There`s so many things I talked about with the band two years ago that we`re still not getting into – the ultimate light show, things like that. But you can only dream a few ideas and hope they could develop into reality.
I think Yes are slowly making an imprint on today`s music – only a slight one at the moment because there`s so much good music around – as are Lindisfarne and bands like that, and after all we`re only all a part of the jigsaw, nobody`s the whole musical jigsaw. You have to be thankful to be a part of it and experiment enough so that younger musicians can learn from you and in five years` time they`ll be making music I`ll be gasping at.


Certain musicians keep up there all the time and develop all the time, carrying on making music, and I think we`re a band that as individuals will be doing that for a long time to come. We`ve been lucky we`ve learned from the experiences of others what not to do and what traps not to fall into and be wary of.
I was thinking back on the Beatle thing. Five years ago I just would NEVER have believed Paul McCartney getting done for drugs and turning round and saying “well it`s good publicity”. And I would never readily accept John Lennon preaching a lot of very good, very beautiful things and then turning round and slagging off Paul in the same breath – which is right in the middle of an interview in SOUNDS last week.
God, they`re talking about peace and love and having a dig at Paul. God it must really be a thorn in their backsides. So this kind of eutopia within groups is very difficult to achieve and sustain – because of the financial trip and everything else. As a band we`re very lucky that each addition to the band right from the beginning has always had the same feeling continuing – that we are out to make good music. Simply that. Not better music but as good as we can make. Developing our ideas through what we`ve learnt from older musicians like Stravinsky, Bernstein, Tchaikovsky.
We do tend to attract musicians who flower out with us – like Steve did when he joined which was really the band`s first kick, then Rick and now Alan, I feel we`re very much that kind of a band. When it comes to thinking about what Yes is and why musicians do want to join the band I think it`s because Yes are a school – a musical school to learn from. The vehicle for musicians to work around.
Whether in the next years there will be new musicians in the band God knows, I don`t, it`s hard to say. But because we haven`t restricted our musical tastes at all we really have no barriers and can play anything we want to play within reason. That`s why I feel there`s no question that the next album will be better than “Close To The Edge.”


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: John McLaughlin, Faces, John & Yoko, Eagles, Genesis, Nazareth, JSD Band.

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 Genesis FROM SOUNDS, September 9, 1972

Prog-rock fans are one of the most dedicated fans in the world, alongside people listening to jazz and blues, classical and of course rock.
So this early Genesis article may bring the prog message boards into meltdown.
Have fun.


Genesis doing the foxtrot

By Jerry Gilbert

Peter Gabriel – slightly eccentric or acute schizophrenic?
He cycles to Island Studios to begin a day`s work on the new Genesis album, and unpacks a bottle of throat medicine and a wonder-cure spray rather like a schoolboy would unload his text books.
In fact Gabriel personifies a schoolboy – or the way a schoolboy might be portrayed at some distant point in time. His head is part shaved and his eyebrows bush out which looks a little incongruous when he`s not prancing about the stage daubed with paint and make up like some nebulous apparition.
Suddenly Peter Gabriel and his bicycle are in Basing Street. The singer has arrived. He might have descended in a police box but that`s probably illegal.
Inside, we take a peep at the new Genesis album “Foxtrot” and at the same time sample the strange mechanism of Peter Gabriel`s mind.
He begins to talk, realises he is not quite expressing his feelings satisfactorily, gives a self-efacing shrug and trails off. We wait as he muses on the subject but invariably he fails to take up the point again.
Peter Gabriel is a mutterer and a muser – a man who amuses and minces across the stage when Genesis are in full flow.
He has not climbed on the campwagon since Bowie became beautiful – he has always allowed his latent extrovert side to come out on stage and take him over in what ever way it will.

“You see certain characters I sing about I feel related to in some strange way like the little character in `The Music Box`.” Then he trails off again murmuring some thing about colouration and worrying about a more articulate explanation.
There is no question that Gabriel assumes different identities on stage but in a sense it is indicative of the way in which Genesis have grown organically and in so doing, have not caused the kind of sensation which induces the raising of eyebrows.
Nothing sensational has ever really happened to Genesis which is scarcely surprising when you consider the fact they are a quiet, unassuming bunch of lads who came together as songwriters at public school and started from scratch.
The most remarkable aspect of the group has been their growth rate, and today they find themselves placed among the handful of top bands in Britain.
They were the only band to capture the imagination of the crowds at Reading on the Friday night which is remarkable for a brand of music which depends so heavily on subtleties.
Now things will start to happen – and for a kick off their new album is sensational.
The feeling was already there as we studied the Paul Whitehead designed sleeve on the way over to Island. Bassist Mike Rutherford was explaining how complementary it was to the nature of the album – and again it contains aberrations from a human situation which are so slight as to be absolutely bizarre.


Gruesome heads are seen on perplexed horsemen and as the hunt arrives at the sea, there stands the beautiful lady with the fox`s head – and hence the title of the album.
Like the new Yes album, one side is devoted entirely to one track, written by Gabriel and entitled `Supper`s Ready`.
“There`s a line in Revelations which says `This supper of the mighty one`… anyway there are very straightforward levels at which you can take the lyrics if you want”, explained Gabriel in typically self-effacing fashion. The song is constructed in several distinct sequences, dipping and soaring from acoustic passages to mighty barrages of sound in much the same way as songs like “Musical Box” and “Stagnation”!
But although they have unleashed twenty-five minutes of sound per side, which can be damaging to the overall sound Genesis have achieved a far more dynamic effect that on “Trespass” and “Nursery Cryme” and it is a far more interesting album.
The band intend to feature the album almost wholesale in their stage act when they go on tour with Lindisfarne next month.
“Watcher Of The Skies”, based around Tony Banks` funereal mellotron opens the album, but one of the highlights is a song by Peter Gabriel concerning the eviction of an old couple by the winklers. The song is called “Get `Em Out By Friday” and Gabriel keeps the battle running by assuming the voices of both factions. The song is an acute protest at an increasingly threatening situation, and according to Mike Rutherford they are the best lyrics Gabriel has written.

Genesis have kept the mellotron largely in the back-ground although it is used predominantly in a track called “Can Utility And The Coastline” which is a play on King Canute, and the stage replacement for “Stagnation”.
“We`ll be rehearsing a completely new stage act because just about all the stuff we`ve done in the studio we can do on stage”, explained Mike. “We`ll probably keep `Return Of The Giant Hogweed` and `Musical Box` but we really need a new closing number to replace `The Knife`. We hope to have this within the next couple of months”.
Although Genesis have not put any overt humour on album, there are plenty of humourous moments to be found beneath the layers of sound – and plenty of effects too. For one sequence of “Supper`s Ready” they sent out for eight children off the streets, four coloured kids and four whites to sing a choral part, and paid them ten bob each for the privilege.
Thanks largely to a far more dynamic drum and vocal sound and a greater studio presence, Genesis have produced a beautiful album, overcoming the unenviable problem of changing producers en route. David Hitchcock is the man responsible for completing what should prove a highly important album.
Summing up Mike Rutherford sees that whereas the group`s style necessarily changed between “Trespass” and “Nursery Cryme” owing to personnel changes, the new album is a development of the same musicians.
“We`ve all had a chance to settle in now and this album is far more dynamic – Phil Collins` drum work gives the sound an overall attack that`s been missing before”, Mike concluded.


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: John McLaughlin, Faces, John & Yoko, Eagles, Yes, Nazareth, JSD Band.

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 Rick Wright (Pink Floyd) FROM SOUNDS, June 3, 1972

A very interesting article for Floyd fans, I should guess. Rick Wright speaking of their plans and wishes at the time, including their plan for another name for the “Dark Side Of The Moon” album.


Floyd: Wright on cue

By Steve Peacock

One step forward, half a step back; well, not back exactly, but you have to watch that you don`t lose something important in the process of moving on. It`s easy to do under the pressures of the rock and roll business, easy to find yourself going not forward, but round in ever-decreasing circles.
The Pink Floyd seem to be one band who are constantly aware of the dangers, always vowing to make time to stop and think hard about the next move, to give themselves room to take stock occasionally. It`s not easy – this year they`re managing to take the first real holiday they`ve had for three years – and there`s always the conflict over whether to push ideas to their logical conclusion and risk becoming too narrow, or to keep starting again.


For instance, they`ve been experimenting with quadraphonic sound systems for years now, and it`s got to the point where they can say they`ve got their concert set-up working pretty well – quadsound, lights, effects and music.
The obvious next step, as Rick Wright points out, is to extend what they can actually do with the machines they have: “It still could be improved a lot – not the actual equipment, but what we put into it. There`s still an awful lot we could do. At the moment, we`ve just been able to use tapes and effects in quad, and now I`d like to be able to have the whole band playing in quadrophonic, so that the stage is no longer the centre of the sound.”
And that of course brings its own peculiar problems; like there can be up to a second`s delay between playing a note and hearing it come back through the far speakers. That makes playing anything in time rather difficult, and Rick says one solution might be to have everyone wearing headphones on stage. But then you have to bear in mind that that would lead you into a fairly drastic change in the band`s approach to live concerts. – almost bringing a studio to an audience, rather than the usual rock and roll division between technique in the studio, energy on stage.
“It`s just a bit worrying sometimes – you can get very involved with sound and equipment and so on, which is a really good thing, it`s really exciting to work with, but at times I miss the simplicity of just going out and playing. At times you`re so worried about everything working, about whether everything`s going to come in on cue, that the actual performance can suffer, and I think it does with us sometimes. Occasionally, I feel I`d like to go back to just having a stage and us playing.


“I`m not trying to put down what we do, because I think it`s really good that we should be trying to do it; it`s just sometimes I feel it`s overwhelming us. I don`t know how the others feel, maybe it inspires them to play better, and it does me when it`s working well. But sometimes I look at our huge truck and tons and tons of equipment and think `Christ, all I`m doing is playing an organ`.”
That aside, the other constant problem faced by the Floyd – and many other bands – is that of finding the time to develop their ideas as much as they want to. It`s the old problem of finding a way to stop the roundabout – tour, album, tour, album, tour – for long enough to keep out of the rut, and it`s ironic that as the Floyd have become more and more successful, so they`ve had less and less time to themselves. The prospect of having July and August completely free of all committments, the first such break for three years, is highly attractive.
“I just feel like I`ve been rushing around not knowing where I am, living in hotels, in planes, on American tours – it all got highly confusing, doesn`t do your head any good. I thought I`d get away for a couple of months and not think about the Floyd at all – well, I will of course, but I`ll have the freedom not to think under all the pressure.”
Before they go, they have next month in the studio to record their next album “Eclipse” – which is the piece they did on the last tour, originally called “Dark Side Of The Moon”, until they found out Medicine Head had called their album that: “and also Eclipse is a better title for it.” When they come back, there`s an American tour, and – at last – the long-projected ballet with Roland Pettit.


“He`s decided to use “Eclipse” as the music for that. We`ve been talking with him about doing something for years and years, and he`d bring up an idea and then decide not to use it. It went on and on until we practically gave it up as a lost cause, but we sent him a tape of a live performance, and he said it was what he wanted. So we`ll be doing that in Marseilles with him, and hopefully a French tour as well.”
Which means that the rest of this year is pretty well accounted for. Before they go on the road next year though, and certainly before they play in London again, they want to take enough time to get together a new project, this time incorporating film into their stage performance. “With Eclipse it`s very important to be able to hear the words, and it works very well in England and America, but playing it abroad they just don`t understand what`s happening – obviously not because they don`t understand the words.
“So the next thing we want to do is to use film, so that it`s an international thing – it`s visual so everyone can understand it. But then once you start getting into film it takes a lot of time and a lot of money; I don`t know how long it`ll take but I hope we`ll be able to set aside enough time early next year to do it.”


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: Steve Marriott and Alexis Korner, John Lodge (Moody Blues), Joni Mitchell, Eddie Davis, Quintessence, Richard Thompson, Osibisa, David Essex, Chris Farlowe, Todd Rundgren, The Watersons.

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.