Month: September 2018

ARTICLE ABOUT Alice Cooper FROM SOUNDS, November 17, 1973

Before you start reading this one, you need to know the background for someone mentioned in the article. Leo Abse (1917–2008) was a Welsh lawyer and politician. He was a Welsh Labour Member of Parliament for nearly 30 years. In 1973 Abse requested that the government ban the rock singer Alice Cooper and his group from performing in England, claiming that Cooper was “peddling the culture of the concentration camp”. Abse claimed: “Pop is one thing, anthems of necrophilia are quite another”.
So now you know – and here is yet another great article from those golden years. Keep reading on.

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ALICE: death of a killer, birth of a lover

Steve Peacock reports from New York

Take heart, Mr. Leo Abse, Alice Cooper really likes you – even if you don`t like him and you don`t want him to come and play for us. It`s true Mr. Abse – he said so.
“I like him, I don`t know why he doesn`t like me – and I never met him either,” says Alice slyly, “so I can`t make any judgement. I think his main thing was that we were promoting violence, which is totally not right – he hadn`t seen the show, and he was still judging it. That`s something that I totally don`t understand. But I`m sure they`re not going to ban us over there or anything – we are just a rock and roll band.”
Alice hasn`t been in England for a long while now – we haven`t even seen the “Billion Dollar Babies” show yet, and the new album is all recorded and ready to go: did they have the power to ban Alice from England?

THEATRE

“I don`t know – it would really bother me if they did, but I think the people would stand up for us. I have letters from parents that are really pro, saying they shouldn`t do it because we`re presenting an intelligent piece of theatre, and if they ban me why don`t they ban just about 90 per cent of all the other rock bands. All I do is a little more theatre.
“We`re certainly not promoting violence, that`s one thing I really want to get across to the public, and if they think we are then they`re really misconstruing what we are doing. We use a lot of American violence in the show because that`s what`s happening over here, like American TV, anything like that: that`s what we grew up in and that`s what immediately bounces off us, but we`re more or less doing it as a catharsis. We`re doing it for the audience, and when they leave they should be worn out – if we`re doing our job right then when they leave that audience should be totally worn out – they`re not going to get in a fight or go out and get in these things.
“But I guess it was like this all the time… like Bela Lugosi, they`d expect him to be wearing a black cape and biting people on the neck when he`s off stage. It`s the same with me – it`s a role I`m playing, it`s nothing more than entertainment and it shouldn`t have any social effect on anybody. And I know that when I saw movies on sex or violence… after seeing certain movies on sex you`re not in the least bit horny, because they already did it up there and you`re already off it.

EXHAUSTED

“The same with violence – you see a movie like `The Wild Bunch` or `El Topo` or something, and by the end, God… you`re abhored by it, you don`t want anything to do with it. So I want to see an audience really exhausted, because then I know I`m sitting backstage so tired I can hardly breathe, but I know then that I really did my job right. That`s what Judy Garland must have done, work your ass off `till the audience just can`t take any more – that`s an entertainer`s dream.”
A case of misunderstanding then – but although Alice may have, as he says, one of the cleanest shows in the world and although a great deal of his reputation has been built up by story-hungry pressmen, he isn`t beyond a little myth-making himself. Rumours start, get blown up, and he leaves them be – he doesn`t deny them.
“Oh sure – I`m a great liar, I know that, but the thing is that you can say something, and by the time it gets round the room it`s completely different. Like that Eddie Haskell thing – “Leave It To Beaver”. Somebody asked me once what I was like offstage, and I said `Oh, I`m like Eddie Haskell` – and the next thing was everyone was saying `he used to be on “Leave it to Beaver”, he was Eddie Haskell`… that`s how crazy it got. But then you say OK, that`s a fun thing – I`ll be Eddie Haskell for a while. And the chicken thing… I don`t kill chickens on stage, it`s just not in me. Alice might, but I wouldn`t.”
Let it be said at this point that the off-stage Alice was looking extremely fit and healthy, Hawaii-tanned, developing an interest in golf, and sitting in his New York office in a splendid silver suit. There wasn`t a de-capitated baby in sight, and although he was drinking chicken noodle soup such an act deemed decidedly un-sinister. Had you seen him three months ago, it might have been a different story altogether: he`d been living with Alice for 62 American concerts, guillotined nightly, and was wasted: That tour must have been – to coin a phrase – a killer.

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“I was actually shaking I was so out of it. It just took so much out of me, I must have gained ten years on that tour, just from the travelling and just from every night knowing that I had to do the same thing over and over and over again. It was like a blitzkrieg – we were going to do the whole country and then take a long time off, and it just didn`t seem that hard when we planned it, but by the middle of the tour we were all delirious. A lot of pressure.
“Every night you realise that you`re in a different city, and that they`re not going to see you again for another year, so you`re aware that this show has to be better than the last one, and the next one has to be better than this one, so by the end you`re just destroyed. It`s really more emotional energy than physical, because you realise that with 20,000 people you`ve got to reach that guy right at the back – you have to really over-emphasise everything to get to him, so by the end I was shaking. Because I`m not really an emotional person, so it was very hard for me to get across.”
That`s the end of the blitzkrieg method then – they`re going on the road in the States again soon, but just for 13 dates. “We figured `why kill yourselves`?”.
And speaking of killing yourself – as you know, Alice dies every night on stage. First it was by the rope, in the recent show by the guillotine, very realistically – had he had any accidents?
“Oh you can`t – if you have one accident with the guillotine it`s all over. I only have had one safety device on that thing, and if that breaks I`m dead – the blade weighs 40 pounds and it`s razor sharp, so if I`m not out of there when it comes down it`s gonna really do it. But it certainly is exciting – they get their five dollars worth.

MASOCHISTIC

Every night I get up there thinking `oh no, I`ve got to do that again`, but it`s an exciting thing for me too – it sounds real masochistic, but I find it really exciting because I put my head under and I think `wow, this really could be it`. And for the people in the audience – I mean what a show that could be. They`d be able to say they were at the show when it didn`t work.
The hanging at least, if it broke, it would just snap my head back – in fact that happened twice, when it just knocked me cold, but the guillotine… I get to the end of the show and I look at it, and it brings out all the drama in me, it brings out so much in my acting that people feel it. It`s like the Barnum and Bailey circus, drum rolls, `is he gonna make it?`… but wait till you see the thing I have planned next – I can`t tell you now, but just wait.”
There had been a plan for using Alice as a human cannonball – what happened to that? “It blew up – I was in it and it blew up. It works on a dynamite charge, just a little bit in the back which compresses and shoots you out into a net, so I said `OK, I`ll try it`, and they put too much dynamite in it. Luckily, they had the safety catch on, so when it blew up, the charge hit and it blew the whole back end of the cannon off. But the inside of the cannon is made of metal, so when it blew my ears were going boyyyyyyyng!!! I couldn`t hear for three days, so I said OK, enough of the cannon. We were gonna send it to the Rolling Stones – here, you work on it.”

TAME

All of which makes recording a new album seem rather tame, but it`s done, called “Muscle Of Love”, and ready to roll. Alice digs it, says it was recorded in a really loose, spontaneous way, and he enjoyed it better than any he`s done in a long time: “We were going totally for feeling”.
Among the guests on it were Liza Minelli, Ronnie Spector, the Pointer Sisters and LaBelle: “Liza`s just terrific, and Ronnie… I had Ronnie on a song called “Teenage Lament” about a kid that doesn`t want to look like Alice Cooper or David Bowie, doesn`t want his hair orange and doesn`t want to wear make up, but everybody else does so he has to, but his whole thing is that he`s going against it. The last true individualist – it`s a very ironic type of thinking. It`s great – just the big wall of voices.
“Then we had them on hallelujahs on “Muscle Of Love”, the title track. It goes “Holy muscle of love, my heart`s a muscle of love”, and their doing “Hallelujah, Hallelujah… King of Kings, Hallelujah, Hallelujah” at the end of the song.
“See, everybody thought “Muscle Of Love” was going to be dirty, but it wasn`t, it was a romantic song. I didn`t say “Muscle Of Love” was anything other than the heart.”

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Nils Lofgren, John Lennon, Free, Ronnie Lane, Ozzy Osbourne, Carlos Santana, Average White Band, Dale ‘Buffin’ Griffin, Magna Carta.

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

1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

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ARTICLE ABOUT Ozzy Osbourne (Black Sabbath) FROM SOUNDS, November 17, 1973

Well, this article is more than interesting. At the end there`s some information that I as a casual fan of Sabbath and an avid reader of music magazines actually never knew. Mind-blowing that Ozzy had plans outside of this band as early as this. This is the kind of information that really makes it worthwhile to get this out there to the music fans – the kind of fans that likes to debate these things. Have fun!

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Ozzy: Disillusioned Prospector

Rob Mackie talking to Black Sabbath`s Ozzy Osbourne

When a band rises to fame with a doomy view of the world laid down in front of elephantine riffs, and lyrics that make Barry McGuire and Leonard Cohen sound like Pearl Carr and Teddy Johnson, and then they make a mint and the management company`s offices are lined with their gold records, and they finally have time to sit back and take their time and eventually get to pause for breath and get away from American airlines and plastic hamburgers and a hotel room that looks exactly like the one we were in yesterday, where was it?
And when they actually have time to see their wives again and have time to p-a-u-s-e and think in sentences. Then, you might suppose some mellowing would set in. Anger with the world might lessen a bit, a few happy songs might get written?
Ozzy Osbourne, Black Sabbath`s singer, sits in an office with Black Sabbath`s gold albums on the wall, still looking baffled with the whole process that catapulted Black Sabbath from nowhere to up there like an H-bomb mushroom. The gold records are echoed by an equally gleaming gold watch on his wrist. But is he happy, you may ask. Is he hell. “I`ve just written a song called `Am I Going Insane?`, that`s about the way I`m feeling,” he`ll tell you, without laughing.
Mention that you`re baffled as to how Sabbath conquered America in a Black but bloodless coup that seemed to spring up just by word of mouth, and Ozzie`s eyes widen, and it`s obvious he`s got less idea how it happened then you have.

PARANOID

Probably Sabbath just mined the right oil-well at the right time, when the young kids were rebelling against all that self-satisfied peace-signed self-congratulatory hip smugness of their elders. The kids knew better – the future was just a long dark alley with a row of hoods lined up in the shadows on either side waiting to put a knife firmly between the shoulder blades.
All that was left to do was to go to a Sabbath concert, get wasted mindless and let a black menacing wave crash over you for an evening. It might not cure the world, but it did bring a certain lemming-like oblivion, and maybe in the seventies, that was all you could hope for.
Success hasn`t exactly made Ozzy less paranoid. He peers out rather defensively at the world, fiddles with his watch, as if it embarrasses him. “The reason we started singing about that side of things was just to do something different, because everyone else was writing about the opposite. But you think what people will do for money and dope and booze, they`ll take a life for money you know. It`s a big vicious circle that comes back to the same thing – money. Every time.
I was watching the television the other week, a programme about Ethiopia. It was disgusting, absolutely disgusting. The living conditions were thirty times worse than Belsen, and at the same time – we`re getting political now – but at the same time as these kids are walking around like rakes, starving, they`re sending thousands of pounds worth of guns to Israel to kill people. But they can`t send them a few bags of rice over to Ethiopia.”
If money`s the end of one vicious circle, it`s also the beginning of another. “I`m very confused because in the last four or five years, my living standards are rising and rising, my whole way of life has changed.

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“My whole outlook on people has changed too, not because I wanted it to, but because people have made it. You`re isolated. People think you`re rolling in money, they don`t understand about the tax man and all that. I realise there`re a lot of bastards about. I`ve been taken to the cleaners about 1,000 times. What can you do when an old friend that you grew up with knocks on your door and says `Can I borrow £100. I need some money or else I`m gonna get thrown out?`
“I`ve very often said O.K., but I`m having to change my ways now, because it`s getting a bit too much.”
Becoming a star has brought more disillusion than fulfilment. “You look at people on TV when you first start, and you think to yourself, `What a terrific scene!` Then suddenly you`re in it, and where you thought everything would be roses, you find you have a lot of hang-ups. Because you haven`t got the hang-ups that you had before, you start to invent problems.
“When you get beyond the usual thing of wondering where the next tin of beans are coming from, then you start to get very insecure, at least that`s what I`ve found. The only friends I`ve got now are people in the same position as me. The amount of rip-offs I`ve had… unbelieveable,” he concludes with a puzzled frown.
Life for Ozzy really does seem to have the same apocalyptic outlook of Sabbath songs like “Sabbath Bloody Sabbath”: “Nobody will ever let you know / when you ask the reason why / They just tell you that you`re on your own / Fill your head all full of lies.” Both are filled with a kind of impotent rage at the enormity of the world`s evils.

SLOG

Still, within the cosmic gloom, there are some small happinesses. Like an album, “Sabbath Bloody Sabbath”, which allowed the band to take their time in the studio and get things the way they wanted to for the first time. And in spite of Sabbath`s recent lack of live appearances here – the last was at Alexandra Palace – the advance orders are around 25,000.
Having “Done their apprenticeship” as Ozzy describes the initial slog of EIGHT U.S. tours in 18 months, the band has finally got to the point of wanting to go on to a stage again, and they`ll be doing dates here in December.
Of all the unlikely groups, Sabbath have moved individually out into the country, where Ozzy who has never grown a thing in his life, is delighted to be able to get all his vegetables direct from the garden in Stafford. “They`re so much better tasting.”
Sometime next year, we might expect an Ozzy solo album. Will that be lighter, happier? “Well, I`ve only written one number for it so far, and that`s “Am I Going Insane?”

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Nils Lofgren, John Lennon, Free, Ronnie Lane, Alice Cooper, Carlos Santana, Average White Band, Dale ‘Buffin’ Griffin, Magna Carta.

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

1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Paul Kossoff FROM SOUNDS, November 17, 1973

These articles with interviews done with people that died long before their time takes on even more importance today. These articles, some videos and the music is what remains. There will be no more of either. I hope you appreciate this one, and that you, like me, feel what an absolute tragedy it is that Kossoff and all those other people that did go to soon, never got the chance to share their talents with us for a longer time.

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Koss – birth of a new concept

feature by Billy Walker

First out of the Free ruck is that diminutive demon of electric guitar Paul Kossoff with a new album, “Back Street Crawler”, and an overwhelming urge to get himself back on stage and playing to the people. But, as is always the case, finding the right set of musicians to work with is causing a little more problematical than the release of any album.

“Crawler” is a step towards the concept that Koss has been working on for some time now, but by no means expresses his ideas fully. It`s not an entirely “new” album either, in as much as some of the tracks have been around for about a year and therefore can`t possibly be the total expression of the concept:
“It`s like a set of things picked out from various time periods and put together,” Koss mused relaxing in a swivel chair in SOUNDS` office. “But I think it`s a bit like a skeleton, it`s touching on things to come. People seem to like it, which makes me feel really good.”
The once closely shorn Kossoff mane was back to full, flowing regence and that almost evil twinkle flashes through his eyes as before, Koss is looking better than he has for a long time and if “Crawler” is a success and the band manages to come together without too many hassles it could mean that we`ll hear him back at his best before long.
Nine years spent studying classical guitar has held Koss in good stead from many aspects but his first exposure to anything outside those confines came when he visited a club that had Mayall`s Bluesbreakers topping the bill:
“I`d stopped playing classical guitar for a while and wasn`t doing anything but then I saw Clapton.
“I couldn`t understand that sound, it was very new to me as it was to everyone else, and that`s what started me off playing again. But being a bit lazy I never sat down and copied note for note anything anyone ever did.”

But Koss has never denied the indelible impression Clapton`s playing had upon him and also that of Hendrix. In fact Hendrix more than anyone played a big part in Paul`s life, both musically and emotionally: “I went through a really weird stage, drugs and shit, and Hendrix was so in my mind all of the time and I played nothing but his records.
“I felt that I understood him and what he was doing so totally. Some of his things were very, very wild and wound up and people thought it was just freak-outs and a big noise, whereas I found out there was a meaning and idea and concept behind what he was doing.
“His songs were very emotional, very wide open and spacey, and at the same time being vulnerable and without protection he would die, and he did.” But had any of Jimi`s style or feel rubbed off on Koss? “Yeah, the depth maybe of human emotion and feelings that can be expressed in one form or another.
“It inspired me as well as took away any pre-ego about whether I was a good guitarist in what I did and made me want to better myself.” But apart from being emotionally effected by Hendrix guitar playing Koss was also forming his own forms and expressions at this time.
“The concept I have is one of an arc of sound, to try and pull out of people emotions and out of myself, aggressive, tender, soft. All the emotions are very human, they`re there and a lot of the time they`re very inhibited, especially with an audience and a lot of times in the playing, depending on the state of the player, his state of mind.
“But there`s nothing I want more than to be on the road with a good package to put over these thoughts, to get a good reaction…”

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“Time Away” from the new album in part expresses this new idea that Koss is concerned with and loves to work, in the studio or out of it, with musicians that fit tightly. “Something like that (“Time Away”) just came together, I just visited John Martyn at a session and we did it. The way I was playing on that track is the way I like to express myself, I think it`s a good example, it`s a very bluesy track and just drifts.
“I very much like the movement of musicians when there is an understanding – jam is a very overused word. When you get something that is being played off the cuff, maybe something very fast, really it`s moving in slow waves of communication, rising and falling, getting into different moods, I like that very much. I also like gigging songwriting – the actual vocal expression of it, the way to present it.”
But the opposite can also be true, working with people that Koss can`t relate to can be a real disaster. “I love to record with the right people, I hate to record with the wrong people, it`s a nightmare I have to go out and leave it. But my best playing I suppose has been on things that have been very loose, but I love to play on stage, it`s really what I want to do above all.”
And with Koss ready again to express himself on stage the question once again comes back to forming a band, and the chance of having to compare these musicians with those in Free. And what of the pressures of keeping a working unit together on the road?
“I`m older and wiser and I`ve learnt a lot about people, music and other musicians. Whereas when I was with Free I knew nothing about other musicians and the way they worked. As far as finding a singer, to me there`s no one that can sing like Paul Rodgers, and I`m so used to playing with him and around him and interchanging and all that.
“Obviously I`d have to get used to a new singer but I can`t think of anyone that is emotionally of such depth and technically good. I think there are people with great voices that I would love to play with but it would be a whole new thing for me which I realise and understand, willing to accept that they do not have that depth of thought behind the intonation.”

EMOTIONS

And that`s exactly what “Back Street Crawler” has in great depth – feeling. It runs through a great assortment of emotions and Kossoff`s playing varies from the quite tightness of “Crawler” to the more loose and floating dreaminess of “Time Away”, changes in style and emotions but who does Koss really admire, in the guitar field that`s working today?
Nobody except Townshend, I love Townshend from about every angle, his playing and the great variety of mood he gets. I admire his togetherness to hold a band like the Who together, which I think he does, his performance overall, visually and musically, at the same time being perfect.”
I`ve said it many times before, and after hearing “Back Street Crawler” I see no reason to change my mind, that Koss had, and still has, the magic and musicianship to be a really outstanding British guitarist. You can`t compare one musician with another like branded beers but Koss hasn`t really been given the benefit of a good listen to by the general public.
Sure, Free fans and a few on the perifery know about him and what he can do on top form but they also remember the off nights. But lurking within Koss` tiny frame is a great flood of emotionally charged music that when the full concept is realised Paul could be mentioned in the same breath as Clapton, Page and Beck, and of course he is by some of us already.

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Nils Lofgren, John Lennon, Ozzy Osbourne, Ronnie Lane, Alice Cooper, Carlos Santana, Average White Band, Dale ‘Buffin’ Griffin, Magna Carta.

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

1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT John Lennon FROM SOUNDS, November 17, 1973

A good one where the interview subject gets to dominate the text. I like these articles a lot. And one can only speculate if Lennon`s fate would have been completely different if he didn`t like the USA and New York so much.

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Exile on Sunset Strip

Steve Peacock talks to John Lennon in Los Angeles

A mind game for you: “We announce the birth of a conceptual country, Nutopia… Nutopia has no land, no boundaries, no passports, only people.” – Yoko Ono Lennon, John Ono Lennon, New York, April 1, 1973.
“It is about – once you say it that`s it.” – John Lennon, Los Angeles, November 3, 1973.

Nutopia is the Lennons` statement on John`s immigration hassles – attempts to throw him out of the States, backed up by the knowledge that if he leaves the country at the moment, he won`t get back in.
No passports, no land, no boundaries… America? “Oh yeah, but that`s physical. That won`t go on for ever – que sera, sera. The world changes so fast you can`t keep up with it anyway, so I`m sure a little piddly thing like my immigration won`t go on for ever.
“It`s like Leonardo drawing a submarine, it`s no good saying `oh look, it`s going to take a thousand years before they build it`: that`s not the point. Nutopia was Yoko`s trip, I agree with her, so I wanted to put it on (the album sleeve) and do it as just another event, another J&Y event. We mean it, it`s not naive or anything like that, it`ll happen when it happens. If you say it enough it`ll happen – if you don`t say it it won`t.”

FANTASY

The exile is in Los Angeles. He went there to put some finishing touches to “Mind Games”, which is now out in America: he did a track on Ringo`s album, and he`s currently engaged in realising a fantasy – a mouldy oldies album, produced by Phil Spector. “Who do you get if you`re going to do a mouldy oldies album – Phil Spector or Sam Phillips, right? I don`t know Sam.”
Spector has been doing it in style: five electric guitarists, five rhythm guitarists, two drummers, two bass players… a veritable cast of thousands, which “changes every night as people drop out or just can`t stand the pace.” Among the cast are Leon, Steve Cropper, Jesse Ed Davies, Jim Keltner, Nino Tempo, Jim Horn, Hal Blaine: “Everybody in the goddam world, it`s the biggest band you`ve ever seen. I can hardly fight my way into the studio.”
An innocent enquiry as to Mr. Spector`s health elicits the answer that tells what it`s like: “He`s making the music sound great, which is what matters, but what kind of shape he`s in I wouldn`t like to say. He`s in his usual whatever that strange world is that he lives in, and I happen to be living in it with him. It`s really insane, there`s people running around saying `who can I tell it to, who can I tell it to… nobody`d ever believe me`.
“Los Angeles is crazy – it looks so normal when you get there, but what it is is there`s all these roomfuls of crazy people moving from room to room. In New York you feel it on the streets a bit, but here it just looks normal and you think there`s nothing happening, and then you find all this madness going on in rooms.”

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SECRETS

The songs on the album are secrets at the moment – “someone else might do `em” – but they`re American oldies. “I only go for the best.” And yes, he knows Bowie and Bryan have just done mouldies albums: “I always leave it too late, but ours`ll be different. What happened was between tracks on every album I`ve done, I always do oldies, just play around between tracks, but I always forget the words. I must have thousands and thousands of feet of tape of me forgetting the words…”
The album will be his next release, once “Mind Games” has had its run. He finds he has little to say about that one, except that as usual he wouldn`t have released it if he didn`t like it, and he`s still too close to it to think about it objectively. It took eight weeks to record, which is long for him, and he used the same band as Yoko had for “Feeling The Space”.
OK – so we`ll listen to “Mind Games”, not talk about it. We talked about America, about living there, working there, playing games with the Government: he`s been pretty quiet recently, deliberately not giving his enemies any ammunition, and when I asked if he was planning to play live at all, he said he wasn`t making plans.
“Last time I planned it, the Government attacked me, so I`ll do it on impulse if I do it.” The Government what? “Oh, they just psyched me out – following me, tapping the `phone… I`m paranoid enough without all that.”
So was he still getting the same buzz out of living in the States – it`s been three years now? “Yeah – this is where the music is for me. I think the farthest out I`d want to go is to have a place in Massachusetts or New England or somewhere, somewhere to escape to now and then. New York is where I live – I just don`t think about it any more, I just don`t think of any alternative. It`s like coming to London from Liverpool.”
Though in view of Nutopia, did it actually matter where he was? “I think it`d only matter if I couldn`t be here when I wanted to because… I mean I don`t think I could get it on in, say, Paris – which I love – or even London. You only have to look out of your window… there`s just a vibe in the air that I like. I`d have liked to have lived in Rome in the days of the Roman Empire, not on the outskirts of the empire somewhere, and now I wanna live in New York: it`s definitely the capital of the world, and I wanna be where that is.”
Had he felt rather cocooned in England? “No – I didn`t even plan to leave. When I came to New York I wasn`t planning to live here, I was just visiting, maybe stay a few months… it just sort of happened. I`d probably be back in England a lot more if it didn`t mean that I couldn`t get back here – I`d probably be coming and going a lot more.

NATIONALISTIC

“Because I know it`s happening in England – I hear the music coming out of there and I hear the news, or read it, so I know England has plenty of things going on, it`s just… well, I know the English don`t like to hear it, but it is the 59th state.
“But we speak the same language and have the same culture – Heinz beans and ketchup and Doris Day and Elvis… what the hell, it`s one of the islands, just a bit farther away.
“And I like the multi-racial thing over here, it`s like living in Europe with Britain really in the Common Market, like Europe might be in 20 years or something, people coming and going all the time, crossing borders… it`s all Europeans here, and Africans, of course, but it`s really like Europe, only with the main language being English.”
No land, no boundaries, no passports, only people. Anyway, what`s next for John Lennon? “You know me, I don`t have plans. Maybe I`ll take this album on the road – if we ever finish it – maybe I`ll just rest and write some songs. There`s business things going on as usual…
“Hey, when`s Dylan going on the road? Maybe I`ll go along and play rhythm.”

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Nils Lofgren, Paul Kossoff, Ozzy Osbourne, Ronnie Lane, Alice Cooper, Carlos Santana, Average White Band, Dale ‘Buffin’ Griffin, Magna Carta.

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

1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Nazareth FROM SOUNDS, November 3, 1973

Just a short review today. I think the Naz fans will like this one.

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Album Review

By Jerry Gilbert

Nazareth: “Loud `n` Proud”
(Mooncrest Crest 4)

Nazareth are one of Britain`s brightest bands because they have found an immaculate compromise between genuine American Southern grit and good old English punk rock. That`s not to say that they compromise their music – far from it, but they are loud and have taken another positive step forward with another master production from Roger Glover. I heard his other proteges recently – an American band called Elf – and was highly disappointed all round, but he has certainly turned Nazareth into one of the most dynamic recording bands with his d.i.y. tenet. Like “Razamanaz”, the band have hired the Pye Mobile and recorded the whole thing virtually live in their own rehearsal room in Scotland, and as always their music is basic, earthy, and strays little beyond the demarcation lines of rock and roll. “Go Down Fighting” is almost reminiscent of Gary Glitter and were it not for the fact that they are setting themselves higher standards all the time I`m sure this would be a likely candidate for their next hit single. As it happens they will probably choose the “Turn On Your Receiver”, although my favourite is the track sandwiched between – “Not Fakin` It” which features a compelling riff from Manny Charlton that is really wasted on the song. Elsewhere they do a great version of Little Feat`s “Teenage Nervous Breakdown” and a dubious version of Dylan`s memorable “Ballad Of Hollis Brown” which is so lyrically perfect that any attempts to intensify the song tend to detract from it – or maybe I`ve just heard it too often to tolerate secondary versions. “This Flight Tonight” is a classic example where something from the singer-songwriter genre can be utilised by a rebel rousing rock band although you may care to sample “Child In The Sun”, the more reflective “other” side of Naz as featured spasmodically on “Exercises”. All in all it`s a very fine album indeed – definitely superior to “Razamanaz” but then again one can`t see the band resting on laurels at this stage in their career.

Loud Nazareth

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: Dicky Betts (Allman Brothers), Alvin Lee and Mylon Lefevre, Humble Pie, Wishbone Ash, Michael Chapman, Ringo Starr, Neil Innes, Genesis, Refugee, Steve Tilston, Groundhogs, Mike Heron, Uriah Heep.

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

1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.