Month: October 2018

ARTICLE ABOUT Queen FROM SOUNDS, January 5, 1974

With the new Queen movie “Bohemian Rhapsody” now out in theaters everywhere, a movie I most definitely will go and see, I think this article can be interesting to look back on. Here they still were in their infancy and not yet the mega-band that they were to become. It must have been nice for Mr. Hayman, or anyone else for that matter, to meet such an influential band this early in their career. That`s sure something to tell your grandchildren or anyone else that have just a little bit of interest in this extremely creative and wonderful band.


Queen: Britain`s biggest unknowns

By Martin Hayman

Queen are being hailed as the natural successors to Led Zeppelin on the other side of the Atlantic. This may cause an outburst of derisive laughter, hoots, boos, jeers and catcalls from those who think Zep are the cat`s whiskers. But most of the people who have seen Queen agree that they are pretty hot.
They have been touring with Mott the Hoople and make a good showing on what is now a pretty tough assignment, opening the show for Mott: They write and play punchy songs, they are loud and aggressive to the right degree, they look good and move well on stage, especially their singer Freddie Mercury, who besides strutting and prancing has an excellent sharp-edged voice with a lot of power.
It makes one wonder why the New York Dolls were so lavishly feted on their derisory couple of British gigs. I reckon that a British provincial audience would have pulled the Dolls apart in a jiffy; Queen handle them well, and they were getting encores on their set.
And the public are giving them the thumbs up too, which is reflected in steady sales of their debut album – standing now at 15,000 in Britain and a quite incredible 85,000 in the States, where it has crept into the lower reaches of the album charts. Not bad when you think how comparatively unknown they are even here. Evidently not as unknown as we imagine. You might say they were Britain`s biggest unknowns.
I went to Trident Studios on a rainy night before Christmas to find the band hard at work trying to complete their second album before the inevitable cutbacks in production at EMI slowed up their progress. For at this point Queen are at a crucial stage of their career – just before the break, as they say in the business. If they are to maintain the initial impetus it is essential that they get out another album – and preferably a single too – and then get a support gig with a big British act in America.

Business-wise Queen seem to be quite well set. They are signed to Trident Audio Productions, the production and management arm of the studios. Queen are TAP`s first signing and this is likely to give the group considerable leverage with EMI. They are no newcomers to the music scene though, it`s only in the last year that they have turned to music full-time. Bassist John Deacon and drummer Roger Taylor had been in a semi-professional group called Smile for a year or two while at college, but it was not until singer Freddie Mercury`s arrival that they named themselves Queen. Wisely they all decided to finish their respective courses before going professional.
John, originally from Leicester, had been at the Chelsea College of Arts and Technology; Roger, up from Cornwall after leaving dental college, joined up with Freddie to run a stall in the Kensington Market; Brian May the guitarist took a degree in Physics and went on to do a Ph.D. in, believe it or not, infra-red astronomy; and Freddie they just describe as a “Kensington poseur”.
I talked to John and Roger in Trident`s re-mix room as they played through such rough mixes as they had finished. The sound was still a bit raw and ragged, but there was no mistaking the originality of the songs and the thrusting energy of the playing, the kind of buzz you only get from a new band whose creativity has not yet peaked.
First song up was “Fairy Feller`s Masterstroke”, so titled after a painting by the Victorian Richard Dadd (it hangs in the Tate Gallery). “Freddie just wrote a song using all the characters in the painting – it`s fairly incomprehensible,” commented Roger. Next up were “Loser In The End” and the atmospheric “Ogre Battle”, with bumping and grinding effects. Freddie (the one with the Bugs Bunny mush and the wigwam of dark hair) is the principal writer, followed closely by Brian, although Roger occasionally turns in a song.


The band were complimentary about the way their first album had been handled by the American record company Elektra, who had used the original cover art-work supplied by the group, which EMI here had not done. They also complained that the record had gone out of stock for six weeks in this country, which could have done them a lot of damage if they were not pushing hard.
It`s to avoid such complications that they are working so hard on the album, to give plenty of margin for other people`s errors. They have their heads screwed on, these fellers, following the business manoeuvres with an interested eye, and Roger was able to give me a sort of market breakdown of Queen`s global trading position – they are especially strong, it appears, in Germany and Sweden as well as the US.
But closer to home, they feel that they acquitted themselves fairly well on the recent Mott tour, despite an outdated PA – actually David Bowie`s old Ground Control. “It was the first time we`d done gig after gig, night after night,” says John, “but we were really pleased with some places – Newcastle and Glasgow and, strangely enough, Bournemouth, seemed to know about us.”
Continued Roger: “I`ve been with the band two and a half years and I`m the newest member. Queen was Freddie`s idea really, about three years back. We`d like to make it everywhere, but we are placing a lot of emphasis on America, but we don`t want to go out there too soon and blow it. For example we`ve been giving a lot of thought to getting in a keyboard. We may get another guy in. It would thicken the sound up. It`s a bit limited with only three instruments on stage, but we don`t really want to make it a five-piece. We`re going to do a tour of concerts before we go to the States. That`ll probably be in April. It`s got to improve a lot yet, the stage sound has to be good every night.”


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: Denny Laine, Hughie Nicholson, Savoy Brown, Deep Purple, Greenslade, Gary Glitter, Dave Lambert.

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 Glenn Hughes (Deep Purple) FROM SOUNDS, January 5, 1974

By having two articles concerning the same band straigt after one another I break a principle I usually have, but sometime life is more exciting if it is not entirely predictable. My friend Rad from Russia agrees with me when I say that you can`t really have too many articles about this band, so here is a really good article for you to enjoy. You can not be a fan of hard rock and dislike this fantastic band. So there…


In at the deep end

Pete Makowski interviews new man Glen Hughes

At the tender age of twenty-two Glen Hughes has acquired something all musicians strive for and often never get: security. That magic word ensures your daily meal and keeps you in the musical limelight. Recently after the hasty departure of Roger Glover it was confirmed that Glen Hughes was to replace him.
Joining a band of Deep Purple`s stature has definitely given Glen Hughes a more predominant position in the music business and made his future much more secure. He has kept quite cool about the whole thing although when I spoke to him at the Park Hotel in Frankfurt he seemed very excited about the reaction the new Purple were receiving.


I asked Glen how Purple originally spotted him. “It started about a year ago,” he replied with a slight tinge of Brummy accent. “Trapeze were playing in Miami Beach while Purple were on vacation. We were both staying in the same hotel and we met and we were playing some gigs in the same area and we used to go and see each other. I never knew they were checking me out, so it came as a complete surprise.”
I asked if he was worried about the fact that he and vocalist David Coverdale had taken the place of two people so well established within the group.
“I was a bit wary about it because at first I said no and yes. I said no because I wanted to sing, I didn`t care about anything else except although I love playing bass as well but I wouldn`t play with anybody if I couldn`t sing, because I love singing.
They (Purple) said it was OK because I would be singing and after that I went through a very horrible phase after the first month I had joined `cause they were looking for a singer, but they wanted two singers, but soon things became clearer and I realised they wanted to change the Purple sound by having two singers.”
What was the feeling at the time of Purple`s split?
“Fucking great! Because it was obvious the relationships weren`t good within the band and they knew they were going to split it just had to happen. It was planned that July was going to be the last tour.”
For people who aren`t too familiar with Trapeze, Glen`s previous band, they were a three piece comprising of Mel Galley (guitar), Dave Holland (drums) and of course Mr. Hughes (bass/vocals). The band originated as a five piece and released an album on Threshold. The strongest feature on the first effort was the powerful harmonies. The group eventually diminished to a trio and their second album – “Medusa” – was a start to the funky rock-soul feel they had.

Trapeze proved to be fairly successful in parts of America especially Texas where they shared their fans with ZZ Top, another hot three piece who were very close friends of theirs. They even had a chart entry in the States, “Black Cloud”, from the “Medusa” album, but alas they were cruelly ignored in Britain.
Even when the media buzzed with excitement on the release of their last and best album “You Are The Music, We`re Just The Band” there was still no flicker of hope for this ill-fated outfit.
I asked Glen how he felt about leaving Trapeze. “I was really happy with them, the only difference now is that now I`m getting treated better, I`ve got more money, which I don`t give a damn about because I`ve got lots more years to worry about something like that.
“But the thing is it got to a stage with Trapeze last year where it was so good and so tight but we weren`t getting anywhere at all. We did nine tours in America and we were just breaking it in some areas and that was after three years, there was no hope.”
Bass players and drummers are regarded as the guts of the band. I asked Glen how easily Ian Paice and he adapted to each other`s styles. “I felt as if I`d been playing with Ian so many years, because he`s so tight it`s a great feeling.”
How he felt the band had changed when he joined? “It`s like a new band, they`ve still got the three main guys in Purple. Ian Gillan and Roger were great but the original Purple were Ian Paice, Ritchie and Jon who I think are incredible and gave myself and David an opportunity and we took it.
“It`s a fight because some people want to hear the old songs, we do two old songs but apart from that it`s all new stuff and the majority of people reacted well. After only a few gigs I think it`s great!”
The European tour the band have just completed was to break in the new members; were the rest of the band worried about the replacements? “There wasn`t any bother about me because I had played a lot of American gigs but the biggest worry was David because he was taking Ian Gillan`s place.
“We`re singing together but he is taking his place on stage. Ian Gillan, as well as being great looking, had great feeling on the stage, that`s what they were worried about but he`s worked out all right.”



The band have just finished recording their new album “Burn” which proves to be an exciting recording. “It took ten days which is great, it was exciting to do; we used to spend all night playing. It was recorded in Montreux, Switzerland, and most of the cuts were done in two or three takes.
“I`m knocked out with the album, it sounds great when it`s loud. When we mixed it and then listened we were knocked out with it.”
I asked Glen how he rated the rest of the lads in the band. “I`ve always rated Ritchie for years, Ian Paice completely knocked me out when I saw him. Jon I`ve always admired as a musician, too, but when I saw him play I couldn`t hear him so I couldn`t feel what he was playing. But now I can hear him the stuff he plays is absolutely knockout especially on the album. I can`t describe working alongside him because he`s so precise he never makes a mistake.
“Ritchie`s the greatest improviser I`ve seen since Hendrix. He gets a bit pissed off because he knows he`s good but doesn`t go round telling everybody in print. It`s a bit sad when people go round saying Beck and Ronson are the best and nobody mentions Blackmore.”
Ever since Trapeze, Glen has always had soul influence. I asked him if the American tours had anything to do with this. “I think it was the way I was brought up really, because I missed out on all the Shadows, the rock and roll and was brought up with Tamla and soul and that`s how I was brought up to play.
“I left school when I was fifteen. I joined a little local band, called the News, playing lead guitar and it was a blues type band. Then I joined this band called Finders Keepers because I was broke and they needed a bass player and Mel (Galley) was in the band at the time. About nine months after we formed Trapeze.”
One thing which surprised me was the fact that Glen nearly joined the Electric Light Orchestra. Roy Wood asked me to join ELO before it was ever thought about. It was going to be Jeff, Roy, Bev and myself and some guys which they got eventually. I said yes, he asked me while The Move were still going, and in fact I left Trapeze, you know, did the big number, left the band very early on and I was rehearsing and living with Roy for two weeks. I then decided to go back to Trapeze.
“Although he was going to allow me to sing I think it would have been a bad move. He`s changed so many times he might have done something I wasn`t into and I would have been stuck.”
Something which Glen keeps on returning to is his split with Trapeze, clarifying his reason for leaving. “When I was with the band for three years I kept on saying `I`ll give it another year` and we did nine ten-week tours in America, that`s enough to break any band. The thing was in the States we didn`t have any agency and we couldn`t back any big bands so we were doing shit gigs all the time.
“It got us together musically but it screwed us up physically. I used to go to hospital to get shots, we were never big enough to cancel gigs.”
But although he`s had some rough experiences in the past Glen still holds a deep affection for the band. “I love that band,” he said, “I shall always want to be associated with them no matter what they do I`ll always want to jam with them `cause I love them.”


There were stories and rumours claiming that the old Deep Purple only saw each other when on stage, which is a far cry from the new band who have rigorous rehearsals and keep close contact. “We rehearsed three weeks in this castle on the Welsh borders every day and were always together. When I`m in London I stay at Ian`s.”
How had the band`s music changed in comparison to the old Purple? “They always wanted to play with a little bit more bluesy feel and now it makes you want to `shake your arse` and I think that`s why they changed their line up.”
One thing that`s pleased Glen no end is the fact that he`ll be partaking in solo projects as well. “I`m knocked out they`ve asked me to do my own album, which I`ll definitely do, but I`ll wait till people become more familiar with my name.”
He lay back in his chair and you could tell by the contented smile on his face that Glen was more excited than he let show. “I think everyone`s excited about this band, the album, the gigs. From the past few concerts I know people are coming to see the NEW Deep Purple and that`s great.”


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: Denny Laine, Hughie Nicholson, Savoy Brown, Queen, Greenslade, Gary Glitter, Dave Lambert.

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 Deep Purple FROM SOUNDS, December 29, 1973

Out on the Deep Purple European Tour, that was an pre-tour for the release of their album “Burn”, Mr. Makowski was able to see the band in an very interesting period. They had just recorded their first album without two of their most famous members, Ian Gillan and Roger Glover, who were out of the band because of internal “conflicts”.
Now they had to find and introduce two new members that they hoped would be able to fill the giant shoes of the two were before them. Written before the release of their first album with Coverdale and Hughes, this was one of the first reports that fans of the band got of the new line up. I believe they felt a bit calmer after reading this report from Mr. Makowski.


Purple are back, `nuff said?

Pete Makowski reports on their European tour

I was poundering many a question on leaving Heathrow Airport for Belgium to see the new look Deep Purple band who`ve recently acquired a vocalist and bass guitarist. Vocalists, like lead guitarists, are considered to be the focal point of most bands so the main question that arose was could Dave Coverdale take the floor where Ian Gillan had once stood with as much success? Glen Hughes – replacing Roger Glover – was playing bass and sharing vocals, how would he fair? Would the band die a death or receive their usual reception from droves of hard core fans?


Brussels proved as depressing and bleak a country as the one I`d just departed. The airport bus hostess called for our attention and informed that the vehicle was not working and that we`d have to walk across a barren runway plagued with gale force winds and heavy sleet.
On arrival at the band`s hotel it seemed that Purple were taking the chance of a sound test but at departure time they seemed calm enough, only Dave nervously anticipating the gig ahead and chewing his nails like a man awaiting the outcome of the 2.30 at Chepstow.
Glen Hughes confirmed that Purple had gone down extremely well in the earlier part of the tour as we filed into an awaiting fleet of sleek black limos – rock and roll`s adopted transport nowadays – to make our way to the gig.


At the Forest National concert hall the band made their way down the long dark tunnel leading to the dressing rooms, passing a grey haired old lady collecting autographs and the usual lingerers hoping for a sight of their idols. A quick check with the roadies that everything was running according to schedule up front.
Inside the dressing rooms Jon Lord began tuning his mini Moog. Glen picked away on bass and from the next room came the thin rasping sound of Ritchie Blackmore`s guitar through the practice amp. Ian Paice wandered aimlessly around welcoming people with a rap on the head from his drumsticks. Like most drummers Ian is a genuine looner but has a great many interesting things to say about music too.
Dave Coverdale sat in the corner of the room and told me how pleased he`d been with the audience reactions to him and the `new` band in general. “There are only a few people who ask for the old numbers but they`re not abusive, they just make requests. They are also very critical, they don`t clap because it`s Purple.”
In front of stage my eyes gradually grew accustomed to the light and following the opening set by Tucky Buzzard I made out the shadowy figures of Purple on stage. As the spots lit up and the thunderous applause broke throughout the hall. Blackmore went straight into the chunky chords that intro “Burn”.
Wisps of dry ice filtered round the band`s feet as they joined Blackmore in building the strength of the number, this was the dawning of a new sound and concept for Purple and their music is certainly changing. They maintain that rugged energy element which has always been one of the band`s strengths, but the introduction of two new, enthusiastic members has injected a new vitality into the rest of Purple.


No one`s denying that Gillan and Glover were major forces in the old guard but they seemed to come to a standstill after “Machine Head” and it was generally known all was not quite right regarding the compatability of the band members.
Purple have developed a helluva lot more of what Ian Paice describes as `balls`, the two new members are better than I`d imagined and while I`d always admired Glen Hughes` work in Trapeze I didn`t expect the very funky feel he`s injected into the band.
Dave on the other hand still has a lot to learn about making use of the whole stage area and the tricks of handling a few thousand watts of PA. Dave admitted later: “I used to sing through a hundred watts of PA and now I`ve got God knows how many watts. It`s hard for me to put all my feeling into it but that`ll come in time, the rest of the lads are so bloody good when they`re soloing I find myself standing there in amazement.”



Like Glen, Dave also has a love for soul music and an extremely powerful voice with a lot of depth and guts. By the time Purple reach Britain, Coverdale will be able to prove his virtuosity as a singer and performer and he`s already acquired a great number of European fans.
Back on stage the new numbers are so tight they have to be seen to be believed. Purple played a lot of material from their new album, a recording that will make up for a lot of disappointments on their “Who Do They Think They Are” album. Ritchie has always been acclaimed as a technical player but never as one with enough feel but that`s another thing that can be dismissed.
He comes over as a very tasteful blues guitarist and this is highlighted in a tasty number titled “Mistreated” with all the emotion and feel you want. As a showman he can`t be faulted either, contorting his body to those bent guitar notes, raising his arm high in the air and watching the band out of the corner of his eye to see that everything`s working perfectly.
More crowd eruptions when Jon Lord announced they were going to do one of Purple`s old numbers: “It was written in 1736, hope you like it.” A pregnant silence and then Ritchie delicately plays a flurry of notes that lead into the instantly recognisable chords of “Smoke On The Water”.
Glen and Dave shared the vocals – a very powerful combination – and Paice played a very energetic drum solo featuring some good phasing through the right and left hand bank of on stage speakers.
The set culminated with “Highway Star”, a stunning climax featuring solos from each of the band, Glen constantly strutting back and forth, flicking his long mane of hair back out of his eyes and playing solid, mean bass with a wah wah attachment.
Jon Lord followed with some skillful switching from mini Moog to electric piano and Blackmore put the final seal on the gig by hurling his Stratocaster into the air, catching it a split second before it hit the stage, dry ice swirled again and it was only seconds before they were into the inevitable encore.


Saturday, Frankfurt: It was a particularly hard day for Purple`s road crew, the gear had arrived late and no transport from the airport to the next venue was available. It had been one of those troublesome tours according to Magnet, one of the band`s roadies.
This concert was to be held at the vast Festerhaller which was about five times the size of the previous night`s gig, this (Germany) is Deep Purple country and the gig proved everything it should have, both musically and visually exciting.
But Ian Paice was slightly disappointed with the gig: “The excitement was there but the music wasn`t that together. No one has seen the real potential of this band, I think we`ll be bigger than we`ve been before.” Hot words but Ian`s been in the band to know what`s cooking.


After the concert German EMI held a reception for the band who were presented with engraved gold watches for the sales of “Made In Japan”, “It`s a bit embarrasing receiving a gift for something you didn`t play on” admitted Glen. The reception also marked the band`s release of a double compilation “Mark 1 & 2”. The material includes a beautifully arranged version of the Beatles` “Help”.
As I left Purple they were heading for Munich for a well earned day off, pleased that they`ve been readily accepted with the new guys and I can understand why. This change in personnel has given Purple a complete new lease of life and should leave them safely nestled in the top bracket of rock bands for a good while yet.
Let`s just say Purple are back. Nuff said?


At the time when mushroom and bumble bee motifs were “de rigeur”.

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: Leo Sayer, The Who, Gallagher&Lyle, Keith Emerson, Beck, Bogert & Appice, Magma.

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 Keith Emerson (ELP) FROM SOUNDS, December 29, 1973

Certain parts of the rock community and classical music have always had a close relation, and this article proves it when it comes to the the music of ELP who were being led by the musical genius that was Keith Emerson. There was speculation that he took his own life because he worried that he wouldn`t be able to play as good as the fans deserved because of an illness that troubled him late in life. You could call that “high ambition” but you could also call it “depression” and “Mental illness”. I believe the latter is true. Still, at 71, he outlived the composer, Ginastera, who is mentioned in the article. Alberto Evaristo Ginastera was an Argentine composer of classical music. He is considered one of the most important 20th-century classical composers of the Americas. Born in Buenos Aires in 1916 to a Spanish father and an Italian mother, he often used traditional Argentine musical elements in his compositions. He left behind a huge production when he died in Geneva at the age of 67.


Silent nights in America

Pete Erskine talks to Keith Emerson

Having spent the best part of a week hustling upwards of a dozen people for an interview with either Keith Emerson or Greg Lake, and having secured an audience with the former, shock and horror, but what should happen but your reporter`s tape machine blows out. Hence this interview was conducted, as a repeat, in adverse conditions, on the plane home.

Who is Alberto Ginastera?

About four years ago I was in Los Angeles doing one of these spectacular Hollywood Television productions which was being organised by Jack Good – it was about the time that mixed media was all the rage and everyone was getting into the thing that rock groups and classical orchestras were all the thing, let`s do a television spectacular on it.
Whilst I was over there I met Zeuben Maiter, Daniel Barenbaum and Jaqueline Duprez and lots of other people. This particular piece was being played by the pianist who did the world premier Ginastera`s first piano concerto and I happened to just grab the last part of it and afterwards I spoke with the pianist and it was very interesting to look at the part.
When I got back to England I managed to get hold of the piano music and I just worked on it in my own leisure time, not really intending to do it – it was just sort of something to play. Carl had always wanted to do a percussion piece which was well arranged and it wasn`t until we were getting this new album together that I realised that this was the ideal number because it`s percussive anyway – in the original there`s lots of pounding piano – it`s a very hairy piece of music so I rang him up and played it to him on the telephone and he liked it quite a lot and at rehearsals I played it on the organ and everyone was well into it. So I talked about arranging it, making strict observations on how Ginastera himself had written it and the rules that he had laid down for this particular piece of music were very strict.

So it had to meet with his approval before you could actually play it or record it?

Well, the thing that came across to me was that it can only be performed with the tympany set up here and the pianos were set up here and everything was laid out on this chart. The actual movement which I was arranging was well laid out to the number of bars and the whole thing was in `Rondo` form so in arranging this I had to adhere strictly to the rules. I didn`t want to adulterate his music in any way.

Is the version you`ve arranged very different to his own version?

There are reasons why all of it has not been used. There are various repeats which I`ve missed out and in some cases I`ve done repeats where he hasn`t. This was done because for the stage version I would be playing it on the organ and for various things to be audible I had to do this. There was a hassle there because he`s written it for piano and the piano has a far greater octave range than the organ so things had to be altered that way round.
Eventually we got the whole thing together as I`d done with Aaron Copland`s “Hoe-Down” I sent a tape to Copland (I`d not met him personally because I was out of the country) this time I wrote a letter to Ginastera and sent it care of Boosey and Hawkes the Publishers. They read the letter and said that they understood that I wanted it doing very quickly and they thought it would be much quicker for me to go and see him.
The next day I was off the plane with Stewart Young, armed with a tape recording and met Ginastera and I was quite nervous about meeting the guy face to face and playing his music to him. I had dinner with him and he was quite familiar with this electronic equipment because he`d worked in Argentina on these things and after dinner we got him to play the music. He couldn`t quite believe his ears at the start of it and then listening to it the second time through he said that it was fantastic, you captured the essence of my music.
I flew back to England and I was over the moon and I told the rest of the guys what had happened and they were knocked out. In the early days of the band we were sometimes referred to as a classical rock band and my reasons playing classical music are that when I write a piece of music (and it can take six months to do it) it`s a refreshing change to play a different piece of music. I have a liking for classical music as much as I have a liking for jazz but it is refreshing to play something that somebody else has written and in my experience people have usually related that to earlier recordings.
As far as my own writing is concerned I think I can modestly say that it`s completely my own without any direct link or even a snatch from anything else which is classical. One example which made me slightly up tight was that when we were in America I heard one of our Baleros played over the radio at the end of which the D.J. said that it was Ravel`s Balero assuming that because I happened to call this piece of music a Balero he assumed that it was Ravel`s Balero. But on reference, if you compere the two there`s a different harmonic structure with mine and different time, signature, everything is totally different.


Is the band wholly satisfying for you?

Yes, they are. My musical education has been such I started off playing by ear, long before I had piano lessons. My first recollection I have is of an old upright piano being shipped into the house and my father played it and I used to imitate him and pick out my own tunes. When my father saw me trying to busk he asked me if I wanted to be taught and the next thing I knew (I was about eight at the time) this old dear of about 80 came round and started giving me lessons. It was a bit of a drag but I went along with it because it went along with my schooling.
I took it up to the age of about 14 – I played a bit of guitar and then I realised that because I could only play a few basic chords I couldn`t really entertain people. I realised that I could do a lot more at the piano because to me it was really more of a solo instrument so I went back to it but I really still wasn`t turned on to classical music. My first liking for the piano was hearing the jazz pianists and mixing with other local jazz musicians and developing my taste accordingly. Nothing at that stage on the pop scene interested me at all.

Does anything on the pop scene interest you today?

Nothing at all. My record collection at home doesn`t really consist of anything that interests me or turns me on except something like Steeleye Span which I think are really original, plus a bit of Frank Zappa. I`ve heard Weather Report, Joe Zawinul is great, I`ve got recordings of him when he played with Cannonball Adderley – I dug him then, he`s capable of a lot more and on this Weather Report album I`ve got he doesn`t do a lot.

Do you think that this is part of the trend today away from heavy instrumental dexterity back to a simplicity of feel?

Yes, you can`t rule out the fact that this is an overall sound effect. I think that when you listen to something of Miles Davis, you`ve got to listen to the overall effect not just analyse this bit or that bit. Possibly what Miles Davis is asking for is a new look, an overall look at everything, be patient and wait for something to happen – maybe I`ll give it to you and maybe I won`t. Which is possibly the way music should be. It`s usually a very spontaneous thing and as Eric Dolphy once said, music once it`s played, it`s gone, it`s gone through the air and you can never capture it again. I think that it`s a very valid point – it`s there for the moment, it`s not a lasting thing.
I mixed with a lot of jazz musicians and my earliest influences came from them. I started playing with local bands, and trios in some of the sleazy places. At least we could play the music that we wanted to play. Very gradually, pop music began to take on to me what you might pretentiously call, a culture. Studying people like Muddy Waters, Memphis Slim, it was getting more interesting as blues was being brought into pop music and suddenly I took an interest and I started getting into it. But my early days were such that I wasn`t really playing what I wanted to play and I don`t think any bands those days could play what they wanted to play.

Are you really playing now what you want to play?

Well, I`ll get round to that. It was in those early days that I`d go off and play the piano and there`d always be people there who were listening and they`d say why don`t you play that on stage? And my excuse would be, you`ve got to be kidding… but then when I formed the Nice I thought well, why can`t I play that on stage? I`m cheating myself, I`ve really got to do this and Pete Jackson was with me and we both had the same idea. So the Nice was formed with that policy and it`s stuck with me ever since.
We did our first gigs and they were really hell, we played the Soul Clubs where the D.J. would do his bit and the band would come on and then the D.J. would come back again. But having made that policy I`ve stuck to it rigidly and anything that I`ve liked I`ve played and I think possibly the audience have broadened their tastes. This broadening of audience acceptance started to be brought about by people like the Beatles, George Harrison`s association with interesting Indian Music.

Do you think that the things done with rock bands and classical music ever worked?

John Lord`s concerto and the “Five Bridges” thing were both done round about the same period and I really admired John Lord`s writing on that concerto. I thought that he scored that orchestra beautifully and I told him… and he slung a bouquet of flowers back at me and said he liked the “Five Bridges” thing… I did it on lots of occasions… I did it in Los Angeles with Zeuben Maiter, as I`ve already said I did it twice in England, once we recorded it live and then once I did it with the Royal Philharmonic Orchestra at the Royal Festival Hall but on both occasions there were so many hassles mainly because we were dealing with the musicians union which is tough. They`re unco-operative about getting rehearsals together. Even when we were called back for an encore some of the guys were looking at their watches and leaving the stage. The second time we did it the orchestra refused to come back on to do an encore and we had to come back on just on our own and improvise something to keep people happy.
All this just put me off from working with them again – I may well do but it`s got to be under a different situation. At the time I wasn`t really that concerned about whether it worked or not. I looked on it as the establishment against the anti-establishment. Here was a loud rock band battling hell out of these old conservatives in their penguin suits. There was a slight balancing problem with the orchestra – I`m quite happy with how the recorded version turned out. What really made it so enjoyable, you could get these guys to do almost anything – we were doing a piece from “2001” and I got them to all stand up on their seats throw their music up in the air and play each others instruments and they completely freaked out for just one minute.

I get the impression that this current tour has been incredibly carefully worked out in every respect…

It has to be. The lighting has to be pretty well together mainly `cos they can`t improvise. There were just a few minor changes that had to be made at the beginning of the tour. Like originally the piece with the moog at the end finished with it panning the theme from the third movement of “Karn Evil” and we left the stage, but people didn`t understand it. We needed some sort of finality to the set, to make the point. Another thing was that one of the numbers had to be transposed down a tone or so because Greg got laryngitis or broke his vocal chords trying to sing the number. I still like the improvisation parts… they differ from night to night.

Having just played a string of concerts, though, is the attraction still there?

Oh yes. It`s going to take me some time to relax. I could play another concert tonight. I don`t feel as if I`ve just worked six weeks…

Has this stage act got across better than the last one?

We`ve experimented an awful lot you know and tried various things, some of which have worked and some haven`t, but, as I was saying this morning, like a lot of bands around at the moment I would consider “safe” bands, but we`ve done an awful lot and risked a lot of things, like on the European tour with that praesenium and lugging around 70 roadies.

Do you risk things musically as well?

Sometimes. At Madison Square we went on and we did those things with the choir and a whole bunch of other sections without rehearsing them.

We were saying about “Karn Evil 9”. Do you think it`s come across as you intended it to?

Well, as we said, there`s only been a slight change in that to provide the people who`ll only have seen it once all year with a strong impression. The stage ending doesn`t take away from the meaning of the piece but it was very necessary to do this for the live performance; on the actual recording it was left as an unanswered question, because obviously with the subject we`re handling there is no answer…

How does it feel when the audience reacts to the effects in the show sometimes to a greater degree than some of the finer more subtle instrumental solos?

It`s important for me to put the point across of the difference between a machine playing the theme in relation to what we play and trying to drive the point across to the audience that it`s computors and things which are making them redundant. And I purposely programmed the synthesiser to play the theme that we just played to make the effect more pronounced. We also wanted to counter, in a way, accusations in the past that ELP are “Mechanical” in their music. I can base what I`m talking about on fact as, like when I left school I worked on IBM equipment and I was going to learn to become a programmer for these things, but, man, it was so boring. I purposely used to put faults in the machine to brighten up a dull day.


Some very interesting bands in small locations on the menu…

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: Leo Sayer, Tim Bogert, Gallagher&Lyle, The Who, Deep Purple, Magma.

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 Tim Bogert (Beck, Bogert & Appice) FROM SOUNDS, December 29, 1973

I have the impression that articles and/or interviews with this man is fewer and far between compared to the other people involved with this band, so when the opportunity came to share this one with you, I grabbed it with both hands. A very fine musician and bassist with a long an very fruitful career that any fan of rock should know about. Hope you like it.


Tim Bogert Talk-in by Pete Erskine

Tim Bogert is maybe one of the premier white bass players, combining simplicity and feel with tremendous power and speed – perhaps like a pared-down Jack Bruce on superficial evaluation. He also does very few interviews. The band always used to do interviews together but Bogert feels his role as any kind of spokesman is obsolete. He admits, surprisingly, to being very shy.

The general feeling about the first BBA album was that there were too many songs on it – in contrast to what you do on stage. It wasn`t what you`d expect.

The new album still has songs on it but it`ll be a year`s progress. The session last night went well: we got another track down. We`re recording at CBS, Whitfield Street using Andy Johns and Jimmy Miller – and they`re good, really good. They`re getting the sound I wish we`d had on the first album. The first album was kinda thrown together, a very quick throw together. We were informed `okay boys you have to get an album together`. Then we got a producer at the end to mix the tapes and it was a very slipshod thing.

Yeah but there were lots of good things on it, like the opening of “Living Alone”.

Yeah, that was fun. We wrote that at eight o`clock in the morning when we couldn`t sleep on the time change. There was four tunes we knew and played on stage and the other four or five were done acutally in the studio, so we didn`t get a chance to work on anything, learn any riffs to throw around. The improvisation was still kinda raw.
The next one should be better. I hope.

It could be said that Jeff hasn`t really emerged to anything like his real extent on album anyway.

I agree with you. But on “Beck-Ola” he played his ass off and I haven`t heard him play like that on an album since. We had sort of a bad run lately, too. I don`t know why. We just we`re playing anything worth a damn. Sometimes the little red light on the tape machine goes on and the inspiration goes off.

Is Jeff very conscious of things like that?

Yeah, he`s very attuned to everything that happens… I just go battering through it all, flailing away. I just like to play. No, I`d really like to hear him cookin` the way he was cookin` on “Truth”. It would please me to no end because that was the album that turned me “round about the guy`s guitar playing. I thought oh, he can play”.

Is your situation as a band becoming more constant and level now?

There is no constant with this band; it`s very radical, very extreme. We have a particular norm that we`ve met on stage now that we don`t ever fall below, which is about a shade or two above mediocre – by my standards. And that`s okay because we can play a couple of shows like that as long as you come back later with a brilliant show to kind of balance it all out. But we`re very erratic It`s like last night`s session, there were some beautiful things going down yet a couple of weeks ago down at Underhill Studios we couldn`t have recorded a Troggs track and made it sound like anything. Tommy James and the Shondells could`ve cut us apart. Heaven knows why; I was actually trying harder down there to work than I am up here, and that could be something to do with it. I just couldn`t give a fly in hell now. I just go in, I`m feeling real good, I wanna play. I plug in and I`m playin`. Maybe that`s the secret, not to be too aware of what`s happening or too concerned with what`s happening; just go in and do what you know how to do.

Has the band been writing for this album?

No, we don`t write, we take material from every available source. We do instrumental things; there`s a thousand chord patterns that Jeff, Carmine and I know and fit together, but we`re not songwriters as such and never will be. We use Freddy Scott for a lyricist and a feller by the name of Ray Kennedy from Los Angeles. Pete Brown did a tune for us – or rather, we`re doing a tune of his. We`re going a lot more for instrumentals now because we`re not really a vocal band. We can`t sing. Somebody just had to so Carmine did, and I did. We can put a tune over well enough but there are a thousand people who can do that.

A dumb question, but how did you ever get to play the way you do? I mean, it is pretty distinctive.

It evolved from Motown records. I started playing about 8 or 9 years ago. I was playing soul licks in R n`B bands and the combination of R n`B, my slightly different psyche, gives that particular style. Jack Bruce is in a jazz vein whereas I come from an R n`B vein. I like to get into a groove and fuss with it for an hour. I`m not much of a technician; I just like to hear sounds. I like to make noise.

You said you started 9 years ago. What were you doing before that?

I was a sax player. Played the horn for 6 or 7 years with high school bands…

Did you study music at college?

No. Never went to college. Education was kinda wasted on me. I like reading hot rod manuals, taking cars and motorcycles apart, going out with my old lady and that was about it. I started to go out on the road when I was still a hornman in high-school, just trucking around locally on the East coast, nothing anyone would`ve heard of. We played rock and roll and stuff like that, but initially, having left high school I went to work for the phone company, and I was playing evenings and weekends. I started going smitten with bass I started to get the feel for it and started getting serious about making it a career, so I quit my job and I started haunting local bars in the area, seeing who was playing and what was being played, contacting people and letting as many people as possible know I was available for work I finally found work with a professional band called Rick Marin and the Showmen and they were a commercial band – society music – they had a chick singer up in the front with… and we played standards. It was kinda like a Vegas night club routine and we would play night clubs where your clientele would be your 40-year old age bracket and I wore a tuxedo and bow tie, the whole bit…

Did you enjoy it?

It was an experience. I had a good time. It was a whole new thing for me at the time. It was a groove as I look back on it – matter of fact everything`s been a groove as I look back on it. I played in other society bands, and I played in a piano jazz combo and a whole bunch of rock and roll bands and then it was 1966 and Vanilla Fudge started and it was 12 record albums between then and me sitting here.

How did you meet Carmine then?

I was working a place called the Choo Choo Club and in Garfield New Jersey and we worked there for 16 weeks with the band I was in called the Pigeons and Carmine came in following us and where does a musician go when he`s got a night off and no place to go but back to the night club, right, so I did and our drummer wasn`t cuttin` the gig at the time, he just wasn`t quite makin` it and so we were looking for a drummer and I spotted Carmine and I thought `hey this guy`s got a really good foot`, `cos we were looking for a drummer who was a bit more progressive than the one we had. I went up and asked him if he wanted a job `cos the band that he was in was no big thing, and the one that I was in was no big thing either, but we were open to get something better going. So he said yeah after a bit of thought and we went off to a catering place in New Jersey and rehearsed in the basement for two weeks and then got ourselves over to a place called the Action House on Long Island and played third bill at a bar and started that way.

Was he very different from other drummers at the time?

He had one helluva foot at the time which no one else had. Drummers` feet were just starting to happen then. It was still bang bang bang and he was coming out with all kinds of intricate patterns which was brand new for the time. He was really funky for then. Oh and about `66 was when I started doing strange things with the bass, playing things that you wouldn`t normally hear, `cos I got just plain tired of bass players. I liked the tone of the instrument but I thought the accepted style was incredibly boring. I thought `oh how boring these people are` and in fact I still do. When you put on a hundred records and only two of them will be saying anything. It`s always been a second instrument; I don`t approach it that way. To me it`s the first instrument, so watch out – outplay me or move over. It`s a very competitive spirit in this band; it`s a lot like Cream. We played a split bill with them down South in `67. Some nights they were good, some they weren`t, but I wasn`t too interested as I was still strongly into black music and wasn`t interested in these whiteys but come `69 and “Wheels Of Fire” I thought “heeyy”… alright.


Who of the black players did you like then?

Wilson Pickett, James Brown, Joe Tex, all the Stax things, everything that came out of Stax at the time, Carla and Rufus Thomas, Otis Redding, just everybody. Anything that happened to come out as a single or as an obscure radio cut, I had it. I still have a vast collection of soul music from `66-`69. But music`s pretty consistent, it`s only the faces that change. It goes different places – all the way back from the twenties you`ve had excellent musicians, you`ve had a raft of adequate musicians knocking out adequate music – you`ve had a bunch of noise and then you`ve had a rubbish. You`ve got your excellent players, etc., etc.

Do you think the bulk of adequate players is larger now?

Yes, there`s more players now than there ever has been. I know a number of people that can play the ass off a lot of people but they`re just not on record, and they`re never going to be on record because of the circumstances involved – they`re never going to get a hit contract, or a hit record or see the big-time but they can blow with the best of `em.

Looking at our Polls recently it would seem that England and the States have grown far apart inasmuch as we read of musicians and players that we`ve never heard of in England. There seems to be more depth to music from the States.

Well, there are so many more people in America than England, but England to me was always a source of excellent guitar players and good white singers. Up until I heard Jack Bruce, I never liked a single bass player I`d heard out of the country; and Jack isn`t what I call a bass player, he is just a player playing the bass. Rhythm sections were one thing I never really thought of when I thought of England. The difference between say Carmine or an American drummer is that they accent with their feet whereas an English drummer would accent with his hands and vice versa.

It seems to me that a lot of English musicians are very much into technique rather than feel which is an American feel.

Most of the players I know don`t know a quarter note from a dotted eight note from a hall note or anything else but you sit down and stick an axe in their hands and the son-of-a-bitch will make it talk. I can`t read music, I don`t know chord theory, or anything but I just like to feel what I`m playing and if I didn`t have that feel, I couldn`t play at all, I`m sure.

How do you find playing in Europe and England compares with the States?

For the hour and twenty minutes that we`re on stage it`s about the same, almost. But the rest of it`s entirely different. The audiences here, as a block of faces, respond pretty much the same. Most of European kids know enough English to go along with what we`re trying to do with them and what we`re saying to them and they know enough of the tunes to groove with it. But otherwise the atmosphere is totally different… the consciousness is different, the weather`s different, the buildings are different, the cars are different… it`s all different. It was a little unsettling at first but I`ve got used to it now.

Are American audiences more demonstrative, more perceptive?

I think that they`ve been exposed to more because there`s more there to be exposed to… y`know, America, the land of too much! It`s hard to generalise an audience because an audience is an entity unto itself and every audience although it`s basically the same, is different and every night you walk out to the microphone, you don`t know what`s going to happen… I just take it as, `Well, OK here I am,”… and you start the show and you hope… you hope they like it, you hope that an amp doesn`t blow up.

Are you nervous before you go on?

Sometimes, it`s sporadic… there have been some shows when I`ve been shaking in my boots and there`s other shows where I`ve been as calm as hell. No particular reason for either… I should be nervous for all of them but I`m not. It doesn`t make the show any worse or any better if I`m nervous or not – There are some shows that I should be very nervous about but I`m not – I walk out, plug in and roll… other shows I`m just on the edge of my nerves and I walk out, plug in and fly… and then sometimes it works the opposite… I walk out cold, plug in and can`t get started and everything I play is just wrong, so I fall into a groove and I don`t try and outdo myself `cos I know I`m only going to stumble and trip so I just do as much as I know I can do that night.

When there are three of you playing the sort of music you play, is it possible for any one of you to step out and take a lead?

All the time… we try hopefully to do this every night… it can`t be done every night, but we try. BBA isn`t really what I call a band – it`s the three of us playing as a unit but completely individually at the same time – we`re playing sympathetically with one another… that`s the closest way of putting it. The three of us are constantly soloing and if we can solo in a format we`re fine. If we can`t, it turns into noise.

Is it very tense and draining when you`re playing?

It can be… sometimes it`s a drain and sometimes it`s very exhilarating. Sometimes I walk off stage with the hair on the back of my neck just bristling and sometimes I walk off feeling as though I`ve just been in a football match for an hour and a half.

Do you ever get into the position when you`re waiting for one of the others to do something?

Well somebody has to take the initiative and eventually some one will and you just pray to God that they`ll pick up on you. We do a lot of cuts and breaks on drum cue because it`s the easiest thing to distinguish – you catch a particular roll and you think, `Ok it`s break`… and Carmine will do the same roll before the break and I`ll go into it and Jeff won`t or Jeff will go into it and I won`t… and there are occasions when Jeff and I will both go into it and look at Carmine and say `Well… -` … and he`s flailing away like mad not knowing that he`s played the break. It gets tense sometimes but one of us will usually pick up quickly and the others will follow right in. No-one usually knows that we`ve fouled except us because the three of us are masters of picking up errors. I picked that up playing showbands where you have fast cues and you can`t leave the may up front hanging… you`ve got to learn fast otherwise they`ll fire you faster than hell! There`s a lot of road experience in the band and there`s no other way you can accumulate that kind of knowledge without having been on stage thousands of times. A lot of it`s second nature… you just hear something and you go accordingly to what you hear. It`s a lot of second guessing… that`s the main thing I do on stage is second guess Carmine and Jeff.

Do you spend time together socially?

No, we`re very individual people who have very little in common. We have a vast respect for one another musically so the band works but socially we don`t have too much that we can truck along the same paths and enjoy.

Perhaps it`s a good thing… maybe it would make the band too stolid and complacement.

It could be because a trio plays violent music, it always seems that way – this is a very violent band – and after a disagreement or after a hell of a long car ride the band plays. We had to drive 400 and odd miles in lousy rotten traffic in France to get to Bordeaux and by the time I got to the gig it was time to walk on stage and I just had so much nervous energy inside me… we went out and the band screamed. But it can work the opposite way when you`re so up tight and jittery that you`re dropping cues and you`re missing notes – there`s no set pattern at all.

Do you ever find that you really get into an aggressive thing?

Well, it`s not so conscious – it`s not, well, I`ll try to outdo you… It`s I`m going to really let loose and if you don`t keep up – too bad! It`s not a conscious fuck-you, although it could be construed that way, I guess.

How about recording as compared to playing on stage?

Recording it a little cut and dried still because Jeff doesn`t play lead on record… he won`t, he flatly refuses to, so that`s that. He`s very secretive and you don`t ask him. He plays how his moods strikes him and he`s a man of a million moods.

Do you think you`ll ever make a live album?

We definitely will make a live album but I don`t know when… maybe the next one, for sure the next one after that… `cos live is where the band really cooks. On a good night this band can be as good as any live band they`ve ever heard.
One of the American tours we`re doing – either March or April – I hope to bring a truck with us and record every night we do and then sit down and systematically go through the whole thing because we work on a feed back basis with the audience – if the audience is really cracking they can generate us to do things that we normally wouldn`t do, even on a bad night. I don`t think that audiences realise that their response can force us to play, even when we don`t feel like it. I don`t like to force an audience – I kinda take the attitude that they`re going to do whatever they`re going to do.
Carmine takes them in the back of their seats and shakes them into moving – that`s his approach. I would let an audience sit, whereas he would pick them up by the throat and shake them. Jeff`s attitude varies according to the mood he`s in. He`s a Cancerian – always goes sideways, never knowing what his real motives are.


OOoohhh -this was probably a sure-fire method that just got lost in time. Too bad for you short people out there with dreams of being taller…

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: Leo Sayer, The Who, Gallagher&Lyle, Keith Emerson, Deep Purple, Magma.

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.