Month: October 2018

ARTICLE ABOUT Keith Moon (The Who) FROM SOUNDS, December 29, 1973

Enjoy this great chat with Keith Moon from the last number of Sounds in 1973. Difficult to believe all those myths about him when you read this one. He probably did have a “bad” way to behave on occasion , but as is common in so many of us, we have a little bit of light and shade in our personalities. Hell of a drummer, he sure was.

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Life in the old Tom yet

Steve Peacock talking to Keith Moon

We`d been told that Keith Moon was ill, thus he wasn`t appearing in “Tommy”, but as often happens that wasn`t quite the case. In fact, he said, he`d never agreed to do “Tommy” at the Rainbow this year in the first place, but they`d said he would, and excused his withdrawal on the grounds that he was ill. Such is showbiz.
In fact, Mr. Moon was looking in peak condition, dressed as he was in impeccable early sixties gear – from the black, exquisitely tailored three-button jacket, the broad pink-stripped shirt with white button-down collar and black knitted tie, the slightly flared black cord trousers, to the original “She Loves You” stomping Beatle boots with cuban heels and pointed toes – all genuine and from the wardrobe of Mr. R. Starr.

FILM

He`d been for a screen test for a part Ringo was to play in the film “Stardust” – he already has a part in it, but they asked him, so why not? And, in fact, he was planning to visit the Rainbow for “Tommy” – but in a purely backstage role. He had promised, he said, to keep Viv Stanshall sober. No comment.
And he had been ill – though that was during the Who`s American tour. Or rather: “I`d been made ill. Someone put elephant tranquiliser in my drink. We found out later from the San Francisco hospital that four people who`d drunk from the same brandy bottle as me had been laid out, but fortunately I have a strong constitution and I didn`t notice it until it started to hit me towards the end of the show – then I was a total blank for ten hours. It seems the West Coast is very good at that kind of thing, they seem to think it`s funny, but if I ever found out who did it I`d rip his arm off and beat him to death with it.” Merry prankster, you have been warned.

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As for “Tommy”, well – he feels he`s done that show as many times as he wants to, and he didn`t particularly want to get up on stage and flash through Uncle Ernie one more time: “It`s like playing the same song over and over again – eventually you get bored with it so you leave it out of the act. I`ve got fed up with playing the same part over and over again, so I`ve left it out of my act – no reason other than that.”
Or sometimes you re-arrange the number, and in a new form. Uncle Ernie Moon will go through the hoop just one more time. Keith has a number of projects on the go at the moment, including the “Stardust” film in March – which is loosely a follow-up to “That`ll Be The Day” with David Essex – Who tours of Europe and America later in 1974, and the film version of “Tommy” with Ken Russell directing, which they`ll be shooting in April. Earlier in the New Year, the Who will be recording some new Townshend songs for the film`s soundtrack. As musicians the “Tommy” film involves the whole group, but as actors it involves Roger and Keith “more than Pete and John. They really don`t have any interest in acting – John, for instance, would much rather be in the studio making music than making films, whereas with me it`s vice versa.”
So there`s life in the old deaf and dumb friend yet: you`d have thought that “Tommy” had had such a run with and without the Who that it would be very difficult to breathe new life into it. “Which is why it had to be Ken Russell – he`s the only person who could do that, the only person I know anyway. He came down to the studio while we were recording `Quadrophenia`, and he impressed each of us… he seemed one of the most perceptive men I`ve met. He really is an amazing man – if you start a sentence he`ll not only finish it for you, but go into the next one while you`re still thinking about it. I`m really looking forward to working with him.
“I spent a couple of hours with him over a bottle of wine at his house, and the way he saw the characters, the way he`d developed the characters, and the ideas he was coming up with… they`ve never ever been done like Ken`s going to do `em. His whole conception of `Tommy` is totally different from the way anyone else has seen it, but it`s still `Tommy`.”

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Could he be more specific? “Well no, not really – you`d have to spend a couple of hours with Ken Russell. But then we`ve got to see whether the ideas work, so the only way you can really know is to see the film.”
And so to “Stardust”. It`s a follow up to “That`ll Be The Day”, he says, in so much as that film covered a period up to the Beatles and the British invasion of America, and this one will take in the period from then up to the present day. “That`ll Be The Day” was: “a kind of English version of `American Graffitti` – America couldn`t  really identify with it, but this one goes from the Liverpool thing, the Beatles thing – which is one of the reasons Ringo didn`t want to do it, because he`s been through all that – brings the English and American things together, and then follows them as they began to find their own identities again.”
So while “That`ll Be The Day” was really more concerned with what was happening around the music of Chuck Berry, Buddy Holly, and all those people – life as related to the jukebox and transistor radio speaker – “Stardust” will concern itself more with the life and times of musicians and others in the business of music. “It`s more involved with the pressures the musicians were under – the agency problems, management problems, what it takes to get a group to America, advertising bullshit and the hype that goes on to get a record in the charts – all that kind of `for God`s sake don`t say balls to a reporter, and don`t forget your 17` stuff. I think a lot of people will be more interested in that than in hearing a lot of oldies but goldies.”
Once again, Ray Conally has written the script, and Keith is more than happy: “He`s great, because he says `if you don`t like the way I`ve written this bit then I`ll change it, or you can write it, or we`ll write it together` – the important thing to him is to get it right for the person who`s playing it. He doesn`t feel he`s written a successful part unless the person who`s playing it feels comfortable saying the words.”
It seems that in the way Keith is able to work in films, he`s in an ideal situation. He`s able to be involved with all the aspects of creating a movie, rather than merely being one of the director`s pawns as we`re led to believe is generally the case. Hitchcock`s cattle – actors dictum seems as far away as the man with the cigar doing his `sign here and I`ll make you a star` routine in the pop world.

FLIPPANT

“Well, we`re all involved in trying to get the best film we can – that`s the most important thing. If I`m best at doing one thing, then I`ll do that, and the same with the others. We all get on well together, and we`ve all shared the same experiences, but on different levels. For instance, Ray`s never been on the road so when he says `what`s it like to be stuck in the back of a transit for eight hours?` I can tell him. I can`t write it, but I can explain to him what it feels like to be stuck in the back of a bloody transit for eight hours, and he can put it into words.
“There`s this great rapport, and it`s so much fun working on a film right from when it`s conceived, through the casting stage – thinking `who`ll be best for that bit, who`s really gone through that?` – right to making it. We don`t take it lightly, I don`t want to make it sound flippant, but the idea of one person directing on his own, one person casting, one person doing something else just doesn`t apply any more. That kind of enthusiasm comes out in the film, and it shows – on the screen it shows.”

ACTOR

He seems to have made the switch from drummer with the Who to film actor with remarkable ease. “I don`t think I`ve ever not been an actor – I`ve always been an actor that plays the drums. I haven`t been a film actor, but there are many aspects of acting – it`s just different ways of projecting. You project through the theatre on stage with the Who, and you project in a different way to a camera for a film – it`s the same thing, just a different approach. On a screen that`s maybe 70 foot wide, you may only have to lift your little finger, whereas to get the same effect on stage you`d have to swing your whole arm.”
He`s always been an actor – I wonder. Has he just been playing the part of the crazy drummer from the Who all these years? Are you an actor offstage Keith? “I seldom stop acting, except… well, when I`m asleep.”
Is it a conscious thing? “Not all the time. I`m a natural extrovert, and if I want to get a point across then I`ll use expressions – vocal or physical – that`ll do it. That`s what acting is, I suppose, and it comes very naturally to me.”
So instead of sitting in a hotel room saying “I`m bored”, you`ll throw the bed out of the window? “Something like that.”
There was that disturbance in Montreal for instance. “Ah, yes… well, it just escalates. `Oh dea, vats zis, it`s fallen off ze table… appears to have smashed on zose glasses zere… ooooh, dear, oh dear, now you`ve knocked a chair over and the cushions and the desk`s fallen over… bam, bam, bam, bam… oh dear, now the television seems to have gone out the window…`

“It`s not planned, it just escalates, the adrenalin builds up and then bingo – `what would you like? Cold coffee, a bit of toast and six hours in Montreal nick. I shall have to write to the Queen about that really – Canadian breakfasts are terrible. I`ve had much better in Holloway. She`s neglecting the colonies – `bout time she went over there, showed the old boat race again.”
One of the best descriptions I heard of that kind of human whirlwind was by the novelist Edna O`Brien. On TV, Russell Harty asked her if she ever `freaked out`. Yes, she said, in the sense that she got into something to such an extent that she just didn`t think about ever coming back.
“You do”, affirms Mr. Moon. “You just become one with all of it, and then when you`re brought down and all of a sudden you`re sitting in the back of a Black Maria, that`s when it hits you. (In his best downtrodden Dudley Moore voice): `Dear Mum, once again Life has stood up and punched me right between the eyes.`
“That`s when you`re back to reality. It`s impossible to explain, it`s complete escapism. You`ve got all this energy which has got to go somewhere – and it takes you.”

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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: Leo Sayer, Tim Bogert, 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: 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 Alice Cooper FROM SOUNDS, December 1, 1973

I love Alice Cooper a lot, having bought everything he and the band released, but I don`t feel that this album is their proudest moment. I think he would agree, and I imagine a lot of other fans would agree too. But, Mr. Mackie seemed to like it, so what do I know?

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Album review:

Alice Cooper: “Muscle Of Love”
(Warner Bros. K 56018)

By Rob Mackie

“Muscle Of Love” must be Alice Cooper`s best album yet. While most of the earlier sets only really came to life as part of the bizarre stage show, and sounded hollow and monotonous without it, the new one works splendidly in its own right as a straightforward, uncomplicated rock album, which has gained a lot in melody, and lost a little in repetition. The much-publicised vocal help from Ronnie Spector, Liza Minnelli and the Pointer Sisters (Alice and co. don`t miss a PR trick) is in fact only on one track. “Teenage Lament”, which is just that, a look back at teen value. Otherwise, it`s the band pretty much on its own, but with lots of touches to add colour to the rather stark sound they used to get. True they`re not startingly original – shades of Lou Reed in Alice`s singing on “Never Been Sold Before”, some early Santana style percussion on “Hard Hearted Alice” (poking fun at the stage persona), a little Leon Russell flavour on “Crazy Little Child”, a whole mock Hollywood title theme on “Man With The Golden Gun” – but it fits together as a whole better than the Coopers have done before. Michael Bruce again shows what a good guitarist he can be in quite a variety of styles, and Alice is far less grinding in his delivery. Some of the songs are fine too, with “Hard Hearted Alice” a standout, opening at a surprisingly gentle pace before Alice switches to the Mr. Hyde character for a spat-out piece about “Mind scrambled like eggs”, and other splendid topics. There`s been a bit of a lull since that mammoth US tour, and the signs are that he has paid dividends.

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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: Wings, Mott the Hoople, Roxy Music, Dave Mason, Smokey Robinson, Kiki Dee, Richie Havens, Back Door, Lance LeGault.

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 PFM (Premiata Forneria Marconi) FROM SOUNDS, December 1, 1973

This Italian band deserves a little bit of attention here. If you like prog-rock, do yourself a favour and listen to this band. Not so well-known outside of their homeland these days, but they had a bit of success abroad in the 70s. Nice little band!

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Now for the celebration

By Pete Makowski

Apart from being the name for a first-class patissere in Northern Italy Premiata Forneria Marconi (or, as they`re better known, PFM) it is also the name for a first-class Italian band.
If you remember the launching of the Manticore label you`ll also remember they released a single by this quintet called “Celebration”. The band played a few venues to promote their product but never sunk their teeth into British venues and now they have returned with a tour and will continue where they left off promoting their first album and maybe their single if it is re-released.
I spoke to the band`s flautist, violinist, and vocalist Maura Pagini in the makeshift dressing room at City Poly prior to PFM`s performance there. “We have already written the material for our new album but we are not completely sure of it and will probably debut it in Italy where we`ll feel more confident. We`ll be playing most of our first album which probably hasn`t been heard by most of the people we`re playing to,” said Pagini.
Mauro was pleased with their performance at the Reading Festival although he seemed disgruntled at the time they were given. “We can`t play our best in so short a time because we like to warm up, normally in Italy we play up to three hours, at Reading we only had about forty-five minutes.”
The band are big money spinners in Italy and their Manticore release is actually the second album they`ve made (the first one is only available in Italy) and they are accustomed to playing large auditoriums. The individual musicians have been playing for countless years and have all studied music. Before PFM were formed they did session work and were featured on the majority of Italian hit records. They were “discovered” by another Manticorian Pete Sinfield who translated the lyrics of their album into English and produced their album.

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“I think we`re beginning to master the language,” said Mauro, “we used to prefer singing in Italian, as it`s easier to sing from the heart in your own language. Our next album will have a few English tracks and a few Italian.”
The band`s music runs in the same vein as ELP and Yes, and Mauro thinks that this is the type of music which will be predominant in years to come. “We`re trying to express a new language, I think it has a lot to offer,” although he adds, “I have nothing against rock and roll, I love it, I used to play it, you know I used to be in a blues band playing bass and harmonica.”
Something which came as a surprise to the band was the entry of their album in the American charts at about 180, which isn`t bad for a band who haven`t had a sniff of the country. “We were astonished by this,” Mauro said, “it must have been by word of mouth, we hope to play there soon. With all these exciting things happening to us we are finding less time to play in Italy.” At this juncture Mauro was informed that the band were due to appear so I decided to take my seat in the Poly`s main hall.
The band`s performance was polished. I never had doubts of their musical proficiency but their presence and excitement on stage is something to be seen. Some of their numbers needed tightening up but I suppose nerves accounted for this. Each of the members Flavio Premoli – keyboards, vocals; Franco Mussida – guitar; Franz Di Cioccio – drums, the newly acquired Yan Patrick Djivas on bass and Mauro featured remarkable solos and definitely deserved the standing ovation they received.

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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: Wings, Mott the Hoople, Roxy Music, Dave Mason, Smokey Robinson, Kiki Dee, Richie Havens, Back Door, Lance LeGault.

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 (and a bit about Silverhead) FROM SOUNDS, November 17, 1973

A short, but nice concert review. Enjoy!

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Nazareth Concert Review

By Jerry Gilbert

Poor old Nazareth`s gig at the Rainbow about to be turned into a live album, a sell-out show and a party for the group afterwards, and what happens – a performance which in their eyes at least, was fairly sub-standard.
Not that the band themselves were below par, although there were obvious signs of tension early on, but the sound was terrible both in terms of balance and quality.
All in all they must have caused Roger Glover, who was there to produce the live album, a lot of headaches in spite of the fact that they finally drew the desired response from the audience with a tremendous finish.
Basically it was the old dynamic Nazareth – with that beautifully phased opening to “Night Woman” right on through to “Broken Down Angel”, “Bad Bad Boy” and “Woke Up This Morning” with interludes midway through the set to feature Manny Charlton`s ever improving slide playing and a showcase for the new numbers from “Loud `n` Proud” which included “This Flight Tonight”.
Darrell Sweet huffed and puffed and pounded out some tremendous drum work with Pete Agnew hitting the same volume level with extremely percussive use of bass. Dan McCafferty was also right on form, wailing out strained, piercing vocals, and on another night Nazareth would have scored a resounding victory. It was only the atrocious sound which caused them to falter.
Silverhead, on the other hand were tremendously impressive as the young punk band who pull fewer punches by substituting better music to get results these days. They had the audience on their feet clapping before the end of their set and the rivetting display of Michael De Barres, whose timing is so precise, led the band to a stirring conclusion in the shape and form of “Rock And Roll Band” and “Ace Supreme”, a couple of vintage numbers from their first album. A thoroughly absorbing performance.

 

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, Alice Cooper.

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 Uriah Heep FROM SOUNDS, November 17, 1973

Recently I discovered that Heep`s drummer through most of their career, Lee Kerslake, has been diagnosed with cancer and have only been given a year or two to live. While death is a fact of life, it is also sad to see many of heroes go before us, and it is especially sad when it concerns such a great musician and what seems to me to be a nice human being. This is a review from a concert while Kerslake was in the midst of Heep`s possibly greatest time of their career. And I am sure that i speak of behalf of thousands of older rock fans when I say: Thank you for the music, Mr. Kerslake – you made an impact in our lives.

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Concert Review

By Roger Harvey

Portsmouth is a great place to start a tour – for sure. After regular doses of the super cool Rainbow it`s good to see fans nodding and bopping all night long instead of the usual encore type.
Uriah Heep, fresh from America, presented a formidable box of tricks on Thursday night. Starting with a couple of rockers just to check out the audience, they were home and dry almost before they had begun.
David Byron, the dictator of Heep, commanded the audience to witness a “slow number”, “If I Had The Time” from the album “Sweet Freedom”. A slow number from Heep you ask? Yes, but heavy and building with good harmonies the tours of America have taught Uriah plenty about dynamics and pacing. The energy positively crackled through the air as the lights changed constantly, well in tune with the stage antics.
A brief respite in the intensity allowed Ken Hensley chance to show us his latest electronic wizardry. Combining organ and synthesizer with various gadgets, he played a 10 minute solo which pushed many through time warp nine.
“If you`ll go back to your seats for just this slow one, we`ll rock for the rest of the night”, David pronounced. The title track from “Sweet Freedom” followed just as tight as possible Gary Thain and Ken Hensley playing chord games with each other and Mick Box`s guitar soaring overhead.
Now the flood gates opened. “Look At Yourself”, “Lover” and a rock and roll medley brought the show to close. Crystal clear sound and the band in happy top form had produced a memorable brain assault.

 

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, Alice Cooper.

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.