Month: November 2018

ARTICLE ABOUT Golden Earring FROM SOUNDS, March 23, 1974

Here we go again with yet another interview with Holland`s first international reknown rock`n`roll band.


Going Dutch with Earring

By Pete Makowski

Just once in a while a band like Golden Earring unexpectedly comes along and gives the whole British music scene a hefty kick up the arse, and it comes as no surprise that Earring have finally established themselves in this country after only a few tours and one hit single, “Radar Love”.
I spoke to George Kooymans who, along with bassist Rinus Gerritson, has been in the band for around eight or nine years. “I was at school when the band began,” George recalled, “I was cutting records and touring in between classes.”
The band went through quite a few changes and finally came to their present line-up in 1967. “We were the first band in Holland to do harmonies and things like all the other bands were playing Shadow type instrumentals.”
If you ask George how many albums the band have, he`ll immediately answer, “two in this country.” They recorded quite a few in Holland but nothing they`re extremely proud of. This is not due to the songs, just the time they`re given to record.
“We never had more than five days to record an album. This is one reason why we wanted to be successful outside of Holland, because we did not make enough money to spend more time on recording.”
They joined Track about a year ago and you`ll probably know that the band have toured the country quite a few times and before they brought out “Moontan” Track released “Hearing Earring” a compilation of old material.
“That was a collection of about three albums, I didn`t like it very much. The idea of bringing out old material doesn`t appeal to me. But because we were touring, they had to bring out something.”

The fast and steady progress of the band became obvious about a year ago and soon their name became commonplace in the papers, but what many people weren`t aware of was that the band had all their money invested in the tour and their whole future depended on the success of it.
“We spent all our money on things like our quadrophonic system and paying roadies,” said Rinus, “but we just had to get out of Holland because we knew it would affect our music in the end. Our music improved a helluva lot when we went to the States and that, about six years ago, was also something we got together ourselves,” said George.
I asked Rinus how it felt starting from scratch again in Britain. “It was terrible you know, we played gigs like school dances and things like that. We`ve done all that in Holland years ago but we knew the only way to get anywhere was by doing these concerts.”
When “Moontan” was released the band were still playing the seedier places, did they feel they`d ever come up to their present level? “Well we noticed that the reaction was getting pretty good,” answered George, “and we were beginning to communicate well with our audiences.”
Then the eventful release of “Radar Love” did they know this would be their big break? “No, our company asked us to choose a single off the album and we thought that it would be the best track.”
The next single will be more commercial, specially aimed for that type of market. “Don`t the band feel this a dangerous step as their music is far from commercial? “Yeh, we don`t want to be put into classification, but I think it`s worth while bringing out a single once in a while.
“We know that we can`t depend on a permanent success just because we`ve had one hit single. That`s why I`m glad `Radar Love` didn`t get to number one, we`ve got something to work up to.

“We`re more concerned about the album,” interrupted Barry Hay, “we`re gonna work damn hard to make a good album because that`s the audience we`re after.”
Good policy. I noticed when I went to their concerts the audiences were split into different sections. The kids who came to hear “Radar Love” and didn`t enjoy the rest of the set. The kids who came to hear the single and were completely knocked out and the already hardcore Earring fans. We`ll only find out after the tour who were the majority and I`ll put my money on Earring. I heard their new single and it follows closely the formula of the first single. A definite hit. “It takes a few hearings to get into it,” said George, “you can never really tell whether it`ll go or not.”
The band will continue to record their new album after they complete a Spanish tour, they`ll probably record a “Top Of The Pops”.
Although things seem to be rolling smoothly now, it has definitely not been an easy ride. It takes a lot of determination to stick together for so long without result, I asked George if they ever felt like splitting up in those hard days. “We did before we came to England, `cause I didn`t see any prospects and it was getting very boring and I felt like doing something else. But now there are so many things happening it`s become interesting again.”
I asked him what kind of ideas they had for the next album, “Well we`ve got a working title and we`re all writing around that concept. We all write things separately and then get it together. But right now we haven`t laid anything down except the single. We really want to cover a wide range of music because we don`t want to be labelled… I don`t like that.

The band have recently toured around Europe with the Who, did they find themselves confronted with difficult competition? “No I didn`t think it was difficult, it was quite easy, I enjoyed myself.” Will they be touring with them again? “No, I don`t think so, because er… I don`t want to say we`re the same kind of band, but we really take a lot of the people and get them exhausted and then the Who come out and they do the same sort of thing. I don`t think we`re the right type of band to tour with the Who.”
The band will soon be appearing at the Rainbow (March 24) and I asked Mr. Kooyman if he was worried at all. “No not really, we`ve played gigs bigger than that, but we do worry a bit before gigs anyway. I worried when we started the tour but it`s going well.”
The band played the same venue supporting Lou Reed, what did they think of it then? “Well you get certain kinds of people seeing certain acts and it wasn`t our audience that night. A lot of people were just coming in when we went on and a lot of people were in the bar… I didn`t like that.”
Not to worry, I think it`ll be better this time round. Don`t you agree?

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: Marsha Hunt, Dave Dee, Robert Wyatt, Procol Harum, Thin Lizzy, Kilburn & The High Roads, Cat Stevens, Zzebra, Johnny Winter, Elkie Brooks, Alvin Lee, Hudson-Ford, Canton Trig.

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 Carl Palmer (ELP) FROM SOUNDS, January 26, 1974

This very influential drummer has played for The Crazy World of Arthur Brown, Atomic Rooster, Emerson, Lake & Palmer and Asia, and has really made his mark as one of the most influential drummers in the world. Reading this article you can understand why when you take into account his serious approach to his profession. This is not someone in it just for the fame, fortune and easy access to girls. A good read.


Carl: Doing it first

Exclusive by Pete Erskine

Cracking the Manticore complex is something like breaking and entering Fort Knox with a butter knife and a pair of plastic specs. Manticore is E.L.P.`s record company. It performs the usual record company functions but with an air of dense but organised chaos and a careful screening process – on all levels – maintains a frustratingly efficient protective role.
It is, of course, only another extension of the band`s “positive” philosophy – of permitting only the good, constructive things to actually break through and reach them. It is also a part of their policy of total co-ordination and, apparently, total control – a theme that passes through almost everything they seem to be involved with from press relations to promotion to marketing to management and so on right through to the music and all the facets of touring and stage production. They are undeniably slick and undeniably it works and that`s probably what puts people off; it intimidates them, it makes them suspicious, it makes them jealous.
People I know are resentful that an operation of these proportions always wins through in terms of constant sales and popularity above lesser known, looser, but maybe just as talented outfits. The music may not be to everyone`s taste but the band`s attitude and commitment to the same is surely worthy of respect. You can write it off as ego and a lust for supremacy but there is a genuine desire to experiment and, individually, for the musicians to further their personal musical boundaries.
All of which sounds like preaching and the usual press cant, but talking to Carl Palmer earlier in the week one begins to realise the validity of the band`s approach to their work and their heavy investment in the musical ideal; being bigger and better than the competition may be good for one`s self, but it also means that the public is getting a better deal too.

“I think we got a little more showy on the American tour,” says Palmer, inspecting a tube of ointment. He has a growth on the palm of his right hand. “But it added rather than detracted from what we were doing. I mean I think visuals are really effective if they relate to what you`re doing… and not just there for their own sake, like with some of the things Alice Cooper uses.”
Contemporary ELP visuals, aside from overall group lighting and individual footlights, comprise a white baby grand, upon which Emerson rises and revolves whilst playing Chopin`s “Revolutionary”, a computer, programmed to repeat a section of “Karn Evil 9” with increasing rapidity until it dissolves with a thundercrack and belch of smoke, a revolving drum rostrum and… in a way, Carl`s custom-built stainless steel drum set. The piano is merely a humorous device, to provide contrast and to poke fun at the whole concept of gimmickry, the computer, according to Emerson, is a counter to those accusations of ELP as a “mechanical band”, in that it becomes obvious that Emerson`s rendition of the particular phrase and the computer`s are separated totally by the factor of human touch and feeling and human expression. It also is relevant to the theme, both directly lyrical, and indirectly musical, of “Karn Evil 9”. The revolving rostrum is almost purely visual, but has its practical side too – in that Carl is elevated to eye level with the other two, and, in circular stadiums, where part of the audience might be looking down on the band from the back, they, too, get a chance to see what`s going on.
“The drums were made in London,” explains Palmer, “and no drum companies were involved – mostly because they`d look at it from a commercial mass-production point of view, whereas I`m looking at it from a purely personal view, almost eliminating most of the practical aspects.
“A metalworking firm made the stainless steel shell, which is about quarter of an inch thick and this means that the total weight approaches something like two and a half tons. The thing is that it`s such a true sound, unlike a wooden shell.

“I`ve been experimenting for quite a while and I`ve found that most wooden drums were okay a few years ago but they just didn`t give that constant sound. With stainless steel, for me personally, the drums project a lot more. They have more top frequencies. I have them tuned quite tightly, unlike the heavy rock and roll drummers who go for the fat flabby sound.
“The idea for the engravings came from a hunting rifle I saw one day with a couple of foxes jumping over a fence and I thought it would make it more personalised. I left most of the actual drawings to an engraver. He drew them first and we went over them together. It adds a touch of quality. It`s very bizarre and it`s very extravagant but it is something that I`ve always wanted.
“I`ve been playing 13 years this coming March and I`ve always wanted to build my own kit. I know exactly what I want and I have the money now to afford it, so I figure why not have the Rolls-Royce drum kit?
“The biggest innovation with this kit, though is that it`s part-electric. I`ve been working on that for such a long time and was sort of let down so many times – well, not so much let down, more that the people helping me didn`t have time to take it any further. Bob Moog was very busy at the time. He gave me a prototype drum. On the floor it had five buttons which you pushed to change the sound. That was okay, but say you wanted to play all those sounds really quickly in succession you`d have to be a tap dancer.
“What I did was to transfer all the sounds I wanted to each individual drum. I`ve therefore managed to get five electronic drum sounds that are pure electronic rhythmic impulses… another drum plays a sequence, a series of 14 notes that repeat on the 14th and I managed to produce two counters. One counter plays a long bass note when you strike it while the other plays a pattern that`s a little more complicated. The whole thing operates through a simple on-off button.


“It has to be done doesn`t it? I mean, people have left drums alone for so long. My main thing has always been to be a musical drummer; I`ve always preferred a musical approach to the basic heavy rock rhythmic playing. I can`t slate those kind of players because they`re good for what they do but I`ve always thought maybe I should use gongs and tubular bells and timps onstage… and I thought to myself that if I was going to take that approach I should have a very futuristic approach as well as developing the instrument I play.
“It just seems like a logical progression. My reason for doing it also lies with the fact that I wanted to be the first to record something on an electric drum set – which I did on `Brain Salad Surgery`.
“I don`t believe in it totally because I believe more in symphonic drumming – tuned percussion. I just have this thing in me that I like to do things first whether I believe in them 100 per cent or not. I believe in the product, but as far as drumming becoming electronic in the future, well I don`t believe that will happen; I believe it`ll be used only as an effect.
“The main thing about English drummers – they`re changing now, and I hope it`s through something I might`ve done – up to about two years ago the fact was that they`d be using, perhaps, two bass drums and a couple of small tomtoms or maybe one bass drum and a tomtom in front and one on the floor and I always thought this had to be wrong in today`s music; there can`t be enough colour there. When you think of how many notes the piano`s got and how many notes you can reproduce on the guitar yet the drummer`s got next to nothing, it doesn`t add up.
“That`s when I decided to introduce these concert tomtoms which range from a drum that`s six inches in diameter to a drum that`s 18 inches. It goes 6, 8, 10, 12 inches, 13, 14, 15, 16, 18 inches. They provide an awful lot of scope which is something that was missed over here.

“The idea originated after hearing Elvis, who I really dig. He`s got an amazing rock and roll band – true rock and roll musicians you know, with that guitarist James…”
“Yes, James Burton, and an amazing drummer and I heard these, these concert tomtoms, being played on a record of his and it just freaked me out… and `Hawaii Five-O`, that series, that`s got them too. Lots of people are using them now and it`s a good thing because as a drummer I`m into being an instrument rather than a rhythmic device… hence you have to develop your instrument further and have more of it around you; my attitude to playing in this band is as a percussionist in an orchestra; that`s how I think of myself. I try and do the job of four percussionists. I`m not just into the funky stuff and I`m not just into the technical thing that I`ve always been labelled with – I`m really into the whole spectrum.
“So many drummers are into the funky thing and the technical thing but they don`t quite make the musical approach which is warranted these days…”
In fact, having seen Palmer in action at Madison Square Garden one of the first things that seemed obvious was his seeming ability to tackle an enormous range of styles and feels with equal ease. There were sections, apart from the previously recorded material – In “Tarkus” and “Take A Pebble” where the band hit into piano-orientated sections touching on old George Shearing material and Carl would tap out that fast swing… and there`s the barrelhousing “Benny The Bouncer” where he`d employ fast brushwork… and there were even odd little blues/jazz sections reminiscent of the Nice where he`d strike up a harder more funky approach. His timing and edge are both immaculate, and effortless.

“That technical thing kills me, though,” he continues, “okay it`s partly true you know. If people want to say am I a fast drummer, have I got a great technique, then, yes, it is true, right, and I don`t mind saying it, but some people have said that I`m not funky and that`s unbelievably wrong. What I`ve done, and what people haven`t seen, is to try and open up more than just being a funky drummer or just being a technical drummer. I`ve tried to push it forward and especially on this album – percussion as more of an intricate instrument rather than the knocking nails in routine.
“Like Jimi Hendrix – the reason why he made the guitar so famous was that he wasn`t simply putting it through a straight stack, he was putting it through a fuzz box and wah-wah and he`d got certain things specially made up and so on. He was trying to better the instrument and so am I – technically and in terms of playing.
“Tuition,” he adds, “has been incredibly beneficial”. I had wondered whether on the contrary, it could lead a person into thinking only along set lines, rather than broadening his experience. Palmer has two a week one at the Guild Hall and one privately round at his tutor`s house.
“It`s given me more scope musically and furthered my musical ability,” he adds. “It hasn`t inhibited me at all in anything I`ve done. Personally I think it`s a very valid thing for people not just to have classical tuition, because there are so many things you can learn that you couldn`t possibly pick up yourself, and I`ve reached the point now where I can switch on and play something musical… or anything really. I never close myself off; I try to get the most out of the things I learn and apply them at the right time. It depends on what I`m playing, but the way I`m playing at any given moment is the way I`m thinking. The minute you close yourself off to anything, you`re burning your bridges.
“The nature of my instrument tells me that to be a percussionist I need to be able to play all forms of music – to know I can back anybody at a minute`s notice… unlike people who play pianos and other kinds of instrument who probably tend to lean more on one particular line.
“Quite honestly, too, I want to be greedy about it. I want to be the best jazz drummer, the best technician, the best rock drummer and the best musical drummer.”


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: Bob Dylan, Status Quo, Ralph McTell, Incredible String Band, Kiki Dee, Marc Bolan, Jethro Tull, Pointer Sisters.

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 Status Quo FROM SOUNDS, January 26, 1974

The album Mr. Makowski was lucky enough to hear a little of in its initial stages was later to be named “Quo”. It was released in early May the same year. Contrary to their previous album “Hello!” who went to the top spot in the charts, this one “only” achieved a number 2 spot.
Have a nice read.


Quo: and now for something completely different

Pete Makowski listens to the album and gets a surprise

KA-CHUNK, ka-chunk, ka-chunk, ka-chunk, Quo are back! And for people who think that the band have run dry out of riffs, be warned, they`re going to be around for a lot longer than you think.
Francis Rossi and John Coghlan were in good spirits considering the unearthly hour of morning the interview was set, at IBC`s studios. But like their music the band`s schedule is so tight that this was the only opportunity available to speak to them.
Right now they`re laying down as many tracks as possible before commencing a series of long and arduous tours all over the world, including Scandinavia, Australia, Japan and America.
Something which proved to be a hindrance to the progression of their new LP was the people in the neighbouring buildings were complaining about the noise from the studio, restricting their recording sessions no later than early evening.
Francis and John sat behind a complex piece of recording equipment festooned with knobs and slide switches. “I know what that one`s for, said John pointing at the headphone socket.
The last time I spoke to the band, they had just completed their first American tour which they described as a nerve-racking ordeal but fruitful at the same time.
“I was like a spoilt brat last time, I wanted to come home all the time,” explained Francis, and John agreed. “Some of the gigs were so small, like the Whisky”, Francis continued, “there`d be a couple of tables and chairs and a bit of dance floor and I thought `fuck me, so this is the Whisky, this is what everyone`s talking about.”
“You got no room, you can`t fart in there, let alone play your tunes,” John put it down to the difficulty of adapting their act to club level and they had the audience when they played the Santa Monica Civic, a larger venue.

“We ripped the place apart, and we got good reports although we weren`t totally satisfied with the show ourselves.
“This time we`ll be totally prepared.”
They both think they`ll be prepared this time and Francis put it down to the state of mind you`re in when you go there. “Last time we didn`t know what to expect, we built ourselves to such a peak and then we realised it was back to the clubs again.
“There was friction in the band, I suppose because we`ve been playing clubs most of our life we didn`t want to go through it all again.
“We were dreading the prospect of going back again,” interrupted John, “but now we`re quite looking forward to it.”
Although they can be described as mammoth in this country the group still worry about the sustain of their success and want to add more followers to the surging ranks of Quolites.
“We love doing Britain,” said John, “and it`s no secret that the kids hold the same kind of affection for the band”. When I saw Quo, at their first Rainbow gig, the reaction was frightening, there wasn`t one still limb in the whole building.
One of the band`s basic traits is their solid touring and I asked Francis if the band were at their most creative under this type of pressure? “Yeah, but John doesn`t like it, do ya?”. “No,” he affirmed, “I don`t mind if we`ve got some ideas and were under pressure, but it`s chaotic and there are no ideas.”
John doesn`t think that they`ll finish their new album before they go on a Scandinavian tour next week and thinks they`ll probably record some tracks on their States tour the following week, which should prove to be an interesting experiment.
They both believe that this album is a definite progression to “Hello”, “It`s keyed more to stereo than our previous records,” John continued, “they were more mono before but this one got things like guitars answering each other and things like that.”


At this point Ritchie Parfitt and Alan Lancaster entered and they decided to go down to the studio. The amps were on and as soon as the band were assembled they breezed into a jam. There were screens around Alan, and amps were resting on seats. So were the boys. It was a very relaxing picture Rossi smoking a Players No. 6 and playing, a complete contrast to what they`d be laying down later on in the day.
As soon as the roadies arrived with food, the music stopped and they returned to the booth. It was decided that I should hear some rough mixes of three tracks they`d already completed.
They stunned me when I heard them. I never knew Status were technically capable of such quality. I`ve always liked them for their simply raunchy sound but this was amazing!
The album will probably be quite a revelation to people who don`t like Quo and be accepted by their fans who must regard it as a progression. Ritchie thinks that this album will bring out the individual personalities of the group.
Although the mix was rough the production was crisp, and each instrument well balanced. The guitars are sharper and more cutting, the bass, meatier and the thick slabs of Alan Lancaster`s drumming proves he is the vehicle which carries Quo`s music.
One thing that may surprise a lot of people is that some of the stuff was very – wait for it… funky, also brought about by the presence of Alan`s drumming. The numbers are very well arranged, not overdone to the point of sterility and left a lot of space for the boys to rock.
They also played a quiet track, very melodic and imaginative and have obviously set out to make a winner and as far as I`m concerned with what I`ve heard they`ve succeeded.
As Francis said earlier on, “We`re tired of people criticising us because of our sound, so we wanted to do something different.” They have no single planned which doesn`t really concern them, but there`s no doubt they`ll be gigging all year round and they hope to break in a few new countries.
So ladies and gentlemen, now for something completely different.


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: Bob Dylan, Marc Bolan, Ralph McTell, Incredible String Band, Kiki Dee, Carl Palmer, Jethro Tull, Pointer Sisters.

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

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

ARTICLE ABOUT Marc Bolan FROM SOUNDS, January 26, 1974

It has been a while since I last printed an article with this influential artist on the blog, so here goes once again. I hope you like it.


T. REX on the wane? An emphatic no comes from the lips of Marc Bolan as he unveils the new Zinc Alloy persona for his first British tour in two years.
From bopping elf to rock and roller to teen idol, Bolan says:

I`ve never been just a pop star

Feature by Steve Peacock

Well, whatever happened to the teenage dream? It came true, that`s what, and then Marc Bolan veteran of the 21s, self proclaimed king of the mods, and latterly sage of the hippies, became a teen idol.
He was fond of saying that he`d known it would happen all along, that he knew he was destined to be a star, that it had been planned that way. It was four years ago?
Somehow it doesn`t seem as long as that, but it`s getting on that way that Tyrannosaurus Rex became T. Rex and electric. “Ride A White Swan” hit the charts, and Marc Bolan dressed up, made up, and waggled his arse into a million teenage fantasies.
It`s true, he did lead that particular revolution, shimmying from mystic romanticism with stars in its hair to million dollar romance with glitter round the eyes: and he took the mainstream of British pop with him – always rock and roll, that broadest of musical definitions, but a revolution in style.
Now he`s saying “Glitter Is Dead” – a good headline, but a rather strange statement if you`ve been watching `Top Of The Pops` lately. What it means is this: “Of course, showmanship and glamour will never be dead, but the impact of what that change meant is over. As far as I`m concerned, it has no use any more.
“If you went to a talent show – do they still have those things? – you`d find that ninety per-cent of the groups would be in satin jackets and make-up; that`s what I mean by the impact being over, and if I was managing a group now I`d avoid it like the plague.”

Mind you, that good and faithful satin jacket served him well. Tyrannosaurus Rex was a reasonably saleable project, but interviews were invariably at the top of an old house off Ladbroke Grove, with a bed in one corner and a stove in the other. These days there`s the well-appointed West End office with gold discs on the wall, and he can off-handly remark “Oh, I never have to worry again, anyway if you`re talking in those terms” and move swiftly on to something else.
See, appearances can be deceptive, especially with a man who says he never plans, and who makes a point of living for the moment. With his singles automatically zipping into the charts, his face in all the teen-mags and his concerts sold out to a mass of waving arms and screams – and him so obviously enjoying it – you began to wonder just what had happened to Marc Bolan. You`d dug him, enjoyed his music, liked his style, but it all seemed a bit distant and smacked a bit of the instant hero. Was he blowing everything for the instant buzz of being this year`s craze?
Well, T. Rextasy did fade: but Marc Bolan ain`t no fallen heart-throb, sitting back with his feet on a pile of royalty cheques while his investments provide a handsome pension. The tour which started at the weekend marks the return of T. Rex to the British stage after an absence of two years, some changes in the line-up of the band, now known as Zinc Alloy and the Hidden Riders Of Tomorrow, and a new approach to presenting the music on stage. Where he used to rely on the basic strut your stuff and hear `em scream approach, this time the presentation will be more subtle, with more extravagant lighting: more of a total stage-show concept.
And the music? Well, he`s been developing the use of a particular sound – mainly on record, but with the augmenting of the basic band with extra singers, horns, two drummers (Dave Lutton and Carmen`s Paul Fenton) and guitarist Jack Green, you can expect Zinc Alloy`s band to sound a lot fuller, and a lot different. Though they`ve been away from England, and they`re coming back in a new style, it is something that`s been evolved through working in America, Japan and other far flung reaches of the world.

“It`s true, I did get a bit tired of playing concerts at one time,” he says, “but I haven`t just been lazing around. We`ve been round the world twice since we last played here, and I`ve been writing, recording… you know. It wasn`t a conscious decision to leave England alone either – it was good that we did, but it took care of itself really. I spent practically a year doing the new album, and at one stage I had 33 tracks down for it…do.”
And the fact that last year wasn`t as successful for him as the year before in terms of chart singles neither worries him nor makes him think that T. Rex are on the wane. He points out that he only released two singles last year, says that although he`s quite prepared to admit that “Truck On” wasn`t his strongest single, it also got lost in the pre-Christmas rush, and he says that his audience is still very definitely and visibly there. “The reason I was late this afternoon was because I couldn`t get out of the house because there were about 100 girls outside.
“The thing is that I know what`s going on, and the kids know what`s going on, so it really doesn`t matter what other people think, what the media think.”
But again, he recognises that while there is a strong T. Rex following still, with his last few things he hasn`t really caught the attention of people who might have bought the odd T. Rex record that caught their fancy, but don`t automatically buy everything. “There are probably 200,000 people who are super-dedicated to T. Rex, definite T. Rex fans, but there are another 400,000 or so who`d buy a record if they liked it, or come to a concert if they liked the last album or something. That`s the same for any group – it all depends on what you put out.”



In a way though, it is fair to say that the new tour, the single “Whatever Happened to The Teenage Dram” – which will surprise you – and the album all add up to something of a re-launch. He did cool it for a while, even though it happened as much by circumstances as decisions, and the Zinc Alloy thing shows a definite maturing of both music and approach, and what appears to be much more positive thinking from Marc than came out at the height of the teen-mania.
He says he`s never felt so free as he does now, admits that although he obviously enjoyed having his face all over the colour mags and the win-a-chance-to-meet-Marc thing “it was all getting a bit too close to Donny and David for comfort. Any rock star can do that.”
But equally, he says he wouldn`t change what happened – it was something he conceived and dreamed when he was nine years old, it happened, and he dug it. “Of course, for the first two years I was really enjoying it, anyone would, but once you`ve done that… I just didn`t want to lose sight of what I originally did it for, which is to play music. It`s nice to be screamed at. Jagger still likes to be screamed at, and I do too, but there`s more to it. I`d still put a recording session before anything else, but two years ago I wouldn`t have.
“Whatever happened I wouldn`t change and I`d like it to happen to everyone who wants it, but what I am is a craftsman. I`m a craftsman at what I do, and whether people like it or not is none of my concern.”
T. Rex lives on, but so too does Marc Bolan as a solo artist. The official title these days is Marc Bolan and T. Rex As Zinc Alloy And The Hidden Riders Of Tomorrow – which gives him plenty of scope for surprises and a range of different ideas around the basic T. Rex axis. The new single is in effect a Bolan solo track, cut in America with 40 piece orchestra and friends, including War`s Lonnie Jordan on piano, and he`s working on ideas for a solo album alongside future T. Rex records. He hadn`t intended “Teenage Dream” as a single, but record company people picked up on it “and who am I to fight destiny?”.
The search for a sound was much of the reason for the album taking so long. They recorded in various places, and it wasn`t coming out as he`d heard it in his head, until one time it just happened.


“I had a definite conception of what I wanted, most of which I get in the mixing anyway, but suddenly I got it, it was there. Mostly it`s got a lot of spaces – kind of intergalactic Neil Young, very under-produced in a way. But compared to the last two albums, it`s very wordy too – I think “Teenage Dream” the best record I`ve ever made lyrically, and I just wrote that down in the studio, just wrote it down without thinking about it. I got what I wanted on the album, got what I`d been looking for, and I`m proud of it. Unintentionally, it`s very different.”
Destiny strikes again. It`s difficult to say before you`ve seen the tour and heard the album, but from what he says and from hearing the single, it seems that Bolan pulled back from becoming last year`s face, and has – as he says – regained his sight of what he originally did it for. The glitter hero stage has given him the opportunity to ease back and get on with as many projects as he`d like, and apart from T. Rex he`s about to set up his own label and produce and release music of a kind you might not necessarily associate with him.
He hopes T. Rex will be accepted as a band of musicians, as people who play music and happen to be successful. “I hope we`re seen as not just going out to make a hit record – that`s a different part of the business, a perfectly valid one, but I`m not involved in it.
“Anyway, I`ve never been just a pop star.”


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: Bob Dylan, Status Quo, Ralph McTell, Incredible String Band, Kiki Dee, Carl Palmer, Jethro Tull, Pointer Sisters.

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 Cozy Powell FROM SOUNDS, January 19, 1974

Finally an article with Cozy Powell, a drummer who many other rock drummers have cited as an major influence.
When I grew up I thought of him as one of the very best in his profession, without really knowing too much about drumming, but just by listening to some of the fantastic albums he recorded.
Tragically, he died just 50 years old in circumstances that really should have been avoided. Powell died on April 5, 1998 following a car accident while driving his Saab 9000 at 104 mph (167 km/h) in bad weather on the M4 motorway near Bristol. He had been dating a married woman who was having troubles with her husband. Upset, she  phoned him and asked him to come quickly to her house which was approximately 35 miles away. As he was driving to her house she phoned him again and asked “Where are you?” He informed her he was on his way and then she heard him say “Oh shit!” followed by a loud bang.
Powell was ejected through the windscreen and died at the scene. According to the BBC report, at the time of the crash Powell’s blood-alcohol reading was over the legal limit, and he was not wearing a seat belt, in addition to talking with his girlfriend on his mobile phone. The official investigation also found evidence of a slow puncture in a rear tyre that, it was suggested, could well have caused a sudden collapse of the tyre with a  consequent loss of control of the car.
So don`t drink and drive, folks! Use a seat belt and be sure that your car is in order. You may avoid women to be on the safe side too… The consequences can be dire.


Lament of a session man

Cozy Powell talking to Pete Erskine

It is indicative of the old grass-is-greener philosophy that we tend to regard the sessions scene as a particularly American phenomenon; I`m not sure why, but maybe it`s because, in so many cases, albums there are cut on a looser basis, and the people involved always seem to be credited quite openly. Anyway, for whatever reasons it does, from our viewpoint, appear to be a healthy and entirely self-sufficient industry within an industry.


`Course, we have our own, but somehow it always gets overlooked – really excellent musicians like Pat Donaldson and Gerry Conway, Albert Lee, BJ Cole, Caleb Quaye, Dave Mattacks, Rabbit, Rebop, Herbie Flowers, and, in the past, the Dundee Horns (Roger Ball and Mollie Duncan of the Average White Band) and Chris Spedding; the main difference is that the majority also have a regular gig within a band, but the point still stands that they could all do with a degree of recognition – and, in particular Max Middleton… and Cozy Powell.
You may remember Cozy as the drummer with BB&A`s predecessor, the ill-starred Jeff Beck Group. There were two albums from that line up – Jeff on guitar, Max on keyboards, Clive Chaman, bass, Bob Tench, Vocals, and Cozy on drums. The first was called “Rough And Ready”, but the second, simply entitled “The Jeff Beck Group”, was produced by Steve Cropper, and was, I always thought, pretty fair – “Sugar Cane” was an outstanding cut, anyway; BB&A`s debut album wasn`t all that great in comparison.
“The critics really slagged that band,” Cozy recalls, “and I thought it was one of the best groups Jeff ever had – in terms of musicianship – discounting myself of course. Take people like Max and Clive; they`ve got to be two of this country`s best. I`ve worked with Jameson (Motown`s house bassist) and he`s THE bass-player. Clove doesn`t come far short of him; he`s really superb.
“Not only is Max one of the best, most tasteful keyboard players in the country, but he`s also a superb arranger. He worked on the new Lindisfarne album, amongst others.” Middleton is also a part of Linda Lewis`s backup band. You might`ve seen him with her on the “Whistle Test” recently. Check out Linda`s “Fathoms Deep” album if you think I`m hyping.
The band, incidentally, broke the Stones` record at the Roundhouse, which still stands, but in spite of everything they remained a grossly underrated unit.


“But in the States it was a different matter. The group was just beginning to win some acclaim. I reckon we would`ve started to break on the next tour. We were just beginning to do the 5000 seaters… the next tour Jeff did, he got bottles thrown at him. They gave him a rough time because they wanted to see the last group. I mean, Timmy and Carmine are excellent but they`ve been around for years over there. Everyone for years over there. Everyone knows them. The audiences really wanted to see Jeff with the English guys.
The demise of the band is still a source of dismay to Cozy, apart from lumbering him and the others, within the business, as just another bunch of Beck rejects. Cozy`s name has been associated with an enormous spectrum of musicians over the eight years he`s been playing sessions, not the least of whom are Tony Joe White – at the Isle of Wight festival – and, more recently, Bill Withers, with Stray Dog`s Snuffy, and Rabbit. And his association with Mickie Most – through work with CCS, Hot Chocolate, Donovan and Blue Mink – led to recording of the “Dance With The Devil” single.
“He said he`d got an idea for a drum single,” Cozy explains, “he had the melody – as such – worked out and he wanted me to come over and have a listen. He played it to me and we figured it`d be a bit of fun so we hammered through it for a couple of hours one Monday morning and that was the last I thought about it. I was pretty amazed to see it actually selling, but it`s been very good, not just for me, but for the band as well.”
The band, of course, being Bedlam, Cozy`s regular gig with former Procol guitarist Dave Ball, Dennis Ball, bass, and Frankie Aiello, vocals, whose first album, on Chrysalis, released mid way through last year, was the first to be produced by Felix Papallardi since his mountain days. Cozy reckons they`re doing well. They`ve been concentrating during the last six months on tightening up in the provinces in preparation for an American tour.
The future includes work with Humble Pie`s Dave Clempson on a solo album, “he`s got some bloody amazing things written” – which began this week, further time with Bedlam but definitely no solo gigs. “I`ve had all kinds of offers of work – ridiculous prices too, but what do they want to see, me sitting there behind a kit playing variations on the single all night? It`d bore `em stupid.”


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: Bob Dylan, Jethro Tull, Bryan Ferry, Chris Squire, Rick Wakeman, Paul Butterfield, Sweet, Tim Hardin, Average White Band, Nazareth, Robin Dransfield, Andy Roberts.

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.