Month: December 2018

ARTICLE ABOUT The Who FROM SOUNDS, May 25, 1974

Today I`m celebrating my Birthday. At my age there are no guarantees any more, so I will have myself a really nice party, get drunk and reflect on life. Here`s to another year gone by – may life treat us all good in 2019!

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Concert review from Charlton Athletic Football Ground

By Steve Peacock

They began at dusk when the stage lights were just beginning to have their full effect, and played on for more than two hours into a balmy summer night. Pete Townshend compared the feeling to the time they played at Woodstock, which raised a right-on or two from the people, and the Who certainly chalked up more than their share of highs as they brought Charlton to a close.
It was a long day, and I tend to suffer from sensory overload at all-day concerts anyway, so if I say that I thought the Who`s set was patchy and that they went on a bit where a spot of judicious editing wouldn`t have come amiss, you`ll have to bear my lack of stamina in mind.
Bear in mind also that Charlton was the first time out for their new “Tommy”-less and “Quadrophenia”-less set, and it seemed they didn`t quite have the measure of the pace of the new show. The shape of their set moved in rough parabolic curves (O level maths you see, can`t beat a good education) but often I felt the distance between the peaks was elongated too far: they stretched out numbers to the point where you began to suspect they were playing for time.
Also, Townshend had some problem with a guitar amp, and there was a buzz on the PA which occasioned much fist shaking from stage towards mixing desk. The PA had been crisp and clear throughout the day, but once the buzz had been eliminated there was an appreciable drop in level and clarity through the second half of the Who`s set.
That said, there`s no denying that the Who are a magnificent band, and when they were on there was no-one to touch them: Daltrey the champion mike-swinger, Townshend the acrobat (For music and presentation there isn`t a front team that comes near them – not Rod and Ronnie, not even Mick and Keith), Entwistle in flash jacket and Mr. Bassman pose, and Moon… what can you say? Yes, well don`t.

Da (rest) da da, da (rest) da da… they were off on a peak with “Can`t Explain” and “Summertime Blues”, and they finished on a peak with two versions of “My Generation” – the first one straight and heavy, the second in boogie style. When a band has that kind of repertoire from which to draw there`s no way you`re not going to get off.
Other high points for me were “Behind Blue Eyes” which came fairly early on, Entwistle`s eccentric “Boris The Spider”, “Baba O`Reilly”, “Won`t Get Fooled Again”, “Magic Bus” and “See Me, Feel Me”: it was during that song that somebody scored bonus points for event management by turning on the full glare of Charlton`s floodlights to expose a sea of thousands of waving arms, stretched out towards the stage right back across the ground and up the terrace opposite. It was a breathtaking sight.
That`s the kind of thing that can only happen at events like Charlton and that is why they`re worth any amount of hanging around getting headaches and snarling at people who tread on your feet.

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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: Goldie Zelkowitz, Curtis Knight, Simon Alexander, Steely Dan, Chris Stainton, Ronnie Lane, Elliott Murphy, Loudon Wainwright, Tim Buckley, Steve Miller, Beach Boys, Tommy Vance, Jim Simpson, Stefan Grossman, Lynsey de Paul, Mott the Hoople, Kevin Ayers,
Dave Cousins, ELP.

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 Humble Pie FROM SOUNDS, May 25, 1974

A band that history forgot? Well, we are not forgetting them on this blog. Hope you like it.

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Concert review from Charlton Athletic Football Ground

By Pete Makowski

Humble Pie were easily second best to the Who. They were so hot `n` nasty I could have listened to them for the rest of the night. The last time I saw them was at the Hyde Park concert supporting Grand Funk and they came over twice as strong at Charlton. They opened up the show with a punchy version of “Whatcha Gonna Do About It” (remember that one?) with Marriott screaming out those vocals like there was no tomorrow. That guy goes easily alongside your Rodgers and Daltreys. His voice is so strong and soulful that added to the band`s powerful playing you can`t but help tap your foot continuously. Something which surprised me, was Greg Ridley`s voice, which is as ferocious as his bass playing.
They played material off “Thunderbox”, their current album which has sadly done nothing here. The title track sounded much stronger than the recorded version with Clem Clempson laying down some real mean guitar work and the newly shorn Marriott leaping and bounding across the stage belting out chords left, right and centre. The audience were with them all the way and it was obvious that the band were working their proverbial balls off, definitely giving of their best that day.
They never eased up once throughout the set. “I don`t need no fucking doctor”, as Steve described it, and an elongated version of “C`mon Everybody” was some of the best of an ultra fine set. Methinks a Pie tour wouldn`t go amiss.

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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: Goldie Zelkowitz, Curtis Knight, Simon Alexander, Steely Dan, Chris Stainton, Ronnie Lane, Elliott Murphy, Loudon Wainwright, Tim Buckley, Steve Miller, Beach Boys, Tommy Vance, Jim Simpson, Stefan Grossman, Lynsey de Paul, Mott the Hoople, Kevin Ayers,
Dave Cousins, ELP.

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 Bad Company FROM SOUNDS, May 25, 1974

How I would have liked to see this band in 1974! Must have been really good! Enjoy this review instead.

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Concert review from Charlton Athletic Football Ground

By Steve Peacock (?) – signed P.P.

There`s a style of strutting, brash rock band that Britain – if I may say so without sounding unduly jingoistic – does extremely well. I used to love Humble Pie for it, and there have been plenty of others: Free, the Faces on a good night, Led Zeppelin, Mott the Hoople… you know the kind of thing. Musically the roots are in American music, with particular emphasis on rivvum`n`bloose, but somehow most of the American bands I`ve seen try the same kind of approach – the Doobie Brothers, for instance – go over the top. Too much playing to the gallery, not enough playing.
Anyway, Bad Company are worthy inheritors of the tradition – four fine players with unimpeachable taste in full-blooded riffs and well-timed body blows from the soloists, who have a fine sense of stage management. They strut and posture, but it never gets into the realms of the ridiculous (at least it didn`t on Saturday), giving the band on stage just the right sense of poise and occasion without toppling over into the facade of An Act.
They`re a good band, and for a band who`ve only been together a short while they`re excellent. “Palace Of The King” was a good opener, giving everyone a chance to introduce themselves against a fairly safe background, and the rest of the set seemed well-paced. Boz and Simon Kirke provide a rhythm section that never falters yet which doesn`t play safe: it was easy to forget with Free, and you`re in danger of forgetting with the new band, just how much the music relies on Kirke`s style of drumming. Don`t.
Mick Ralphs came forward with some neat solos, but I think he still has to find his full measure of confidence within the band. Paul Rodgers was singing stronger and better than ever: it is really good to hear a band with an exceptional lead singer yet which doesn`t base its whole strength around him. Somehow the fact that the pressure`s off him more than it was Free seems to give him the scope to put much more into his singing. For me the set peaked with “Rock Steady”, “Ready For Love” and “Easy On My Soul”, but the single “Can`t Get Enough” was a rousing finale. Somehow I feel – good as they were – they are only touching the edge of their potential.

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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: Goldie Zelkowitz, Curtis Knight, Simon Alexander, Steely Dan, Chris Stainton, Ronnie Lane, Elliott Murphy, Loudon Wainwright, Tim Buckley, Steve Miller, Beach Boys, Tommy Vance, Jim Simpson, Stefan Grossman, Lynsey de Paul, Mott the Hoople, Kevin Ayers,
Dave Cousins, ELP.

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 Montrose FROM SOUNDS, May 25, 1974

We kick off a series of concert reviews with this one. Come back every day for the next three days and read a new posting. First out there is this very nice band that I would recommend you to check out if you never heard them before!

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Concert review from Charlton Athletic Football Ground

By Pete Makowski

No matter how good, exciting or even famous a band are they will always have trouble going down well if they`re first on the bill at a festival. People are still shuffling in search of plots of ground, and no one is really settled until the second or third band. So poor old Montrose didn`t really get the attention they deserved, although they played a fine set.
This American four piece are definitely going to leave the country with quite a following if all of their performances are up to this standard. The band were supporting Chapman/Whitney later during the day at Leicester so that probably accounts for why they eased up in terms of energy. Ronnie Montrose was playing better here than when I last saw the band at a gig supporting Quo. He sounded much looser although his playing was as vicious as ever. Sam Hager, isn`t my ideal vocalist, but he certainly is effective. His voice sounds like a cross between Rod Stewart and Paul Rodgers (one of my favourite vocalists), but without their subtleties.
The band played material off their debut album “Montrose”. “Rock The Nation” had drummer Denny Carmassi beating hell out of his cowbell and Sam, hands on hips screaming out the vocals voraciously. Ronnie took over the show on “Space Station 5” which featured some interesting tricks provided by his theremin (pardon?) a kind of a joystick hanging off the front of his custom made aluminium guitar which reacts to the heat of the hand, making distorted sounds. It proved to be a good closer and got some positive reaction from the audience. I`m sure they were well appreciated but the audience just weren`t in a mood to show it. You always need an opener to warm the kids, and Montrose worked well.

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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: Goldie Zelkowitz, Curtis Knight, Simon Alexander, Steely Dan, Chris Stainton, Ronnie Lane, Elliott Murphy, Loudon Wainwright, Tim Buckley, Steve Miller, Beach Boys, Tommy Vance, Jim Simpson, Stefan Grossman, Lynsey de Paul, Mott the Hoople, Kevin Ayers,
Dave Cousins, ELP.

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 Greg Lake (ELP) FROM SOUNDS, May 25, 1974

Here where I am we celebrate Christmas Day today. Nice food and packages for all. I live in an extremely nice country where most people don`t know anything about starving, about war or suffering. My generation won the lottery in regards to where we were born. Time to reflect on that when it is Christmas!
This article had a title that made it sort of natural to post on this day. I am not a Christian, but I respect that people need religion in their life, whether it is for comfort or other reasons that they may have to believe in a God. What is funny is this: What makes people think that their religion is the “right” one among hundreds of religions? Why is YOUR story the right one? Besides, if there is a God, I wouldn`t like to have anything to do with an almighty entity that allows suffering in the world on the scale that we see. Making babies die of AIDS? How can that be anyone`s will? I am sorry. I don`t understand that at all, but you believe in whatever you want to, and I hope that all of you will have the best Christmas ever.
Merry X-mas wherever you are and thank you for reading my blog!

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Star over Jerusalem

And did those feet in ancient time, walk upon England`s mountains green? Well maybe they did, but they`re more often seen firmly planted on stage up to the ankles in Persian rug these days. However, ELP recorded “Jerusalem” on their last album, so Tony Jasper and Greg Lake trod the green slopes outside Liverpool Cathedral to pursue the theme of God v. Rock and Roll.

The two kingdoms of Downtown and God recently met in Liverpool. The latter finds itself in two massive Cathedrals, one, the rather new and spacey Roman Catholic edifice and the second, a large dramatic, red-brick Anglican building. The Downtown kingdom is earthy to its core, well almost. For one thing it`s a travelling circus and this particular occasion represented in the massive musical and electronic armoury called Emerson, Lake and Palmer.
ELP`s 36 tons of equipment was busily searching for breathing space for Liverpool doesn`t really have a hall big enough to cope with what some say is the largest rock show on earth. Greg Lake, singer and lyricist, had escaped from the problems confronting sweating roadies, left the group`s 134-pound church bell, and found refuge on the vaguely green slopes tumbling down in-front of the Anglican Cathedral.
The religious optimist who hopes for a religious rash to break out amongst yer rock brigade might conceivably have the inkling that Mr. Greg Lake was on the verge of shaking hands with the other kingdom. After all perusal of ELP albums suggests Lake not only moves lyrically in a surrealistic vein but does attempt some spiritual songs.
So what are the chances of both kingdoms coming together in Greg Lake? “I can only remember going to Church once in my life, maybe twice. I recall receiving one of those cards on which they put stars to record attendance. Trouble was my first visit saw me beaten up by a mob, not the best of introductions!
“What I`ve done since is brush up every now and then with religion. We`re not buried into the religious thing too much, yet you know it`s something which has always upset me to a degree.

“We recently recorded `Jerusalem` and put it on as the first track of `Brain Salad Surgery`. I mean it`s a beautiful song and it`s one everyone knows and some people might have got some wrong ideas from our recording it. I mean to us it was simple, it hadn`t been recorded by anyone for a long time and we like it and it did give a rounded quality to the album.
“It was in keeping with the kind of majestic atmosphere of the album. As a single it was released before we realised it was out. We didn`t really watch it and it was only a few weeks after that it hit me for it seemed to be getting a lot of airplay. Its release had nothing to do with the fact of other religious type songs having made the hit-parade in the last year or so. As I said to us it was a beautiful song and that`s it.
Lake says it doesn`t matter to him anymore, the organised religious scene, yet paradoxically in our conversation he kept returning to what he considers its world to be about and often linking it with his own writing, for there have been those songs like “Take A Pebble”, “Black Mass” and “From The Beginning”, let alone the references made in the three “Impression Suites” on “Brain Salad Surgery”.
The “fear,” those continually came to the fore for later he almost harps back to his early unfortunate experience of Church, “When you`re small you`re indoctrinated with the thought if you don`t believe in the Almighty you believe there is a terrible penalty to pay. At the age when I could think things for myself I found the Church lacking, what I found myself believing is expressed in my song, `Black Mass`. As to individuals within the Church, their sincerity and honesty, I can`t really comment. I can`t really say every man is a hypocrite, it`s just the organisation.
“It may be changing and adapting to the times, present needs but I think it`s still saying the same thing, if you don`t believe, then you know what.

“I don`t believe it, I don`t subscribe to it. I wish there was something. I think if I did have blind faith then it would make me much happier giving me this security and feeling that whatever happened to me it would be alright.
“There is the line I use on “Brain Salad Surgery” about people pulling Jesus out of the hat and then another one about three bishops` heads in jars!
“When I started serious writing, which I suppose was in the days of King Crimson, my lyrics were very brutal. We were busily observing all the things wrong in the world and the Church was one. I think in a way I have grown out of it. I`ve become more introvert and instead of looking around at the world I tend to look in at myself and see what`s wrong with me.”
Such indeed may be the general feeling of Greg Lake yet there still exists the paradox of his writing lyrics in “Brain Salad Surgery” making overt reference to current bad things in our world, the difference lies in his tendency, as compared to the extreme of Crimson days, to observe and describe suffering rather than build up lines like, `Cat`s foot, iron claw, neuro-surgeons scream for more at paranoia`s poison door` which express a more personal identification with what`s happening.
Lake however does not agree with this analysis, “You may express the feeling of my separation from what I`m describing but I`m not sure if I see it that way. I think the viewpoint is different. I`m not waiting to express myself, the viewpoint can be twofold, it can be me observing everything and me feeling. I am getting more into the latter.
“Sometimes I think what you write is said to somebody and other times it`s just said. Some things are just simple statements and others are meant to communicate.

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“I`m not asking for any long-lasting belief from our people, though some fans do read way beyond what we intend. I mean you take this Jerusalem song. People read way ahead of what I write.
“They come up with most incredible interpretations, there was one going the rounds saying it had to do with the Arab-Jewish situation! I can`t think of anything further from our minds.
“People on the rock scene are these days coming out with songs loaded with often involved lyrics. You have a song like `Give Ireland Back To The Irish` and you wouldn`t have had that kind of thing in the mid-late Fifties. Some of these present-day lyrics can be very good but there are many I`m not too sure about.
“We find, particularly, in America, a lot of fans coming backstage and they know our songs, they are familiar with every word of all that I write and they have their ideas as to what those lyrics mean. What they may think may be far from my intent. I don`t think I can sit around and pencil down all the possible permutations a certain line may or may not have in meaning before I decide to write or issue the respective lyrics.
“Years back, songs said very little, other than giving expression to the familiar boy-girl kind of song. Fifties pop was pretty bare, the songs were not very good and I don`t think we want to return to that era, it would be a retrograde step. I`m slightly amused by the sudden implanting of sacredness upon much of the early stuff.”
So, if you like, for some ELP fans there is a kind of holy lore, the unauthorised scriptures compiled by Greg Lake, printed and given free of charge with several of the million selling ELP albums.
And if you ask whether ELP like other major groups have a kind of cult following, albeit modern day music disciples of the downtown kingdom, then Lake will only say it`s obvious the trio have enormous following, that they find no difficulty in filling their show.
And if you suggest ELP could be a travelling show with lots of gear, lights, sound effects and big star treatment but not much else you are liable to receive a baleful stare from Greg Lake. Well, he will admit the show aspect, “Remember what I said earlier about the Church having its show. Whatever else I might say its show is a good one, otherwise it wouldn`t have lasted so long! I mean it`s got a good bag of tricks. I think our format has some similarities, plenty of colour and content, that last word is important.

“One thing though, we draw totally different audiences! When we do a show it`s almost entirely a two-way communication. It may sound strange but this may be found more in playing in-front of the large festival audience. They seem more together, part of a sharing event.”
Lake however doesn`t take too kindly continual ELP features which concentrate on the surface pomp and splendour. It seems one reason why the group members give only rare interviews. He has a basic mis-trust for much of the musical press and feels considerable sympathy for someone like Jethro Tull, a group which received a considerable pasting a few years back.
So ELP have been to Liverpool these past few weeks. They didn`t play the Cathedral but remembering the Dean was a few years back a Soft Machine addict and possessing a considerable knowledge of the current rock machine could we see the two kingdoms shaking hands by an away visit from ELP in a Cathedral concert?
“We have played one church, at least I think so! I don`t think they are the places for us to play. I think they`re the wrong environment for us. I mean acoustically, they`re great for organs and church choirs but not electronic equipment. Much of the sound would go straight up, it wouldn`t travel.”
Not too bright a prospect – a conceivable coming together, though the Cathedral could certainly house the 36 tons of equipment! And I suppose those Lake lyrics have little sympathy for the things of God, to sing them within Cathedral confines might awake the same kind of criticism which greeted the once possible appearance of dear Tony Blackburn on Songs of Praise. After all “Black Mass” has some harsh things to say about organised religion but then it`s doubtful if ELP is whiter than white.

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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: Goldie Zelkowitz, Curtis Knight, Simon Alexander, Steely Dan, Chris Stainton, Ronnie Lane, Elliott Murphy, Loudon Wainwright, Tim Buckley, Steve Miller, Beach Boys, Tommy Vance, Jim Simpson, Stefan Grossman, Lynsey de Paul, Mott the Hoople, Kevin Ayers, Dave Cousins.