Month: January 2019

ARTICLE ABOUT Blue Öyster Cult FROM SOUNDS, June 29, 1974

Mr. Makowski wasn`t too keen on B.Ö.Cs brand of heavy rock in 1974. Personally I find it a great album, but I can understand that it`s not to everyone`s taste.

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Blue Oyster Cult: “Secret Treaties” (CBS 80103)

Record review by Pete Makowski

If Andy McKay is in search of Eddie Riff he might as well give up now – Blue Oyster Cult found him years ago. Yep, it`s the “The Nuremburg Rally`s Greatest Moments” from CBS`s answer to the SS… well, that`s if you take the Cult so seriously. Y`see they put this menacing image of being Gestapoids and play real evil music but I`ve heard stories that during warm ups they do numbers like “Hang On Sloopy” and that they`re old session pros. Well you can`t believe everything you hear, but this album makes me wonder how long this band are going to last. If they`re supposed to be America`s answer to Black Sabbath they might as well give up. It`s good meaty stuff but the overall effect is bland and uninspiring and this certainly doesn`t match up to standard of their first two releases. The best tracks are “Career Of Evil” and the rather odd “Flaming Telepaths”. I`m not really knocked out with the guitar playing provided by Donald (Buck Dharma) Roeser and Eric Bloom. Other tracks on the album are “Subhuman”, “ME 262”, “Cagey Cretins”, “Harvester Of Eyes” and “Astronomy”. I still think that Britain`s got the stranglehold on heavy rock.

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

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ARTICLE ABOUT David Bowie FROM SOUNDS, June 29, 1974

Should be a good article for you Bowie-fanatics out there. Enjoy!

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Broadway`s got nuthin` on this

Bowie`s new show features the kind of sensational stage effects that even Broadway could only afford for brief periods in the 30`s and 40`s. Martin Kirkup reports on Bowie`s `new style` debut from Montreal.

This may be the last big production type of tour that I do,” Bowie had told me back in April. At that time I`d wondered why, cynically assuming that there`d be a touch of the old “His first farewell tour” promotion behind the remark, since it was apparent that Bowie`s direction was towards greater use of theatricality in his performances.
After watching the debut of his new tour at Montreal on June 14, however, it finally seems inevitable that if he`s to continue performing in public he`ll have to do it as a smaller kind of production, because after this tour I simply can`t imagine what he`d do to top it.
His new show features the kind of sensational stage effects that even Broadway could only afford for brief periods in the 1930`s and 40`s, when Florenz Ziegfeld had his dancing girls walk through streams onto rising staircases built in the great old theatres. I doubt whether even Ziegfeld linked so many outrageous effects together into one two-hour show, as Bowie now does. By comparison, the timid “rock theatrics” of an Alice Cooper or a “Jesus Christ Superstar” look decidedly like a `Punch & Judy` show, and right now it`s hard to imagine how any other rock star could go further than the new limits Bowie`s established.
Bowie aimed for the maximum possible visual effect, and I think that he succeeded entirely in what he was trying to do. “Come on up to Montreal for the first night, it`ll be worth your while,” he suggested earlier in the month, “it`s a show, and I think it`s very exciting.” Retrospectively, I can see that the words “show” and “exciting” weren`t just casually used, they convey the essence of what his new tour is all about.

When he arrived in New York on the S.S. France on April 11. Bowie had moved straight into a suite in the Sherry-Netherland Hotel on Fifth Avenue, and begun a routine that persisted for the next two months. Rising after noon, and usually as late as three in the afternoon, he`d start a strenuous series of rehearsals that often ran from five o`clock to well into the next morning, when he`d head to a bar or club to unwind and perhaps check out the new talent.
During those ten weeks he could often be seen flitting behind the stage at a concert, by Roxy Music for example – “well, they`re the only English band worth seeing, aren`t they”, at a reception, like Todd Rundgren`s, or in a small club seeing new bands. “Yes, I`ve seen a lot of good new bands this time. A lot of bands with good names, anyway, how d`ya like `Leather Secrets` and `Television`?”. And if you talked to him then he was friendly, witty, and perceptive about anything at all except his own music. A question about how the long rehearsals were going would elicit only “Oh, you don`t even have to ask, I`m so happy with this band”, and that`d be that.
Now it`s revealed that those rehearsals had as much to do with practising and perfecting the tricky stage techniques as they had to do with preparing his new band. Bowie had hired Jules Fisher to collaborate with him on the stage presentation and design, and Fisher`s the best designer around at the moment in America. He`s got a list of awards that starts with shows like “Hair”, “Pippin” and “Lenny”, and runs on as long as your leg. I`ve seen Broadway plays like “Ulysses in Nighttown”, where Fisher`s lighting and design were the only good things about the show.
The set that he and David have created for the tour is impressive from the moment you walk into the arena and see it. The stage is dominated by a huge scaffolding arch with a cat-walk looking like an imported section of Tower Bridge set thirty feet above the stage. Even higher than this are two gigantic lighting towers, disguised as skyscrapers. The immediate effect is of looking into a surreally distorted city. Off to the right is the area set aside for the band, with two whole keyboards complexes and a large drum-kit, while off to the left stands a six-foot tall red, spurting cock! RCA may have castrated the “Diamond Dogs” cover with their sneaky airbrushes, but Bowie has his revenge here.

Bowie had come up to Canada the day before the concert to give everything one last run-through. Since it`s a nine-hour, 600 mile drive from New York City I had decided to do the same thing, a fact worth mentioning only because David`s going to be driving to every gig too. He still refuses absolutely to fly, so most of the concerts have been arranged at convenient hundred mile intervals across the continent.
His band and entourage were leaving the Hotel Windsor just as I arrived, informing me that they were off to “a final dress rehearsal” – yup, those were the words used. As the elevator doors opened and I stepped forward to enter, I could see a flash of red hair surrounded by tall and muscular men. Bowie emerged in a wedge of bodyguards, pausing briefly to say “Hello” – I stuck out a hand to shake his, but pulled it back quickly when an ultra-efficient guard flexed himself at me. I mean, there are things I`d rather not go through just to shake someone`s hand.
For the whole day before the concert it became impossible to turn on the TV or radio without hearing either a track from “Diamond Dogs”, or – more importantly – an advert for it and the concert. The whole campaign that`s been mounted by “MainMan” and RCA should become a model of its type.
“The album of the century” voices proclaimed regularly on all the dozen different radio stations, “century”?. And since Montreal is a bi-lingual city (just imagine one of those cute sexy French accent marks over the “e” of Montreal) all the papers informed one of a “Concert rock avec ce fameux chanteur anglais”, ah mais Oui! et maintenant le pouf celebre, Monsieur Bowie. But oddest of all, on television a short colour film of Bowie in the studio leering at the camera and muttering “Awright then?”.
Nevertheless, the next night at the Forum it was apparent from the empty rows of seats that the concert was only about 90% sold-out. The biggest anomaly in American rock shows now is that the British bands who are hugely successful in the States. Foghat, Robin Trower, Peter Frampton and Sharks among them, tend to mean very little back home, while groups like T. Rex, Slade, and Roxy Music have failed to really dent the American charts or consciousness.

Bowie falls into this latter group, he just hasn`t the stature in America that he`s won in Britain. He does very well in some areas, and for example he sold two concerts in Toronto and a whole week in Philadelphia very quickly indeed, but in other regions he may not be playing to full houses.
In Montreal, though, there`s a hard-core Bowie following, and the usual painted faces, dyed heads, and Bowie lookalikes make an appearance. RCA has even run “lookalike” contests for free tickets. From the moment you enter the arena you`re enveloped by the sounds of moog hisses, tolling bells and howling dogs that emerge from the huge speakers positioned along the hall, and soon the crowd are involved in studying the stage set, and you can feel the tension rising. After all, this is David`s first gig since he announced last July 3 that he was quitting live performances and then disbanded the hugely successful “Spiders from Mars” band.
As the houselights finally dim, searchlights begin to sweep the hall, the “1984” theme blasts out, and there`s Bowie in a white suit, flanked by two singer/dancers and with his band almost invisibly positioned well to stage right. Throughout the first three numbers the sound balance is tinny and distorted, but with “Sweet Thing” it all suddenly comes together. For this number Bowie`s walking along the bridge set high over the stage, with a raincoat pulled over his shoulders and looking very much like that old “Strand” cigarettes advert. He stays there, removing his coat and jacket, to do a cooler and clearer version of “Changes” than he`s previously done, then gets down to ground level for a fast “Suffragette City”.
The songs themselves have changed much more in this show than they previously did in live performance. The next song, “Alladin Sane”, for example, is now done as a boogie number, with those manic, fragmented melodies turned into solid and chunky chords with organ and sax leads replacing Garson`s mad piano. This segues into “All the Young Dudes”, which is taken at half the pace Mott the Hoople do it, it`s slow and final, and more of a requiem than an anthem.

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Now here I`m deliberately avoiding describing the stage effects that accompany the songs. This tour may hit England in the autumn, and to describe all the staging in detail is a bit like recommending an Agatha Christie novel and then telling you that the butler did it. But perhaps one example will give you an idea.
The stage blacks out for just five seconds at the opening acoustic-guitar chords of “Space Oddity”, and when a spotlight suddenly flashes on simultaneous with the lyric we see Bowie sitting inside a rocket segment high in one of those fake skyscraper lighting towers, quietly singing into his astronaut`s microphone. The spot illuminating him is the only light in the whole arena, everything`s pitch black, and then suddenly the seat and Bowie begin to glide out of the capsule, just like a scene from “2001”. Very slowly Bowie is lowered out into mid-air high over the audience for the rest of the song, until as he slumps and the astronaut dies he is retrieved into the space-ship. It`s all done with a crane, of course, but the first ten seconds before you work that out are very exciting indeed.
The whole two-hour show`s like that, each shock surpassing an earlier one. The set never runs out of tricks and surprises.
Visually and dramatically I don`t think the show can be faulted, but this kind of staging has played some strange tricks with the music too. The band are so anonymously presented that you`d never recognise any of them again, Bowie never speaks, even to introduce them. However, they`re very good indeed, and they play the new versions of Bowie`s songs very solidly and precisely.
“Drive-In Saturday” is now done by David on a twelve string acoustic, with just sax and piano backing, and it`s fine in a rather Jacques Brel way. That one works perfectly, but then you also find “Jean Genie” being performed as a slow Frank Sinatra-ish night club song, with David sitting astride a chair, ciggie in his mouth and hat flopping in his eyes. I thought that song was the best thing on the “Alladin Sane” album, but without its raw blasting edge it`s just a prissy joke.

Really, the problem is that Bowie is now doing a one-man star show. There`s no Mick Ronson in the new band to share his lime-light or edge up to a mike with him, just these fine, ultra-competent guys in suits standing in the shadows, and you barely look at them twice.
They`re fine musicians of course, they know their trade and have paid their dues. On bass guitar there`s Herbie Flowers and as Bowie says, “He`s got to be the best in the country”. Herbie`s really a session-man, it was him doing that lovely bass line on Lou Reed`s “Walk On The Wild Side”. If you`ve ever seen him on TV then it was probably with Blue Mink a year or two back, and he was the big tall guy grinning.
On drums there`s Tony Newman, the original drummer in the Jeff Beck Group, and Beck`s one of Bowie`s early idols from the London club scene days. Newman`s very precise and adaptable, and that`s probably why David picked him. Mick Garson is the only survivor from the last touring band, and his style continues to develop and change. These three were the original nucleus of the `74 Bowie band, and early in April David was planning on using two black guitarists to get “a really funky sound”.
However, by the time serious rehearsals had started in May he`d changed his mind. “I dropped the idea of a second-guitarist and decided to have lots of keyboards people”, he says, “so I ended up getting two guys from the old New York Rock & Roll Ensemble. Earl Slick will be lead-guitarist, and Michael Kamen will be second keyboards player. They`re both very talented, Mike`s written a ballet about Rodin which will be performed at the Harkness soon”.

The keyboard sounds are effective and wide-ranging, and have a lot to do with Bowie`s new sound. Earl Slick gets few chances to really extend himself, but when he takes a solo, as in “Moonage Daydream”, he reveals that he excels at strong power chords in the tradition of Pete Townshend. I`d like to have seen him really work out on “Jean Genie” if David had stuck to his original arrangement of it.
Considering that along with the rest of the audience I was so entirely surprised and mesmerised by the visual show, I felt strangely disappointed the next day, and a little cheated in some vague way. I could clearly recall only five or six songs out of the whole show, and the emotional content seemed far less than I`d felt seeing Bowie a year ago.
Over the past three years “decadence” has become a catch-all word used to describe anything in glitter and make-up, but there`s a real and useful meaning behind the word. Apart from its dictionary definition of “deteriorating, declining, decaying” I think it also implies an artform where style has become more important than content. If so, then David Bowie at present is surely a decadent artist.
As a composer and arranger he`s creating some of the best songs of his period. As a performing artist he`s obscuring the form and content of those songs with a style which is flashy, sensational, superficial, and perhaps trivialising. He said recently that “just writing a song is not good enough”, and whether it`s his own inclination or because of the demands of his audience, he can`t simply stand up and play his songs. He has to deliver them within a “jack in the box” stage setting which must constantly thrill and titillate the audience.
On record his music has often thrilled and provoked me, but in concert I simply sit back to be entertained by the spectacle. I`m glad to have seen just how far he could take visual spectacle, but having seen it I`m looking forward to seeing him do a straightforward set, in a small club, because that`s the highest art of all.

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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: Eric Clapton, Bill Henderson, Moody Blues, Laura Nyro, Carly Simon, Eddie Riff, Leonard Cohen, The Rats, Alex Harvey, Dave Edmunds, Blood, Sweat & Tears, Gordon Lightfoot, Rick Wakeman.

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 Deep Purple FROM SOUNDS, June 8, 1974

A short, but sort of funny review of this concert. A short mention of the Dio-led ELF too. Nice.

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Concert review

By Pete Makowski

Purple hit Coventry with two evenings of good music and sheer lunacy to mark the end of a triumphant British tour. Everything seemed quite normal at the opening of Elf`s set. They have developed into a highly polished professional unit. Ronnie Dio displayed his powerful vocals on a searing rendition of “Happy” from their current album “Carolina County Ball” and the delivery of this number was so crisp and powerful that the audience surged towards the stage in appreciation.
Suddenly from nowhere a “dirty great big” bag of flour hit Ronnie on the head. More of them seemed to appear from the corners of the stage and soon enough the whole line-up of Stephen Edwards (guitar), Craig Gruber (bass), Mickey Lee Soule (piano) and Cool Guy (drums) were covered in dat white stuff. The audience, who were looking a bit dead, didn`t seem to react to this attack.
Next on were Purple, kicking the set off in fine form with “Burn”. They played their asses off and the set ran smoothly apart from a mysterious incident involving a bottle breaking against the side of Glenn Hughes leg. Blackmore featured some really fine soloing and Ian Paice did a mindblasting solo in “You Fool No One” which went into “Mule”. David Coverdale displayed his vociferous vocals in “Mistreated”. It was a great set, not their best, but they were out to have a good time.

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They too were bombarded with flour at the end of “Space Trucking”. By this time the audience were on their feet and cheering and the band came back on for an encore which was “Going Down” which culminated with a line of trouserless roadies having a knees up across the stage. To finish this off a certain gentleman, who has been described as the entertainments officer, strode across the stage in black tights, knee-length boots and hat, looking like the son of Max Wall, and bared his buttocks to all.
Backstage after the show the scene was comparitively calm. Jon, Dave and Glenn were getting ready for their trip to Germany the next day where they will be performing Jon`s “Gemini Suite” and everyone was bidding each other farewell. Two burly characters confronted me “don`t forget to mention Pad of the plank and Jim for their excellent job on security”, uh okay, boys.
This tour has proved the new line-up to be a viable proposition, and this is obviously a skeleton of what to expect in the months to come.

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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: Bryan Ferry, Captain Beefheart, Jim Capaldi, Lee Jackson, Uriah Heep, Byzantium, Denny Cordell, Ronnie Lane, Blue, Nutz, Arthur Brown, Harry Chapin, Groundhogs, Genesis.

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, June 8, 1974

Sort of disappointing to read that Mr. Makowski didn`t like Heep much – I expected him, as the rocker he is, to be more fond of the band. Well, you can`t win them all! Still a fairly good review of this album.

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Uriah Heep: “Wonderworld” (Bronze ILPS 9280)

Record review by Pete Makowski

Another album, another Heep. There is one thing that bugs me about this band and that`s Dave Byron`s voice, it`s too clean and smooth and doesn`t sound natural in a rock and roll context. This album`s not bad, but I`ve got to admit that I`m not a keen fan of the band. It opens up with “Wonderworld”, which is penned by keyboards man Ken Hensley and is also one of the most impressive tracks on the album. The thing I dislike about Heep`s music is that they seem to be heading in no particular direction, the only thing you could associate them with is the tightly knit vocals, but again I don`t like the vocals. Mick Box is a bitch of a guitarist and really shows his worth on “Suicidal Man” and “”I Won`t Mind”, their single “Something Or Nothing” is a stomper and the best and most diverse track on the album is “The Easy Road”, another one from Hensley. The whole effect of the album is dampened by a pretty awful mix but the two highlights are Mick Box`s playing and Hensley`s songs.

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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
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ARTICLE ABOUT Nutz FROM SOUNDS, June 8, 1974

Nutz is one of the lesser known bands from the 70s, but they still released four albums that you really need to hear if you get the chance. Their first album, released around the time of this article, were a really good hard rocking album with nice harmonies. Unfortunately, despite going out with good bands on the road and a massive PR campaign in Sounds with a lot of ads being printed, it just weren`t meant to be for this fine band. But at least they found eternal fame among us connoisseurs.

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Nutz! We`ve paid our dues

By Robin Katz

Since Nutz are a new band, one must find something in their make up to catch the readers` interest and hopefully their ears. Four young men from Liverpool who play hard rock is about as exciting as a three day old Wimpy. Try again. Appeal to the readers` intelligence.
Okay, now there are people who like their music and their musicians intellectual, and others that like it visual. For the intellectuals, who value groups by the number of familiar names on the back of the sleeve, Nutz are the latest studio protege`s of one John Anthony, the man who put Lindisfarne on the map and Queen on the throne. (Well, sort of anyway).
From personal knowledge, Anthony doesn`t produce bands for huge sums alone or as a favour, so count the band as something he sees great potential for. For those of you (like the oversexed J. Peel-it-off) who like a bit of the old visual, catch a glimpse of the band`s album cover. It features a rather kinky lady in a back leg shot, complete with black seamed stockings, and lace knickers. All you see are the lady`s legs, bum and two spread open arms. (Give me Robert Redford anytime). Now you have a little taste of Nutz. Move on for the main course, please.
The nucleous of the band goes back some seven years to Mick Devonport and bassist Keith Mulholland. They played in various quartet combos and eventually added vocalist Dave Lloyd. They were called Jiminy Cricket and did a one off single for MCA. Their agency kept them heavily booked through supper clubs, cabaret bids and a three month stint in Jersey playing straight pop with little originality. They also hit the working men`s clubs.

Then they became, Harpoon, added drummer John Uylett and went from performing the pop twenty to playing Free, Deep Purple, and T-Rex. Now the scene was discos, Universities, consistent shows at the Cavern, and a another stint in Jersey.
From there, it was Germany, a demo made in Liverpool, financed by the benevolent Robbie Rave and then a management signing with ex A&M men Clifford and Trengove. Their first album for A&M was ditched and then Anthony was brought in to produce a new one. Then followed a tour with Queen, and in came the first reviews. Harpoon were retitled as Nutz, a single has predictably been pulled, but it is far from the catchiest song on the album. The band are ready and prepared for the usual British reaction towards a new band and their product – nothing. Nevermind, in a couple of weeks, they`ll be back on the road again.
“We`ve never been on the dole,” began Devonport, so the record end of things is a bit different for us than it is for a strictly recording group. We can always find work. And we`ve worked every kind of gig there is to in this country. We did back ups with Spencer Davis, and this year with Queen, but support bands have a rough deal. You never get to do a sound check, whereas the lead band can spend up to two or three hours making sure things are perfect.”
The Rainbow was a nightmare for us. We went on cold. The stage is so big, and the God`s so high that the sound bloody went off and disappeared. We couldn`t hear ourselves, but that`s an old story.
“Our favourite type of gig is like the Spinning Jenny in Accrington. A large pub with room for everyone to move a bit. Like I said, the Rainbow was awful, but we`ve had some good shows like Dagenham and Croydon. Ya hardly get to know half the people you`re dealing with on big tours, though Queen are great guys. The slagging they got was unbelievable, but then, that`s what happens when you put your neck out I suppose.

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“You get tough working at small clubs because it`s all in front of you. There was this one gig, in a working man`s club, where we motioned to everybody to clap along. And in the first row, sits this couple, and she looks to him and says `Do you think we should` and he whips around and says, `Neh`. That`s what it`s like.”
There is still an unexplicable curious attitude people have towards Liverpudlian bands. Using the tourist approach I asked Dave Lloyd to talk about the new Cavern, where the band frequently play.
“It`s nothing like the old place, of course. The sweat used to run down the walls, and people were always getting sick all over your PA equipment, which you just got used to. It was a stepping stone. But the new place was built to hold 1,200 and they just haven`t been able to pack a place that size out without losing the heat.”
It was at the Cavern that A&M first watched the band. In true style, Lloyd recalls vividly having to stay sober for the day, which happened to be his birthday. The band`s first album was too laid back for anyone`s liking, but then it was off to Rockfield.
“We like to attack with our music. The great thing about working with John (Anthony) is the fact that he`s just another loon like we are. He doesn`t send out orders, he pools ideas, which is the way a good boss works. He understands that things don`t always go off the way you plan them to. We`d book studio time, and if after four or five times the music wasn`t moving, we`d move onto something else. No hassles about whose money is being spent and all that.”
Having toured with Queen, and sharing the same producer made one wonder if Nutz worried about being compared with the group. “No, not at all” said Lloyd. “We`ve toured with them and have used John, but the comparison ends there. They`ve often been slagged off as a hype band and I hope no one calls us that. We`ve done enough to pay our dues, not to be written off in two sentences.”
“Mind you”, interjected Devonport, “I don`t expect a lot of people will take great notice of the record. We`d like to have a hit single, but more so to have the album do well. That`s why we deliberately picked “As Far As The Eye Can See” as the single. There`s a tune called “Round And Round” which would probably be a hit, but it`s not as representative of us as the first song.
“Ultimately, we wouldn`t latch onto the kind of people who listen to Bad Company or Golden Earring which would always give you the freedom to have good singles, but not be branded into a hole like Sweet are. And you can still play the pub scene.”

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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: Bryan Ferry, Captain Beefheart, Jim Capaldi, Lee Jackson, Uriah Heep, Byzantium, Denny Cordell, Ronnie Lane, Blue, Genesis, Arthur Brown, Harry Chapin, Groundhogs.

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.