Month: July 2019

ARTICLE ABOUT Bachman Turner Overdrive FROM SOUNDS, May 17, 1975

Quite interesting to read this one as it tells the story of how BTO tried to become a commercial prospect without losing their integrity. Some very valueable lessons to learn here, even for bands coming up today.
Read on!


`eard the one about the Randy Mormon?

Peter Makowski face to face with Bachman Turner Overdrive

There seems to be an inexplicable, invisible but understandable line of hypocrisy running between Randy Bachman the musician and Randy Bachman the person. Inexplicable because it doesn`t relate to or affect the band`s music which relies on sheer sympathetic energy between musicians devoid of any contrivance; understandable because after being in the business for so long barriers of cynicism are expected to appear.
With Bachman it`s not cynicism, it`s a thorough logistic assessment of how the music business should be run, which in his verbal dialogue might sound a little cold and precise but on paper couldn`t be truer.
Talking to Bachman is like talking to a manager who is willing to give you the facts. And I think it`s from this hard-earned experience that this little, unknown Canadian band have become big business in such a short space of time.
Bachman sat in contemplative pose, looking like a lumberjack guru, when I spoke to him in his hotel prior to BTO`s performance at the Glasgow Apollo.


Saying that Bachman is Mormon, doesn`t drink, doesn`t smoke, doesn`t pull chicks on the road and is a rock and roll star is almost a contradiction in itself. But maybe that could at the same time account for his clear headedness. Although externally his appearance is burly and aggressive all in all he seems to be quite a composed, laid back character.
The band have recently recorded a new album titled appropriately enough `Four Wheel Drive`. “It`s a progression for us,” Bachman reported happily, “nothing like heavy jazz rock like Yes who I think are a very progressive group. It`s a progression for us because we`re playing different kinds of rock and roll songs. Rock and roll songs go on for ever, we`re just exploring.
“We`ve had different, slight changes, but I find the people like basic rock and we`re selling to basic rock audiences. I could play really heavy guitar if I wanted to, classical or country `cause I grew up learning all that stuff. I could do it and I could probably expand our audience by another 10 per cent, but I`d lose 10 per cent who are buying what we`ve got now, so it`s a losing battle trying to please new people.
“I don`t believe in pleasing critics because they get their albums free and all they do is tear them apart, all I want to do is please the people who are buying our stuff.”
Has the recent recession in America (the band`s biggest money spinner) affected them at all?
“We were lucky,” Bachman replied, almost sounding grateful, “the recession doesn`t affect top products of any country. By the top products I doesn`t mean the best, I mean what the people want. There`s just been a recession in the States yeah, but nobody`s stopped buying beer, nobody`s stopped going out to concerts.
“All the three group shows, where we headlined, became two group shows, we were still on the top, we still got our money we were still sellouts.”
As I mentioned before a lot of BTO`s success is derived from Bachman`s experiences and observation. In fact before BTO, when he played with the once top Canadian band Guess Who, Bachman spent a lot of time researching commercial records to see if it would help him come up with the right ingredients for a hit record, which it did.
“When I was in the Guess Who,” recalled Bachman, “we used to study obviously Lennon and McCartney, Brian Wilson, and Georgie Fame. We used to study composers and very commercial groups `cause in those days there were no underground selling groups. You either had a single or you were gone.
“In Brave Belt, which eventually became BTO, we listened to other types of commercial group and that was the type of group who had wide appeal albums and singles – the Who, Creedence, Rolling Stones, Cream – simple groups who, if they were commercial, were not selling out.
“There are commercial bands like Paper Lace, Bo Donaldson and the Heywoods who get together and write commercial songs, we don`t do that. We put together good album music, throw the album out on the market and usually a radio station picks up on a single and I`ll edit it.



“This is usually the case except for our new single called `Hey You`. We anticipated it being a single almost from the start, it just had a certain element that `Ain`t Seen Nothing Yet` had. And I don`t feel bad in doing that, trying to follow the success of a commercial single, because we`ve had all the album success and by having one we don`t seem to lost the other.”
It seems in America (and almost everywhere else come to think of it) that rock sensations come and go before you can say tricky Dicky Nixon, they`re in and out of the charts with a bullet. I asked Bachman to explain their sustaining their success.
“I think if you look at the bands that have come and gone you can pinpoint the exact moment they`ve gone. When they decide to do something heavy, something drastic. You get a simple rock group like us, if we try to do something like King Arthur and his magical knights of the round table, you know Houdini`s magic show, we`d just lose our fans. If we keep doing what comes naturally then we`ll be okay.
“You look at a group who have been obliterated. It could be managerial problems. I agree a lot of rock and roll bands go under pressure and strains but we don`t have any of them. We make the basic decisions deciding what we`re going to do, how long we`re going out for. Our manager comes with us on the road and when we`re tired of being on the road, then he`s just as tired.
“We don`t have a fat New York manager in a Cadillac with his briefcase and cigar saying `give me my percentage, stay out another month, you`re doing great`. I`ve gone through this with Guess Who.
“We don`t have any of those problems because our manager is like a part of the group, he travels with us, he thinks how we think because we have very open discussions. When it`s down to making a decision he basically knows what we want to do, how long we want to work, how much money we want to make, once you make enough money there`s no point in going crazy and have ten million dollars compared to two million.


“When you can buy anything you want it doesn`t matter how much excess money you have. That`s not really why we`re happy. We`re happy because we have a very good schedule, we enjoy the music we`re playing and we enjoy relating to the people that are buying our product.
“A good case of managerial problems is Buffalo Springfield, they were one of America`s greats and one of my favourite bands. When they found that they were one of the biggest underground bands and heading to being one of THE big groups they all looked around and said `you know we`re broke, we don`t have enough to pay our rent or buy guitar strings`.
“They ended it because they didn`t like their management. That`s one reason why a group doesn`t last and the other is some drastic artistic change, and we`ll never drastically change, if we evolve it`ll be something natural.”
As Bachman indicated earlier, he seems to have varied amounts of musical influences and the last time I interviewed him he was promising a solo album. I asked him when this project would crystalise.
“I probably won`t do it for a while. I don`t want to do it while I`m on the road and we`re in the process of building our own studio, we have to decide which country it`s going to be in because there`s quite a few implications with Canadian and American recordings and I`m not going to start on a solo album until I`ve done a BTO album in the studio.
“If I do a solo album, it`ll be something drastic,” Bachman concluded… not that drastic because I want it to sell.”


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!
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.


Now, this was a fun and very well-written article. Should be of interest to all, but of course the Slade fans will salivate over this. People today just don`t seem to realise how huge this band were in the 70s and part of the 80s. Very influential for other artists both in Europe, but also in the US. This article takes you back to when it happened and you can almost smell the concert hall (and the soiled underwear).
Read on!


Cum on, feel the boyz!!!

By Steve Peacock

Good grief, it`s hot in here. Here is the Colston Hall, Bristol. Here is a Slade concert. Here they have just completed the opening volley of their set. Here we go again.
“It`s really nice,” shouts Noddy Holder into the microphone as the last echoes of `Monkeys Can`t Swing` dies away. “It`s really gryte to be back in Bristol again.”
“And now we`re going to do one, going to do one called `THE BANG-GING MAN`…”
And off they jolly well go, pounding along on the crest of a very hard, deliberate riff, Noddy screaming the vocal and chunking out chords, Dave Hill adding accents and frills and prancing, Don Powell bashing away in a kind of reflex action, and Jim Lea doing the funky strut with his bass on the opposite flank. `Bangin` Man` stamps the Heavy Metal seal of approval on Slade.
Lights are strung all around the stage, with spots around the hall as well. Lighting plans are quite detailed, but the effects simple, giving you a kind of bright, slightly glitzy quality of a well designed TV variety show lighting set. Costumes are tailored to suit group images. Dave is in a black tailcoat, waistcoat and rolled up trousers, all studded with metal reflectors; Don is workmanlike in dungarees: Jim is in white satin; and Nod – a suit in red and yellow, with huge polka dots and a mile-wide tie that stretches to mid calf.
Third number up is `Gudbuy T`Jane`: “We`re doing all the ones you know,” bawls Noddy afterwards, “all the ones you know, so everyone gets sweaty and your knickers start sticking to you.”
“Now, we`re going to do one from the film now…”
“Did anybody go out to see the film?”
“Good, good. Now… me and James here…”
“We`re really good friends really…”

Over a cup of breakfast in the Bristol Holiday Inn at noon next day, Jimmy Lea says it`s strange, but everywhere they go these days people seem to think he and Nod fight and hate each other just like Stoker and Paul do in the film of `Flame`. He says they never expected Slade fans to believe that `Flame` was the story of Slade, but they did. That`s why they make a stage announcement every night.
It`s hardly surprising that Nod, Jim, Dave and Don are closely identified with their film parts Stoker, Paul, Barry and Charlie: the director and scriptwriter spent weeks hanging around with them on the American tour and drew the screen characters, speech patterns and much group atmosphere from what they observed. A lot of the situations came from stories the group told.
So if Flame isn`t Slade, it was based on… a caricature. And if the plot never happened it was based on… a collage. But Nod loves Jim really, and he says so every night in front of a hall full of witnesses. And Jim isn`t leaving because of musical differences – not now they`re back on the road.
It was really strange when they`d finished filming, Jim says, they got so into the parts that they were beginning to live them, beginning to behave like the characters they played. It`d been their first break from the usual grind of recording and touring for several years, and that in itself was a slightly unnerving experience. “Afterwards,” said Jim. “I just didn`t want to go back to fucking Slade.” It passed of course. Paul let go his hold on Jim and Slade survived.
Noddy confirmed there had been seepage: “For the seven weeks of the film you`d be playing those people all day and you`d get back to the hotel and still be acting the same way. Jim was the most uptight about the actual film and he took it the most seriously, whereas I didn`t take it that seriously at all, I just went and did it.”
But it touched raw nerves? “Oh yea, of course it did. That was the whole point of making the film, was to show that we`re `uman, that groups are `uman. It may not be how we act off stage, but it`s how a lot of groups act… I mean we have rows, but not to the extent that would make the group split up. All the groups who came to the premiere said “that could have been us”. They recognised theirselves in those situations”.

It`s getting hotter in the Colston Hall as Slade move into `Far Far Away`: it`s one of the quieter numbers in the set, but even so a mother with two small children beats her retreat. One of the kids is in Cub`s uniform.
“We`re going to do our new record now,” bellows Nod.
“We took it to the BBC and they banned it…”
“Because they said it had… dirty words in it…”
“So I went back last week and put new words on it…”
“But tonight – ”
He needn`t have finished the sentence, but he did anyway. Tonight they would hear the uncensored version. The `ban` happened when they gave the first play of their new single – `Thanks For The Memory` – to Emperor Rosko, whose producer asked the bosses for clearance on the line “love smell on your sheets”.
The BBC decided this wasn`t quite the sort of thing Rosko`s listeners should hear, but apparently they are happy about the substitution line.
Which is: “Honey on your meat.”

We`re back in the Colston Hall, and the temperature`s rising. The lights go down, a spotlight hits the Victor Sylvester Ball above the stage, casting iridescent dandruff all over the hall, and Jim starts into the piano intro to `How Does it Feel`.
The heat is getting to the group on stage. Don, in particular is feeling it.
“We`re going to do one now, going to do one now…” Nod is getting ready to stir them again… “featuring David this time, featuring David…”
“Featuring David…”
The dispassionate observer begins to notice that something which should have happened, hasn`t happened. Nod steps forward again and begins to frame the letter `f` – ahah, the cue must be `featuring David`. He gives up and turns round to Don, who looks slightly dazed at the drumstool.
Don jerks into action with a fast 4/4 figure featuring hi-hat, and the band rolls into `Little Bit Of Your Love`. The finale sees Dave up on a pedestal to one side of the stage (Jim has one too) with a spotlight on him and a searchlight behind him playing solo, feedbacky guitar a la Hendrix `Star Spangled Banner` except that… oh, never mind.
As that reverberates, Nod steps into a red spot, strumming guitar, and goes into `Everyday`, the out-and-out melody spot. When he gets to the “And you know…” line he urges the audience to join in, and they take over. It`s SingalongaNod, and it sounds a bit like a crowd scene from `Oliver`, but it`s also a very moving section of the show.
“Right! We`re going to feature David again n-….”
A frantic 4/4 featuring hi-hat drowns out the inevitable RAAAAH!!!!


Nod turns round: “Quiet you… Oi! It`s called, it`s called `OK, Yesterday Was Yesterday` yay.”
RAAAH!!!! Bring on the powerchords.
“And now, and now… Jesus Christ it`s hot in here…” but Nod`s not wilting. “I tell you what, I want all the girls, all the girls, to take their knickers off…”
“… and I want all the fellas, all the fellas, to take their trousers off…”
“And then we can, then we can all lose our… lose our INHIBITIONS!!!”
“This one, this one is a brand new one. It`s the B-side of our new single, the backside of our new single, and it`s called… `IT`S RAINING DOWN IN MY CHAMPA-A-A-A-AGNE`”.
The tune (which some of the group and entourage favour as the A-side of the single) is a perfect stage number, allowing them to introduce a touch of stiff bluebeat and a chorus or two of `The Banana Boat Song` before we come back to Nod.
“This next one, this next one features Don.” He turns to the drummer who holds aloft a giant inflatable packet of Wrigley`s chewing gum. “He brought along some of his favourite food…”
“… because he doesn`t eat anything else.”
Nod begins to hum the theme tune from the adverts, singing: “stick it up your bum, bum, bum, stick it up your bum, bum, bum”, which inevitably is taken up by the audience. The band kick straight into a long, raving `Let The Good Times Roll`, featuring a drums / bass duet, and a drums / solo passage with Nod yelling “keep me rolling” over the top. And then it`s finale time.

“We`re going to do one now… is everybody upstairs crazee?”
“And is everybody downstairs crazee?”
You`ll never guess which song they`re finishing up with.
“Right. Mama, we`re all crazee now… ”
Naturally enough, the number ends with a storm of applause. For a couple of minutes after the band has left the stage, the audience set up a chant of We Want Slade… and they get `em. The cheers go up as they return, and even the appearance of Nod`s stovepipe hat (with mirrors) gets a special cheer. Nod teases the crowd, calling for supporters of Bristol Rovers (RAH!!) and then Bristol City (RAAAAAYY!!!!), before he leads the congregation in a rendition of `You`ll Never Walk Alone`, as they sway in unison, hands in the air.
“Louder,” yells Nod. Louder sang the crowd. The band did `Get Down And Get With It` as the encore and the theatre stamped along. But by the end they were exhausted, limp rags. Cheers for a second encore weren`t too convincing and the houselights soon went up. But Slade have never inspired their audience to second and third encores – the energy level is so high everyone is drained.
An average gig? Pretty much, says Jim, and assistant manager John Steel puts it this way: “I`ve never seen them do a bad gig. They`re pros.” Which must make it hard for them to do better than a good, professional show. The previous weekend`s gig in Birmingham had been what Nod called one of their best gigs ever, and that was a relief to them, because when they laid off to do the film they realised that towards the end of the gigs before then they`d been getting stale.
“We realised that at certain points we were working to format, which we`d never intended to do. Then just before Christmas we went on a six-week tour of Europe, and we hadn`t played live for five months or more, which is the longest lay-off we`ve ever had – even when Don had his car crash we weren`t off that long. Our first gig was in Iceland, and it wasn`t perfect by any means, but we got a complete new vitality. Something completely new was there. It was the best European tour we`ve ever done.”

Driving back from the gig to the Holiday Inn, personal roadie Graham Swinnerton glides the Rolls right past the front door.
“Swin, you`ve gone past it.”
“I have,” says Swin, “an arrangement with the security people.”
“But there wasn`t anyone around at the front door.”
We get round the back, and a bunch of fans converges. Perhaps they too had an arrangement with the security people.
Next day, the tour hits Southampton, and the group leaves at midday to get there in time to record a spot for Southern Television in the afternoon. It`s for a kids` programme compered by Mike `Ugly Duckling` Reid (who is not there). Nod, at the suggestion of producer Colin Nutley, interviews the band. “Today in the studio we have as our special guests the Slades pop combo, weddings and parties catered for, funerals a speciality… “… now Mr. Hill, I see you have a smart suit there, the only trouble is I see you ain`t got no taste…”
This British tour was arranged more or less at the last minute. They hadn`t intended to do any dates before going to America, but then they realised that it would be ages before they could do another one. They have to stay out of Britain for a while to avoid paying heavy taxes, and anyway they feel it`s time to crack America. Nod feels they haven`t concentrated enough there, which is why they haven`t had the record sales success they feel sure could be theirs if they made a determined effort.
Their lack of attack on America has been deliberate strategy for the past year because they`re trying to let the promotion Polydor gave them fade from people`s memories. “They tried to build us up like we were the biggest thing since the Beatles…” Nod says. “That`s what killed Bolan over there.” They`re now with Warners, and the strategy is to build on the live reputation they`ve already established and plug away in the States until the momentum rolls a record into the chart and keeps it there. They`re confident.

Opening the show to a Slade audience must be a nerve-wracking job, but Bunny had been pleasantly surprised on the first few dates. They`d gone down quite well, and fears that they`d get boos and catcalls had been groundless. At Southampton Gaumont their luck changed.
It had been going OK – Kenny Parry, guitar, Dave Dover, bass and Terry McCuster, drums had been playing hard and tight, and Linda Millington was out front, singing strong and rabble rousing with feeling. She`d done a good (and courageous) version of `Piece Of My Heart`, and the band struck up the intro to `With A Little Help From My Friends`, a la Grease Band. It went on just that bit too long, and the natives got restless. When Linda sung the line: “Would you stand up and walk out on me?” there was a clearly audible:
It`s a fairly good natured crowd, and the barracking is as much in the manner of a jest as it is anything else. It is nonetheless upsetting for Bunny. Their time, no doubt, will come.
Slade`s set at Southampton is pretty much the same as it was in Bristol, except for the addition of `Standing On The Corner`, the switching around of `Get Down` and `Crazee`, and bringing forward the football singalong to the spot after `Everyday`. As John Steel muttered during `You`ll Never Walk Alone`: “fucking good job Noddy didn`t decide to go into politics.”
Promoter Mel Bush came up to me while I was watching the set from the back of the theatre. “Have you ever looked out from the back of the stage while Noddy`s talking to the audience? It`s something I only ever see with this group, and that`s that every pair of eyes is turned towards Nod. Not 90 per cent, but every one. The communication Nod has with those kids is… unique. The kids identify with him – he`s not the most good looking guy in the world, he`s not the ugliest, it`s like there`s one of them up there and he`s talking their language. He`s not talking down to them, he`s talking to them.”
“Somehow when we come to Southampton,” says Nod (he`s already said that it`s gryte to be back in the town), someone always brings a bottle of Scotch to the dressing room, and we seem to drink it. So if you see a wet patch on my trousers you`ll know what it is, because I haven`t got time to go off…”
“But if the roadies bring me a bucket I might give you a quick flash later…”
Towards the end of the set, a pair of knickers lands at Jim Lea`s feet. He picks them up and holds them to show the kids they`ve got SLADE written across them.
“Smell `em,” said Nod.


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: Back Street Crawler, Mallard, Leo Sayer, Mud, Jet, Average White Band, Al Green, Ray Charles, Chinn and Chapman, Hawkwind, Slade, Genesis, Dr. Hook, Helen Reddy, Alex Harvey, Bachman Turner Overdrive, Bill Munroe, Kraftwerk, Kinks.
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.


A very good account of this concert by Mrs. Charone that should please fans of the Gabriel-era Genesis.
Read on!


Can you see the rael me?

By Barbara Charone

Michael Rutherford stretches, staring out the hotel room window, gazing out on the greater Bristol nightscape, all aglow in motorway yellows and ominous blacks. “It could be North Carolina,” he sighs glancing simultaneously at the sterile Holiday Inn room behind him and the urban darkness ahead. It could also be Birmingham or Paris with its unreal Eiffel Tower reflecting in the plate glass. It could even be Italy or Portugal. It could be anywhere.
Night-time stretches from here to eternity, finally returning back to Britain, just as Genesis have done, coming home after a strenuous six month tour of several continents and many countries, all of it a testimony to the durability and strength of their latest work, `The Lamb Lies Down On Broadway`.
Tonight`s location is Bristol, the venue Colston Hall. Everybody is there. Rael clutches his imaginary weapon, an aerosol spray can, rubs the dirt into his scruffy white T-shirt, rolls up the cuffs of his blue blue jeans, feels the leather of his jacket, and peers out at this evening`s intruders. There`s Lenny Bruce, Marshal McLuhan, Groucho Marx, Evel Knievel, friends, relatives, strangers and lots of everyday people, all of them shut off from the outside as they journey into the world of fantasy.
While the collective audience sit in awesome anticipation, the band arrive in their respected Range-Rovers, a mode of travel adopted for the British tour which pleases everyone. Six months on the road with a show which has long since felt new to them, and keyboard man Tony Banks still chats with drummer Phil Collins about smoothing out tempo changes in the exercise in aggression `Evil Jam`. Ten minutes before showtime, bassist Rutherford and guitarist Steve Hackett talk about improving `The Musical Box`. Six months on the road certainly hasn`t tempered musical integrity.

The dressing room could only belong to Genesis with its colourful assortment of nuts, raisins, Meusli, cheese, bread, immature avacados that only look ripe, apple juice, coke (cola) and various bottles of spirits. But don`t go thinking what cosmic health fanatics they are, hung up on be-yourself lyrics and pedantic preachings. While theoretically closer to groups like Yes, Floyd, Crimson and ELP in progressive technology, they still retain strong leanings towards rock with rhythms that could only be described as funky.
Five minutes before showtime Peter Gabriel enters the room, looking for a coffee, not that he needs added caffeine energy, dressed up as Rael with make-up outlining this street fighting kid`s fantasies. Throwing mock punches right and left, Gabriel primes himself for the macho urban posture Rael adopts in the first half of the show. Thirty seconds before showtime, two roadies furiously break up large blocks of ice, dry ice fumes floating onstage in time for Tony Banks to kick off the piano rumblings that sound like waterfalls to signal the start of the show. The crowd cheers victoriously. Having not seen Genesis for too long a time, they are ready.
“This is better than last time,” one fan proclaimed to his mate halfway through the third number of the evening, `Broadway Melody of 1974` as Groucho Marx and friends made their slide screen entrance. “Better than last time?” his mate asked in disbelief. “Yeah,” he sighed with an air of superiority as the Marx brothers left the screen replaced by James Dean, “this is the best”.
With six month`s maturity, the show runs like well oiled machinery allowed the freedom to fluctuate or halt at an appropriate bumps and grinds. Tonight`s lot are quietly fanatical, sitting in rapt attention, caught up in the fantasy. This low-key behaviour robs the production of some of the more eclectic magic that ran up the spine at last month`s Paris show. Getting off to a late start, the band begin to hit stride on `Evil Jam`. By the time they reach the tense climax, those currents are finally jumping up the back-bone, making you shiver.


With repeated listenings and live viewings, different songs and segments alternate as favourites. Yet the overall strength of the piece never weakens. Gabriel`s characterisation of Rael has grown from strength to strength as he becomes more and more Rael-like, picking up Rael`s every gesture and nuance, affecting the personality en total.
Rael`s mental and physical tortures that befall him in the second half are reminiscent of those epic myth-like endurance tests in `The Odyssey`. The `Slipperman` costume that you`ve seen all the gruesome photos of, heralds musical changes and dance steps that are a sophisticated rendition of the Willow Farm segment from `Supper`s Ready`.
The biggest change however in the visual performance is Peter`s in-between sides introductions. Gone are the references to Rael which made the listener assume that possibly much of Rael was Peter. Now he simply says `There I was strolling down 22nd Street`. Lightweight intros gently destroy illusions of grandeur, letting us know there are no pretensions.
The band`s musical mastery still wends its way towards perfection. Banks and Hackett now work together, forming an integral part of the musical tension with their cleverly weaved guitar / keyboard interplays, often preventing the listener from deciphering which is which. Rutherford adds punch to the rhythm on bass, and sophistication to lead lines on guitar. While Phil Collins, as always, continues proving that he still is the best drummer working in rock today as well as a fine harmony singer.
“Think about it,” the same fan was saying to the same friend when the final notes of `Lamb Lies Down On Broadway` were still ringing as the audience stood clapping for an encore, “They`re so much better than the Pink Floyd.”


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: Back Street Crawler, Mallard, Leo Sayer, Mud, Jet, Average White Band, Al Green, Ray Charles, Chinn and Chapman, Hawkwind, Slade, Genesis, Dr. Hook, Helen Reddy, Alex Harvey, Bachman Turner Overdrive, Bill Munroe, Kraftwerk, Kinks.
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 Hawkwind FROM SOUNDS, May 10, 1975

I keep noticing that a lot of the articles that I post these days are by either Geoff Barton or Pete Makowski. These two men have, throughout the years, been utterly important in promoting and making known to us all much of the music we are still listening to today. Their contribution to modern music history must not be underestimated and they deserve a place in the history books when the story of modern rock music goes down on paper.
Oh, well… here`s a good one with those guys from Hawkwind!
Read on!


Hawkwind: Not a single minded band

Feature by: Geoff Barton

Almost tasteful. A remark that can be taken two ways, to two different extremes: either complimentary, or derogatory.
`Wind are taking it as a compliment, and seem well pleased with their new album which has been called, as I`ve said, `almost tasteful`.
“The album`s called `Warriors At The Edge Of Time`,” remarks drummer Simon King. “Or is it `Warriors On The Edge Of Time`?”.
“I believe it`s just called `Warrior`,” counters co-percussionist Alan Powell.
“No, no, no,” says Simon, “I`m sure it isn`t. I did the layout for the sleeve, after all…”
Typical Hawkwind vagueness and uncertainty – but, given the events surrounding the recording of the album (the title eventually being resolved to `Warriors On The Edge Of Time`), quite forgiveable.
“Yeah, we did it in about a week,” says Simon. “That was totally insane – but at the same time I enjoyed it. We had just one track – Simon House`s – laid down before we went into the recording studios at Rockfield. There, we laid all the backing tracks down in about three and a half days. Then, after we had a couple of days off, we went down to Olympic and added bits here and there, dubbed over vocals and mixed it all. That took about three days, and it was finished.


“We had to do it in such a short space of time because we`re soon to tour America. Atlantic, our recording company over there, needed an album to coincide with our visit. It was just fortunate that we had the numbers written and that we managed to get it ready. Still, we got it together and now we`re just sitting here waiting to go over to the States.”
The new album, released in Britain within the next few weeks, as the introduction to this piece suggests, features a much more mature and varied band. While not totally devoid of archetypal Hawkwind numbers, at the same time there`s a fine 6/8 track written by Simon House (“Just to prove that we can do some things that aren`t 4/4”) and a mellow acoustic contribution from Dave Brock (a `The Watcher`). `Space Ritual` type narratives also make their return, with Nik Turner and Michael Moorcock handling the spoken parts, and both Alan and Simon contributing the atmospheric backing.
The album is broadly based around sci-fi author and on-off Hawkwind member Michael Moorcock`s character Erekose, the Eternal Champion.
“It links up with a lot of Moorcock`s books,” says Alan. “We`ll probably do some more work with him for the next album. Not a lot, just bits here and there. `Warriors` was originally going to be some sort of concept thing between us and Moorcock, but it never really came together except for a few of the tracks – the poems, and the lyrics for some of the songs.”
Are you looking forward to returning to America?
“I really can`t wait,” replies Simon. “The first time I went I didn`t like it at all, but now that I`ve got to know some people over there I`m really looking forward to it. It`s only going to be a short tour and we`re going to play familiar places, so it should be perfectly all right.”
Will you be playing numbers from the new album on the tour?
“Yeah – but actually it won`t be the first time we`ll have played them live,” Simon says. “We gave them their debut on two British gigs at Yeovil and Dunstable a short while ago – which we kept quiet about. We just wanted to try them out, you know.
“I expect you can remember the saga at the end of our last British tour – we had to blow out a number of the final dates, because everyone was physically and mentally wiped out, retarded. It was unavoidable.
“We`ve only partially recovered now,” he jokes, “but what with doing the album and having to have a break, we`ve only had the chance to do two of the cancelled gigs. We did virtually the whole of the new album on those dates together with a few of the old numbers. It worked really well – we were so enthusiastic about doing new numbers that the old ones sounded fresher as well.”



Hawkwind have so far been unable to equal `Silver Machine`s` singles chart success. You may remember the band voluntarily withdrew their follow-up single `Urban Guerilla` from the shops just as it was about to break into the charts because of political implications – bombs were being planted all around the country at the time. A noble gesture, but one that in the end proved harmful for the band: the newest single, `Kings Of Speed`, seems to have flopped rather badly.
“Never mind, I didn`t like the number anyway,” admits Simon. “Apparently, we had to do a single to fulfill our record contract, but really we don`t know how to make them. A band like Sweet, for example, can go into a studio and turn out great three minute singles. I`m not a Sweet fan, but give credit where credit`s due, most of their singles work well.
“We`re not singles-minded, we can`t do things in their way. If Sweet had done `Kings Of Speed` then maybe it would have been a hit – but when we laid the number down we felt like, well, we had to do it, so let`s get it out of the way as soon as possible.”
Last time I talked to Simon, he seemed quite enthusiastic about the single. Why the change of heart?


“Well at one point I was quite into doing the number, I was quite into getting a few things done. `Kings Of Speed` could have been okay, I suppose, but really it was a case of `too many cooks`. People kept on saying to us that it had to have this, had to have that. In the end the band didn`t want to know. It got released, and it just got overlooked. I wasn`t bothered at all, you know?”
I thought the single did fairly well – it may even still be a breaker.
“Maybe, I don`t know. I wasn`t even aware it had been released for some time. A lot of people say to you that the band could really do with another hit single, and all the rest of it. Well okay, maybe we do. I don`t think we do, but I might be wrong. I probably am.
“After all, Chelsea got relegated and I thought they were going to win the league.”


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: Back Street Crawler, Mallard, Leo Sayer, Mud, Jet, Average White Band, Al Green, Ray Charles, Chinn and Chapman, Hawkwind, Slade, Genesis, Dr. Hook, Helen Reddy, Alex Harvey, Bachman Turner Overdrive, Bill Munroe, Kraftwerk, Kinks.
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 Chinn and Chapman FROM SOUNDS, May 10, 1975

Today, if everything goes to plan, I will probably be in Copenhagen checking out some music there, before heading into Sweden and eventually Stockholm towards the weekend to do the same there. I will indulge myself on my summer vacation and hopefully the readers of this blog will do the same.
Now… indulge yourselves in this fine article about that great songwriting duo of the 70s.
Read on!


A chat with Chinn about Chapman

By Pete Makowski

Nicholas Chinn and Michael Chapman are a writing force who have collectively contributed an indelible mark on the British charts.
Whether you consider them to be a valid entity or not, Chinn and Chapman`s success is as prominent as a boil on the arse – and to some people equally painful. They may not be a Lennon and McCartney or Lieber and Stoller but you can`t deny that things just haven`t been the same since Sweet released `Funny Funny`.
That fat and meaty treatment of bass and drums has become inherent in a lot of current chart stars` platters.
Chinn: “Sometimes I think it`s better to start a trend rather than follow one.”
Their versatility has been demonstrated with the gentle, almost humorous `Lonely This Christmas` to hard edged attacking style of the Sweet`s `Blockbuster`.
Nicky Chinn, like his Mayfair apartment, is a self contained man who seems to have settled into his playboy settings very comfortably. His domain is impeccably clean and tidy. His book collection ranges from prose and poetry to Harold Robbins. A soft spoken, composed but concise person, Chinn has the voice of an archetypal BBC DJ and the appearance of a Knightsbridge barber.
Recently the Chinnichap stable has suffered a few drastic changes; the loss of their two most powerful products Sweet and Mud. Up to now those bands seem unaffected by the loss of their hitwriters. The backstabbing accusations about C&C`s over dominative stranglehold on their acts must be counteracted by the fact that if C&C weren`t there in the first place the acts might not have got as far as they did.
I asked Chinn what he thought about the backstabbing comments that have been made about him and his writing partner.

“What do I think about it? I think it`s… bullshit, ingratitude, stupidity and biting the hand that has fed you and I would not condone it in any way, shape or form. I don`t think we have ever made biting comments about the band`s who have left us. We wouldn`t because the reason we were involved with them in the first place is because we thought they were good and talented.
“If they leave us and they feel fit to make stabbing comments then all I can say, without mentioning any names, is that they`re a bunch of mugs. That isn`t to say they`re untalented, but even the biggest talent in the world needs to be found by somebody.
“We needed to be found by Mickie Most… maybe we`d still be playing Scunthorpe if it wasn`t for Mickie. Surely the band`s we were associated with must realise we had something to do with them, they can`t say we`re a bunch of louts.”
Even before songwriting, Chinn was earning a healthy wage in his family`s car firm. It was in `69 that Chinn met Chapman, a musician, working in a restaurant as a waiter. They seemed to gell as songwriters from the start. They decided to unleash their talents to all via the help of Mickie Most.
“I met Mickie by `phoning him at home one evening and saying `me and my partner are songwriters and we`ve got something to offer`, recalled Chinn, “that was a terrible liberty I`m sure, and Mickie being the absolute professional he is came back with the classic answer `how would 11.30 in the morning suit you?`”
The rest, as Chinn points out, is history.
An assessment of Most?
“One word-genius.”
Being a sharp observer of the music scene I asked Chinn what he thought of the current state of the singles charts.
“Crummy… lacks direction. The public don`t know what they want next, if they like it they buy it. The Americans know what they`re doing, they always have good follow up singles.


“In America, for better or worse, they have a racial split. The black people buy things like Barry White, while the white people buy things like Grand Funk. It`s not the same here, thank God. You can get a person buying a Barry White single one day and a Mud single the next.”
America is the next market C&C hope to take over. Chinn: “We`ve conquered just about everywhere else”.
They are currently tailoring two more sophisticated bands – Smokey and Gonzales, Suzi Quatro is getting a change of direction for Stateside success so I asked him the process of transition – and why.
“The process and reason for change are simple. It becomes a matter of judgement. You have a series of smash hit records and million sellers around the world and you realise that none of them have done anything in America. From there it becomes a process of elimination and judgement and what you would think would be better for the artist… we haven`t been proved right yet but we haven`t been proved wrong… it`s happening at the moment.”
So you feel you have a good chance of cracking the States?
“Completely. We`ll do it through good music, being professional and having our heads screwed on. Knowing where we want to go and getting there. I think we can compete with the Americans all day long if we want to `cause we`re as good.”
Finally I pondered on the team`s almost enigmatic Midas touch for hits. I mean, Chinn admitted he knew exactly how big Mud`s Christmas single would be, right down to the chart position, now that`s what I call confidence!
“It`s a great feeling. But you never really know it`s going in the charts. I could make a record tomorrow and I could say it`s a great record and the people in the business can agree but the final analysis, the final proof is when the public get hold of it and put it in the charts.”


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: Back Street Crawler, Mallard, Leo Sayer, Mud, Jet, Average White Band, Al Green, Ray Charles, Chinn and Chapman, Hawkwind, Slade, Genesis, Dr. Hook, Helen Reddy, Alex Harvey, Bachman Turner Overdrive, Bill Munroe, Kraftwerk, Kinks.
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.