Fleetwood Mac

ARTICLE ABOUT Fleetwood Mac FROM New Musical Express, September 12, 1970

Thought you would like to read a proper record review of this LP. Here it is – courtesy of Mr. Nick Logan.
Read on!

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Fleetwood`s latest LP full of surprises

By Nick Logan

FLEETWOOD MAC: KILN HOUSE (Reprise stereo RSLP 9004 40s. 8d.)

WITH Peter Green out and Jeremy Spencer in for this album (he wasn’t on the last one), categorising Fleetwood Mac is now utterly beyond the realms of possibility. Not for a long time a 12-bar blues band — though there remains blues in what they do – this set, the first without Green, is a strange, unpredictable mixture falling somewhere between the romanticism of “Then Play On” and the bizarre parodies of “The World Of Jeremy Spencer.”
It is Spencer who provides the dominant influence over Kiln House; having gauged from his solo album which of his parodies work on record and which become tiresome after frequent plays.
The set opens with a Spencer stunner, THIS IS THE ROCK. Beautifully engineered by Martin Birch, after a kind of Sun soul it features some amazing rock guitar by Jeremy and a subdued Jordanaires-type chorus. This and the spartan echo vocal give it a gorgeous fifties rock atmosphere that is cuttable with the proverbial knife.
STATION MAN, credited to Kirwan-Spencer-Mcvie, is possibly the album’s premier track and the one Reprise are trying to persuade the group to release as a single. A longish piece carried along on throbbing bongo rhythms, tonal harmonies are interspersed with long instrumental passages highlighted by a clean and tasteful Kirwan guitar. Vaguely Creamish in feel, it is without doubt one of the group’s foremost achievements to date.
BLOOD ON THE FLOOR is Jeremy again; this time into a parody of a sob-throated country blues containing hilarious lyrics like “I shot my darling,” “I got a date with the hangman and I got to go” and “Goodbye world I guess we must part.” Jerry plays piano and it works as a piece of music as well as a slice of humour.
HI HO SILVER is a Fats Waller number retitled by the group, a be-bopping blues rocker sung in the inimitable Spencer style. Again features piano, an echo vocal, sha-la choruses and harmonica. A good one.
Mick Fleetwood and John McVie (both writing for the first time) wrote the final side one track, JEWEL EYED JUDY, with Kirwan. This is the “Then Play On” Mac; Danny alternating dreamy and gutty guitar against a gentle insinuating rhythm which picks up tempo in the choruses. A pretty, melodic song but marred by the low key vocals, almost buried under the backing.

No prizes for guessing the subject of BUDDY’S SONG. Written by Ella Holly, sung by Jeremy, it’s a tribute song containing references to various Holly hits. The band have the Holly rhythms off to a tee by now but it’s a style Jerry may have worked once too often.
EARL GREY is a longish Kirwan guitar instrumental slightly Western-ish in tone although that may just be title association. It’s a perplexing track in that it never seems to arrive at its destination; all build up and no climax — but that is possibly the intention.
ONE TOGETHER is another Spencer parody, a Rick Nelson summer lover’s type song which doesn’t really come off. Again it’s not helped by a frustratedly half-heard vocal.
TELL ME ALL THE THINGS YOU DO is Danny’s best solo contribution and an album standout. Mostly instrumental, there is just a shade of the P. Green’s in some of Kirwan’s play but for the most part it is pleasing to report that his style is not only distinctive but unmistakeably his own.
The album ends deep in the bizarre Spencer mind. He opened with a rocker and closes it with a sentimental ballad. The song is MISSION BELL, written by William Michael and Jesse Hodges, and the reaction when I played it in the office was that it was Marianne and David Dalmour!
Romantically crooned by Jeremy, complete with bells, it borders on yukk but never crosses over and works somewhat after the fashion of the controversial tracks on the Dylan album because the singer’s affection for the song carries it. I must admit, sentimentalist that I am, that I very much enjoyed it.
Apart from two or three not so hot tracks, Kiln House is a fine album with a character of its own and promises well for the band’s Green-less future.

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ARTICLE ABOUT Fleetwood Mac FROM New Musical Express, August 22, 1970

The announcement of what was to be a very important change, not only by personnel, but also musically for Mac.
Read on!

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Christine is perfect replacement for Peter, decide Mac

By Nick Logan

WITH the parties concerned not around to explain otherwise, the most logical assumption to be drawn from the news that Christine McVie — she wants to drop the Perfect – had joined Fleetwood Mac was that the band as a four-piece had not lived up to expectations.
After all when Peter Green left, it had seemed so obvious to replace him with Christine, who had made no secret of her growing unhappiness as a soloist, yet the group gave the impression that not only was such a move out of the question it was unnecessary anyway.
Having three lead guitarist/singer/writers had been a restriction, it was pointed out, and they didn’t need anyone else.
What exactly had changed their minds I found out from Fleetwood Mac drummer Mick Fleetwood in a Transatlantic call to the group’s Los Angeles hotel last week.

Relaxing

“We needed Christine to fill the sound out,” revealed Mick, who had been not long out of bed. “To make it more relaxing for everyone, particularly Jeremy and Danny.
With just the four of us there was no time for either of them to relax or lessen their contribution because the bottom, the substance, would fall out of the overall sound.”
Christine, living with her husband John at the group’s communal country home, had started sitting in on sessions with them there said Mick and it was that that brought it home to them the need for more back up support.
“The difference between playing as a five piece with Christine and then rehearsing with just the four of us became really noticeable,” continued Mick.
“It just sort of crept up on us what should happen. It was thought of vaguely for some time and then about a week before we left for the States we decided to bring her in.
“It’s worked out fine on the road. It’s all more relaxing and now it seems a very obvious choice to have Christine as a member.”
The band was into its fourth week in America when we spoke and had arrived the day before in Los Angeles for a five-day stint at the Whiskey A-Go-Go. I was lucky to have caught them said Mick because they’d been booked into a new Holiday Inn hotel — grotesque at the best of times but this one smelling of paint — and were planning to get out somewhere else at the earliest opportunity.
The tour is the first work the group has done since Peter Green left and Mick reports no adverse reactions so far to either their former leader’s absence or the new line up. “There have been shouts out for old numbers, some of them Peter’s,” said Mick, “But then our new album isn’t out here yet.
“Also we are playing in a lot of places we haven’t been to before, as is usually the pattern, and in others I think some people may not even realise that Peter has gone.”
The incoming Mrs McVie has returned the band to having three “front stars” and in that respect she is directly filling Green’s place.

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As Mick Fleetwood explains, her piano playing and singing help to fill out the sound but she also has her own featured spots in a set, just as guitarists Danny Kirwan and Jeremy Spencer do.
Having dropped all of Peter Green’s numbers as well as Kirwan’s old material, their repertoire now consists of tracks from the soon to be released “Kiln House” album along with Christine’s numbers and the old Spencer evergreens that Fleetwood Mac wouldn’t be the same without.
“To start with it was strange being back on the road,” announced Mick. “As you know, we haven’t worked for a long, long time but for me personally, and I think Danny and John too, it was just as if we were carrying on from the last tour without a break… as if those five months in between had all been lost.”
Having played only a limited number of gigs so far, the band isn`t yet sufficiently immersed in the American music scene but has noticed certain changes since their last visit and has had some first hand evidence of the reported unease in the country.
Wisely taking a two day break to rest and rehearse after they arrived, their first gig was due to be an open air festival near Boston.
Also on the bill were Sly and the Family Stone who two days earlier had been, it is claimed, the cause of a Chicago festival turning into a riot.
In the current tense atmosphere, the Boston authorities got cold feet and called the festival off… but not after 40,000 kids had already arrived.
Next on the date sheet, the band weren’t too happy to learn, was a show in the heart of the Redknecks and Easy Rider country, New Orleans. The “sweaty palms” and apprehension turned out to be unwarranted in this case, reported Mick, because it transpired to be a nice gig.
San Francisco, normally a happy hunting ground for Fleetwood Mac, didn’t live up to expectations either. “We met Procol Harum and Blodwyn Pig who had been out there before us,” said Mick, “and they told us it had changed.
“San Francisco has always been very good for us in the past but we found that the audiences had had so much of everything and that there were a lot of young kids messed up on drugs.

Strange

“By the end of an evening a lot of them would be drowsy and falling asleep. If no one else had noticed I might have thought it was just us but the other groups said the same.”
The band doesn’t return to Britain until October 11 and apart from “Kiln House,” recorded before they left and due out soon, there aren’t likely to be any more records from them until then.
Clifford Davis, their manager, said last week he would like to issue as a single a track from the album called “Jewel Eyed Julie” — written by Kirwan-McVie-Fleetwood and the first time the bassist and drummer have had a shot at writing — but would need the group’s confirmation first.
I mentioned it to Mick and he said they were “pretty sure” they wouldn’t release any album tracks as singles. “We haven’t really thought much about a single. We might do one when we get back. We’ll have a lot of new material obviously and we’ll be more together by then.”

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ARTICLE ABOUT Fleetwood Mac FROM New Musical Express, June 20, 1970

The manager mentioned in the article, Clifford Davis, was the manager for the band from 1967 to 1974. He ended his tenure as a manager for the band in 1974 when he started promoting a different band under the name of Fleetwood Mac, after the original band had been forced to cancel or disrupt a number of tours. Fleetwood Mac had fallen apart after an aborted tour in late 1973, leaving Davis with touring commitments to fulfil in the US, and he recruited more musicians, including ex-members of Curved Air, to tour the US as a replacement Fleetwood Mac in early 1974. This resulted in a court case between him and the the members of the real Fleetwood Mac that lasted four years. The dispute was eventually settled out of court in “a reasonable settlement not unfair to either party.” Those most pleased with this case must have been the lawyers. No one lost the case and they had a lot of hours they could charge their clients!
Read on!

Fleetwood Mac talk frankly and exclusively to Nick Logan about…

What made Peter snap. Why group must rest. The next vital album. Bond that holds them.

It is a source of regret when any group still with potential to release finds itself splitting from within; even more regretful when for most of its life-span that group has been as close in intellect and spirit as was Fleetwood Mac.
Just what happened to prise apart such a solidly-bonded union, leaving Peter Green growing apart from the band he founded, can’t be put down to any specific cause. But there must be some causes and some stand up more than others.
“I think if we could have done a month ago what we are doing now, Peter might never have left. I really do,” maintains Mick Fleetwood from the garden of the communal home the group has rented in Hampshire.
What Mick refers to is the relaxation Fleetwood Mac is attempting to achieve in what is a two months break from the road. And the springs they are trying to unwind are, they believe, the same springs that took their erstwhile leader off on a course of his own.
That assertion has to be looked at in the light of what Fleetwood Mac had been through in the 3/3 1/2 months before Peter broke the news to them, in Munich, that he was going. The group had gone almost straight off on that month long tour of Europe after three arduous months trekking across America and, if the split hadn’t come then, they would now be on the road here for a British tour.

Snapped

“If we could have come down here and had this rest a month ago I think Peter wouldn’t have felt the need to go,” Mick reasserts. “But three months in America, then a month on the Continent… living in hotels out of suitcases… it is just too much. It was affecting all of us but Peter was just the first one to snap.”
Not the kind of people to indulge in recriminations, they can see Peter’s side. “A creative person like him needs time to create,” concedes Jeremy Spencer, “and he didn’t have it. I can see that.”
Whatever the cause it has happened and, while Peter Green works on his solo album in London, Fleetwood Mac aim now to find as much rest as is possible when just around the next bush lurk the demands of an all important album and the pressures of keeping the group’s fortunes going.
If atmosphere is of any import, then their home in Hampshire, 2/3 miles from the nearest village and at the end of a dirt track, gives them a good start.
A converted oast house owned by a friend of Mick Fleetwood, it is an incredible “Aladdin’s cave” of a place haphazardly furnished with the group`s possessions and equipment.
The central core of this very old building, interior walls of crumbling white stone, is kitted out as a makeshift recording studio and as an example of the bizarreness of the place the equipment is flanked on one side by a massive antique bedroom suite and on the other by a brass bed.
It’s an amazing place to visit – maybe browse through would be a better term – but probably not one you’d like to live in.
For domestic reasons, the band had wanted out of their flats in London and although the oast house is only a temporary home for the two months — until they go to America — they are after a permanent communal home in this part of the country where members, wives and children can live and work together.
You know instinctively that they are the kind of people who could make that idea work. Mick and Jeremy, however, laugh to themselves at the thought that they’ve “gone to the country to get it all together” and, do an amusing parody of that kind of mentality which goes something like… Mick: “Oh course we realise we have a strong enough name to get the really big money for another couple of years yet” and so forth.

Their manager Clifford Davis drove me out there on one of last week’s hottest days and we arrived to find the Fleetwood girls… Christine Perfect, Fiona Spencer and Jenny Boyd… out in the sun with Jeremy’s two young children and John’s father. Mick was on the phone, making arrangements for his wedding to Jenny, and looking impressively tanned against Jeremy’s whiteness.
“We are just so lucky to have found this place… it is so perfect.” said Mick when we sat in the garden to talk. Obviously it was possible for the band to go on working when Peter left but we would just have been doing the same numbers and we needed a break.”
They also need to produce a new album “Very, very important” to them — and the responsibility here falls heavily on Jeremy and Danny as the songwriters. Both are taking it well.
They had hoped to actually record at the house, not only because of its proximity but the special atmosphere they could have got on record, but costs of hiring and buying equipment in the short time they have seem to have ruled that out and daily treks into town look to be on.
Had they thought of breaking up when Peter quit? “Lots of things flashed through our minds,” answered Mick. “As far as I was concerned I had always been very happy with the people and the band and the best possible thing for me was to stay. If someone leaves it is a pity, but there it is…
“Breaking up isn’t in the wind now whether there is an up or a down as far as success with records. We are keeping going with the band a it is.
“Of course that crosses your mind. Like any upset not planned for you feel a bit strange. Specially through the fact that we were a complete band in every sense and now here we are…” he shrugged. “I don’t think Peter should have done it.”

“But obviously,” broke in Jeremy, “he has done what he feels best.” Mick: “Right… and when you know that you want to help him as a person. Well, not help, but take an interest in seeing that he is all right, hoping that he is doing the same for you.”
Danny arrived from town tired, and went off to sleep. John, who goes through vehicles like the proverbial hot dinners, returned from selling his car in the village and immediately set off to buy a motorbike he’d seen. Clifford Davis went with him.
Apprehensions are obviously there as regards their future but Jeremy comments: “As far as a drop in popularity or status is concerned it depends what you mean by status. If it means hit records I don’t think any of us are really worried. We’ve never worried that much about that side.”
Reactions from foreign bookers offered the four piece Fleetwood have so far been highly encouraging — only one or two refusals from America, with Peter’s leaving having no effect whatsoever on the Continent.
The band bases its belief in its ability to hold followers in the fact that they were widely regarded as a group with three equal front men and, to people who know that, the loss of one isn’t going to make so much difference.
Says Mick: “In that respect we are quite fortunate really because to some bands something like this could be disastrous.”
If there are shouts for Peter Green, it won’t worry Mick who is quite definite in saying: “These are things you always get. John Mayall has had it all along. If you are going to get upset and be destroyed by people shouting out then you might as well give up.”
John had arrived back on his motorbike, an aggressive looking ex-scrambler he’d bought for £45, and came up the drive in best “East Rider” style, hair swept back by the wind. Danny had woken up and before we left Clifford talked business with the band, making arrangement for recording and the American tour.
Rather than lose their bond, Fleetwood Mac seem to have risen to the threat to their resolve and togetherness and — aided by their new communal existence — may well emerge from it all closer than ever.

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ARTICLE ABOUT Peter Green (Fleetwood Mac) FROM New Musical Express, April 11, 1970

Green finally quits Fleetwood Mac and gives his explanation for it here. One chapter closes for the band and another one is beginning.
Read on!

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Why Peter Green quit Fleetwood Mac

Clash between music beliefs and business

By Nick Logan

PETER GREEN had just got up; coming down to meet me in the music room of his Surrey home, stretching, smiling abundantly and singing the “sympathy and understanding” verse from “Aquarius” before sitting down amongst the mounting bric-a-brac, records, letters, books, amplifiers and bird cages to tell me why he is leaving Fleetwood Mac.
“There are many reasons; the main thing being that I feel it is time for a change. I want to change my whole life really because I don’t want to be at all a part of the conditioned world and as much as possible I am getting out of it.
“I am always concerned with what is right with God and what God would have me do… that is the most important thing to me… that dominates every thought in my head.
“I don’t feel I want to be a part of Fleetwood mac anymore… no longer frustrated, free to do what I like.”
His mother brought tea and Peter continued: “As you know there is a whole big movement going on like a revolution. I want to be a part of that, so that whatever I do — whether I form another group or not — I need to be with people who feel exactly the same as I do; that is they don’t worry about security in terms of money. We will be doing a lot of free concerts as long as they are not being promoted for private gain.
“I want to get 100 per cent into music. I want to do lots of jamming with different groups and musicians. I want to do all I can to bring people to God and peace… full-time, not just now and again.
“I want to be completely free to do what I like.”
He had, he said, been thinking of leaving for some time and had broken the news to the rest of the band in Munich a few weeks ago.
“I was cut down,” he went on, “by being a third of the group’s front line. That was quite fun when it started but after a while I felt I couldn’t get into anything because after a couple of numbers I would have to step back to let the others have their chance.
“They were disturbed when I told them and shook up a bit.

“The thing about Fleetwood Mac was that people may think I was the main person in the group because the singles were my songs but on stage all of us have always been only parts of the group. In Germany for instance Jeremy has always been the one they’ve centred on.”
The rest of the band will definitely carry on as Fleetwood Mac put in manager Clifford Davis, who had joined us, although it hadn’t been decided whether to take on a replacement. They would take a rest after Peter’s last date with them on May 25 to decide which way to go and he thought it likely there would be a new guitarist.
I asked Peter why he can’t do what he wants within the framework of Fleetwood Mac?
“I could try but I know it wouldn’t work out… I want to do my own things and do them at length. I want to do them with people who think like me, who want to be into it full time.
“I know they would be willing to play them but the kind of music I want demands that it is a personal thing felt within everyone’s heart and not just a piece of music to be played. It has to be 100 per cent.
“You see I am not happy with the way my life is being run. There is no rest; no time to do anything, to develop my character.
“It is like I am a nine to five worker but it is worse because at least they get evenings off. Always pounding away on stage, I don’t have any time to be me. It’s not enough just to be successful…
“It has become a business and I don’t want to be a part of a business. I never did a deliberate hit record…I can say that… I never got into it to that extent.
“I want out of the cut and dried business angle… the feeling that it’s good if we and the promoter make a good screw and go down well at the same time… I don’t want to be a part of that.
“I want it to be a good free thing for people… just to play music and give it to people.
“In other words I am a religious nutcase,” he laughed.

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I put it back to him that although he might be laughing isn’t that what a great many people would think… that he is a crank?
“It will be funny if they do,” he replied. “But only the business people will because they think anyone who doesn’t want to be rich is a nutcase. I am no more religious than the average Christian.”
Apart from jamming and playing, Peter’s plans include firstly recording a solo album that’s likely to end up a double set. He thinks it would be nice, if the record company agree, for him to waive his royalties so it can be sold as cheaply as possible.
“I don’t want any money,” he says, echoing his felings from the last interview we did when he announced his intention of giving his excess earnings to charities. “Just enough to buy tapes, equipment, keep the house and have food to eat.”
He says he wants to make his music for “the peaceful young… those for whom listening to music is like a religion… but to others as well who want to listen.”
He feels his leaving will bring more out of Jeremy and says: “I have become the speaker for the band but Jerry used to do that. As I found my feet and confidence Jerry has sunk back.
“In my opinion he is a genius but because there are three of us at the front he cannot get fully into it. He is the funniest person I have ever met — he’s incredible — and he also has so much to offer musically.”
And finally: “You see it’s been a great thing for me to be brought up in the East End with all the violence there and to manage to live through that kind of upbringing and find God and people who think the same way.
“I want to give that feeling to as many people as I can….”

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ARTICLE ABOUT Peter Green (Fleetwood Mac) FROM New Musical Express, February 28, 1970

Here are some facts that may help you to better read this interesting article with Peter Green. £700 is worth almost £11,000 in 2020. And the £18,000 from his record company? The neat sum of £280,000 these days. Oh, how I wish there were advances like that involved in my writing of this blog. Even £18,000 would be fine! Oh, well – as they say in Fleetwood Mac…! 😉
Read on!

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Why Peter Green wants to give his money away

By Nick Logan

“You don’t think it’s too expensive do you?” asked Peter Green earnestly as he reversed his £700 white Jaguar out of a car park in Richmond Park. “If you look around, most of the other cars here… that one and even that one… would cost more than £700, and Mick and John’s cost a lot more than that.”
Looking, every day more like a character out of the massive bound Bible that sits on a shelf in the middle of his extensive stereo collection, the heavily hairy Fleetwood Mac leader is home after the group’s three month stretch in America wanting to give his money away. Not all of it, but all that he feels is in excess of his share.
His passing obsession with the price of his car — he would have liked an AC Cobra but that would have cost at least twice as much — comes from attitudes that have grown to fruition during his spell in the States.
Peter wants to help — financially the starving and those that fail to get a good education and opportunities, and had been explaining, earlier: “My parents and I have got our house. I’ve got my car, which isn’t really expensive, and I’m happy with that. I’ve also got my stereo and most of the records I want.
“All in all it’s a very good helping, if you can look at it in terms of each person’s share, so I am satisfied with what I’ve got.
“And there are so many people who haven’t got anything at all I feel the least I can do is give away my excess.
“Not that I have millions and millions but there are going to be some big chunks coming in compared to what the average man earns. I haven’t had any of my songwriting money yet and there’s all that to give.
“Then there’s my share of the advance from Reprise Records, £18,000. That’s money to give. I’ve had these ideas for a long time; now I’m going to act on them.
“There must be no starvation. Just because somebody is born on the other side of the world that is no reason why they should be starving for it.
“I am not going into poverty with them, although I did think of doing that. It would perhaps have made me feel better. This way the more money I earn the more I can give away. Doing that is easy; maybe one day I will put myself to work as well but at the moment I think by going round and playing to and meeting people I can do much in that way.
“What other people do with their money is really none of my business but I know what it is like to earn £5 a week and have a good laugh and to earn £500. I can be just as happy… like when I was a butcher earning a fiver a week.

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“I do feel guilty about squandering money on myself but I am now going to be careful. I have felt that a lot… even when I eat sometimes. The very least I can do is give away that money I don’t need, and anyone who thinks money is going to make them happy is so wrong.
I would love to go yachting; I love cars. I would like to buy an AC Cobra but the thing is that before I do that I would like to know that everyone is getting their bowlful of rice every day.”
Peter also hopes to do charity shows with the group – “That would be better because then I won’t have to touch the money” and the first is a Fleetwood Mac performance at the London Lyceum on April 12, in aid of Jewish old people.
There will of course be sceptics who question the reasons behind his benevolence, but they get a typical Green retort: “It’s my business what I do. Anyone who’s sceptical can go and get….!”
We’d driven out from Peter’s New Malden home with Jane, the group’s fan club secretary, and were sitting next to the window in some terribly, terribly English tea rooms watching the squirrels hop around the park.
It was a far cry from the Holiday Inn, turnpike, airport and hamburger trail that had been the group’s lot for the past three months.
“What’s John Lennon been doing while we’ve been away?” asked Peter and, after he’d been regaled with up-to-date Lennonisms, professed a deep admiration for the Beatle’s work for peace.
” I really enjoyed the tour,” he said later. “Our American agent who books lots of British bands, like Jethro Tull, Ten Years After etcetera, said that in terms of a group leaping up in status it was one of the most successful he’d been associated with. We felt we’d made an important foothold.
“Of course there were lots of ups and downs and times when we got under each other’s feet but the feeling on the plane coming home was so good that if we’d been asked to turn round and go back again I think we all would.”
Like most of our group visitors, he finds the American situation depressing but sees the good side even in areas like the Deep South if there is at least one “nice” person to meet. “In some places it is just a talkative taxi driver, like the fellow in Maryland who knew England. But we did make a lot of new friends there.”
Was there anything in rumours of Danny Kirwan planning to leave the group? — “I would say no, but obviously you would have to ask Danny that because I’ve walked off stage before thinking I’ve had enough. And obviously there are going to be times like that with all groups on tour.
“I’d say that like the last time we came back from America the band is closer than it has ever been and Danny and I are now working and playing together, which we haven’t done before.”
Peter went on to disclose that he and Danny are planning an album together based round their two lead guitars and that he is to record a solo album for release at Christmas. “One of the songs on it I wrote in Chicago when it was snowing… it’s a sort of poem set to music… and I’d like it to be heard in that sort of atmosphere.”
The group also brought back tapes of three shows they did at the Boston Tea Party and those will be edited for a live album “when we get the time. We’ve got about 20 new numbers as well and we should really be recording now. But we’ve got so much touring to do.”
Contrary to reports, “The Green Manerlishi” has not been chosen as their next single. It is, says Peter, just one of a batch of tracks they’ll record and then pick from.

Skinheads

We got back to our earlier subject and through that on to the need for opportunity, Peter’s peace of mind and skinheads. “I come from that kind of background (from Bethnal Green) and I know the skinhead feeling of trying to prove yourself because you have nothing else. You just want to be someone. Now I feel myself to be more or less someone I can look at it from both sides.
“I had the feelings I have now when I was a kid in the East End but I couldn’t walk up to people there and be friendly because they would beat your brains out.
“I think of life as a long pipe that you are looking into. When you’re born the pipe is open and the inside smooth. Things like a bad family foundation, poverty and lack of opportunity start to corrode the inside until it begins to close up.
“I came from a working class home and had a good family background, but things around me started to rust the pipe up. That’s what happens for lots of people.
“For me it has now opened up to like it was when I was a little kid. I feel a great brotherliness towards people and I’m’ not ashamed to feel it.”

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