King Crimson

ARTICLE ABOUT King Crimson FROM New Musical Express, May 9, 1970

This article was in print just around a week before the release of their second album. To date the album “In The Wake of Poseidon” is their highest-charting in the UK, reaching number 4. This album review is how we like it with comments from both a member of the band and the journalist for each melody.
Read on!

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King Crimson`s basic still there

Album Review:
King Crimson: In The Wake Of Poseidon (Island stereo ILPS 9127; 37s 5d).

This isn`t a farewell album from King Crimson, although you will be forgiven for wondering how a band that`s been left with apparently only one original playing member can continue to function and proclaim that it is far from dead.
As this is primarily a review I’ll save the details for another time but briefly what’s happened to Crimso is that it’s alive and can, at will, stretch from two people — guitarist Bob Fripp and lyricist Pete Sinfield — to a dozen or more (writes NICK LOGAN).
All those credited with having a hand in Poseidon — Greg Lake and Mike Giles, the two ex-Crimsos; bassist Pete Giles, jazz pianist Keith Tippett, vocalist Gordon Haskell, flautist and saxist Mel Collins, plus Fripp , and Sinfield — form a pool from which Crimso can draw as it requires. There are others, too, like Keith Emerson and Jon Hiseman, who’ve shown interest and may be featured on future releases.
Anyway, with that aside, this is an album review and this is a superb album… polished like cut glass, beautifully produced, full of signposts to pop’s future and confirmation if any were needed of a considerable musical brain.
I listened to it in the company of Pete Sinfield and Bob Fripp, who together hold the leash of the new multi-headed Crimso, and their commentary follows my descriptions track-by-track.

PEACE — A BEGINNING is the short opener; Greg Lake’s distant voice virtually unaccompanied.
Bob: The voice is coming in from somewhere far away, leading into a place like New York, and that’s where the action begins.
The action indeed does begin with PICTURES OF A CITY, a brash musical commentary on New York which is not quite as brutal as Schizoid Man from the first album but has similar construction and irisidiousness. Mike Giles` drumming, rhythmic patterns breaking like stormy bursts of rain, are the first signs of his immaculate and inventive drumwork throughout the set.
Pete: This was influenced by when we first arrived in New York… you know, the drive from Kennedy Airport. We were horrified. The song is about the nastiness and paranoia of New York… a place with cold hands and a warm heart where it’s difficult to reach the heart.
Bob: 42nd and Treadmill, the middle fast part, was originally conceived as a song called Trees. The first part of it belonged to Ian McDonald (ex-Crimso) who’s using it on his album; I had the second bit which I rewrote slightly to fit.
CADENCE AND CASCADE is a tale of two groupies; a delicate, wispy song with a pretty melody that features Gordon Haskell’s vocal and the restrained and tasteful piano and flute work of Keith Tippett and Mel Collins.
Bob: Gordon Haskell has been a friend of mine since the age of 11 — we were in our first group together at school. We thought he had the right kind of phrasing for this song. I play celeste on this.
IN THE WAKE OF POSEIDON, the album’s In The Court Of The Crimson King, is an expansive, typically-Crimso piece with Greg Lake’s crystal-clear vocal riding evocatively over Fripp’s melotron and guitar and Mike Giles’ superb drumming
Pete: I re-wrote the words to this 25 times. The faces on the cover are mentioned in the song, a character every two lines. The idea, according to the artist who did the cover, is that out of the combinations of the four elements — Earth, Air, Fire, Water – come 12 archtypal characters… the faces on the cover. Bob also played piano here and the choir at the end is Greg five times.

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PEACE — A THEME, which due to error isn’t listed on the cover, opens side two and is a short acoustic workout of the Peace theme.
Pete: Bob originally wrote this for a string quartet but I liked it so much I wrote words to it before he could orchestrate it.
CATFOOD is the song that would have lightened up the singles chart had the British public done its duty. The LP version is only slightly different, apart from the extra 2 1/2 minutes added to the end.
A hard-edged Crimso rocker with a Lennon-like feel and tight production, it’s a brilliant track full of little goodies not least of which is Tippett’s amazing piano. It always sounds to me like somebody throwing piano keys in the air and recording them as they tinkle to earth at random.
Mars would have been the next track if the publishers hadn’t put a block on long-haired rock and rollers tampering with the maestro’s music. So Crimso rewrote their stage favourite, which was far removed from Holst’s anyway, and THE DEVIL’S TRIANGLE is the result.
A three-piece work, it was written for the forthcoming film of the same name, which in turn is named after a part of the ocean near Florida, famous for the strange disasters that occur there. They were asked to score the film after director Richard Werner saw the band playing with the Stones at Miami last year.
Using what sounds like an army of melotrons and much, much more beside, it has an errie quality of approaching menace and could well be a snip from the 2001 soundtrack.
The last of the three parts, GARDEN OF WORM, is a frantic whirlpool of fragmented sounds and rhythms that chase each other across a war-like landscape.
Bob: This one took a long, long time to record. You have three things going on. The basic rhythms of guitar and drums. On top of that piano and drums are fighting and above that there are various pieces making a commentary on what’s going on underneath. Keith is playing bits of nursery rhymes on harpsichord and there are snatches of reggae and Court Of Crimson King in there as well.
It just literally falls apart at the end and modulates through the flutes into PEACE — AN END with Greg disappearing up his own echo, just as he came in.

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ARTICLE ABOUT King Crimson FROM New Musical Express, January 24, 1970

The story of a very amicable split at the start of their career. Something like this could be the destruction for many bands still early in the career, but Crimson would rise to even greater heights under the leadership of Mr. Fripp.
Read on!

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Crimso splits …and goes back to square one

By Nick Logan

The seemingly lemming-like mania for self-destruction among our established groups has left us all a little blase. Who can still express surprise these days when the group`s we`ve grown up with (or in spite of) start voluntarily taking themselves apart?
On the other hand, when it happens to a band like King Crimson with all before them and not even six months into their recording life one does begin to wonder where it will all end.
Crimso, as it’s affectionately known, joined the group casualty list as the new year opened with the severance of its right arm and leg in the forms of Ian McDonald and Mike Giles.
The group’s remains, Bob Fripp, Greg Lake and Pete Sinfield, have meanwhile gone back — literally – to square one.

Replacements

With two so-far-unnamed replacements, the new King Crimson started rehearsing last week in the same room beneath a seedy West London cafe that the old King Crimson started from… exactly one year ago.
Ian McDonald and Bob Fripp, demonstrating the amicability of the parting better than a carefully-phrased handout could, met the NME last week to explain both sides of the split.
“The situation,” started Ian, “was that I was playing music I enjoyed, but I wanted to play music that was more personal to me. I was unable to do that with King Crimson.

Mixture

“The group has a very broad mixture of music but the average feel of the songs I was not happy with. It is not happy music. And I want to make music that says good things instead of evil things.
“The music will be more varied. I doubt if there will be much paranoia or aggression. There will be less frustration.”
“Talk To The Wind,” from the King Crimson album, is a signpost towards Ian’s musical leanings but he adds, “I wrote that about two years ago and it didn’t really come off on the LP.
“Mike had his own ideas but we are enough together to be able to work with each other.”
Their dissatisfaction with Crimso’s music, said Ian, came to a head during the group’s seven week U.S tour. They say that America either brings a group together or takes it apart, and in the case of King Crimson it appears to have done both.
“It was a fantastic coincidence really,” continued Ian. “Mike and I were both going through the same scenes without knowing it. America brought the group together and we had more time to talk. There was a lot of sitting around in planes and hotel rooms and a lot of time to think.
“It wasn’t an impulsive decision. This had been building up since the group began. None of us saw King Crimson as an end product.”
Bob nodded his agreement.
“It was the right thing at the time and I enjoyed doing it.”
Ian’s flute , sax, clarinet and mellotron, and Mike’s drums actually ceased to be a part of King Crimson when the group played its last U.S. date at the Fillmore West before returning home on December 16.
Both have been writing material and plan to go into a studio together “fairly soon.” They have no plans to form a set group – “Just us two and anyone else who might like to play” — and the same goes for live appearances, although none have been fixed.
“I suppose it is a gamble,” concluded Ian, “but I have sufficient faith in the music.”.
So what then of King Crimson? Despite Ian and Mike’s major contributions as both writers and musicians, the blow is not a mortal one.
Bob Fripp is more than anyone else the head of King Crimson, as far as the music is concerned, and he remains.

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Decision

Ian and Mike acknowledged this fact when they decided to split.
Says Bob “During the drive up the West Coast I asked them if they would rather I left and they said: ‘No, Crimso is more you than us.’
“It doesn’t mean that I don’t like soft things but I tend to fall more for extremes in music and in the same way as Ian feels free I feel free too.
“The brakes are off. It was obvious to me where King Crimson should have gone. To Ian and Mike it should have gone a different way.
“At the same time I didn’t think it was necessarily right that it should go in the direction I wanted and that is why I asked them if I should leave.”

Rehearsals

After we spoke, Bob left to start rehearsals with the new band, which includes a drummer who came to Pete Sinfield in a dream. “He’s been living in the country near Glastonbury for a year after getting fed up with crummy bands,” volunteered Bob.
They’ll stay at rehearsing for three months, then go back on the road in April with a five-week recording stint starting in May. The new album will include “Mars,” a Pete Sinfield rock and roller called “Catfood” and a Fripp song in the “Schizoid” vein about New York called “Pictures Of A City.”
A single will also be released during the three months’ rehearsals to compensate for the long gap between albums.
And the new music? “One of the reasons for the long rehearsals is to allow the personalities of the new men to come out in the music.
“I have a feeling it will go to extremes – and that will be a gas.”

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ARTICLE ABOUT King Crimson FROM New Musical Express, November 29, 1969

Always nice to see a drummer being interviewed. Mr. Giles was a co-founder of this band but left after the first album, playing as a session drummer on their second album. I don`t know the reason for his departure, but maybe someone reading this blog knows?
Read on!

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No instant reaction for British bands in U.S. report King Crimson

in a transatlantic call to Nick Logan

THE number of British bands zig-zagging lucratively across the American continent rises monthly. Fleetwood Mac, Nice, Jethro Tull, Led Zeppelin, Fat Mattress and, of course, the Rolling Stones were just a part of the heavy British contingent on the U.S. trail when King Crimson drummer Mike Giles phoned the NME from a New York hotel last week.
In fact, resident at the same hotel at the time were Joe Cocker, Spooky Tooth and Liverpool Scene.
But for all our successful exports – in King Crimson’s experience — being new and British presents no easy access to fame or instant acclaim.
“We thought there might be a bit more appreciation because we were English but there wasn’t,” said Mike.
“We have had to work extremely hard and had to change round our equipment and bits of our act. We’ve moved Greg (the vocalist) from the side of the stage to the middle for instance.
“There have been no sort of instant reactions. On the first night at Boston there was just a ripple of reaction from the audience. It was terrible.
“So we had to work really hard the next few nights and on about the third we were beginning to get people with us.
“On the whole I think we have found audiences more reserved than in England but that may be because we are unknown and they know nothing of our birth.
“The scene itself is very similar to that in England. Reputations grow more by word of mouth. If somebody likes you they pass it on to someone else.”
Considering it was 5.30 in the morning New York time Mike sounded bright and cheerful as he consulted his diary for interesting things to pass on — but he admitted that in the first few weeks morale had sunk a little low.
“Well maybe not low, but it wasn’t that good. It is improving now though. Mainly it was all down to that fact that we were having to hang around for three or four days of each week with nothing to do.
“But after all the bad luck… equipment breaking down, venues burning down and morale not too good… things are looking up.

Stones concert

“We’ve yet to do the places that really count and we’re looking forward to them… like the Fillmore West, the Stones concert in Miami, Los Angeles Whiskey. We’re with Fleetwood Mac at the Fillmore.
“When we have done these places, if we are worth knowing about then we will be known. If we are not, we won’t”
“I think we are still learning,” Mike replied when I asked what the tour had taught the band. “It will probably take three trips to find out what the answers are, but we have got as far as being able to see the light.”
Many groups find that the variable luck, prolonged travelling and inevitable periods of boredom have their compensation in serving to unite a band.
“Yes, that is so,” affirmed Mike. “We’ve found that it is knitting us together but we’ve yet to experience the results of it.”
Mike consulted his diary to tell me that after King Crimson’s gig at Chicago’s Kinetic Playground with Iron Butterfly, the hall was burnt down during the night — by gangsters, according to reports.
“Iron Butterfly had their equipment completely burnt out,” said Mike. Ours wasn’t too bad but we couldn’t use it for a couple of days because of the water in it. We had to cancel our second gig there.”
On a brighter note, the group was pleased to find acceptance for their free form specialities. “We didn’t intend to use any,” said Mike, “but we tried them on Saturday and they went down extremely well.
“One of the nicest jobs we did was last week in Detroit,” he went on. “We played with the Band, who were excellent. They are perhaps the best group we’ve seen; a very together unit.”
The Band apart, Mike said they had been disappointed with most of the American acts they’d seen.
“Most haven’t impressed us, like Iron Butterfly. Jefferson Airplane have an excellent light show but nothing really strong musically.
“We saw the Steve Miller Band, who are now down to a trio, and they were a disappointment as well.
“We also worked with Al Kooper in Boston and weren’t impressed with him either — although he’s a nice chap.”
The group haven’t had many chances to talk to young Americans but, says Mike, “the Underground seems to be pretty strong, mainly as a gathering point for young people.
“They are much more militant here about police and social problems because they are affected more.
“There’s also a lot of hostility towards people with long hair. There was a man in a supermarket making strong comments about us but we’ve tried to steer clear of that sort of thing to avoid trouble.”
“In the Court of the Crimson King,” which is at No. 10 in this week’s NME LP Chart, had been on release just five days when we spoke.
“We’ve had a fair amount of FM radio,” said Mike, and a few people in the business spreading the word and doing nice things.”
On their fifth week of the tour with four to go, the group is spending spare time writing material for the second album, and have most of the ideas. They plan to record during February and March.
“It will be different from the first,” offered Mike, “and better.”
After a holiday over Christmas the group then embarks on a series of major concerts.
“We hope to do some clubs as well,” said Mike. “I don’t think it would be fair to some of the audiences who cannot get to concerts – and also there are some nice clubs.
“But mainly it will be concerts because it’s not only better for us but for the audience as well.”

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ARTICLE ABOUT King Crimson FROM New Musical Express, November 8, 1969

Well, this article should please fans of this band as this was published just about one month after the release of their first album. A real treasure from very long ago!
Read on!

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SUCCESS STAGGERS CRIMSON!

By Nick Logan

FASHIONS are pleasant but can be dangerously short-lived. In roaring out from nowhere in a matter of half a dozen months to become the fashionable Underground attraction of the day King Crimson have a problem.
“It’s very worrying,” agreed drummer Mike Giles, speaking from their manager’s Kensington mews house before the group left for its debut tour of America. “But I cannot see what on earth we can do about it.
“How much are we responsible for what has happened? We started off doing our thing and after that it was not up to us at all. People either go to see you or they don’t. If they do then word gets passed
“But there must be some value around behind the fashionability. People seem to like the group and we can only hope that they genuinely like the music.”
King Crimson’s success — their first album “In The Court Of The Crimson King” is at No. 4 in this week’s NME LP Chart — really has been staggering. Too staggering for some, notably the groups who had been slogging round the circuit only to discover King Crimson racing past them to become the biggest potential success the Underground has produced this year.
So while the majority of critics, Underground connoisseurs and musicians have been showering lavish praise in their direction “original,” “sensational,” “the new Beatles” — there has also existed a small but vociferous band of detractors.
“I think we have had our success a little too fast for some of the people who’ve been trying to make it for ages,” says Mike Giles.
But although the band could be called an overnight success, its members certainly couldn’t.
Giles, a 27-year-old who speaks with deliberation and much forethought, has been playing drums for 12 years, first in Bournemouth alongside people like Zoot Money, Peddler Roy Philips and Shadow John Rostill and then in London from 1967. Session work and various unsuccessful groups came before he formed Giles, Giles and Fripp with Robert Fripp.
Fripp himself, King Crimson’s lead guitarist, had spent three somewhat soul-destroying years playing in a resident hotel band, backing cabaret artists like Bob Monkhouse and Norman Vaughan before the “forgettable” group with Mike Giles, about which they don’t like to talk.
Ian McDonald, 23 and on alto sax, clarinet, flute and mellotron for King Crimson, is a former army bandsman who has played in all kinds of outfits from classical orchestras to wind ensembles.
Former draughtsman and member of The Gods, where he switched from lead to bass guitar, Greg Lake is now the lead vocalist while fifth member Pete Sinfield doesn’t actually play in the group but writes their lyrics and operates the famed King Crimson light show.
The group came together in January this year; first Robert and Mike, closely followed by Ian and then Greg.
Pete, a one-time computer executive, drifted in later: “I thought how bad the lights were in some clubs and I said I would build them some to give colour on stage. At the beginning I was just changing the lighting for each song but eventually I started `playing’ the lights with the music.”

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Different

All five brought different influences. Says Mike Giles: “You have got jazz from me, classics from Bob, Beatles and Dylan from Pete and Ian and heavy rock music from Greg. But the divisions aren’t really that satisfactory because we all like jazz, we all like Beatles and Dylan etcetera…”
The group rehearsed for three months in a room beneath a cafe in London’s Fulham Palace Road and made its first public appearance in April.
“There was a very hard core of people who gave us support early on,” said Mike Giles. “They spread the good word for us around the clubs and when we went out and did our first gigs we found a lot of people already knew about us.”
Their biggest stroke of luck was a booking on the Rolling Stones’ Hyde Park extravaganza. It is no meagre tribute that more than a quarter of a million Stones fans who had sat for hours on the hard ground raised howls of delight and surprise for the aggressive music of King Crimson.
Like many of their Underground contemporaries, the group has a loathing of “hype,” although Pete and Mike say it has been somewhat exaggerated.
“It was because everybody had been messed around by managers and agents,” explained Pete. “Particularly Bob, Mike and Greg who have been through every bad scene in the pop machine.”
And Mike’s definition of “hype”: “Helping one’s self without helping others at the same time. Our sort of protest about `hype’ is aimed at the `hypers,’ the ones who are still doing it.”
“What does the word pretentious mean to you?” asked Pete suddenly.
“Pretending to be something you’re not,” I replied.
“Because we’ve been called pretentious,” Pete continued, “and I can’t see it.
“I think most people are not quite sure what to make of us actually. Audiences aren’t quite sure what bits they should applaud. We may be a little bit ahead of our time. They can see there is something worthwhile but they are not sure what.”
Mike: “What do we do? Stop pushing ahead, cash in on what is simple for people to understand, or go by our own standards.

Simplicity

“I hope this doesn’t sound pretentious but another group could come along and simplify what we play and they would be away.
“There are strong feelings in the band to get into more involved music. If we did this straight away I don’t think we would have an audience for it.
“Nevertheless we enjoy what we do at the moment and believe in it, and it earns us enough money to set up the machinery to get into the music we want to in time.”
The group made its debut album three times; more through their own inability to be their own producers than for musical reasons.
Pete: “We were trying so hard. And we were rushed at the end to get it finished. It could have been much better.”
Mike: “It could have been 50 per cent better. When we started we were going to be a recording group more than a live group and it appears to have turned out the other way.
“There is a definite lack of feel on the album in some places and only about 30 per cent of the sound everybody wanted. What is missing is the presence, the harshness, the attack.
“We ideally need a sixth member of the band in the shape of a producer.”
As is so often the case when a group makes it breakthrough, King Crimson is now in America. They left last week for a two-month tour, complete with three tons of equipment including Pete Sinfield’s lights. “It will cost a fortune to send,” said Mike.

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ARTICLE ABOUT King Crimson FROM SOUNDS, November 13, 1971

I haven`t done any articles on this band before now. Not because I don`t acknowledge them or don`t like them, it is just that this one of the bands that have “passed me by”. I know they are a progressive rock band and I know that a lot of very good musicians have been in the band throughout the years. I just never got around to listen to them, even if I actually like a lot of progressive rock. Well, I think it is time to change that, and to redeem myself to the band and their fans I am now transcribing this very ancient article for you.
I hope I am forgiven for my ignorance and neglect, and that you will like this nice article.

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Crimson, love and respect

By Steve Peacock

“I still can`t see how you can put a band together – or even conceive the idea of putting a group of people and making it a band, just like that,” said Fripp. “I mean, just imagine how difficult it is to find a chick you can put up with for three months, or who can put up with you. And a band`s got to stay together for at least a year to do anything.”
You hear a lot – often too much – about band`s splitting up, and the reasons they give usually come out as a variation of the “musical policy” theme. And then you talk to the people and find all kinds of undercurrents – like the drummer is a rat, or the lead guitarist wants to be a superstar, or the singer has dirty habits. Music is part of it, and the most acceptable part for quoting in pop newspapers, but more often than not it`s more a convenient excuse more than anything else. Because as Fripp was saying, the relationships within a band are as, if not more, important as the musicianship. Often, the people in a band spend more time together, and under more difficult circumstances, than they do with their families.

HIGHER

“Everyone has a role to play in the band as a personality, not just as a player,” he said. We were talking about how King Crimson nearly split up during their recent tour. Before Fripp arrived, Mel Collins had said: “There was the pressure of making the album (“Islands”) because it was a step for us that, at the beginning, we didn`t know whether we could make. We were all quite pleased with the album, but then we had to go straight into the tour, which was a bit…”
Harrowing?
“Yes, that`s right. We found it wasn`t working out as well as we wanted it to. As a band we`re very demanding and have to aim for higher things all the time, and we had a few bad gigs. We were all rather frustrated, and Boz was going through a bad time with his bass playing, which obviously affected his singing as well.”

PROBLEMS

Fripp arrived later. “The reason we play together, you see, is because we want to play together, and the people involved are all fairly sensitive, so when the sensitivity is knocked on the head… if one man, myself for instance, becomes insensitive to the others, then you`ve got problems.”
Mel: “I can`t work at battle stations, as it where. I have to be in sympathy with the other people on the stand to play my best. I can see there are occasions when you can be productive when you`re uptight, but it doesn`t work for long.”

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SULKED

Fripp: “That`s the way the old band used to work, which is why it did a lot and then broke up. On the tour we were playing `Schizoid Man` better than ever – it was just right for that uptight feel – but it`s a very short term thing because it can`t build into anything.”
Fripp admitted that he was responsible for a lot of the recent tension, because instead of screaming at people he clammed up and sulked. “Word was laid on me,” he said slowly, and then they both burst out into helpless laughter, “that I wasn`t aware of the effect I was having on the rest of the band. In fact Mel emptied the contents of a table over Ian in the middle of the night once – instead of doing it to me, which upset Ian a bit – and Ian said that at several gigs he wanted to come over and lay one on me, and I was ready to throw the electric piano back if it happened.”

PURIST

Eventually, it snapped and they talked it all out in the van one night. Mel thinks it`s probably made them stronger, as does Fripp: “There`s a sufficiently strong foundation of love and respect in the band, and common aims, to let it be talked through without a lot of personal recriminations or moody heavies or sulky sillies.”
Another problem they had, but from the outside this time, came from the audiences. “Personally I have great difficulty in relating to the adulation bit, encores and things, because I don`t think it has that much to do with the music. I suppose I`m a bit of a purist really.”
Fripp said that he`s evolved a theory that the music acted more as a catalyst for the audience to do their own performance: “The younger they are, the louder the cheering because there`s that much more energy to be released. But I think it`s fair to say we ran into a strong element of insensitivity to what we were doing – like people shouting for `Epitaph` all the time.”
How did he feel when they got a standing ovation for a bad set? “It`s a paradoxical relationship, because you can`t stand there and say `look, we just played a load of tripe, so why don`t you just piss off because you don`t know what we`re doing. You can`t do that because they might be applauding Mel, or Boz or Ian. When we all know we played a dreadful set we feel guilty, but as long as we`re not deceived it`s OK. It wouldn`t say the audience didn`t affect me, but it doesn`t affect my judgement.”

RAVING

But for the moment at least, King Crimson are back together – not just in a physical sense, but in the way they relate to each other – and seem equipped to deal with outside pressures. The fast approaching American tour, said Fripp “will bring out whatever`s there, which is why it had to be sorted out before we left. If it hadn`t we would have split up without any doubt. But I think it`ll bring the band closer together now we`ve decided to pull together.
“And I think the ravers in the band will manage to get a lot more raving done than they did over here. It`s a rave culture – the facilities for raving are much greater over there.”

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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: Jeremy Spencer, Grease Band, Groundhogs, John Marshall, Eddie Condon, Yes, Buffy Sainte-Marie, Francis Monkman, Edgar Broughton, Duane Allman, Colin Blunstone, Otis Redding, Dan Hicks, Arthur Brown, Gordon Giltrap, Brierley Cross.

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.