ARTICLE ABOUT Jon Lord (Deep Purple) FROM SOUNDS, April 29, 1972

Some very interesting musings in this article with maestro Jon Lord, one of the most important organ players in the history of rock. This one should please the Deep Purple fans out there. Enjoy!


Lord of the deep

Interview by Steve Peacock

Jon Lord was at home in Barnes, and slightly bewildered to be so. For the second time in six months, Deep Purple had to cut short an American tour, and both times for the same reason. Last time, Ian Gillan got ill, with hepatitis; this time it was Ritchie Blackmore`s turn.
“I`m trying to work out what I`ve done wrong,” said Jon. “It doesn`t seem fair that the same group gets hit twice by hepatitis in six months – both times in the middle of an American tour. It seems that every time we go there we take two steps forward and one back.”
“To me, `Machine Head` (the new album) is the apex of what we started to do with `Deep Purple In Rock`, and I don`t really think we should carry on along quite the same line I think we should try and go round a few corners with the next one.
“Some people say about the group, probably with some justification, that we don`t seem to have progressed very far since `Deep Purple In Rock`, though certainly inwardly each musician has progressed enormously – the writing talents have improved, our way of working together has improved, and we`ve got a much better working relationship between ourselves and with an audience. But where some of that justification lies is in the fact that we haven`t really deviated from the very set line, and I think it`s time we started to shoot for the stars a little bit more.”

In other words, having consolidated their position as a tight, heavy rock band, it was time to be a little more adventurous. “My feeling has always been that with our tempos – the speeds we use and the kind of rhythms we choose for our numbers, could be a little more inventive. I think we`ve sometimes underestimated the ability of our audience – the people that like us – to accept something a little bit more. Just because people like `Hard Rock`, unquote, it doesn`t mean it has to be in 4/4 or a shuffle.
The talents of the band are equal to far more than we`re doing, while not putting down what we`ve done on the last three albums, and we`ve learnt a lot in that time. But I think we could now extend our boundaries a little bit. That doesn`t mean that we should do something in 5/4 just for the sake of doing it in 5/4, but we shouldn`t throw out the possibility of using different times and styles, bent to our own style.
“I think we`ve always been a little scared of losing what we gained with `Deep Purple In Rock`, because each individual in the band had spent so long trying to achieve something, that when you eventually get there half of you is saying you should perhaps move on from there, while the other half is saying `don`t knock a good thing`. I`ve seen it happen to so many bands – the first successful thing that happens to them tends to re-write their career for them for the next year or so.”
As he said, it`s something that happens to a lot of bands, but did he tend to think in terms of what might be good for the band`s career?


“Not any more. The trouble is that when you`ve got five people in a band you`re going to get five different ideas of what`s going to be good for the band`s career. But for instance I`d think it would be excellent for our career to show a reasonably significant movement in direction on the next album. But I usually try to think as little as possible in those terms and more in terms of what would be good for the music we play, which will eventually determine the career anyway.”
So for him, whatever promotion and things the pop business gets up to, the music will out in the end? “I think it`s the only thing that`s got to matter in the end. On the rare occasions when we have over-concerned ourselves with extra-musical considerations, I think we`ve taken a little tumble. You know, when we`ve let ourselves be co-erced or co-erced ourselves into doing things just because they`d be good for our career. I`ve often found that because it`s either destroyed something we`ve been trying to build up musically, or it`s destroyed someone`s confidence in you because you`ve gone against a couple of principles they admired you for, it`s in actual fact not helped our career. So I like to think of the music, and everything we do going towards that, and our performance on stage, and try not to be involved in anything else.
“But I hate talking about `The Music` – it always sounds a bit false to me; especially when we`ve said over and over again that we`re basically a rock and roll band, and a loud and fairly unsubtle one at that. I`d like to think we could be just accepted as that, and then if we do something that`s a natural extension of that, but perhaps, a bit surprising…”

It was, he admitted, a great temptation to go out on stage and play the things you know are going to go down well, and they`d fallen into the trap sometimes. And he, like Ritchie, had gone through a stage where he played “as many semiquavers as I could”. But they`ve both changed their ideas on that, and today Jon says he`d like to be known as “a reasonably funky organist” more than a speed king. As to the future of Purple, he says it`s really a question of using what they have:
“The thing is, I think, we`d like to stay within the structure of the band as it exists – which is a five piece rock band using organ, bass guitar, drums and voice – and use it in any way possible to increase the ability of the group to entertain.”
Like most bands, Purple had had their crises in the past, but now they seemed to be settled. “I think we`ve reached a lucky point in our lives where we can afford to take things at the right tempo, rather than that dreadful spurt we did after `Deep Purple In Rock` was big; we were working so hard then that the most simple argument could develop into `I`m going to leave` with no trouble at all. Now I think we`re a little slower coming to the boil.
“But you see the band still thoroughly enjoys playing on stage in front of an audience – there`s not one member who doesn`t feel that`s still the best moment, so I think just from that point of view the band will probably stick together. A couple of us are at the point now where we probably wouldn`t join another group if we left this one.
“But it all depends – it could last another three years, or it could last another three months; you never know when a group`s at this stage. It`s a happy unit and a successful one, so it could concievably go on for a long time, but somebody might just get to the stage where they think they`d really rather be doing something else.
“And I don`t think the group would continue if one person left – we`ve reached such a point of interdepenance. I`d be able to tell you better if it happened, but I think we`d call it a day.”


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: Wishbone Ash, Maggie Bell, David Clayton-Thomas (Blood, Sweat & Tears), Matching Mole, Marc Bolan, Ornette Coleman, Peter Frampton, Rod Argent, Rita Coolidge, ELP, Robert Altman, Happy And Artie Traum.

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.



Hope you like this short, but very detailed article when it comes to their equipment. One of the bands that continually prove that you can have a long and great career without being “commercial”. And that`s great!


Yes move in a new direction

By Steve Peacock

One of the most heartening things to have happened over the last year or so is the gradual emergence of Yes out of the comfortable but rather unsatisfactory position of being a band with a small but devoted cult of followers, to their present status as one of Britain`s most popular live bands who also have one of the best and most successful albums of recent months – “The Yes Album”.


Those who have followed the progress of Yes since their first album knew it would happen sooner or later, but it is nice that it has happened now because not only is “The Yes Album” by far and away the best thing they have done to date, but it is high time they got the wide recognition they deserve.
However, it is often as well for a band to remain in relative obscurity for a time, because it gives them the chance to really work out their music and sort out any problems they may have within the band.


It came as quite a surprise to a lot of people when the original guitarist Peter Banks left the band, but after a little time with his replacement Steve Howe there was little doubt that it was a change for the better. Banks was good, but Howe is perfect for the band as they are at the moment, and you feel that he has great reserves of ideas that could contribute greatly to the development of Yes in the future.
He has a mastery of technique and an alertness of approach in his guitar playing that suggests he has a lot more to give yet.
Anyone who has seen the group recently will know just how effective their stage performance can be – they strike a fine balance between theatrical presentation (they look good, they use effects sparingly but in the right places, and they use lighting simply but well) and carefully presented but uncontrived performance of their music.


Now that they have established themselves and are at a point where they have achieved about everything that could be expected of the music they have been developing since their inception, Yes feel that the time is right to move out into a broader direction. Up to now it has been very much Jon Anderson`s band – based around his songs – but in the future they say that the others will have a lot more to do with the writing within the group.



Sound Reinforcement System with 4 5 channel 1567/B mixers by Altec Lansing System is worked from the audience
with Agraphic equaliser, a limiter and a three-way electronic crossover.
3 S.A.E. power amps for bass and monitors – 275 watts per side.
2 Crown stereo amps – mid and high range – 300 watts per side.
2 bass bins 22 x 20 JBL speakers.
2 JBL short-throw horns.
2 Altec Lansing 1 x 2 longthrow multi-cell horns.
2 Altec Lansing highrange horns.
2 Altec Lansing short-throw mid range horns.
3 floor speaker monitor cabinets which contain a mixture of 12″ JBL speakers and short-throw horns.

Steve Howe
1 Fender dual showman amp
2 Fender dual showman cabinets
1 Echoplex echo unit
1 Gibson fuzz box
1 Marshall fuzz box
1 Vox wah wah pedal
1 Fender tone and volume pedal
1 Gibson 176 B guitar
1 Martin 1008 acoustic guitar
1 Vachalia (which is a Portuguese instrument like the lute)

Chris Squire
1 Fender dual Showman amp
2 Dual showman cabinets with 22 x 20 JBL bass speakers
2 Rickenbacker guitars
1 Telecaster guitar
1 Marshall fuzz box

Tony Kay
1 Hammond C3 organ
2 122 RV Leslie cabinets both miked to PA with spring suspension

Bill Bruford
Ludwig drum kit
1 22″ bass drum
1 12″ alto tom tom
1 14″ floor tom tom
1 16″ floor tom tom
1 14″ snare drum
5 Zildjian cymbals
1 Chinese cymbal

Jon Anderson
1 KBI synthesizer

Various Unidyne mikes


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: Alun Davies, Roger McGuinn, Rev. Gary Davis, Judy Collins, Ottilie Patterson, Gentle Giant, Black Sabbath, Moby Grape, Henry McCullough, David Bowie, Marc Bolan, Led Zeppelin, Family, ELP, Jethro Tull, Grease Band, Osibisa, Strawbs, Pink Floyd, Mimi Farina.

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.


The album described in this article, “Wildlife”, were album number three from this band. It was not the album that would break them in the US, but it would reach UK charts at No. 44, their highest charting album at that point of their history. More success would come later for this band.


Mott and the rowdy rockers

By Ray Telford

I am inclined to agree when someone talks of “Wildlife” as being Mott The Hoople`s best album. It sold well, too, but not quite well enough for Mott to ease the burden of responsibility they had to keep the thunder rock customer satisfied.
That album was a bit dramatically termed the `maker or breaker` for them. It contained less aggressive songs and in comparison to their first album, “Mad Shadows”, and their live shows it was a touch of tenderness.
Guitarist Mick Ralphs reckons each of their albums to be a diary of how the group have been playing at the time of the recording and adds that the various changes in the albums have been fairly obvious although they have always had to come up with the rowdy rockers during performances for what he calls their hard core of fans.


Strange as it may seem and taking their place among the three most convincing British hard rock bands (the other two being Led Zeppelin and Black Sabbath) Britain has never been particularly kind to Mott The Hoople. For a time it looked as though America might take them to the dizzy heights but as Mick explains: “It was good. The last tour which we just finished was our second and it was all right but we still lost money although we went down better than we did on the first trip. I reckon it`ll take a few more visits if we`re to make it in a big way but I think we`ll be concentrating more on appearances across here.”



“Really, though”, interjects drummer Buffin, “audiences both here and in America are a bit suspicious of what we`re about. Our stage show goes down very well across there but they expect the big visual thing from English bands. That`s why Jethro Tull and Led Zeppelin are so big because most audiences like to knock themselves out over a band.
The current Mott The Hoople single called “Midnight Lady” is like a progression from the songs on “Wildlife”. Mick says it`s the nearest thing yet they`ve put on record to what they are like on stage and it is a very conscious attempt at getting a hit single.
Much of Mott`s earlier material was produced by Guy Stevens who did so much for the group on their first Island Records release.
“I still think the first album sounds great even though we`d only been together two or three weeks before it was recorded. We produced “Wildlife” ourselves because Guy thought that there were too many of his ideas going into the group. You know, he doesn`t play himself so he was kind of using us to project his ideas. Still he was great at picking material.
“He`s still manager of the group but he doesn`t produce us now. He`s a bit like what Keith Reid is to Procol Harum, really, in that he makes us so much more conscious of what we`re doing.”
Although Buffin and Mick are highly pleased with all their albums Buffin thinks “Wildlife” was a bit tame and says that anyone listening to it wouldn`t get a true picture of the group.
Mick: See, there are a whole lot of things we`ll have to get down to. People right away think of us as a hard rock band and little else. It`s because we`re not well known enough to start doing other things. The rock numbers are more immediate on stage and so we have to play them. Until we can get back onto a good level with all our songs we won`t be going back to the States.”


In a way Mott The Hoople have come to a cross-roads in their career. Their continuing success, it seems, depends entirely on whether or not they can consolidate and to some degree re-convert their existing British fans to where they are at now.


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: Bill Graham, John Baldry, Rod Stewart, Annette Peacock, Jimmy Webb, Judy Dyble, Bread, Roger Chapman, Hookfoot, Bukka White, Zoo, Tir na nOg, Spirit, Quiver. Morning, Dick Heckstall-Smith, Writing On The Wall, Glencoe, Cyril Tawney.

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

1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Thin Lizzy from New Musical Express, October 18, 1975

The style of this interview is, in my opinion, kind of strange. But we all love a dose of Mr. Lynott, one of the greatest rock`n`roll lyricists and composers ever. A bonus of doing the interview like this, in parts written out in a phonetic spelling, is that you can hear the great man speaking inside your mind. His music lives on for the world to enjoy even if he has been gone for over 30 years now. Now enjoy this article from way back.


I take it serious wharrado, know wharramean?

There was Thin Lizzy. They were in Germany. With them was Chris Salewicz. The rest you know.

Is it odd – or merely the ultimate surrealism of this efficient economic miracle – that members of a certain Very `Eavy english Band (who play a quite passable “All Or Nothing”) can be found backstage in the bicycle-watching pavilion letting German groupies scarf up fistfuls of their legal Mandies.
“It… errh… makes them randy,” the lead vocalist suggests half-heartedly as he turns an already wall-banging young fraulein`s brain into a mixture of marrowfat and mung.
Such is pleasure in the land of over-the-counter leapers and sleepers.
And what of Mama promoters who, at every gig they put on, are obliged to take the security out of the hands of the khaki-garbed kraut fuzz and to put it in the care of the Bones, the German Angels?
Christ, easy-going pleasant British Hell`s Angels come close to giving me apoplexy. But Angels who communicate in German…!?! Bit heavy, man.
So Mama promoters just present these acres of psychedelic storm-troopers with free beer and a few human beings to roast in their own special enclosures and the official polizei back off.
Such delicious Animal Natural, no?

Ace, brought in on a morning flight to replace Supertramp at this festival, prove too mellow – pensive even – for the 25,000 wasted bodies out there to digest. They die. So does an Angel. At the side of the stage during “How Long” one of the Bones ODees, pukes up and has a heart attack.
His body is removed from the backstage area with a certain expediency.
“You`re over here to preserve a way of life: Your own.” It is probably doubtful that the third ex-GIs who make up the Bones` ranks pay too great heed to the American Forces Network radio station based just up the road in Frankfurt.
The Yanks in the audience, though? Well, theirs is quite another story. Their way of life is indeed being preserved. Right down to their imported Alfa Sweet Banana Skin skins. Get on that Frankfurt Special to Obliteration Row. Go, dunebuggy, go.
Thin Lizzy are big in Germany. Lizzy have cracked the Fatherland. Lizzy were, in fact, saved from extinction by the Fatherland.
Transformed yet again – after the departure of their second lead guitarist, Gary Moore – into possibly the first British bass and drums outfit since Jet Harris and Tony Meehan, Phil Lynott and Brian Downey brought in the axes from the remnants of heavy horrendoes Atomic Rooster and toured Germany at the beginning of last year.

The tour earned the rhythm playing duo enough money to hold auditions. Teethed on “Whisky In The Jar”, a Decca Top Ten hit at the beginning of 1973, Lynott and Downey knew what not to do.
No more hit singles. No more ballroom tours for audiences expecting Thin Lizzy to come out and play a rock`n`roll workout of “Danny Boy”. Thin Lizzy as a mean, stack-heeled, bloozy rock band that keeps splitting up, got itself 17-year-old Brian Robertson and Scott Gorham – an American over here playing with Slim Chance – in on twin lead guitars.
They left Decca, signed with Vertigo in the summer of 1974, and got “Night Life”, their first Vertigo album, into the outer edges of the US album charts.
And started selling out at club and college dates in the UK once again. And put much time into the making of “Fighting”, their new Vertigo album.
Back in the car, Lynott`s pants firmly tethered, we`re talking about the problems of being Thin. A suggestion has been put forward that possibly these former troubles could be linked with a certain mental rawness on the collective part of the original members.
“Jeeeeee-zuz. See this,” says Lynott as he pulls up the sleeve of his right arm. “Me skin wasn`t brown – it was green.”

Lynott is not just Irish. Lynott is an Irish half-caste – “Just imagine it: I get both Irish and Nigger jokes” – though the voice has more of the intonations of a Scouse `Comedian`.
Try out this lesson in jive blarney: “You know, like me and Brian came down to London and we hit the Underground…
We met this Irish fella at Euston Station and `e took us and we got smashed. And we thought `e was gonna rip us off, you know? And I was getting really paranoid and saying `Let`s get out of `ere`. So we split – and it was the first time in London. And like, you know, into this guy`s house. Get stoned. And we said `Let`s get the Underground`, you know?
“So we were standing there at the tube station – and this`ll tell you how green we were – and we see the tube coming and we say `This is ours`. And we stuck out our hands. Stop, you know. HARGH-HARGH-HARGH-HARGH!! The thing nearly took `alf our arms off.
“That`s how fookin` Irish we were.”
Such earthiness, huh?
But come, chaps. Surely there must have been just the odd moment when yet another guitarist would jack it in and you might think “Why Me?”. Or even question if it Was All Worth It? Surely just now and then you must have been a little down.


“Well, wouldn`t you? Two changes of line-up in one year…
“But anyway de “Vagabonds” (here Lynott is referring to “Vagabonds Of The Western World”, Lizzy`s third and last Decca album)” went into the charts in the States and we got a bit of readies in and we were able to carry on.
“That was it. So finally we got up again, you know.
“And this to me proves the power of the band if nothing else: that three times we set out to do it and this time we`re really gonna do it because we`ve got a line-up now that`s stable. We`ve been together a year. And we`re ready to crack it.”
A touch more solemnly: “I`ve never worked in me life. I`ve always made me living with…”
“Yeah. `Ard neck. Really, you know?” he splutters with strange giggles.
Scott Gorham slumps in the back seat of the car. He says little. “Pull my finger?” he asks his bass-player. Lynott obliges. Gorham shifts his position slightly. There is now an aroma of undigested schnitzel in the car.
“Tomorrow,” Lynott carries on, “Tomorrow I know I can go out and do this, this and this. Wear this, this and this. Pull these strokes.
“And we can break.
“But whether I want to be famous in that way is another thing.

“When I first started I was like… I believed that if these guys wore denims and striped T-shirts like Peter Green they were like paupers and really playin` the blues and feeling everything they played.
“And then I came to England and watched guys get out of suits to get into denims and go on stage.
“I thought `What`s going on here?` You know? (pauses and laughs)… I watched really nice guys with great attitudes take off their jeans and stop smoking their dope and get into the biggest fookin` pop outfit you`ve ever seen.
“You knowharramean? I`d seen complete reversals.
“So I just levelled out and I said `Well, I don`t wanna be like phoney` and I don`t wanna be like…flash… just to make money.
“So somewhere in there… I`ve got an ego,” he free-associates, “I don`t jump up in front of 20,000 people and not have ego. You know. I think I`m great. Knowharramean?… But I levelled out. I don`t wanna be famous just for the sake of being famous. I like to please people as well, you know?
“The Brinsleys, like, were a nice band. But they tried so hard to underplay it, you know, that in the end they killed themselves. They made themselves into a pub band, you know?”
The essential cream-your-knickers ingredient in a good stage show is mentioned.
“I came up on bands like The Small Faces, The Yardbirds, the Stones, The Kinks,” notes Lynott.
“Spare me the bands who just stand there all night,” adds Gorham in a rare moment of decisive speech.

It is perhaps apposite that at this exact moment we hear “Ladies and gentlemen: Status Quo”. “`Ow are you?” screams Francie. And into that shuffle-boogie rhythm. They do not stand there all night. They go down very well indeed. It is necessary to close the car roof to continue the conversation.
“Sly is me man,” continues Lynott, “People say Hendrix…I love Hendrix as a guitar player but Sly to me has more finesse. I liked (One notes that Lynott speaks of Sly in the past tense) his whole style. Sly was there. He was hip. He was cool. The way he could come up with a very simple line like, “Thank you falettinme be mice elf agin”. Wharrafookah! Sly had class, man.”
Soul brothers, ehh?
“Well, cos I`m Irish I only heard of the black problem when I looked at the size of me mickey… No, in Ireland they don`t realise that the immigration laws are stricter than they are in England, knowharramean? I`ve watched people in Ireland saying, `That`s terrible: the way the English are turning the black people away`.
“But I regard meself as `alfcaste, really. Me mother`s white. Me father`s black. So I regard meself as half-caste. I relate to them people. I relate to the Chinese man that has a Scottish accent, the dago.

“The half-caste is gonna take over in the end, knowharramean? It`s got to. I mean you`re half-fookin`- Polack, I`m half-Irish Brazilian; `e`ll fookin` tell ya (pointing at Gorham)… `E says `e`s American. `E`s got Irish relations.”
Back to rock music`s more relevant essentials, however: “The nice thing is since we`ve had the change in line-up…
As you can see (pointing at Gorham) he`s a good looker and Brian is young and he`s a good looker too. And a lot of the chicks… we have a great time,” Lynott splutters lasciviously, “We`re very popular with the girls. Really. `Cos he speaks with the American accent and I give them the Irish blarney. And when we went to America it was us that had the different accent and `e was just another long-haired Californian.”
Heavy pulling, ehh?
Lynott foams at the mouth: “Ye-ahhh. All you had to say was `London. Carnaby Street`… And you were in.
For some reason we all begin to feel hungry.


I have personally transcribed this from the original paper and you are free to use it as you like. If you use it on your own webpages – please credit me or put up a link to my blog.

This number of New Musical Express also contains articles/interviews with these people: The Who, Eric Clapton, The Tubes, David Bowie`s Mum, Blue Öyster Cult, Bert Jansch, Van McCoy, Budgie, Gerry Johnson.

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 15 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

2015 in review

About 12,000 visitors from 94 countries. It was a good year for my blog in 2015. The most popular articles were with Ian Hunter, Kiss and Yes. Read more about it here!

Here’s an excerpt:

The concert hall at the Sydney Opera House holds 2,700 people. This blog was viewed about 12,000 times in 2015. If it were a concert at Sydney Opera House, it would take about 4 sold-out performances for that many people to see it.

Click here to see the complete report.