ARTICLE ABOUT Robin Trower (Procol Harum) FROM New Musical Express, November 4, 1967

Trower is a very interesting musician in many ways. He has recorded albums all of his life and released his latest in 2019. He doesn`t get a lot of love in this article but it was in 1967 his career as a recording artist was started.
Read on!


Spotlight on Robin Trower

By Francis Gaye

Robin Trower has a face like a punchy boxer who stepped into the ring once too often. His friend, Barry Wilson doesn`t like his nose! But Robin`s is a good-humoured face and like Robin`s career it`s taken a few knocks in its time.
Despite all Robin is a bright, interesting character whose voice is raw and unpolished belying the good sense he talks. He admits to being an introvert, is shy about pushing forward an opinion but welcomes the opportunity to talk for himself.
For the first time in his life Robin is making good money regularly. But he doesn’t, and never has, worried about filthy lucre. “I’ve only worried about it if I haven’t had enough to buy food. I’ve been pretty well off occasionally and generally fairly comfortable. But I starved once or twice in the odd days.
“That was due to bad managements not giving us our money. I’ve been conned many, many times and I’m even a little scared nowadays. When you’ve been conned a few times you get wary. Although we’ve got a good organisation now, sometimes when things go a little wrong, the memory of the old days comes back and I worry.
“Once it’s been done to you you never trust anybody completely again. It’s a lesson you learn and you never forget.”
Cynical perhaps. Realistic certainly. But Robin’s an old pro. He’s never done, or even considered, anything but music. “The only time I did anything that wasn’t in pop was when I did nothing after the Paramounts broke up. I just sat around getting myself together, trying to find where I was going.

Just wrong

“The set up at the end of the Paramounts was just so wrong I had to get out, then get away and think for a time. I’ve always known I would make it. If I didn’t believe this I couldn’t go on. Look, five and six years ago we were playing James Brown stuff and before the Beatles came out we were doing all that gear, it broke big and we just got left behind. I’m 22 and I’ve been playing since I was 14. I’ve been a full time musician since I left school.
“Then I formed a three-piece group to play the stuff I was writing. It was like Hendrix in format, but my music is nothing like his, and I thought that at last I was going to get somewhere.
“I called Barry Wilson and three days later Gary Brooker called me. Being a blues guitarist I didn’t think I’d fit into Procol Harum but, like Barry, as soon as I heard what they were putting down I knew we were right for each other.”
Obviously Robin was happy with the Procols. What do they think of him? Barry Wilson, old friend and hyper-critical adviser tends to see him less as a person than a musician and says: ” He’s the finest guitarist in the country, in his own style. He’s completely original, completely sincere in everything he plays.”
If this sounds like a rather sickening mutual admiration society it wasn’t intended that way. It’s just an assessment built up from years of working together. “And as a person he`s the same, completely honest, sincere.”


Looks long

Robin is also a cool character. He doesn’t get visibly upset, he looks hard and long before he makes up his mind about a situation or a person. He seldom blows his cool. If somebody upsets him he doesn’t shout or scream, he mentally shrugs and figures that he’ll probably never see the person again so why bother getting involved?
He doesn’t go to people to make friends, if they want him they come to him. He doesn’t have a lot of friends, nor does he make friends easily. He doesn’t court popularity.
Barry and Robin are seen as a pair. They complement each other. “It’s because he’s the drummer and I’m the guitarist and we’re doing much the same job in laying down the beat,” says Robin. Almost everything he says that concerns people and relationships is translated into the context of the group. He gives the impression that all else is secondary to the group, its music and his role within that whole.
“But Barry and I don’t have a lot to do with each other outside the group,” he explained. “Once the gig, practise or interview has finished the group go their separate ways.” Robin likes it that way, he reckons you can get too involved and that’s bad. “We don’t go out together. We have to be ourselves, as our private lives are getting smaller all the time. That’s part of success.
“I enjoy success inasmuch as I’m now in a position to play to people that I respect and that is what success means to me.”
Robin says something as a pure statement of fact which others would interpret as gross conceit. For instance:
“I always felt that I would be a great guitarist.” Bald, matter of fact, but to him a self-evident truth. After all, it’s what he’s been working toward for so long and his own faith in himself has, he feels, been vindicated within the scope of Procol Harum. He’ll feel that he’s living up to his own high standards as long “as I blow our manager Keith Reid’s mind every time I play! As long as he digs what I play I’ll be happy.”
Occasionally he realises that what he says could be misinterpreted. “I don’t want to sound big-headed. Although I like a lot of people and what they do, I don’t dig them, so they don’t mean that much to me.” In other words he acknowledges other people’s work and its importance but he doesn’t always follow the ecstatic eulogies bestowed on it by the Press, public and “business.” He forms his own conclusions with reference to his work and tastes.
Robin is a loner. He says: ” I try not to meet people outside my own circle.” And it’s a small circle.
One feels that he’s got his own scene together, that he is intimately involved in it and that what others say, do or think doesn’t concern him. He admits that he has a superiority complex, but he concedes it with a quiet grin. He says that he doesn’t think about himself that much and that he only thinks about others when they affect him. A strange paradox!
Robin Trower is one of the most difficult people I’ve ever interviewed. It’s almost impossible to get under his skin. He doesn’t laugh a lot, doesn’t gag. He takes things seriously and he certainly takes Robin Trower seriously. But he is NOT a vain or conceited person. He’s just very aware of what he’s got to do and how he’s got to do it.
He’s a challenge to talk to, he’s diffident, disinterested in the wider scope of life outside what he’s involved in and obstinately single-minded. An easy person to like for his honesty, a difficult person to know for his own protective shield.
A musician’s musician and a musician’s person. Happiest in his own company or in the company of those he knows, likes and, as far as he’ll let himself, trusts.
Robin Trower is the enigmatic member of the Procol Harum.


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ARTICLE ABOUT Mindbenders (Pre-10cc) FROM New Musical Express, October 7, 1967

I don`t know much about the bands that the members of 10cc were in before they joined together in 10cc. But I wonder if the connection between Eric Stewart and Graham Gouldman was made for the first time through this band? That`s an assumption, but a fairly reasonable one. The drummer, Paul Hancox, later played on some albums with Chicken Shack, a British blues band responible for several albums throughout the years and who should also be fairly well known.
Read on!


`Benders surprised by `Letter` hit

they tell Norrie Drummond

I was chatting the other day to three young men – an interior designer, a 16-year-old drummer and the manager of a men`s hairdressing saloon. We were talking about their record “The Letter” at No. – in this week`s NME Chart.
The designer was Eric Stewart; the manager of the hairdresser’s was Bob Lang and the drummer was Paul Hancox. Together they’re the Mindbenders.
“Well, here we are back again with our annual hit,” said Bob cheerfully. Not that the Mindbenders expected it would be a hit.
“We were really surprised when we heard it was in the chart,” added Eric. “We thought it was a good record but not really quite right at this time.”
“Mind you this is the first record Graham Gouldman has produced for us,” said Bob, “and he did a great job. Just wait till you hear our follow-up.
“Graham wrote and produced the record. He’s very talented.
“I wouldn’t have said ‘The Letter’ would have been a hit but I’m almost certain the next one will be.”
In the past few months since we last met, Bob, Eric and the group’s former drummer Ric Rothwell have all branched into other businesses far removed from the pop scene.
Bob in partnership with a friend from Manchester has opened a men’s hairdressing business, while Eric is busy designing people’s homes.
Were they, then, planning to retire from pop completely like Ric? “Oh, no, not at all,” said Bob emphatically. ” We still enjoy playing gigs.”
Although the Mindbenders haven’t had a hit for a year, they have kept on earning as much as when they have had a record in the chart.
“We still live fairly comfortably,” said Eric, “and apart from what we earn as a pop group we also have an income from our other interests.”
As members of the old school of pop music, Bob and Eric have seen many phases come and go in the five years they’ve been playing together.


“I think the whole scene is so unexciting nowadays,” said Bob, gravely. “Everything has changed. Even the fans are different nowadays.
“When we used to play concert tours with people like Herman’s Hermits or Freddie and the Dreamers — they were always great fun, and everyone got on well together. The kids would be screaming out front, and everyone really enjoyed themselves.”
“But the audiences now are so sophisticated,” added Eric. “There are very few groups who get screamed at now.”
Throughout our conversation the Mindbenders’ new drummer Paul Hancox sat quietly listening to the other two. “He’s too young to remember those days,” said Bob, nudging Paul, “He’s just a lad.”
I asked him if he had any interests outside the group. “No, I’m too theeck,” he replied in a heavy Birmingham accent. Bob and Eric howled with laughter. “You mean ‘thick,'” Bob told him. “Not ‘theeck.'”
As they rose to leave I asked them what they liked about the pop scene now. “There are still many exciting things in pop,” said Bob.
“Don’t get the idea that we’re old men decrying modern youth. There is so much talent about at the moment, but somehow all the fun and glamour has disappeared.”


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ARTICLE ABOUT Pink Floyd FROM New Musical Express, July 1, 1967

This is really some good stuff as this article was printed about a month before Pink Floyd released their debut album on August 4th, 1967. Really early days for the band but we can see the direction they were heading in, and later became hugely famous for, in this article.
Read on!


Nothing nasty behind our light and colour effects

Says Pink Floyd`s Roger Waters to Norrie Drummond

“WE are simply a pop group. But because we use light and colour in our act, a lot of people seem to imagine that we are trying to put across some message with nasty, evil undertones.” So said Roger Waters, bass guitarist with the Pink Floyd back in the NME Chart this week with “See Emily Play.”
The Pink Floyd as most people now know were one of the first groups to start the pop “son et lumiere” cult. By using equipment which threw liquid abstract shapes on to a stage backdrop the Pink Floyd built up large followings in London’s freak-out parlours like the Round House and the UFO club.
But the group themselves have always remained rather remote, mystical creatures simply because few people could see them properly.
It sometimes makes it very difficult for us to establish any association with the audience,” said Roger. “Apart from the few at the front no one can really identify us.”
The Pink Floyd — Rick Wright, Nick Mason, Syd Barrett and Roger — turned professional less than four months ago and already they have had two medium hits.
“We’re not rushing into anything. At the moment we want to build slowly and I think we’re doing not too badly. The important thing is that we’re doing what we want to do.
“We record the numbers we want and fortunately they seem to be the ones that people want. No one interferes with us when we’re in the studio. They just leave us, more or less, alone to get on with what we want.”
The Pink Floyd, unlike most groups, pay very little attention to what goes on in the charts.
“We listen to Radio London and the other stations,” said Roger. “But we don’t really concern ourselves with what other groups are doing. The Chart puzzles me because I just can’t imagine the type of person who would buy Engelbert Humperdinck’s record and the Cream’s. That is if there is such a type.”

What type of audience then did the Pink Floyd attract?
“We recently played a concert at the Queen Elizabeth Hall,” said Roger, “and that’s usually where string quartets play. The people who came to see us there were a very mixed lot.
“Some really way-out people with bare feet and a few old women who always go to the Queen Elizabeth Hall no matter what’s on. But mostly they were average men and women between 17 and 25 mixed with a few teeny-boppers.”
The Pink Floyd want to play a string of these concerts in the autumn, “We’d like to play the major centres like Manchester, Liverpool and Glasgow doing our own two-hour show.”
The group thinks that it would be a successful venture. “You see,” said Roger, “contrary to what some people think it’s not just the Southern audiences that we appeal to. In fact the further North we go, the better the reception.
“We played in Belfast recently and the reception there was great. The same thing happened when we played in Abergavenny. We had screamers and everything. It really astonished us.”
As I was leaving Roger he suddenly turned to his manager Andrew King. “I’ve just remembered a great idea I had last night.
“I was driving down the M.1 and the wing mirror on a lorry in front was vibrating finely. It was reflecting all the other lights on the road, winking indicators, stop lights and so on. Now, supposing we were to. . . .”
That, I suppose, is how a “Happening” begins.


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ARTICLE ABOUT Mickie Most FROM New Musical Express, June 3, 1967

Sometimes, whenever I find an article about a influential producer, I will post them here. It is rare to find them, and that makes them valuable. The producers are very important for a band as they can make or break careers. One of the producers that everyone should know is Michael Peter Hayes or Mickie Most as you probably know him as. He set up the famous record label RAK Records along with the manager of Led Zeppelin, Peter Grant. RAK had a huge roster of artists, among them famous names as Smokie, Suzi Quatro, Hot Chocolate, Heavy Metal Kids and also hired the famous songwriting team Chinn and Chapman to score a lot of hits for their artists.
Most was also the father of Calvin Hayes who was a member of the band “Johnny Hates Jazz”.
For someone willing to dig a little, his life could probably be an exciting book or even film. There is a lot more to tell about the life of Mickie Most who left this world a greyer place in 2003, aged only 64.
Read on!


Hit-maker Mickie gets Most from the stars

By Alan Smith

Mickie Most owns a £45,000 house, a £42,000 yacht moored at Cannes, and an elegant £3,500 Rolls-Royce. “Money is for spending,” he says. “I`d spend the last penny I had.”
Four years ago he was selling parts of his record collection to scrape together the price of a meal. Then he got a singing job in a Newcastle club, heard the Animals, recorded them with a number called “Baby Let Me Take You Home” and started himself on a trail of hit discs stretching around the charts of the world.
Today you’ll find The name Mickie Most on hits by Lulu (“The Boat That I Row”), Jeff Beck (“Hi Ho Silver Lining”), Herman (“There’s A Kind Of Hush”), the Yardbirds (“Little Games”), and Donovan (“Mellow Yellow”).
He was offered the job of recording The Monkees, but turned it down because it meant spending too long in the States.
You won’t find weird, way-out instruments on the discs Mickie produces. “Making good, commercial hits” is his aim and he claims to be so in touch with the pop scene he can virtually predict the highest position discs will reach.
He is a blaze of energy: attacking a meal of fish and chips, arms waving to express a point, talking rapidly about anything and everything — from poverty in India to why Lulu missed hit records for a while.
“Me energetic?” he asks. “I wish I was! I sat in the office yesterday reading comics.”
Nevertheless, this recording manager with the Most is still able to turn out hit discs at the rate of one every few weeks, as well as comb America for hit songs and currently work on the soundtrack album for the Herman movie, “Mrs. Brown You’ve Got A Lovely Daughter.”
I was so intrigued by the energy and efficiency he puts into his work, I asked him if he could reel off all the hits he had ever made.
“What!” he exclaimed. “All of them?”

Reeled off

Then he thought a moment, and said: “Okay — the Animals’ `Baby Let Me Take You Home’, ‘House Of The Rising Sun’, ‘Don’t Let Me Be Misunderstood’, ‘Bring It On Home To Me’, `Got To Get Outa This Place’, ‘It’s My Life’, ‘Boom Boom’ (in the U.S.), the Nashville Teens’ `Tobacco Road’ and `Google Eye’, Brenda Lee’s ‘Is It True’ . . .
“. . . Herman’s ‘I’m Into Something good’, ‘Show Me Girls’, ‘Silhouettes’, Wonderful World’, ‘Just A Little Bit Better’, ‘Mrs. Brown You’ve Got A Lovely Daughter’, `Listen People’, `Must To Avoid’, ‘You Won’t Be Leaving’, ‘This Door Swings Both Ways’, another one I can’t remember; ‘No Milk Today’, ‘Dandy’, ‘East West’, ‘There’s A Kind Of Hush’
“… the new Lulu, the new Jeff Beck, the Yardbirds’ (a big one in the States, that), Donovan’s `Sunshine Superman’, ‘Mellow Yellow’, `Epistle To Dippy’, plus 25 albums . . .”
He attacked another piece of the fish on his plate.
“Herman’s Hermits rely on me one hundred per cent.” he volunteered. “Donovan . . . well… a little different. He still wants to be independent.
“But Don has the good sense to take advice and if he writes 15 songs and I don’t like any of them, he`ll probably shrug and do some more.
“It’s more of a ‘performance’ to record Donovan than some of my other artists. Jeff Beck is the same. He thought ‘Hi Ho Silver Lining’ was a funny song and he didn’t want to do it.
“The trouble is most artists see themselves differently to how I see them. They’ve got a private image of themselves and most times it`s wrong.
“I’ve always had this thing about spotting a hit record. Look at Lulu — ‘Boat That I Row’ is the first record she’s done with me and it’s in the charts. At Decca, they were giving her all the wrong stuff. Tragic, because she’s a fantastic artist.
“When I was a kid and Frankie Laine was all the rage, I remember I’d always be the first to pick out what would make the charts. I’d have bought a coming hit record long before any of the other kids.
“I don’t like any other music but good, commercial pop. That’s what makes me successful. All other kinds of music must become rubbish. I don’t want to know about other kinds of music. I don’t want to taste what people called better music because I feel there isn’t any better.”
Mickie works with the theory that every record in the chart must be good of its kind simply because it’s there.
But it doesn’t stop him disliking records like “Release Me,” or “Puppet On A String,” which he describes as “a joke song.”


Mickie to the right.

Money matters

For a few minutes the conversation seemed to veer between the spending habits of the English (“the meanest in the world,” says the man with the Most); Aden (“we should just take over and show them”), poverty in India and Africa (“don’t kid me, they’re not that bad”) and money in general (“did you know I earn more than Pye Records?”).
About HERMAN, Mickie says: “I saw a picture postcard of him taken in Manchester. With a face like that he couldn’t fail — so I signed him. It’s the cutest face in the world.
“I’m not saying anybody could become a hit on records. But with the character and appeal Herman has in his face, he just has to win.”
LULU, according to Mickie, was a great talent wasted on poor songs. “Songs are the king,” he says, “the most important item in building an artist. That’s why I spend so long in the States combing music publishers’ offices for numbers.
“I’m not saying I can’t find good numbers in this country; it’s just that in the States the field and the choice is so wide. Over there you can go around and find guys at the piano day and night, turning out songs like a way of life.
“Lulu has such a terrific feel for her music. As I say, this `Boat That I Row’ hit is the first we’ve done together, so there isn’t that much I can add. But she’s a real professional.


Of the ANIMALS — with whom he is no longer associated — he says: “I think they resented some people feeling that much of their success was due to me.
“Did you know they didn’t want to record any of the songs that were their hits — ‘House Of The Rising Sun’ and so on? They didn’t like any of ’em!
“Another thing you have to remember is this. If someone is in a group, he`ll never get rich. Even if the group makes a million dollars, it’ll still virtually disappear by the time it’s shared out, and expenses and the tax man have had their bite. That could well have something to do with their split-up.”
How come an out-of-work singer – which is what Mackie was at one time — has risen to a point where he can talk almost casually about a million dollars?
“Luck,” says Mickie. “When the Beatles opened the door to the U.S. disc market, I was lucky enough to be right behind them with the Animals and Herman.
“Before the Beatles, the Americans looked on England as a joke. Now the English products are a very, very big market.
“DONOVAN is very big in the States and he’ll get bigger. He is a very much improved artist. I think he’s got a marvellously strong voice, and I make him sing very close and down to the mike, to give him warmth.”
Mickie would welcome an opportunity to wax TOM JONES . . an artist he admires intensely for his feeling and vocal power. “He is a great singer” he says. “And he has a lot more soul than many of these Negro so-called soul stars.”
Finally, as recording manager for the YARDBIRDS, Mickie realises that they’ve slipped in Britain recently, and he feels it might be because their records have been too way-out.
“Little Games’ is half and half,” he told me. “A good number, with some of the Yardbirds’ style thrown in as well.”
We left the restaurant and walked through the noise of Oxford Street to Woolworth’s, where Mickie intended to buy a copy of “The Boat That I Row”, in order “to boost sales” and because he needed a copy in a hurry.
After a long wait and a browse through their records – most of which seemed to be Mickie Most productions – no one came and we left again.
“That’s the trouble with this country,” he said sorrowfully. “No interest. Me, I hustle for every penny.”
He does, too. Mickie may be too blunt, honest and straightforward to many people, but he’s got gallons of go-go and he knows how to go farthest on them. And that’s what his artists – and the charts need plenty of!


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!
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ARTICLE ABOUT Jeff Beck FROM New Musical Express, May 27, 1967

Seen by many as one of the most talented guitarist in the world, he is up there among Blackmore, Zappa, Clapton, Page, Van Halen and other names you likely have on the tip of your tongue when you think of those extraordinary guitar-players. So it is only natural to publish this article from the early stage of his career with a man who is as active as ever these days!
Read on!


Jeff Beck not nearly so wicked as he thinks he is!

By Keith Altham

JEFF BECK gets a somewhat perverse satisfaction from having a “wicked” reputation in the pop business. At his best, he is a talented, guitar-perfectionist with a pleasant, conversational manner. At his worst, he’s an obstinate, uncompromising character who avoids doing things he dislikes by the simple expedient of walking out on them.
At “Top Of The Pops” last Thursday this contradictory character was walking about in a £400 wolverene fur coat from “that great land” (America), a pair of faded blue denims of no commercial value and a pair of basketball boots from Marks and Spencers, costing approximately 22/6. We talked about the allegation of his being unco-operative and his new role as arch-villain of pop.

Carrying a whip

“It sounds as though I should be carrying a big whip about with me,” smiled Jeff. “The truth is that I am now in a position for the first time in my career to make my own decisions. I’m free to play and do what I like, and I won’t be pushed into doing things I feel are wrong for me or the group.”
Is he not concerned that some of his attacks on the pop scene or even that his own hit, “Hi Ho Silver Lining,” might harm his progress?
“Let’s face it, there’s no glory to be made out of pop now in Britain,” said Jeff. “You have to go to America to find kids who are going to see you as entertainment and not as necessity. I get the impression in Britain that young people feel they must go to a club every night — they’re saturated with groups and pop music.
“I look back on some of the things I’ve said and been quoted in the papers, and laugh. You cant always be in a good mood. It’s the way I felt at the time. As for the disc, ‘Hi Ho Silver Lining’ may be a bum record for Jeff Beck, but it’s been good in other ways.
“It’s in direct opposition to all that publicity I got about being a fantastic guitarist only concerned with my music. I don’t want to be put in one bag or labelled.
“Look at Hendrix! Isn’t he a card? He’s the governor.” Jeff indicated a BBC-TV studio monitor on which the Experience were being screened. “Jimi’s only trouble will come about when he wants to get off the nail he has hung himself on. The public will want something different, and Jimi has so established himself in one bag that he’ll find it difficult to get anyone to accept him in another.”

Enjoys it

Beck enjoys his notoriety and the fact that no one really knows what he’s really like. He is, in fact, a capricious person who jumps from one idea to another on the happy assumption that if you shower someone with enough opinions they will be unable to separate the significant from the insignificant. It gives him a shell, a protective covering, into which he can withdraw in the event of attack.
He lives out in Sutton, Surrey, because it removes him from the immediate London pop scene and allows him to breathe in a more relaxed environment.

Dirty town

“When I climb in the bath after being up in town there’s a scum line round the side,” he confided. “I’m not a person who clubs about town. I don’t like it. I might go to the Speakeasy if I had to meet someone. To be honest I went there last week and actually enjoyed myself, but you still get the dreadful impression some of the people are permanently glued to their stools down there.”
When at home Jeff sits about and “thinks” or reads children’s books. He boasts the complete set of “Rupert Annuals,” “Brer Rabbit,” “Jerimiah Puddle-duck” and his particular favourite — “Tank Engine Thomas”!
“That’s my vocalist Rod Stewart’s favourite,” grinned Jeff. “He’s a a model railway fanatic. I phoned him up the other week and he said he was too busy to come to rehearsals because he was putting a coat of paint on his Great Western trucks!
“Reading these kids’ books, or the pre-1950 American comics like Dagwood Bumstead, is not as juvenile as it sounds. The books jolt your memory and take you back to feelings and experiences you have forgotten about. It can give you ideas for songs and compositions, for example.”
Apart from the children’s annuals, Jeff occasionally flicks over a sexy novel – at the dirty or dog-eared pages only` — or takes his Corvette Stingray out on to the M4 to see if anyone will take him on. He claims to be unbeaten so far.
“I drink on the basis of Dean Martin’s observation ‘that people who don’t drink wake up the next morning and feel exactly the same for the whole day.’ Sometimes I go to the cinema. I saw the ‘Professionals,’ starring Burt Lancaster and Jack Palance — a sensational film. You must see that.”
Future plans include a possible `live` LP and a visit to the Monterey Pop Festival in America. His ambition is to make some appearances in smutty ‘B’ films!
Jeff Beck is really nowhere as nasty as he would have some believe although he enjoys playing the notorious-guitarist role. Like any other independent and talented musician, he desires (and commands) respect, but he should be made aware that playing his kind of rules could lead to disqualification in a business where the key word for aspiring artists is discretion and co-operation.
I hope more people find him as I did — courteous, helpful and considerate.


If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!
The original music paper this article came from (pictured at the top) is for sale!
1. Send me an e-mail if you are interested. Send it to: 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.