ARTICLE ABOUT Slade FROM SOUNDS, November 25, 1972

A nice album review from one of the most popular rock bands ever coming from the UK. Enjoy!


Album review:

Slade: “Slayed?”
(Polydor 2383 163).

By Billy Walker

You can`t help but luv dear ol` Slade for just being themselves, no frills, just down to earth rock and rollers in it for the birds, booze, money and love of it all. They make good music, despite those who feel they`re just a good show and nothing else, and “Slayed?” has everything you`d expect; very few surprises but music that`ll get you up and jumpin` if you`re within a four to seventy four year old age group. “How Do You Ride” gets the boys off and kicking with a great Stones feel to the opening which rolls along within the number, Jimmy Lea gets some barrell house piano going in “The Whole World`s Goin` Crazee”, which is another great rock and roller, and the most obvious thing about the album is proof that Dave Hill`s a far better guitarist than you`d imagine and that Lea, along with Noddy Holder, writes some surprising lyrics. “Look At Last Nite”, “I Won`t Let It `Appen Agen” show this aspect of the band, but it`s numbers like Janis Joplin`s “Move Over”, played with complete confidence and understanding, and “Gudbuy T`Jane” that show what Slade`s about, their toughness and drive with “Jane” keeping up the very high standard of single releases they`ve set. “Mama Weer All Crazee Now” is included and “Gudbuy Gudbuy” flashes in like something from the Beatles` “Magical Mystery Tour” and then settles into a more Sladish theme, although Nod`s vocals here sound remarkably like John Lennon. No messin` from the boys here, a real nice rocker from Nod, Dave, Jimmy and Don. Long liv Slade.


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: Frankie Miller, Wishbone Ash, Steve Took, Edgar Broughton, Rod Stewart, Don McLean, Harry Chapin, Hookfoot, Lou Reizner, Allman Brothers, The organisers of the Isle of Wight Festival, Roy Harper, Gladys Knight, Tight Like That, Gentle Giant.

This issue is sold!


ARTICLE ABOUT Mick Box (Uriah Heep) FROM SOUNDS, November 25, 1972

As one of those people that like and respect the music and the people in Uriah Heep, but without going complete fan-boy and doing research on every little tidbit of their career, I think this interview was really great as there was a lot of things about their early years that I didn`t know – until now. Mick Box says in this interview that he likes to go home and sleep in his own bed – well, considering their hectic activity, still touring all over the world, he has spent less time in his own bed than most people. His bed-bugs are assured to die between every visit home.
Cheers to the man and the band for keeping the flame alive!


Mick Box in the talk-in

by Ray Hammond

Uriah Heep. A misunderstood band in this country, a band who have found such success in the States and in Europe that they haven`t really had the time to correct their British image. They arrived in the 1969 to 1970 period which was remarkable for the rise of the “heavies” such as Purple and Sabbath and to many people`s minds they play loud, heavy music and that`s that. But the band today is far, far more musical than the band which recorded “Very `Eavy, Very `Umble”, back in 1969. Perhaps the man who governs the direction most is guitarist and singer Mick Box and the opportunity of a Talk In with him gave me the opportunity to discover exactly the genealogy behind both the band and the super-fast guitar style of the man.

Can you remember what was the very first music you ever heard?

Oh dear, hang on. Yes, the first thing that actually stuck in my brain was the Buddy Holly era. I don`t even remember a particular tune, just that whole thing. I was knocked out with the sound. I liked the way he sung and it was different to anything else. That was a stage I was going through when I used to stand in the front room miming with a tennis racket.

So you knew that it was a guitar that you wanted to learn to play?

Yes, most definitely, there was nothing else.


How long after that did you actually get your first guitar?

It must have been about a year after that I got this little ukelele `cos I thought it was a cheap guitar, I was a bit dumb. I knocked out a few little tunes on that which was fun and then I wanted to get the proper thing so I got a £12 10s. guitar called a Telston, or something like that, and that was from the pawnbrokers.

So when you switched from Uke to proper guitar you had to learn some new chords?

Ukelele chords are like shortened guitar chords, you know chords with just two fingers and I got a few little books that showed me the chords and I picked up a few things from there. I thought well I`ve got to go further than this so I tried to learn songs from records. That didn`t work at all. I couldn`t get it to sound like the music at all so I started going to a guitar teacher.
I went to him for about a couple of months and he was a bit of a con merchant. He used to give me things to play and I had to go away and learn to play the thing in a week. But within half an hour I could play it to him, it did help in as much as he showed me the basic formation of chords with tonic thirds and fifths and I suppose he was really helpful in just being someone to report to.
After I got fed up with him I didn`t know who to turn to so I just used to plonk away at home and with my knowledge of chord formation I was able to build my own chords.

So you still couldn`t get anything from records?

No, but the first thing I eventually got from records actually shaped my whole technique. I tried to copy a record by Les Paul and Mary Ford. I didn`t know anything about recording at all, nothing. His whole sound is a speeded up guitar sound and he`d play, in rough terms, something at 16 r.p.m. and speed it up to 45 and then put it out as a record.
I used to try and copy him at that speed and in actual fact I kept on plugging away at that record. I think it was “Nola,” and eventually, I got it at the right speed and so I got on into a fast technique thing. After that I started getting into jazz players like Tal Farlow and Barney Kessel.
Well soon after this period I formed my own band. That was just a local band that I formed with guys I`d heard of from the same area. We played the local youth clubs for six bottles of coke and that sort of fee. I remember our first paid gig. I think we got ten bob. That was very much the front room rehearsal scene and it was really a good era.

The band was playing what sort of music?

I think it was just before the Stones happened and we were into Buddy Holly music and Elvis` stuff. Our lead singer could only sing rock so we bashed that out all night. I think I must have been about 13 at this time so we were pretty young. All the music like “Jailhouse Rock” and “Blue Suede Shoes” is based on the 12-bar format and that also gave us a chance to do a few lead breaks because you don`t have to think too heavily.

What did you call the band you had at that time?

We were called the Stalkers, and that was for both reasons because we wanted the women as well, you see.


How long did the Stalkers last?

It lasted a good few years because we started to get £15 gigs, and all that and we thought “amazing” and we were really pleased. We started playing the Marquee and that was really the big time for us and just before we made the Marquee we realised we needed a new vocalist because the other guy just wasn`t up to it and our drummer`s cousin was David Byron who`s our singer now and he suggested that this guy David might be suitable and that was the start of a partnership that has taken us right through `till now.
The auditions we had at that time were so silly, we just said: “What do you know” and if he knew “Blue Suede Shoes”, we said: “OK sing it.” So we settled on David.

Where did the band go to from the Marquee?

From there we thought we wanted a change and David and myself wanted a change, we wanted to go professional. I was working as a clerk in an export office. I was determined to be professional.

It must have been a big decision.

David was a bit unsure because packing up and going pro meant that we were going to lose two members because they wanted to go through with their apprenticeships. We struggled a long while when we first went pro and we spent a year just writing songs together.
It proved a lot harder than we thought to get the right musicians and we finally got Paul Newton who was in this band and we got in a drummer and we called ourselves Spice.

So this was in fact the beginning of the band that`s now Uriah Heep?

Yeah, we started doing all the clubs after a period of a year with no work.

How did you live through that year?

For the first six months I did things like potato picking, get up at six in the morning and worked all through the day and get about £2 a week for it. I washed down shop windows and signs, cut someone`s lawn, anything to get money going and get through a week. It was just a struggle for ourselves and in the end we ended up going on the dole for six months.
They kept sending us for jobs and they`d tell us to go on the ninth for an interview and we`d turn up on the 19th and swear that we`d seen a one in front of the nine on the piece of paper with the instructions on it and of course they would immediately consider us unsuitable.
I also used to go down the dole in the bizarre clothes like pyjamas and jumpers with huge holes in the sleeves and I`d do anything not to get a job. I did that for six months and in the end I couldn`t keep a straight face.
We eventually got a drummer called Alex Napier in on drums and we started doing some clubs and being picked up by a few agents. A guy who helped us out a lot was Neil Warnock. He worked for an agency called Southbank and he managed us for a while.


What sort of material was Spice doing?

Well to get work in those days you couldn`t do what you wanted to. You had to remember that people wanted to hear certain things and you just had to play them. We tried to get away from playing all the run of the mill stuff and we used to dig out old Joe Tex things and numbers like that which went down very well.
We never did the top twenty stuff, we used to spend hours in record shops digging out obscure numbers to play. I remember finding Donnie Elbert`s “Little Bit Of Leather” and songs like that.

Did you put any soul in the act at that time?

Well soul was the thing at that time and we used to do some as a kind of a mickey take thing with dance routines. Then we started to get into an improvisation kick and we started to play our own numbers on stage.



I remember that it was difficult for a band to play their own numbers on stage at that time?

Yeah it was murder. We got to a point where we were digging up all these old numbers and we thought we could write numbers just as good. At that time we couldn`t actually, but at least we were attempting it. So we started sticking in a few originals and they seemed to be getting the same reaction so we gained a little confidence.

About what year would this have been?

I think it was about 1967. It was during that year that we started doing our own numbers on stage and we did more and more of them until the whole set was just our own numbers.

What sort of clubs were you doing then?

We were doing the Marquee, college dates, the Red Lions, the Wake Arms, Epping, this sort of thing.

This was about the time of the start of the underground movement?

Yes very much so, I think we were one of the first bands to get a little bit indulgent in as much as I used to go and do a guitar solo for 15 minutes on stage with the rest of the band going off and at that stage nobody around was doing that.
I think we were carving our own little niche then but we kept to the format that we used with this band that you can afford to be really heavy and exciting but still retain lot of harmony and melody with it and that`s what we were trying to do then. We`re still doing that.
On stage five of us sing and normally with all that power going on you get just one guy out front who`s singing.


How long did Spice last under that name?

It ended at the end of 1969. Gerry Bron came to see us working at the Blues Loft, High Wycombe, and we`d heard that Gerry was a good straight manager so we`d invited him to come down. He thought we had it all there potentially, musically and so on but he knew there was something missing. So did we but we didn`t know what, we didn`t know where to turn.
So he took us under his wing, he didn`t sign us or anything and he gave us a few pilot gigs to see if we were good enough, whether we`d turn up on time, if we were reliable or if we were temperamental. So he tried us out for a long while and then he slung us in the studio with a couple of our own numbers, just to try and find out our direction.
We`d never been in the studio before except for a few demo sessions and we went in and what we came out with wasn`t very impressive at all – in fact, we still listen to the tape we made on that session now, just for a laugh. Gerry was knocked out with the enthusiasm and the will to get on and he stuck with us. Then we started to record our first album.

Was this the album that eventually came out as “Very `Eavy.”?

Yeah and it was during that we discovered what the missing link was we needed a keyboard player, and another voice. Our bass player used to play with a band called the Gods and another ex-God was Ken Hensley who was playing at that time with a band called Toe Fat.
We approached Kenny and he agreed to come down to Hanwell Community centre and have a blow. We just played for a while and we realised it was going to work. In addition to playing keyboards he could also play guitar, write songs and sing and this was just what we needed. So we started recording that band.

The album came out a long while after you recorded it didn`t it?

Yeah, that was the drag, because when that album came out it was obsolete for the band because we`d moved so fast we were already into other material.

It did a lot of good for you that album, though, didn`t it?

It did more good for us on the Continent actually, it was OK here, but they really picked up on it.


When was the period that the band actually started to break?

We got the Uriah Heep name from Gerry. The band came to him in the centenary year of Dicken`s death or something and we picked up on a bit of publicity. We`d been thinking of all different names for the band like your Corrugated Dandruff and Clockwork Doughnut and it was nice to find a name that had a bit of a story behind it.
We got all that dealt with and we were doing some pilot gigs in England getting new gear worked in and then we were slung over to be on a festival in Hamburg in Germany and we were first on the bill. We steamed in there and they gave us an ovation and they wanted an encore which wasn`t bad for a band there for the first time.
There were a lot of influential promoters backstage who all saw it and they started booking us on German tours and things, which was beautiful and the Germans really started plugging for us. In six months we were over there six times on various tours.
The album started going in the charts; it snowballed for us there.

How did the band come to go to the States?

Well we were very successful in Germany and it was slowly happening here, it was very slow but it was still going. We were having a lot of bad press which may have been right or may have been wrong. I don`t know, but it never concerned us that much because we were still going along to gigs and each time we went we got bigger crowds and we always got encores. We just hoped that the press thing would swing round which luckily it has done.
We thought, States, OK. Let`s go there.
We went over there as a support band playing 30 or 45 minutes just to get experience and it`s the first time we`d ever played before 20,000 people. It was like the Blues Loft, High Wycombe to the Los Angeles Forum, it was ridiculous.


What was the States audience reaction like?

It was interesting, it wasn`t brilliant but it was interesting. Three Dog Night wasn`t exactly our crowd. At the end of the tour we found there was enough reaction to go back and do another tour and then we toured with Deep Purple and Buddy Miles which really broke us out there.

Do you enjoy playing the States more than anywhere else?

I enjoy playing there but there`s no where like home, is there? Up the M1, play the gigs and then you can go home to your own bed.


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: Frankie Miller, Wishbone Ash, Steve Took, Edgar Broughton, Rod Stewart, Don McLean, Harry Chapin, Hookfoot, Lou Reizner, Allman Brothers, The organisers of the Isle of Wight Festival, Roy Harper, Gladys Knight, Tight Like That, Gentle Giant.

This issue is sold!

ARTICLE ABOUT Nick Mason (Pink Floyd) FROM SOUNDS, October 28, 1972

It is very fascinating to read this interview with a very down to earth man who would soon become one of the most successful musicians in the known universe through what would become one of history`s most beloved albums ever. The style of this interview is also “different” as it looks more like an conversation between two friends than a series of questions.
All in all, this is a great read.


Nick Mason in the talk-in

Interview by Steve Peacock

First it was called “Dark Side of The Moon”, then they discovered that Medicine Head had an album out under that name so they changed it to “Eclipse”. But by now it has taken – not unusually – a lot longer to record than they`d anticipated, and the Medicine Head album is long past, so the Pink Floyd have changed the title of their next album back to the original.
Also not unusually, Nick Mason confessed that there wasn`t really much to say about the album at this stage – they`re just grinding away at it, translating the piece from stage performance terms into studio terms.
What is unusual though, is that they`ve been performing the album live for some time before they recorded it.

Is this the first time you`ve worked this way round? You normally get something together in the studio, and then take it out on the road.

Right, that`s what we normally do. With “Atom Heart Mother” we had the piece a little before we recorded it and worked on it a little bit, but this was definitely a major change in terms of technique for us – normally we get into the studio and stagger about for days wondering what to put down. I think this is a better way of doing it, because you spend more time making a good record.
And also usually even if you use a late take when you`re recording, the tenth take or something, by the time you`ve taken it out on the road for a few months you`re starting to regret the way you handled it on the album.

That seems obvious for a fairly straightforward rock and roll band, but I wouldn`t have thought it necessarily applied to the Pink Floyd.

Well it doesn`t apply to everything – some things we never perform live for a start, and some things have a different quality in the studio that gets altered. But I think “Atom Heart Mother” is a prime example of one of the things we would have liked to have started again once we`d had it on the road for a while, because that was very much a case of learning by our mistakes, the techniques of recording it were quite extraordinary.
One of the things we did on that just as a starter was that Roger and I put down the whole thing, just bass and drums, which was a crazy thing to do. We used parts of that, but basically it all got chopped up anyway so it was a totally unnecessary, amazing feat of brilliance; totally useless.

Would you say the “Dark Side Of The Moon” piece was more straightforward, and rather more a “live” concept that most of the things you`ve done in the past?

Well, it is at the moment, because it was written that way, but I think there`s a lot of scope for doing other things with it. Like we keep talking about giving ourselves more time to do things like “Dark Side Of The Moon”, to get them a lot further than that was got before it was performed – though that was the furthest we`ve got anything I think. That`s one thing, and the other thing is that we`ve only recently started to get interested and find a use for synthesisers. We`ve had one around doing odd blips and burps for quite a time, but we`ve never really used it. We did a little on “Obscured By Clouds”, and I think we`ll use them more on this piece.


“Obscured By Clouds” was done in quite a short time, wasn`t it, and within tighter structures than you usually use? How well do you think it came out?

Sensational, actually. I thought the album was an amazing improvement on the film music, and I thought the film music was really good. But then I thought the same about “More”. It`s one of the annoying things in a way that the difference between something we`ve spent a week on and something that takes nine months isn`t that great – I mean the thing that takes nine months isn`t four times nine, 36 times as good. Obviously nine months doesn`t mean nine months solid recording, but even so…

I felt the tightness of it brought out a whole different quality in the music, and in the playing. More intense in a way.

Sure, I thought it was particularly good from that point of view, it had a good, together feel. It was a fairly relaxed album but it was… well, tight. I like that sort of short, scheme thing – it`s less disappointing in a way. Whenever we finish an album I always think it could have been better, but with things like “More” and “Obscured By Clouds” I tend to think it`s really not bad for the time – perhaps it`s just there`s more excuses.

Looking back over what you`ve done, eight or nine albums now isn`t it, can you see much that you`d originally thought were good ideas, but that you`ve now discarded?

Not much, actually. For instance we haven`t discarded the idea of orchestra and choir after “Atom Heart Mother”, if that`s what you mean, sort of “we tried it, and we don`t want to do that again”.

Not as specific as that really. More in your general approach.

There isn`t much really. We`ve made lots of mistakes, I know, but they`ve been filed under “Experience”, and there`s not much that we thought of as complete disasters that we`d never go back to. I can`t think of anything that really sticks out as a discard.


The music does seem to have got less violent – says comparing “Echoes WITH “Interstellar Overdrive” or “Careful with That Axe, Eugene”. I suppose that could be just old age…

(Laughs) … creeping up, yes. I don`t know – I think the thing that bothers me more than anything is that we seem to get stuck into a slow four tempo for nearly everything we do. Like the speed of “Meddle” is the speed of nearly everything we`ve done for too long. That has something to do with it, that penchant for slow tempos, but again I think in some ways things are becoming more aggressive – there`s more aggression in the way we do “Careful With That Axe” on stage now than there ever was when we first recorded it. Our original recordings of that were extremely mild, jogalong stuff.
Even if it doesn`t always come off, there`s meant to be a lot of very heavy vibes coming off the stage during “Dark Side Of The Moon”. We`re well into putting on a lot of effect in order to make the whole thing heavy, really, in the true sense of the word. I`m not expressing that very well, but I don`t think it`s getting any lighter, put it like that: it might have got a bit slower, but I don`t think it`s getting any lighter. And I don`t think the intention is to make it light either. It`s all a bit abstract really.

Yeah. I suppose what I was really trying to get at was how you felt you`d changed over the years – moving through that UFO/Middle Earth scene up to now.

One doesn`t really feel that it has changed much because you`re in it you tend to feel you`re just the same and it`s everyone else that`s different. I think we just take for granted all kinds of things that happen to us, things like our attitude to what the show should be like.
I can`t remember exactly what we were saying in 1967, but I`m sure it was something to the effect that “there`s the light show, and we`re really incidental to the whole event; we should be in the background somewhere and we don`t approve of people rushing about the stage jumping up and down.” Ostensibly we still don`t jump up and down, but the pyrotechnics and everything on stage now are arch-showmanship really. When we were in America we did a show at the Bowl where it was only marginal whether it was us or a sort of Barnum and Bailey carnival night – fireworks, searchlights, the lot.
I suppose the real thing is that there are so many more facilities available to us now: five years ago we thought that you should do almost anything to increase the power of what you were doing, and it`s just that now the whole thing`s turned into this gigantic circus of steel machinery.



I think one fairly obvious difference is that with clubs like UFO, people came as much for the event as to see you, whereas now – despite the sound in the round and everything – they come and sit and watch the stage.

Right, because there`s all sorts of things to bring their attention to the stage, like the lighting towers and so on. I think that`s inevitable though, because apart from anything else it`s to do with the size of the place you`re playing. At UFO – now we`re really sounding like old age pensioners – but at UFO there was this kind of community feeling about it all. There were other events going on while we were playing, the light show were doing their thing as well, rather than just lighting us, and so on. But really, there`s no magic in some of the horrible places we play at now, baseball stadiums and so on, so that`s one reason why we centre a lot more on the stage. And then obviously there`s all sorts of other reasons as well – ego drive, and success…

Because the more people know your names and faces the more they want to look at you, sure. But it hasn`t changed the effect you want to have on the audience?

No, I don`t think so. I think we`re clearer now than we ever were about what we want to do – we used to have very vague aspirations. Like when we started all we were into was Top Of The Pops and a hit single, and then when we attained that, it was an amazing disappointment and very nearly exploded the band.

So how much did you feel a part of that 1967, community thing at UFO? Was it just a case of playing those places because that`s where you got gigs?

I think I played them because that`s where we were – I didn`t know what the f–k was going on. Peter and Andrew (Jenner and King of Blackhill, the Floyd`s first managers) and the kind of Joe Boyd figures that were around then were probably part of it in a way that I certainly wasn`t; all four of us – we were the band, that`s all, rather bizarre, sometimes very inward looking people who lived in a world of our own. There was no community spirit whatsoever; all we were interested in was our EMI contract, making a record, being a hit.
At UFO we felt like the house band, it was by far the nicest gig and it was what everyone asked about at interviews and so on, but I certainly wasn`t into the lifestyle of the whole thing. One knew the people one came up against of course, people like Joe Boyd and Hoppy, and once there one ran up against people that one still sees occasionally, but I don`t think I felt part of The New Movement, because I was too busy being part of the new rock and roll movement, which was a different thing.

So one day it was the Roundhouse and the next it was Sheperd`s Bush TV studios, and apart from the obvious differences it wasn`t that strange for you?

Well yes, obviously there was an amazing difference, but then you just took it in your stride. I think today I`d probably have a nervous breakdown because the two places are totally opposed, but then it just all seemed part of your life.

Would it be fair to say then that the Pink Floyd`s music has grown out of whoever`s been in the band, from the inside, rather than being a product of – whatever you care to call it – some kind of outside cultural changes in the past few years?

Basically, yes, but it isn`t quite as simple as that. The launching of it had a lot to do with Syd, his writing and his songs were what did it really because as a band we probably weren`t very good, in fact I`m sure we weren`t. That was part of it, and another part of it was Peter and Andrew – like the light show was more their idea than ours, and that was an amazing leapfrog forward because even if we had the worst light show imaginable, no-one had seen anything like that before. This is psychedelia, man.
I think we were all in a fairly confused state – it was only long after all that period was over that we really started to talk about what we were going to try and do. Vague attempts were made at that time, with “Games For May”, to do a show of our own, but then we didn`t manage to follow it through and do another one until two years after, and that`s really a long time not to do something you were intending to do. It was just muddle and finances and being out of control really – just muddling along.


You do have the reputation anyway of taking quite a long time to get things together. Do you find you need that time just to keep the hassles at bay, give yourselves some room to breathe?

Well, the trouble is that there are so many things to do and any new thing takes so much time. It`s true that we do get stale if we work too much. It`s very simple really – if we work too hard then we all get very tired and we stop doing anything creative, we go into a sort of zombie, bash-it-out state which is really dangerous. It`s the easiest way, possibly, of blowing up a band because the whole thing becomes pointless and you lose all interest in what you`re doing.
That`s for us – in the words of the Scottish guru (Ron Geesin) we`re all humans, and what some people get off on, others don`t. There are some bands who can work 300 days out of the year doing live shows and that`s when they`re happy, but it doesn`t work like that for us. We try and work live as much as we can, and record, which takes so long, and so it gets very heavy to try to find really long periods of time to write new things without rushing them. Like for “Dark Side Of The Moon” we did give ourselves a reasonable amount of time, and it still wasn`t long enough. We could always use more time.
We don`t work all that much in England, it`s true – it tends to be one tour a year or something. But for a long time we suffered terrible embarassment here because we felt we were just going out all the time and doing the same things. “Ummagumma” was supposed to be a farewell gift of all those live numbers – goodbye, that`s it. We still do bits of them now in fact, but that`s because we like to do them, but for three years or something we did them because we had nothing to replace them. I just felt embarassed in England, because people would shout out for what we were going to do next, because they knew what we were going to do next. There just wasn`t anything else.


Though even when you put new stuff in they still shout for the oldies.

Yeah, but at least we`re splitting it now. But that is one of the dangers of being an elderly band – anything over three years, and particularly the 1967 syndrome, because you`re history. “Darling, they`re playing our tune, it brings back that summer in Hyde Park, doesn`t it?”
Really. The younger ones come along and wants to know what it was all like then, because they didn`t have mothers and fathers tell them about it, but they certainly had elder brothers and sisters saying “when we were young, there was the Pink Floyd, you know”.

Does it surprise you that you`ve stayed together so much longer than most bands?

Yes, it does, mainly because you always think it`s your band that`s got the nutters in it. You occasionally meet people from other bands and they seem very nice, and you start thinking “I wish I worked in a band with real people like that in it”; and then you find out that they`re all much worse than the lot you`re thrown in with, much worse, and they all attack each other with ice-picks and so on.

Right. I don`t know whether it`s because I`ve known you as the Pink Floyds for so long, but I can`t imagine any of you moving off to form a new band of your own somehow.

I think it could always happen – there`s always various hurdles that you either get over or you don`t, say the first year, or the third year, or relative to money or success or something, or people feeling that they`re not getting the credit for something they`ve done, or they could do better by themselves. I think “Ummagumma” was a great thing in that respect, because everyone got a chance to show what they could do.
There are still a lot of things, too, that we could all do together that we`re all aware of, and someone said they wanted to go off and do something on his own, then it would be cool to do that as well. There are bands where if someone wanted to do that everyone else would say no, but I`m sure we wouldn`t now.

Or they say “yes, but we`ve all got to do it.” But perhaps also it`s because you have been able to take time over what you want to do. After the initial hit single thing, it`s been a fairly un-hysterical, gentle climb upwards rather than the very fast David Bowie kind of situation.

True, but it`s all surmise really. I think that`s one of the most interesting things about rock and roll bands, is the way they work together, the psychology of the group. It`s equivalent to families, and various things I`ve never been in but I`d imagine would be similar, one being a small army unit, and another a prep school.
Because you can oscillate so easily between love and hate – real love and real hate. At one moment you can feel really close to them, or to one of them, or you can hate them. It`s never two against two, either, it`s always three against one, it really is amazing to watch sometimes. Jokes, and the way they become teasing, and bullying – that`s what it gets down to.
And again it`s surmise, but think we`ve been lucky in that we`ve used our managers when there`s been a lot of aggression instead of always ganging up on each other. Steve O`Rourke (their present manager) can take a lot of aggravation from us – we can be incredibly spiteful, and he can channel a lot of that from us without actually breaking, and beating us about the heads with clubs. That seems to be fantastically important.


I`d never thought of that – that could be one of a manager`s most important functions, because you can`t take it out on other people, like roadies. Apart from anything else they`d leave immediately.

Right, and anyway that would be like going out into the audience and finding somebody very small and beating them up, it wouldn`t be fair. And you couldn`t pick on anyone bigger because you might lose. You need someone of equal stature. All that, of course, is particularly true when you`re on the road.

Staggering through some kind of strange nightmare, like the first American tour, which appears to have been the prototype nightmare American trip.

I`m sure that was a dream, in fact, and we all seemed to share it, which is the most alarming thing. That`s it, I suppose – there`s such a wealth of things that we`ve been through, that after a certain point you feel almost obliged to stay together just so you can tell each other funny stories about “do you remember when…”


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: Melanie, Roxy Music, Medicine Head, Jimmy Cliff, John Entwhistle, Paul Simon, Fleetwood Mac, Yes, Steve Tilson.

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 first part of this story was printed a little while back and here is the just as excellent part two. This story of Yes` beginning deserves to be read as it is an fantastic account of their early days. Enjoy this write-up from one of the most talented music journalists around in 1972, Mrs. Valentine.
Have a good time!


How Yes stopped being the little band round the corner and learnt to cope with success Part 2

Penny Valentine concludes her interview with Jon Anderson and Chris Squire

For Yes, the year of 1969 was almost exclusively devoted to “slogging round the country”. The music seemed to be gaining wider acceptance, still on a small level and there was hardly any money in the coffers. But while the feeling inside the band stayed at peak enthusiasm nobody was worried. At the end of the year they played Bristol University – second on the bill to the Who:
“I`ll never forget that night”, says Jon. “Not because we were so brilliant but because the Who lent us their PA system and Pete Townshend came on stage after our set and really gave the audience an amazing bit of chat about us.
“We couldn`t believe it. It was an enormous pat on the back. When you play with a band like the Who that you`ve admired for years and then something like that happens – well it gave us the incentive to keep going. We knew then we weren`t on the wrong track”.


By then “Time And A Word” was being formulated. Again the band were in desperate search of guidance and strength inside the studios. They got Tony Colton in as a producer and Tony Cox to help out with arrangements:
“In a strange way Tony Colton influenced the band a lot. We needed some sort of egging on and he did that”, says Jon. “Eddie Offard was our engineer on that album and again, because Tony told us we were on the right track, it spurred us on.”
“Jon had a lot more confidence than I did on that album. I think I`d lost a bit by then…”
They both think “Time And A Word” was too sterile and clinical to really get to the public – certainly it didn`t smash the charts apart. But by the beginning of `70 when it came out they had other problems to contend with.
It was getting very obvious that Pete Banks was losing his enthusiasm – and Jon Anderson was the first to be aware of it:


“We were rehearsing so much that it was obvious there was going to be one person lagging behind. It turned out to be Pete. He didn`t have the gall we had, the conviction. During rehearsals he`d always come in right at the end, and when we were cutting the album we were obviously losing pace with him. He`d just sit about and never be that enthusiastic.
“What was even worse was that at the same time we`d stopped being so green and thought we`d got the wrong manager. Roy Flynn booked us on a whole series of really weird European dates, and so just when we thought we ought to have been charging around Britain solidifying ourselves we were somewhere in Europe”.
In Spring of 1970 they came back from Europe depressed and forgotten. Pete Banks officially quit and the band made the decision to lay off. “We weren`t getting anywhere so we decided to do nothing”, says Squire.


There was so much depression inside the band that nobody even felt they wanted to replace Banks. They just wanted to withdraw into themselves, disappear and not have to cope with yet another outsider. But just before they went off to Devon for their withdrawal period, a new young guitarist – Steve Howe – came on the scene.
Chris had already seen him play with Tomorrow and been very impressed with his work. He suggested bringing him in to Anderson. Only Squire and Jon were for the idea but in the end Howe joined them in Devon:
“At the time Chris and I were still the strongest members of the band”, says Jon. “But while we were away we suddenly realised that not only had we found someone who could replace Pete in the group but we`d found someone as strong as we were – which was really a surprise.”
They stayed in Devon for nearly six months. During that time they rehearsed and wrote all the material that was later to appear on “The Yes Album”. Confidence had somehow miraculously returned to everyone – a feeling invigorated when they returned to London to play their first concert dates and were amazed to find that they weren`t the forgotten men they`d supposed.


“Everything around us – management, equipment, money – was in a complete shambles”, says Chris. “But the main thing was that we were confident in our music. So we ignored everything else and hoped it would turn out okay. There was a unity in the band that was like the unity two years before, a unity that had dwindled right off was somehow back again.
“When we got back on stage we even tried things we weren`t really capable of. We`d give anything a try. We didn`t care what was happening behind our backs. All we knew was that we felt really happy we were a group again”.
Apart from the pats of encouragement here and there and the Marquee residency under their belts – (Anderson says that probably the one thing that gave them a feeling of having made any ground at all was the encouragement and help they got from the Marquee people) – Yes were still, on top of it all, having trouble with their albums.
When it came to recording sessions for “The Yes Album” the band again looked round for a really strong producer to put their ideas into action:
“At the time we wanted Paul McCartney but in the end there was Eddie and us and for the first two weeks of recording we were scared stiff”, recalls Anderson. “We suddenly saw what we`d got ourselves into and then slowly we realised we could, in fact, make our own album without needing anyone else to be there. Because we were so sure at that point what we wanted musically to come out on that album it was a lot easier than we thought.”
“The Yes Album” was released at the end of 1970. Because of a national postal strike SOUNDS a few weeks later carried not the national chart, but the Virgin record chart, and in that line-up “The Yes Album” was number one. Chris Squire says now that he firmly believes because of this and because anyone looking at it would think it was the genuine chart it got interest going for the very first time for a Yes album.


Whatever the reason three months later “The Yes Album” made it`s appearance in the top five and the band had their first hit. Meanwhile all the mess that had up until now surrounded the band and hindered it`s advancement sorted itself out. During the beginning of 1970 Chris Squire had met Brian Lane in his hairdressers. Lane was to become the band`s new manager and through him they went with Hemmdale – a public company that had never before been connected with rock music. A lot of people outside the group thought this was a particularly strange move but for Yes it was to give them the hard core security background they needed.
All through the rest of the year Yes`s first American tour was on the cards but never quite materialised. In fact it was the start of 1971 that saw them in the States for the first time – by now the album and a single from it were in the US chart:
“Brian had had a lot trouble getting us a really top agent in America” says Chris. “But eventually we went out with Jethro Tull which was really excellent. We`d never worked with a band as amazingly big as that in our lives and for five weeks we were playing to between 15,000 and 20,000 people every day. The really strange thing was that having thought we`d got out there and nobody would know much about us, we were really strong in a few places like Philadelphia. The guy came out on stage and said `the first band tonight will be this new British band – Yes` and about half the place went into uproar, because they knew about us from earlier albums and what we`d been doing.”
For once the band really had something to be “up” about. But at the smooth passage that had just started unwinding in front of them was coming to another rough patch. On their return from America Tony Kaye left:
“During the course of the tour we were aware that the music we were playing needed more colour” says Jon. “And really at that time Tony wasn`t playing anything other than organ. We all like Tony but – well he was more interested in other things, a bit of a midnight raver. We`d been back about a week when we all agreed it would really be advisable to look for someone else. I`d never seen what Rick Wakeman could get into -but all of a sudden everyone else in the band was very strong on him coming in.”


It turned out that the two people most into the Wakeman replacement were Chris and Steve. Steve it turned out was the one person who`d been having most trouble working with Kaye through the US tour:
“He was the least happy” says Chris “Because he`d spend hours tuning up before a gig and it was really frustrating for him to go on and then have Tony charge in with the wrong chords. And Tony did get very lax. His confidence got to the point where he`d flaunt his body around and then put his fingers in the wrong place. It`s really important to know when you`re with a band everyone`s really trying equally. Everyone`s got to be equally interested in making sure the gigs are as perfect as possible – that`s what makes a band worth their salt.”
It was with Wakeman`s entrance onto the scene that things appeared to settle for the band. Not specifically because of Rick but simply that at the precise time he joined Yes were well on the way to cementing their standing on both the home and US market. More, it was with Rick`s joining, that Yes` future attitude to their work and their musicianship within the group was solidified:
“I remember Rick coming along and telling us what he wanted” says Jon. “Then we turned round and told him what WE wanted. That by then we only wanted musicians who would put their whole entity into Yes – and I must say that`s something that he did learn to do. Rick can now go on stage and combat eight keyboards and on the best of nights he`s amazing to watch. It was at that time that Yes became a band that was very strict with itself in a lot of things besides their music.”
During the American tour Yes had written all the material that was to be laid down on their “Fragile” album – cut just at the time Rick came into the line-up. When “Fragile” emerged from Advision studios onto the open market it sold better in the States than it did in Britain – something both Jon and Chris think was a direct result of the material content:


“`The Yes Album` was conceived in Devon” says Jon. “And I think it was a much more English album because of that. When we got to America that first time we were so shocked in lots of respects – at the situations we face there – it got reflected in the songs we wrote. So I suppose `Fragile` came out as a more American album.”
One of the biggest things “Fragile” did was that, while it may not have clarified the band`s position here, it was the instigator of much of their next work – the “Close To The Edge” album. Of all their work it has been “Close To The Edge” that has possibly really reflected in both critical and commercial terms what Yes stand for now. The zenith of their work to date. The final pat on the back that showed very clearly that Yes are now successful in every term:
“What happened on `Fragile` helped make `Close To The Edge` what it is” says Jon. “Personally I learnt a lot from that about vocals and we used tapes for the first time – something Pete Townshend had been talking about for ages. As Bill Bruford used to say – the rock scene follows Pete Townshend around – which in a sense it does.”


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: Melanie, Roxy Music, Medicine Head, Jimmy Cliff, John Entwhistle, Paul Simon, Fleetwood Mac, Nick Mason, Steve Tilson.

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 Fleetwood Mac FROM SOUNDS, October 28, 1972

There is a chance that I may change the name of this blog in the future, so I was wondering if you would like to help me with a new name? Something that would look good on a t-shirt, maybe? I have some ideas myself, but I don`t feel I have found the ultimate name yet. I don`t think it should contain the word “Article” as that would be kind of boring, and the word “Kerrang” is already taken. It`s hard….
Well, something that may be a little easier is to read this article from a very turbulent time in this band`s career. A lot of changes would eventually make this band end up in a very special place, so maybe all the turmoil was a good thing?
But please – don`t forget to name this blog – all suggestions can be written as a comment here, sent to my e-mail or posted in my Facebook-group.


The new Mac will never let you down

Interview by Steve Peacock

If you ever had those Fleetwood Mac, Chicken Shack, John Mayall Can`t Fail Blues that Adrian Henri used to sing about you`ll know all about the late sixties British bloose boom.
And the chances are, you`ll know a bit about the band called Fleetwood Mac in late 1972 as well. Two original members remain, Mick Fleetwood and John McVie; there`s Christine McVie (neè Perfect) from Chicken Shack; and there are the newest additions, Bob Weston and Dave Walker from Savoy Brown, another of the British Bloosers who surely would have made Henri`s song if they`d rhymed with anyone else. Bob Welch, from California, is the outcast, but then I suppose devious introductions can`t have everything.
Fleetwood Mac have been through some changes since halcyon days of the late sixties. They have, in Christine`s words, got off the blues, and the faces have changed as well. Peter Green left, Christine joined; Jeremy Spencer left, Bob Welch joined; and now Danny Kirwan (who Peter brought into the group after it had started) has left, and Bob and Dave have joined.
That last shuffle, says Christine, was “just one of those things. He wanted to do other things and it was a basically amicable thing where he wanted to leave and we basically wanted to say cheerio, you know? We were finding we couldn`t really work together so it had to happen. He was really more interested in recording and writing his own material – he was halfway through doing his own solo album anyway, so I presume he`ll finish that and go on doing that kind of thing.
“I don`t think he`ll ever want to go on stage again – really I don`t think he enjoyed that side of it very much. It was just a parting of the ways.”


Christine, Bob and Dave were sitting in their publicist`s office, fresh from rehearsing the new band, and very enthusiastic about the music they were making. They were a bit at a loss to say how the changes had affected the band, but Christine said: “One thing is that everyone seems to get on very well with each other now, an extremely friendly state of affairs which is nice, and I would imagine rather rare. A lot of bands seem to have problems about that. Musically the band seems to be a lot harder than it`s ever been, more positive.”
They`ve known each other from way back of course, and when Fleetwoods did a three-month tour of the States earlier this year Savoy Brown were there, too. As Bob pointed out, this made the changes easy: “Everyone is very much aware of what everyone else can do, and we were even before we joined up. We`d watched each other on stage and got to know each other, so all those preliminaries were out of the way before we started.”
Christine: “It`s not as if we did any auditioning or anything, we didn`t have to go through all that rigmarole of trying people out. We already knew who we wanted, and fortunately we were able to get `em.”
The new Fleetwood Mac will be back on the road in November, gigging in Britain for the first time in nearly a year. “The band hasn`t played in England for so long that it`s hard to know how people are going to react,” she said. “Or whether they`re going to turn up even. We really don`t know what`s going to happen, but from our side of it we`re confident we can put on a good show, so let`s just hope that England`s ready for a few more changes in the Mac.



“It`s funny, but that doesn`t seem to matter so much in America – they don`t go to see personalities so much, they go to see a band. If they come to see Fleetwood Mac they don`t seem to care all that much who`s in the band as long as it turns them on. If that happens they`ll give you the response.
“I think in England we`ll probably get people coming along out of curiosity as much as anything else, just to see what`s happening with the band now. And probably we`ll get a percentage of them coming along to pull us to bits like a lot of them do. It`ll be interesting whatever happens.”
It`s a strange thing, the way Fleetwood`s popularity in this country started to go down at the same time as it started to go up in America. That was about the time Peter Green left the band: “I think a lot of people probably found someone else to like then,” says Christine, “because he really was the mainstay of the band then.” Dave agreed: “I think it was down to the thing of audiences still liking guitar stars a lot, and Peter was a bit monumental.”
Christine: “I think it was with `Kiln House`, the first album after Peter left, that the record sales began to go noticeably down, like crossing off a few noughts, and our albums haven`t sold well in this country for a couple of years now. But in America that was the first one that really sold at all, and they`ve gone consistently up since then.
“Going back to what we were saying about audiences before, I think American audiences maybe do come to see personalities as well, but they`re far more aware of whether they`re enjoying themselves at a gig as well as anything else. They tend to create an atmosphere among themselves whereas I think English audiences want it all to come from the band, which puts a lot of strain on you. If you play badly over there though it`s just tough shit, because you`ve got everything going for you before you start.”
But obviously they`re hoping they`re going to make it in England again this time round. As Dave said rather wistfully: “I think for Bob and I it would be extra satisfying. America and the money is all very nice, but…”


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: Melanie, Roxy Music, Medicine Head, Jimmy Cliff, John Entwhistle, Paul Simon, Yes, Nick Mason, Steve Tilson.

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.