1973

ARTICLE ABOUT Deep Purple FROM SOUNDS, December 29, 1973

Out on the Deep Purple European Tour, that was an pre-tour for the release of their album “Burn”, Mr. Makowski was able to see the band in an very interesting period. They had just recorded their first album without two of their most famous members, Ian Gillan and Roger Glover, who were out of the band because of internal “conflicts”.
Now they had to find and introduce two new members that they hoped would be able to fill the giant shoes of the two were before them. Written before the release of their first album with Coverdale and Hughes, this was one of the first reports that fans of the band got of the new line up. I believe they felt a bit calmer after reading this report from Mr. Makowski.

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Purple are back, `nuff said?

Pete Makowski reports on their European tour

I was poundering many a question on leaving Heathrow Airport for Belgium to see the new look Deep Purple band who`ve recently acquired a vocalist and bass guitarist. Vocalists, like lead guitarists, are considered to be the focal point of most bands so the main question that arose was could Dave Coverdale take the floor where Ian Gillan had once stood with as much success? Glen Hughes – replacing Roger Glover – was playing bass and sharing vocals, how would he fair? Would the band die a death or receive their usual reception from droves of hard core fans?

BLEAK

Brussels proved as depressing and bleak a country as the one I`d just departed. The airport bus hostess called for our attention and informed that the vehicle was not working and that we`d have to walk across a barren runway plagued with gale force winds and heavy sleet.
On arrival at the band`s hotel it seemed that Purple were taking the chance of a sound test but at departure time they seemed calm enough, only Dave nervously anticipating the gig ahead and chewing his nails like a man awaiting the outcome of the 2.30 at Chepstow.
Glen Hughes confirmed that Purple had gone down extremely well in the earlier part of the tour as we filed into an awaiting fleet of sleek black limos – rock and roll`s adopted transport nowadays – to make our way to the gig.

LOONER

At the Forest National concert hall the band made their way down the long dark tunnel leading to the dressing rooms, passing a grey haired old lady collecting autographs and the usual lingerers hoping for a sight of their idols. A quick check with the roadies that everything was running according to schedule up front.
Inside the dressing rooms Jon Lord began tuning his mini Moog. Glen picked away on bass and from the next room came the thin rasping sound of Ritchie Blackmore`s guitar through the practice amp. Ian Paice wandered aimlessly around welcoming people with a rap on the head from his drumsticks. Like most drummers Ian is a genuine looner but has a great many interesting things to say about music too.
Dave Coverdale sat in the corner of the room and told me how pleased he`d been with the audience reactions to him and the `new` band in general. “There are only a few people who ask for the old numbers but they`re not abusive, they just make requests. They are also very critical, they don`t clap because it`s Purple.”
In front of stage my eyes gradually grew accustomed to the light and following the opening set by Tucky Buzzard I made out the shadowy figures of Purple on stage. As the spots lit up and the thunderous applause broke throughout the hall. Blackmore went straight into the chunky chords that intro “Burn”.
Wisps of dry ice filtered round the band`s feet as they joined Blackmore in building the strength of the number, this was the dawning of a new sound and concept for Purple and their music is certainly changing. They maintain that rugged energy element which has always been one of the band`s strengths, but the introduction of two new, enthusiastic members has injected a new vitality into the rest of Purple.

TRICKS

No one`s denying that Gillan and Glover were major forces in the old guard but they seemed to come to a standstill after “Machine Head” and it was generally known all was not quite right regarding the compatability of the band members.
Purple have developed a helluva lot more of what Ian Paice describes as `balls`, the two new members are better than I`d imagined and while I`d always admired Glen Hughes` work in Trapeze I didn`t expect the very funky feel he`s injected into the band.
Dave on the other hand still has a lot to learn about making use of the whole stage area and the tricks of handling a few thousand watts of PA. Dave admitted later: “I used to sing through a hundred watts of PA and now I`ve got God knows how many watts. It`s hard for me to put all my feeling into it but that`ll come in time, the rest of the lads are so bloody good when they`re soloing I find myself standing there in amazement.”

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TASTEFUL

Like Glen, Dave also has a love for soul music and an extremely powerful voice with a lot of depth and guts. By the time Purple reach Britain, Coverdale will be able to prove his virtuosity as a singer and performer and he`s already acquired a great number of European fans.
Back on stage the new numbers are so tight they have to be seen to be believed. Purple played a lot of material from their new album, a recording that will make up for a lot of disappointments on their “Who Do They Think They Are” album. Ritchie has always been acclaimed as a technical player but never as one with enough feel but that`s another thing that can be dismissed.
He comes over as a very tasteful blues guitarist and this is highlighted in a tasty number titled “Mistreated” with all the emotion and feel you want. As a showman he can`t be faulted either, contorting his body to those bent guitar notes, raising his arm high in the air and watching the band out of the corner of his eye to see that everything`s working perfectly.
More crowd eruptions when Jon Lord announced they were going to do one of Purple`s old numbers: “It was written in 1736, hope you like it.” A pregnant silence and then Ritchie delicately plays a flurry of notes that lead into the instantly recognisable chords of “Smoke On The Water”.
Glen and Dave shared the vocals – a very powerful combination – and Paice played a very energetic drum solo featuring some good phasing through the right and left hand bank of on stage speakers.
The set culminated with “Highway Star”, a stunning climax featuring solos from each of the band, Glen constantly strutting back and forth, flicking his long mane of hair back out of his eyes and playing solid, mean bass with a wah wah attachment.
Jon Lord followed with some skillful switching from mini Moog to electric piano and Blackmore put the final seal on the gig by hurling his Stratocaster into the air, catching it a split second before it hit the stage, dry ice swirled again and it was only seconds before they were into the inevitable encore.

EXCITING

Saturday, Frankfurt: It was a particularly hard day for Purple`s road crew, the gear had arrived late and no transport from the airport to the next venue was available. It had been one of those troublesome tours according to Magnet, one of the band`s roadies.
This concert was to be held at the vast Festerhaller which was about five times the size of the previous night`s gig, this (Germany) is Deep Purple country and the gig proved everything it should have, both musically and visually exciting.
But Ian Paice was slightly disappointed with the gig: “The excitement was there but the music wasn`t that together. No one has seen the real potential of this band, I think we`ll be bigger than we`ve been before.” Hot words but Ian`s been in the band to know what`s cooking.

WATCHES

After the concert German EMI held a reception for the band who were presented with engraved gold watches for the sales of “Made In Japan”, “It`s a bit embarrasing receiving a gift for something you didn`t play on” admitted Glen. The reception also marked the band`s release of a double compilation “Mark 1 & 2”. The material includes a beautifully arranged version of the Beatles` “Help”.
As I left Purple they were heading for Munich for a well earned day off, pleased that they`ve been readily accepted with the new guys and I can understand why. This change in personnel has given Purple a complete new lease of life and should leave them safely nestled in the top bracket of rock bands for a good while yet.
Let`s just say Purple are back. Nuff said?

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At the time when mushroom and bumble bee motifs were “de rigeur”.

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: Leo Sayer, The Who, Gallagher&Lyle, Keith Emerson, Beck, Bogert & Appice, Magma.

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.

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ARTICLE ABOUT Keith Emerson (ELP) FROM SOUNDS, December 29, 1973

Certain parts of the rock community and classical music have always had a close relation, and this article proves it when it comes to the the music of ELP who were being led by the musical genius that was Keith Emerson. There was speculation that he took his own life because he worried that he wouldn`t be able to play as good as the fans deserved because of an illness that troubled him late in life. You could call that “high ambition” but you could also call it “depression” and “Mental illness”. I believe the latter is true. Still, at 71, he outlived the composer, Ginastera, who is mentioned in the article. Alberto Evaristo Ginastera was an Argentine composer of classical music. He is considered one of the most important 20th-century classical composers of the Americas. Born in Buenos Aires in 1916 to a Spanish father and an Italian mother, he often used traditional Argentine musical elements in his compositions. He left behind a huge production when he died in Geneva at the age of 67.

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Silent nights in America

Pete Erskine talks to Keith Emerson

Having spent the best part of a week hustling upwards of a dozen people for an interview with either Keith Emerson or Greg Lake, and having secured an audience with the former, shock and horror, but what should happen but your reporter`s tape machine blows out. Hence this interview was conducted, as a repeat, in adverse conditions, on the plane home.

Who is Alberto Ginastera?

About four years ago I was in Los Angeles doing one of these spectacular Hollywood Television productions which was being organised by Jack Good – it was about the time that mixed media was all the rage and everyone was getting into the thing that rock groups and classical orchestras were all the thing, let`s do a television spectacular on it.
Whilst I was over there I met Zeuben Maiter, Daniel Barenbaum and Jaqueline Duprez and lots of other people. This particular piece was being played by the pianist who did the world premier Ginastera`s first piano concerto and I happened to just grab the last part of it and afterwards I spoke with the pianist and it was very interesting to look at the part.
When I got back to England I managed to get hold of the piano music and I just worked on it in my own leisure time, not really intending to do it – it was just sort of something to play. Carl had always wanted to do a percussion piece which was well arranged and it wasn`t until we were getting this new album together that I realised that this was the ideal number because it`s percussive anyway – in the original there`s lots of pounding piano – it`s a very hairy piece of music so I rang him up and played it to him on the telephone and he liked it quite a lot and at rehearsals I played it on the organ and everyone was well into it. So I talked about arranging it, making strict observations on how Ginastera himself had written it and the rules that he had laid down for this particular piece of music were very strict.

So it had to meet with his approval before you could actually play it or record it?

Well, the thing that came across to me was that it can only be performed with the tympany set up here and the pianos were set up here and everything was laid out on this chart. The actual movement which I was arranging was well laid out to the number of bars and the whole thing was in `Rondo` form so in arranging this I had to adhere strictly to the rules. I didn`t want to adulterate his music in any way.

Is the version you`ve arranged very different to his own version?

There are reasons why all of it has not been used. There are various repeats which I`ve missed out and in some cases I`ve done repeats where he hasn`t. This was done because for the stage version I would be playing it on the organ and for various things to be audible I had to do this. There was a hassle there because he`s written it for piano and the piano has a far greater octave range than the organ so things had to be altered that way round.
Eventually we got the whole thing together as I`d done with Aaron Copland`s “Hoe-Down” I sent a tape to Copland (I`d not met him personally because I was out of the country) this time I wrote a letter to Ginastera and sent it care of Boosey and Hawkes the Publishers. They read the letter and said that they understood that I wanted it doing very quickly and they thought it would be much quicker for me to go and see him.
The next day I was off the plane with Stewart Young, armed with a tape recording and met Ginastera and I was quite nervous about meeting the guy face to face and playing his music to him. I had dinner with him and he was quite familiar with this electronic equipment because he`d worked in Argentina on these things and after dinner we got him to play the music. He couldn`t quite believe his ears at the start of it and then listening to it the second time through he said that it was fantastic, you captured the essence of my music.
I flew back to England and I was over the moon and I told the rest of the guys what had happened and they were knocked out. In the early days of the band we were sometimes referred to as a classical rock band and my reasons playing classical music are that when I write a piece of music (and it can take six months to do it) it`s a refreshing change to play a different piece of music. I have a liking for classical music as much as I have a liking for jazz but it is refreshing to play something that somebody else has written and in my experience people have usually related that to earlier recordings.
As far as my own writing is concerned I think I can modestly say that it`s completely my own without any direct link or even a snatch from anything else which is classical. One example which made me slightly up tight was that when we were in America I heard one of our Baleros played over the radio at the end of which the D.J. said that it was Ravel`s Balero assuming that because I happened to call this piece of music a Balero he assumed that it was Ravel`s Balero. But on reference, if you compere the two there`s a different harmonic structure with mine and different time, signature, everything is totally different.

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Is the band wholly satisfying for you?

Yes, they are. My musical education has been such I started off playing by ear, long before I had piano lessons. My first recollection I have is of an old upright piano being shipped into the house and my father played it and I used to imitate him and pick out my own tunes. When my father saw me trying to busk he asked me if I wanted to be taught and the next thing I knew (I was about eight at the time) this old dear of about 80 came round and started giving me lessons. It was a bit of a drag but I went along with it because it went along with my schooling.
I took it up to the age of about 14 – I played a bit of guitar and then I realised that because I could only play a few basic chords I couldn`t really entertain people. I realised that I could do a lot more at the piano because to me it was really more of a solo instrument so I went back to it but I really still wasn`t turned on to classical music. My first liking for the piano was hearing the jazz pianists and mixing with other local jazz musicians and developing my taste accordingly. Nothing at that stage on the pop scene interested me at all.

Does anything on the pop scene interest you today?

Nothing at all. My record collection at home doesn`t really consist of anything that interests me or turns me on except something like Steeleye Span which I think are really original, plus a bit of Frank Zappa. I`ve heard Weather Report, Joe Zawinul is great, I`ve got recordings of him when he played with Cannonball Adderley – I dug him then, he`s capable of a lot more and on this Weather Report album I`ve got he doesn`t do a lot.

Do you think that this is part of the trend today away from heavy instrumental dexterity back to a simplicity of feel?

Yes, you can`t rule out the fact that this is an overall sound effect. I think that when you listen to something of Miles Davis, you`ve got to listen to the overall effect not just analyse this bit or that bit. Possibly what Miles Davis is asking for is a new look, an overall look at everything, be patient and wait for something to happen – maybe I`ll give it to you and maybe I won`t. Which is possibly the way music should be. It`s usually a very spontaneous thing and as Eric Dolphy once said, music once it`s played, it`s gone, it`s gone through the air and you can never capture it again. I think that it`s a very valid point – it`s there for the moment, it`s not a lasting thing.
I mixed with a lot of jazz musicians and my earliest influences came from them. I started playing with local bands, and trios in some of the sleazy places. At least we could play the music that we wanted to play. Very gradually, pop music began to take on to me what you might pretentiously call, a culture. Studying people like Muddy Waters, Memphis Slim, it was getting more interesting as blues was being brought into pop music and suddenly I took an interest and I started getting into it. But my early days were such that I wasn`t really playing what I wanted to play and I don`t think any bands those days could play what they wanted to play.

Are you really playing now what you want to play?

Well, I`ll get round to that. It was in those early days that I`d go off and play the piano and there`d always be people there who were listening and they`d say why don`t you play that on stage? And my excuse would be, you`ve got to be kidding… but then when I formed the Nice I thought well, why can`t I play that on stage? I`m cheating myself, I`ve really got to do this and Pete Jackson was with me and we both had the same idea. So the Nice was formed with that policy and it`s stuck with me ever since.
We did our first gigs and they were really hell, we played the Soul Clubs where the D.J. would do his bit and the band would come on and then the D.J. would come back again. But having made that policy I`ve stuck to it rigidly and anything that I`ve liked I`ve played and I think possibly the audience have broadened their tastes. This broadening of audience acceptance started to be brought about by people like the Beatles, George Harrison`s association with interesting Indian Music.

Do you think that the things done with rock bands and classical music ever worked?

John Lord`s concerto and the “Five Bridges” thing were both done round about the same period and I really admired John Lord`s writing on that concerto. I thought that he scored that orchestra beautifully and I told him… and he slung a bouquet of flowers back at me and said he liked the “Five Bridges” thing… I did it on lots of occasions… I did it in Los Angeles with Zeuben Maiter, as I`ve already said I did it twice in England, once we recorded it live and then once I did it with the Royal Philharmonic Orchestra at the Royal Festival Hall but on both occasions there were so many hassles mainly because we were dealing with the musicians union which is tough. They`re unco-operative about getting rehearsals together. Even when we were called back for an encore some of the guys were looking at their watches and leaving the stage. The second time we did it the orchestra refused to come back on to do an encore and we had to come back on just on our own and improvise something to keep people happy.
All this just put me off from working with them again – I may well do but it`s got to be under a different situation. At the time I wasn`t really that concerned about whether it worked or not. I looked on it as the establishment against the anti-establishment. Here was a loud rock band battling hell out of these old conservatives in their penguin suits. There was a slight balancing problem with the orchestra – I`m quite happy with how the recorded version turned out. What really made it so enjoyable, you could get these guys to do almost anything – we were doing a piece from “2001” and I got them to all stand up on their seats throw their music up in the air and play each others instruments and they completely freaked out for just one minute.

I get the impression that this current tour has been incredibly carefully worked out in every respect…

It has to be. The lighting has to be pretty well together mainly `cos they can`t improvise. There were just a few minor changes that had to be made at the beginning of the tour. Like originally the piece with the moog at the end finished with it panning the theme from the third movement of “Karn Evil” and we left the stage, but people didn`t understand it. We needed some sort of finality to the set, to make the point. Another thing was that one of the numbers had to be transposed down a tone or so because Greg got laryngitis or broke his vocal chords trying to sing the number. I still like the improvisation parts… they differ from night to night.

Having just played a string of concerts, though, is the attraction still there?

Oh yes. It`s going to take me some time to relax. I could play another concert tonight. I don`t feel as if I`ve just worked six weeks…

Has this stage act got across better than the last one?

We`ve experimented an awful lot you know and tried various things, some of which have worked and some haven`t, but, as I was saying this morning, like a lot of bands around at the moment I would consider “safe” bands, but we`ve done an awful lot and risked a lot of things, like on the European tour with that praesenium and lugging around 70 roadies.

Do you risk things musically as well?

Sometimes. At Madison Square we went on and we did those things with the choir and a whole bunch of other sections without rehearsing them.

We were saying about “Karn Evil 9”. Do you think it`s come across as you intended it to?

Well, as we said, there`s only been a slight change in that to provide the people who`ll only have seen it once all year with a strong impression. The stage ending doesn`t take away from the meaning of the piece but it was very necessary to do this for the live performance; on the actual recording it was left as an unanswered question, because obviously with the subject we`re handling there is no answer…

How does it feel when the audience reacts to the effects in the show sometimes to a greater degree than some of the finer more subtle instrumental solos?

It`s important for me to put the point across of the difference between a machine playing the theme in relation to what we play and trying to drive the point across to the audience that it`s computors and things which are making them redundant. And I purposely programmed the synthesiser to play the theme that we just played to make the effect more pronounced. We also wanted to counter, in a way, accusations in the past that ELP are “Mechanical” in their music. I can base what I`m talking about on fact as, like when I left school I worked on IBM equipment and I was going to learn to become a programmer for these things, but, man, it was so boring. I purposely used to put faults in the machine to brighten up a dull day.

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Some very interesting bands in small locations on the menu…

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: Leo Sayer, Tim Bogert, Gallagher&Lyle, The Who, Deep Purple, Magma.

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 Tim Bogert (Beck, Bogert & Appice) FROM SOUNDS, December 29, 1973

I have the impression that articles and/or interviews with this man is fewer and far between compared to the other people involved with this band, so when the opportunity came to share this one with you, I grabbed it with both hands. A very fine musician and bassist with a long an very fruitful career that any fan of rock should know about. Hope you like it.

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Tim Bogert Talk-in by Pete Erskine

Tim Bogert is maybe one of the premier white bass players, combining simplicity and feel with tremendous power and speed – perhaps like a pared-down Jack Bruce on superficial evaluation. He also does very few interviews. The band always used to do interviews together but Bogert feels his role as any kind of spokesman is obsolete. He admits, surprisingly, to being very shy.

The general feeling about the first BBA album was that there were too many songs on it – in contrast to what you do on stage. It wasn`t what you`d expect.

The new album still has songs on it but it`ll be a year`s progress. The session last night went well: we got another track down. We`re recording at CBS, Whitfield Street using Andy Johns and Jimmy Miller – and they`re good, really good. They`re getting the sound I wish we`d had on the first album. The first album was kinda thrown together, a very quick throw together. We were informed `okay boys you have to get an album together`. Then we got a producer at the end to mix the tapes and it was a very slipshod thing.

Yeah but there were lots of good things on it, like the opening of “Living Alone”.

Yeah, that was fun. We wrote that at eight o`clock in the morning when we couldn`t sleep on the time change. There was four tunes we knew and played on stage and the other four or five were done acutally in the studio, so we didn`t get a chance to work on anything, learn any riffs to throw around. The improvisation was still kinda raw.
The next one should be better. I hope.

It could be said that Jeff hasn`t really emerged to anything like his real extent on album anyway.

I agree with you. But on “Beck-Ola” he played his ass off and I haven`t heard him play like that on an album since. We had sort of a bad run lately, too. I don`t know why. We just we`re playing anything worth a damn. Sometimes the little red light on the tape machine goes on and the inspiration goes off.

Is Jeff very conscious of things like that?

Yeah, he`s very attuned to everything that happens… I just go battering through it all, flailing away. I just like to play. No, I`d really like to hear him cookin` the way he was cookin` on “Truth”. It would please me to no end because that was the album that turned me “round about the guy`s guitar playing. I thought oh, he can play”.

Is your situation as a band becoming more constant and level now?

There is no constant with this band; it`s very radical, very extreme. We have a particular norm that we`ve met on stage now that we don`t ever fall below, which is about a shade or two above mediocre – by my standards. And that`s okay because we can play a couple of shows like that as long as you come back later with a brilliant show to kind of balance it all out. But we`re very erratic It`s like last night`s session, there were some beautiful things going down yet a couple of weeks ago down at Underhill Studios we couldn`t have recorded a Troggs track and made it sound like anything. Tommy James and the Shondells could`ve cut us apart. Heaven knows why; I was actually trying harder down there to work than I am up here, and that could be something to do with it. I just couldn`t give a fly in hell now. I just go in, I`m feeling real good, I wanna play. I plug in and I`m playin`. Maybe that`s the secret, not to be too aware of what`s happening or too concerned with what`s happening; just go in and do what you know how to do.

Has the band been writing for this album?

No, we don`t write, we take material from every available source. We do instrumental things; there`s a thousand chord patterns that Jeff, Carmine and I know and fit together, but we`re not songwriters as such and never will be. We use Freddy Scott for a lyricist and a feller by the name of Ray Kennedy from Los Angeles. Pete Brown did a tune for us – or rather, we`re doing a tune of his. We`re going a lot more for instrumentals now because we`re not really a vocal band. We can`t sing. Somebody just had to so Carmine did, and I did. We can put a tune over well enough but there are a thousand people who can do that.

A dumb question, but how did you ever get to play the way you do? I mean, it is pretty distinctive.

It evolved from Motown records. I started playing about 8 or 9 years ago. I was playing soul licks in R n`B bands and the combination of R n`B, my slightly different psyche, gives that particular style. Jack Bruce is in a jazz vein whereas I come from an R n`B vein. I like to get into a groove and fuss with it for an hour. I`m not much of a technician; I just like to hear sounds. I like to make noise.

You said you started 9 years ago. What were you doing before that?

I was a sax player. Played the horn for 6 or 7 years with high school bands…

Did you study music at college?

No. Never went to college. Education was kinda wasted on me. I like reading hot rod manuals, taking cars and motorcycles apart, going out with my old lady and that was about it. I started to go out on the road when I was still a hornman in high-school, just trucking around locally on the East coast, nothing anyone would`ve heard of. We played rock and roll and stuff like that, but initially, having left high school I went to work for the phone company, and I was playing evenings and weekends. I started going smitten with bass I started to get the feel for it and started getting serious about making it a career, so I quit my job and I started haunting local bars in the area, seeing who was playing and what was being played, contacting people and letting as many people as possible know I was available for work I finally found work with a professional band called Rick Marin and the Showmen and they were a commercial band – society music – they had a chick singer up in the front with… and we played standards. It was kinda like a Vegas night club routine and we would play night clubs where your clientele would be your 40-year old age bracket and I wore a tuxedo and bow tie, the whole bit…

Did you enjoy it?

It was an experience. I had a good time. It was a whole new thing for me at the time. It was a groove as I look back on it – matter of fact everything`s been a groove as I look back on it. I played in other society bands, and I played in a piano jazz combo and a whole bunch of rock and roll bands and then it was 1966 and Vanilla Fudge started and it was 12 record albums between then and me sitting here.

How did you meet Carmine then?

I was working a place called the Choo Choo Club and in Garfield New Jersey and we worked there for 16 weeks with the band I was in called the Pigeons and Carmine came in following us and where does a musician go when he`s got a night off and no place to go but back to the night club, right, so I did and our drummer wasn`t cuttin` the gig at the time, he just wasn`t quite makin` it and so we were looking for a drummer and I spotted Carmine and I thought `hey this guy`s got a really good foot`, `cos we were looking for a drummer who was a bit more progressive than the one we had. I went up and asked him if he wanted a job `cos the band that he was in was no big thing, and the one that I was in was no big thing either, but we were open to get something better going. So he said yeah after a bit of thought and we went off to a catering place in New Jersey and rehearsed in the basement for two weeks and then got ourselves over to a place called the Action House on Long Island and played third bill at a bar and started that way.

Was he very different from other drummers at the time?

He had one helluva foot at the time which no one else had. Drummers` feet were just starting to happen then. It was still bang bang bang and he was coming out with all kinds of intricate patterns which was brand new for the time. He was really funky for then. Oh and about `66 was when I started doing strange things with the bass, playing things that you wouldn`t normally hear, `cos I got just plain tired of bass players. I liked the tone of the instrument but I thought the accepted style was incredibly boring. I thought `oh how boring these people are` and in fact I still do. When you put on a hundred records and only two of them will be saying anything. It`s always been a second instrument; I don`t approach it that way. To me it`s the first instrument, so watch out – outplay me or move over. It`s a very competitive spirit in this band; it`s a lot like Cream. We played a split bill with them down South in `67. Some nights they were good, some they weren`t, but I wasn`t too interested as I was still strongly into black music and wasn`t interested in these whiteys but come `69 and “Wheels Of Fire” I thought “heeyy”… alright.

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Who of the black players did you like then?

Wilson Pickett, James Brown, Joe Tex, all the Stax things, everything that came out of Stax at the time, Carla and Rufus Thomas, Otis Redding, just everybody. Anything that happened to come out as a single or as an obscure radio cut, I had it. I still have a vast collection of soul music from `66-`69. But music`s pretty consistent, it`s only the faces that change. It goes different places – all the way back from the twenties you`ve had excellent musicians, you`ve had a raft of adequate musicians knocking out adequate music – you`ve had a bunch of noise and then you`ve had a rubbish. You`ve got your excellent players, etc., etc.

Do you think the bulk of adequate players is larger now?

Yes, there`s more players now than there ever has been. I know a number of people that can play the ass off a lot of people but they`re just not on record, and they`re never going to be on record because of the circumstances involved – they`re never going to get a hit contract, or a hit record or see the big-time but they can blow with the best of `em.

Looking at our Polls recently it would seem that England and the States have grown far apart inasmuch as we read of musicians and players that we`ve never heard of in England. There seems to be more depth to music from the States.

Well, there are so many more people in America than England, but England to me was always a source of excellent guitar players and good white singers. Up until I heard Jack Bruce, I never liked a single bass player I`d heard out of the country; and Jack isn`t what I call a bass player, he is just a player playing the bass. Rhythm sections were one thing I never really thought of when I thought of England. The difference between say Carmine or an American drummer is that they accent with their feet whereas an English drummer would accent with his hands and vice versa.

It seems to me that a lot of English musicians are very much into technique rather than feel which is an American feel.

Most of the players I know don`t know a quarter note from a dotted eight note from a hall note or anything else but you sit down and stick an axe in their hands and the son-of-a-bitch will make it talk. I can`t read music, I don`t know chord theory, or anything but I just like to feel what I`m playing and if I didn`t have that feel, I couldn`t play at all, I`m sure.

How do you find playing in Europe and England compares with the States?

For the hour and twenty minutes that we`re on stage it`s about the same, almost. But the rest of it`s entirely different. The audiences here, as a block of faces, respond pretty much the same. Most of European kids know enough English to go along with what we`re trying to do with them and what we`re saying to them and they know enough of the tunes to groove with it. But otherwise the atmosphere is totally different… the consciousness is different, the weather`s different, the buildings are different, the cars are different… it`s all different. It was a little unsettling at first but I`ve got used to it now.

Are American audiences more demonstrative, more perceptive?

I think that they`ve been exposed to more because there`s more there to be exposed to… y`know, America, the land of too much! It`s hard to generalise an audience because an audience is an entity unto itself and every audience although it`s basically the same, is different and every night you walk out to the microphone, you don`t know what`s going to happen… I just take it as, `Well, OK here I am,”… and you start the show and you hope… you hope they like it, you hope that an amp doesn`t blow up.

Are you nervous before you go on?

Sometimes, it`s sporadic… there have been some shows when I`ve been shaking in my boots and there`s other shows where I`ve been as calm as hell. No particular reason for either… I should be nervous for all of them but I`m not. It doesn`t make the show any worse or any better if I`m nervous or not – There are some shows that I should be very nervous about but I`m not – I walk out, plug in and roll… other shows I`m just on the edge of my nerves and I walk out, plug in and fly… and then sometimes it works the opposite… I walk out cold, plug in and can`t get started and everything I play is just wrong, so I fall into a groove and I don`t try and outdo myself `cos I know I`m only going to stumble and trip so I just do as much as I know I can do that night.

When there are three of you playing the sort of music you play, is it possible for any one of you to step out and take a lead?

All the time… we try hopefully to do this every night… it can`t be done every night, but we try. BBA isn`t really what I call a band – it`s the three of us playing as a unit but completely individually at the same time – we`re playing sympathetically with one another… that`s the closest way of putting it. The three of us are constantly soloing and if we can solo in a format we`re fine. If we can`t, it turns into noise.

Is it very tense and draining when you`re playing?

It can be… sometimes it`s a drain and sometimes it`s very exhilarating. Sometimes I walk off stage with the hair on the back of my neck just bristling and sometimes I walk off feeling as though I`ve just been in a football match for an hour and a half.

Do you ever get into the position when you`re waiting for one of the others to do something?

Well somebody has to take the initiative and eventually some one will and you just pray to God that they`ll pick up on you. We do a lot of cuts and breaks on drum cue because it`s the easiest thing to distinguish – you catch a particular roll and you think, `Ok it`s break`… and Carmine will do the same roll before the break and I`ll go into it and Jeff won`t or Jeff will go into it and I won`t… and there are occasions when Jeff and I will both go into it and look at Carmine and say `Well… -` … and he`s flailing away like mad not knowing that he`s played the break. It gets tense sometimes but one of us will usually pick up quickly and the others will follow right in. No-one usually knows that we`ve fouled except us because the three of us are masters of picking up errors. I picked that up playing showbands where you have fast cues and you can`t leave the may up front hanging… you`ve got to learn fast otherwise they`ll fire you faster than hell! There`s a lot of road experience in the band and there`s no other way you can accumulate that kind of knowledge without having been on stage thousands of times. A lot of it`s second nature… you just hear something and you go accordingly to what you hear. It`s a lot of second guessing… that`s the main thing I do on stage is second guess Carmine and Jeff.

Do you spend time together socially?

No, we`re very individual people who have very little in common. We have a vast respect for one another musically so the band works but socially we don`t have too much that we can truck along the same paths and enjoy.

Perhaps it`s a good thing… maybe it would make the band too stolid and complacement.

It could be because a trio plays violent music, it always seems that way – this is a very violent band – and after a disagreement or after a hell of a long car ride the band plays. We had to drive 400 and odd miles in lousy rotten traffic in France to get to Bordeaux and by the time I got to the gig it was time to walk on stage and I just had so much nervous energy inside me… we went out and the band screamed. But it can work the opposite way when you`re so up tight and jittery that you`re dropping cues and you`re missing notes – there`s no set pattern at all.

Do you ever find that you really get into an aggressive thing?

Well, it`s not so conscious – it`s not, well, I`ll try to outdo you… It`s I`m going to really let loose and if you don`t keep up – too bad! It`s not a conscious fuck-you, although it could be construed that way, I guess.

How about recording as compared to playing on stage?

Recording it a little cut and dried still because Jeff doesn`t play lead on record… he won`t, he flatly refuses to, so that`s that. He`s very secretive and you don`t ask him. He plays how his moods strikes him and he`s a man of a million moods.

Do you think you`ll ever make a live album?

We definitely will make a live album but I don`t know when… maybe the next one, for sure the next one after that… `cos live is where the band really cooks. On a good night this band can be as good as any live band they`ve ever heard.
One of the American tours we`re doing – either March or April – I hope to bring a truck with us and record every night we do and then sit down and systematically go through the whole thing because we work on a feed back basis with the audience – if the audience is really cracking they can generate us to do things that we normally wouldn`t do, even on a bad night. I don`t think that audiences realise that their response can force us to play, even when we don`t feel like it. I don`t like to force an audience – I kinda take the attitude that they`re going to do whatever they`re going to do.
Carmine takes them in the back of their seats and shakes them into moving – that`s his approach. I would let an audience sit, whereas he would pick them up by the throat and shake them. Jeff`s attitude varies according to the mood he`s in. He`s a Cancerian – always goes sideways, never knowing what his real motives are.

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OOoohhh -this was probably a sure-fire method that just got lost in time. Too bad for you short people out there with dreams of being taller…

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: Leo Sayer, The Who, Gallagher&Lyle, Keith Emerson, Deep Purple, Magma.

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 Keith Moon (The Who) FROM SOUNDS, December 29, 1973

Enjoy this great chat with Keith Moon from the last number of Sounds in 1973. Difficult to believe all those myths about him when you read this one. He probably did have a “bad” way to behave on occasion , but as is common in so many of us, we have a little bit of light and shade in our personalities. Hell of a drummer, he sure was.

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Life in the old Tom yet

Steve Peacock talking to Keith Moon

We`d been told that Keith Moon was ill, thus he wasn`t appearing in “Tommy”, but as often happens that wasn`t quite the case. In fact, he said, he`d never agreed to do “Tommy” at the Rainbow this year in the first place, but they`d said he would, and excused his withdrawal on the grounds that he was ill. Such is showbiz.
In fact, Mr. Moon was looking in peak condition, dressed as he was in impeccable early sixties gear – from the black, exquisitely tailored three-button jacket, the broad pink-stripped shirt with white button-down collar and black knitted tie, the slightly flared black cord trousers, to the original “She Loves You” stomping Beatle boots with cuban heels and pointed toes – all genuine and from the wardrobe of Mr. R. Starr.

FILM

He`d been for a screen test for a part Ringo was to play in the film “Stardust” – he already has a part in it, but they asked him, so why not? And, in fact, he was planning to visit the Rainbow for “Tommy” – but in a purely backstage role. He had promised, he said, to keep Viv Stanshall sober. No comment.
And he had been ill – though that was during the Who`s American tour. Or rather: “I`d been made ill. Someone put elephant tranquiliser in my drink. We found out later from the San Francisco hospital that four people who`d drunk from the same brandy bottle as me had been laid out, but fortunately I have a strong constitution and I didn`t notice it until it started to hit me towards the end of the show – then I was a total blank for ten hours. It seems the West Coast is very good at that kind of thing, they seem to think it`s funny, but if I ever found out who did it I`d rip his arm off and beat him to death with it.” Merry prankster, you have been warned.

BORED

As for “Tommy”, well – he feels he`s done that show as many times as he wants to, and he didn`t particularly want to get up on stage and flash through Uncle Ernie one more time: “It`s like playing the same song over and over again – eventually you get bored with it so you leave it out of the act. I`ve got fed up with playing the same part over and over again, so I`ve left it out of my act – no reason other than that.”
Or sometimes you re-arrange the number, and in a new form. Uncle Ernie Moon will go through the hoop just one more time. Keith has a number of projects on the go at the moment, including the “Stardust” film in March – which is loosely a follow-up to “That`ll Be The Day” with David Essex – Who tours of Europe and America later in 1974, and the film version of “Tommy” with Ken Russell directing, which they`ll be shooting in April. Earlier in the New Year, the Who will be recording some new Townshend songs for the film`s soundtrack. As musicians the “Tommy” film involves the whole group, but as actors it involves Roger and Keith “more than Pete and John. They really don`t have any interest in acting – John, for instance, would much rather be in the studio making music than making films, whereas with me it`s vice versa.”
So there`s life in the old deaf and dumb friend yet: you`d have thought that “Tommy” had had such a run with and without the Who that it would be very difficult to breathe new life into it. “Which is why it had to be Ken Russell – he`s the only person who could do that, the only person I know anyway. He came down to the studio while we were recording `Quadrophenia`, and he impressed each of us… he seemed one of the most perceptive men I`ve met. He really is an amazing man – if you start a sentence he`ll not only finish it for you, but go into the next one while you`re still thinking about it. I`m really looking forward to working with him.
“I spent a couple of hours with him over a bottle of wine at his house, and the way he saw the characters, the way he`d developed the characters, and the ideas he was coming up with… they`ve never ever been done like Ken`s going to do `em. His whole conception of `Tommy` is totally different from the way anyone else has seen it, but it`s still `Tommy`.”

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Could he be more specific? “Well no, not really – you`d have to spend a couple of hours with Ken Russell. But then we`ve got to see whether the ideas work, so the only way you can really know is to see the film.”
And so to “Stardust”. It`s a follow up to “That`ll Be The Day”, he says, in so much as that film covered a period up to the Beatles and the British invasion of America, and this one will take in the period from then up to the present day. “That`ll Be The Day” was: “a kind of English version of `American Graffitti` – America couldn`t  really identify with it, but this one goes from the Liverpool thing, the Beatles thing – which is one of the reasons Ringo didn`t want to do it, because he`s been through all that – brings the English and American things together, and then follows them as they began to find their own identities again.”
So while “That`ll Be The Day” was really more concerned with what was happening around the music of Chuck Berry, Buddy Holly, and all those people – life as related to the jukebox and transistor radio speaker – “Stardust” will concern itself more with the life and times of musicians and others in the business of music. “It`s more involved with the pressures the musicians were under – the agency problems, management problems, what it takes to get a group to America, advertising bullshit and the hype that goes on to get a record in the charts – all that kind of `for God`s sake don`t say balls to a reporter, and don`t forget your 17` stuff. I think a lot of people will be more interested in that than in hearing a lot of oldies but goldies.”
Once again, Ray Conally has written the script, and Keith is more than happy: “He`s great, because he says `if you don`t like the way I`ve written this bit then I`ll change it, or you can write it, or we`ll write it together` – the important thing to him is to get it right for the person who`s playing it. He doesn`t feel he`s written a successful part unless the person who`s playing it feels comfortable saying the words.”
It seems that in the way Keith is able to work in films, he`s in an ideal situation. He`s able to be involved with all the aspects of creating a movie, rather than merely being one of the director`s pawns as we`re led to believe is generally the case. Hitchcock`s cattle – actors dictum seems as far away as the man with the cigar doing his `sign here and I`ll make you a star` routine in the pop world.

FLIPPANT

“Well, we`re all involved in trying to get the best film we can – that`s the most important thing. If I`m best at doing one thing, then I`ll do that, and the same with the others. We all get on well together, and we`ve all shared the same experiences, but on different levels. For instance, Ray`s never been on the road so when he says `what`s it like to be stuck in the back of a transit for eight hours?` I can tell him. I can`t write it, but I can explain to him what it feels like to be stuck in the back of a bloody transit for eight hours, and he can put it into words.
“There`s this great rapport, and it`s so much fun working on a film right from when it`s conceived, through the casting stage – thinking `who`ll be best for that bit, who`s really gone through that?` – right to making it. We don`t take it lightly, I don`t want to make it sound flippant, but the idea of one person directing on his own, one person casting, one person doing something else just doesn`t apply any more. That kind of enthusiasm comes out in the film, and it shows – on the screen it shows.”

ACTOR

He seems to have made the switch from drummer with the Who to film actor with remarkable ease. “I don`t think I`ve ever not been an actor – I`ve always been an actor that plays the drums. I haven`t been a film actor, but there are many aspects of acting – it`s just different ways of projecting. You project through the theatre on stage with the Who, and you project in a different way to a camera for a film – it`s the same thing, just a different approach. On a screen that`s maybe 70 foot wide, you may only have to lift your little finger, whereas to get the same effect on stage you`d have to swing your whole arm.”
He`s always been an actor – I wonder. Has he just been playing the part of the crazy drummer from the Who all these years? Are you an actor offstage Keith? “I seldom stop acting, except… well, when I`m asleep.”
Is it a conscious thing? “Not all the time. I`m a natural extrovert, and if I want to get a point across then I`ll use expressions – vocal or physical – that`ll do it. That`s what acting is, I suppose, and it comes very naturally to me.”
So instead of sitting in a hotel room saying “I`m bored”, you`ll throw the bed out of the window? “Something like that.”
There was that disturbance in Montreal for instance. “Ah, yes… well, it just escalates. `Oh dea, vats zis, it`s fallen off ze table… appears to have smashed on zose glasses zere… ooooh, dear, oh dear, now you`ve knocked a chair over and the cushions and the desk`s fallen over… bam, bam, bam, bam… oh dear, now the television seems to have gone out the window…`

“It`s not planned, it just escalates, the adrenalin builds up and then bingo – `what would you like? Cold coffee, a bit of toast and six hours in Montreal nick. I shall have to write to the Queen about that really – Canadian breakfasts are terrible. I`ve had much better in Holloway. She`s neglecting the colonies – `bout time she went over there, showed the old boat race again.”
One of the best descriptions I heard of that kind of human whirlwind was by the novelist Edna O`Brien. On TV, Russell Harty asked her if she ever `freaked out`. Yes, she said, in the sense that she got into something to such an extent that she just didn`t think about ever coming back.
“You do”, affirms Mr. Moon. “You just become one with all of it, and then when you`re brought down and all of a sudden you`re sitting in the back of a Black Maria, that`s when it hits you. (In his best downtrodden Dudley Moore voice): `Dear Mum, once again Life has stood up and punched me right between the eyes.`
“That`s when you`re back to reality. It`s impossible to explain, it`s complete escapism. You`ve got all this energy which has got to go somewhere – and it takes you.”

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Leo Sayer, Tim Bogert, Gallagher&Lyle, Keith Emerson, Deep Purple, Magma.

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 Alice Cooper FROM SOUNDS, December 1, 1973

I love Alice Cooper a lot, having bought everything he and the band released, but I don`t feel that this album is their proudest moment. I think he would agree, and I imagine a lot of other fans would agree too. But, Mr. Mackie seemed to like it, so what do I know?

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Album review:

Alice Cooper: “Muscle Of Love”
(Warner Bros. K 56018)

By Rob Mackie

“Muscle Of Love” must be Alice Cooper`s best album yet. While most of the earlier sets only really came to life as part of the bizarre stage show, and sounded hollow and monotonous without it, the new one works splendidly in its own right as a straightforward, uncomplicated rock album, which has gained a lot in melody, and lost a little in repetition. The much-publicised vocal help from Ronnie Spector, Liza Minnelli and the Pointer Sisters (Alice and co. don`t miss a PR trick) is in fact only on one track. “Teenage Lament”, which is just that, a look back at teen value. Otherwise, it`s the band pretty much on its own, but with lots of touches to add colour to the rather stark sound they used to get. True they`re not startingly original – shades of Lou Reed in Alice`s singing on “Never Been Sold Before”, some early Santana style percussion on “Hard Hearted Alice” (poking fun at the stage persona), a little Leon Russell flavour on “Crazy Little Child”, a whole mock Hollywood title theme on “Man With The Golden Gun” – but it fits together as a whole better than the Coopers have done before. Michael Bruce again shows what a good guitarist he can be in quite a variety of styles, and Alice is far less grinding in his delivery. Some of the songs are fine too, with “Hard Hearted Alice” a standout, opening at a surprisingly gentle pace before Alice switches to the Mr. Hyde character for a spat-out piece about “Mind scrambled like eggs”, and other splendid topics. There`s been a bit of a lull since that mammoth US tour, and the signs are that he has paid dividends.

alice-cooper-muscle-of-love

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: Wings, Mott the Hoople, Roxy Music, Dave Mason, Smokey Robinson, Kiki Dee, Richie Havens, Back Door, Lance LeGault.

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.