ARTICLE ABOUT Keith Richard (Rolling Stones) FROM New Musical Express, December 6, 1969

I wonder if Mr. Richard has the same views on the people and bands below these days? A very frank point of view it is, and it is kind of refreshing. I don`t think he would be as candid if interviewed today, but who knows?
Read on!


Keith Richard on Mick, Beatles, Led, Faith, Tull, Gees

Special by Ritchie Yorke

THE news that the Rolling Stones have resumed personal appearances must have gladdened the hearts of pop fans everywhere. The Stones always were the most important performing group to come out of England.
At the Stones’ office behind Oxford Circus in London just before leaving for America, guitarist-composer Keith Richard discussed the tour, Mick`s foray into films and several popular groups.
“The whole tour thing is very strange man, because I still don’t really believe it. We did the Hyde Park concert and it felt really good, and I guess the tour will feel even better. And we need to do it. Apart from people wanting to see us, we really need to do a tour, because we haven’t played live for so long.
“A tour’s the only thing that knocks you into shape. Especially now that we’ve got Mick Taylor in the band, we really need to go through the paces again to really get it back together.”
George Harrison told me that he thought the reason the Stones were going on the road again was money, and Keith didn’t deny it.
“Yeah, well, that’s how it is. We were going to do the Memphis Blues Festival but things got screwed up. Brian wasn’t in that good a shape and we had various problems. I personally missed the road.
“After you’ve been doing gigs every night for four or five years, it’s strange just to suddenly stop. It’s exactly three years since we quit now. What decided us to get back into it was Hyde Park. It was such a unique feeling.
“But in all the future gigs, we want to keep the audiences as small as possible. We’d rather play to four shows of 5,000 people each, than one mammoth 50,000 sort of number. We’re playing at Madison Square Gardens in New York, but it will be a reduced audience, because we’re not going to allow them to sell all the seats.
“We’re certainly going to have to rehearse like hell. That whole film thing in Australia was a bit of a drag. I mean, it sounds dangerous to me. He had his hand blown off, and he had to get his haircut short. But Mick thinks he needs to do these things. We`ve often talked about it, and I`ve asked him why the hell does he want to be a film star.
“But he says, `Well Keith you’re a musician and that’s a complete thing in itself, but I don’t play anything.’ So I said that anyone who sings and dances the way he does shouldn’t need to do anything else. But he doesn’t agree so I guess that’s cool.
“The trouble is that it has disorganised our plans! It happened just as we got Mick Taylor into the band, and just as we were finishing the album. We had one track to do and we accidentally wiped Mick’s voice off when we were messing around with the tape. And there’s Mick stuck down in Australia, about 3,000 miles from the nearest studio. It’s pretty far out.”

Mick`s absence

Mick’s absence has also been felt in other areas. The Stones have not been able to record a follow-up single to “Honky Tonk Women,” which was the second biggest selling record of their career, after “Satisfaction.”
“I have a couple of ideas for the next record,” Keith said, “and I think we’ll cut it in Los Angeles when I meet Mick.
“I wrote Honky Tonk Women as a straight Hank Williams-Jimmy Rodgers sort of number. Later when we were fooling around with it — trying to make it sound funkier — we hit on the sound we had on the single. We all thought, wow, this has got to be a hit single.
“And it was, and it did fantastically well; probably because it’s the sort of song which transcends all tastes.”
While we were talking, the muffled sounds of a Creedence Clearwater Revival album could be heard in another office, and I wondered if Keith was impressed by the group?
“Yeah, I’m into a very weird thing with that band: When I first heard them, I was really knocked out, but I became bored with them very quickly. After a few times, it started to annoy me. They’re so basic and simple that maybe it`s a little too much.”


Blood, Sweat and Tears

Blood, Sweat & Tears? “I don’t really like them… I don’t really dig that sort of music, but I suppose that’s a bit unfair because I haven’t heard very much by them. It’s just not my scene, because I like a really tight band and anyway, I prefer guitars with maybe a keyboard. The only brass that ever knocked me out was a few soul bands.”

Led Zeppelin

Led Zeppelin? “I played their album quite a few times when I first got it, but then the guy’s voice started to get on my nerves. I don’t know why; maybe he’s a little too acrobatic. But Jimmy Page is a great guitar player, and a very respected one.”

Blind Faith

Blind Faith? “Having the same producer, Jimmy Miller, we’re aware of some of the problems he had with Blind Faith, I don’t like the Buddy Holly song, “Well All Right,” at all, because Buddy’s version was ten times better. It’s not worth doing an old song unless you’re going to add to it.
“I liked Eric’s song, “In the Presence of the Lord,” and Ginger’s “Do What You Like.” But I don’t think Stevie’s got himself together. He’s an incredible singer and an incredible guitarist and an incredible organist, but he never does the things I want to hear him do. I’m still digging “I’m A Man” and a few of the other things he did with Spencer Davis. But he’s not into that scene any more.”

Jethro Tull

Jethro Tull? “We picked up on them quickly. Mick had their first album and we featured the group on the Rock ‘n’ Roll Circus TV show we taped last December (which still hasn’t come out, but hope remains).
“I really liked the band then but I haven’t heard it recently. I hope Ian Anderson doesn’t get into a cliche thing with his leg routine. You have to work so goddam hard to make it in America, and it’s very easy to end up being a parody of yourself. But he plays a nice flute.”

The Band

The Band? “I saw them at the Dylan gig on the Isle of Wight and I was disappointed. Dylan was beautiful, especially when he did the songs by himself. He has a unique rhythm which only seems to come off when he’s performing solo.
“The Band were just too strict. They’ve been playing together for a long, long time, and what I couldn’t understand was their lack of spontaneity, They sounded note for note like their records.
“It was like they were just playing the records on stage and at a fairly low volume, with very clear sound. I personally like some distortion, especially if something starts happening on stage.”

Bee Gees

The Bee Gees? “Well, they’re in their own little fantasy world. You only have to read what they talk about in interviews… how many suits they’ve got and that kind of crap. It’s all kid stuff, isn’t it?”

Crosby,Stills, etc.

Crosby, Stills, Nash and Young? “I thought the album was nice, really pretty. The Hollies went through all that personality thing before Graham left them, The problem was that Graham was the only one getting stoned, and everybody else was really straight Manchester stock. That doesn’t help.”


The Beatles? “I think it’s impossible for them to do a tour. Mick has said it before, but its worth repeating… the Beatles are primarily a recording group.
“Even though they drew the biggest crowds of their era in North America, I think the Beatles had passed their performing peak even before they were famous. They are a recording band, while our scene is the concerts and many of our records were roughly made, on purpose. Our sort of scene is to have a really good time with the audience.
“It’s always been the Stones’ thing to get up on stage and kick the crap out of everything. We had three years of that before we made it, and we were only just getting it together when we became famous. We still had plenty to do on stage and I think we still have. That’s why the tour should be such a groove for us.”


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!

ARTICLE ABOUT David Bowie FROM New Musical Express, November 15, 1969

This article was published almost at the same time that Bowie released his second album, just titled with his name but later reissued as “Space Oddity”. I tend to believe that Bowie was spot-on when he said that he never had any traumas with girls. That is unlike me and a lot of other boys who unfortunately couldn`t say the same at a young age, but then again, Bowie was extremely gifted in a lot of ways.
Read on!


Don`t dig too deep, pleads oddity David Bowie

By Gordon Coxhill

IT looked like a piece of master planning, but it wasn’t. It looked like a monster hit, and it was. David Bowie’s “Space Oddity,” inspired by a visit to the film “2001,” was released just as the world was staying up all night to watch the moon landing.
Like the modest, self-effacing young man he is, David passed the credit on to his record company, but as it was written last November, he can hardly disown his amazing foresight!
“Put it down to luck,” he said over the phone from Perth, where he was about to begin a short tour of the Haggisland. “I really am amazed at the success, of the record, even though I had confidence in it.
“I’ve been the male equivalent of the dumb blonde for a few years, and I was beginning to despair of people accepting me for my music.
“It may be fine for a male model to be told he’s a great looking guy but that doesn’t help a singer much, especially now that the pretty boy personality cult seems to be on the way out.”
Much as David takes his songwriting seriously, he is amused by pundits who examine his material looking for hidden meanings even he is totally unaware of. “My songs are all from the heart, and they are wholly personal to me, and I would like people to accept them as such.
“I dearly want to be recognised as a writer, but I would ask them not to go too deeply into my songs. As likely as not, there`s nothing there but the words and music you hear at one listening.
“I see you’ve noticed that my songs are seldom about boy and girl relationships. That’s because I’ve never had any traumas with girls.
“I like to think myself a pretty stable person, and I’ve never had a bad relationship with an intelligent girl. And if a girl isn’t intelligent, I don’t want to know.”
Although David made a very good impression on the recent Humble Pie tour, he maintains he is a songwriter first, and even denies he is a good performer.
It was my first tour,” he told me, “and I never stopped being surprised the concerts even went on. It appeared so badly organised to me, but I suppose everybody knew what they were doing.

“For me, it was nothing near an artistic success, mainly because I was limited to a twenty minute spot, and I ended up accompanying myself after a mix-up.
“I was very pleased to see that `Space Oddity’ went down well, I thought the audiences would miss the orchestral backing which was on the record.
“I throw myself on the mercy of an audience, and I really need them to respond to me. If they don’t I`m lost. But all the same, I’m determined to be an entertainer, clubs, cabaret, concerts, the lot.
“There is too much false pride within the pop scene, groups and singers decrying cabaret without ever having seen the inside of a northern nightclub.
“I just want to sing to as many people as want to hear me, and I don’t care where I do it. Mind you, I refuse to have my hair cut or change my appearance for anybody. I’m quite happy with the way I look, and people will have to accept me the way I am, or not bother at all.”
A former commercial artist, David played tenor sax with a modern jazz group, “went through the blues thing;” during which time he switched to vocalist, and then joined a traditional French mime company, where he met and worked with Marc Bolan.
“Marc has been a great influence on me, not so much with his music, but with his attitude to the pop scene. He shuts himself off from the destructive elements, and prefers to get on with his work.
“That’s how I intend to be, in fact I ran away from London a while back when people started talking about me, and didn’t come back unless it was really vital.”
Inevitably, the underground cropped up, and David had some interesting comments on the movement, “I thought when the whole thing started,” he said, “that a whole lot of new, musically-minded groups were going to appear with some meaningful music and try and spread it around. Well, we’ve got the music, and most of it is very good too, but I can’t figure out the attitude of so many of the underground groups.
“It seems to me that they have expanded their own personal little scenes to a certain extent, and then they stop, content to play to the converted. That doesn’t get them anywhere, and in the end both the audiences and the groups will get fed up with the same faces and places.
“A lot is said and written about the musical snobbery with the fans, but I think the groups are just as bad. For some reason, even the words entertainer and cabaret make them shudder.”


Obviously, having a hit record and being able to command the money that goes with it, is going to make a few changes to Davids life, not least of all in his bank balance.
He seems to have made a good start already. “I’ve bought a big car and a nice little house which needs a lot more time and some money spent on it before it will be as I want it.
“I suppose other little things will crop up as time goes on. At the moment, I’m more concerned with remaining a 22 year old, or even going back a year to 21.
“This business might keep you young mentally but I feel almost middle-aged physically. I often regret not leading a more normal teenage life. From the time I was about 16, I never kicked a football over a common with my mates, I haven’t had to chat up a girl like an ordinary teenager for ages, and believe it or not I miss it.
“I have to try and figure out if a girl knows who I am and whether she wants me for what I am or my name. It’s a more difficult problem than it sounds, but as I was saying, I havent’ had much trouble with girls, touch wood.”
The immediate future for David looks bright, with as much live work as he wants, an LP on release this week (14), and even the prospect of his own TV show.
But the usual pressing worry about follow-ups hasn’t caught up with David yet. “Follow-up?” he queried, “but the first one’s still alive at the moment. Actually I haven’t even thought about it.
“I’m not sure if I’ve got a suitable song for another single, but even if I have, I don’t want to be one of those singers whose career depends on hit singles, and they are virtually dead for six months of the year.
“I hope to get some free time to do some writing when I return from Scotland, but even then I can’t write just because I’ve got the time. But its a bit early in life for all my ideas to have dried up, isn’t it, so I suppose I’ll come up with something.
At the moment, David seems to be the sort of person much needed in pop; full of original thought, a willingness to work, a hatred of the hard drug scene and class distinction in music and common sense enough not to let the fame and adulation surely coming his way, turn his head.
I’m sure he has been around long enough to withstand the pressures, and if he can’t, he’ll be wise enough to run.


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!

ARTICLE ABOUT Fleetwood Mac FROM New Musical Express, November 8, 1969

With combined album sales in excess of 120 million albums worldwide, this is a band that truly deserves a regular place in this blog. With their roots firmly based around blues-rock, they are a band that have lots of fans among those that prefer their rock even harder, but at the same time they have a huge crossover appeal among traditional pop audiences. Great band, great songs!
Read on!


A tiny club or Albert Hall, it doesn`t matter to Fleetwoods

By Nick Logan

IT’S a shame in a way that Mick Fleetwood is the Fleetwood Mac drummer and not a guitarist or some other make of stand up man.
Occasional flashes of lank-haired head or a bony arm or a rampant leg flying out from behind the drum kit like the tentacles of an octopus – can’t compensate for the loss to the audience of the intelligent, agile mind, the wit and the comic ability.
“Yes come over,” said Mick after I had been trying to locate him all day. “But I`ve got to meet Peter at 5.20 for the John Mayall concert at Croydon.”
“I’ll be quick,” said I, racing out minus his address and spending a futile half hour in Kensington Church Street trying every house with a 7 in the number before having to phone back to the office for directions.
“After you’d phoned I suddenly wondered if you had the address, smiled Mick when I arrived at the top of many flights of darkened stairs, adding that he’d decided to miss the concert in order to pack for the group’s Scandinavian tour starting the next day.

Good year

All things told, 1969 has been rather a good year for Fleetwood Mac. “Albatross” No 1, “Man Of The World,” No 2 and now “Oh Well” in second place poised for the double top.
“We are very lucky as a band in that we appeal to an incredibly wide audience,” said Mick, seating himself on a deckchair(!) in a living room notable for its stripped pine furniture from Junk City and the decapitated dolls’ heads that peer down from the top of a cupboard.
“As well as the pop fans and the blues fans I know there are a lot of older people who like us. And we can play an Underground date like the Brunel University and be accepted as well.
“We have been fortunate in that people now accept that we can do anything. We are not tied to one style.
“It must be horrible to feel entrenched in a certain style, which is what could have happened to us.

Accept us

“People now take Fleetwood Mac for what they are doing at any given time — they are not going to judge one piece of music because it doesn’t fit into the type they liked before.”
After a period of cutting down on appearances to devote more time to recording — at one stage they were down to a single gig a week — the group has of late been reversing the trend.
“When we played it was such a big thing to be going on stage,” said Mick. “This band has never had that before. We found that when we had a gig coming up we were actually nervous and were planning what we’d do on stage.
“It was terrible. Now we want to work more in this country.”
Although they could limit themselves to large lucrative venues, Fleetwood Mac is sticking to a policy of working the smaller clubs… a policy that makes an interesting contrast with Jethro Tull, the other most successful product of the Underground circuit, who are now restricting their appearances to concert tours.
“We played Nottingham Boat Club recently,” said Mick. “I don’t know if you know it but it’s smaller than Klooks Kleek — just a room above a boat club. But it was a great night.”
Couldn’t it harm the group’s reputation? “We don’t mind. Usually we do it because we enjoy it, and because it’s a promoter or an audience who’ve been good to us in the past.
“The money might be very little, but it makes for a nice atmosphere. There’s usually no contract. We just say we’ll be there and we are.
“And it will always be that way. If we want to go off and play the Fishmonger’s Arms or somewhere like that then we will, because we know it will be a good time.
“With concerts, no matter how good you are, you know you have to stop some time. You have to keep to set times to do your two shows.
“At these small places you can go on all night. There is no promoter breathing down your neck. Peter might feel like a chat with the audience; Jeremy might do his impersonations. You can go on as long as you like.”
Firmly established in Britain and in most European countries, the one thing that now eludes Fleetwood Mac is success is America.
From their 12 days in Scandinavia the group returns here for less than a week before heading to the States on their third attempt to break through.



“America is very important to the growth of the band,” says Mick. “If we stayed as we are here, apart from working and getting more people to listen, there is not much further to go. We are determined to make it in America.”
On the last two visits, according to Mick, the concerts went “great” but the group suffered from lack of nationwide promotion.
“We wandered over there and everything was very small time. America is a very big place and if you don’t do things big you are not going to be heard.”
This time they will be represented by Reprise, who have done such good work in the States for Jethro Tull, and they are hoping this will turn things their way.
“It is a very big and good company,” said Mick. “And everything is supposed to be fine and ready for us to arrive. We can only hope now that we are successful as far as dates are concerned.
“But we know we have to work at it. Take Joe Cocker — when he went over there he was unknown. He spent months and months just going round the circuit, just like Cream.
“They worked for peanuts — actually going to ballrooms and asking if they could play. When they did that was all that was needed but they still had to stay there for ages and work like slaves.
“We are nowhere near well known in America, whereas groups like Jethro Tull and Ten Years After are incredibly well known.”
But although Mick states that the group will stay as long as necessary — “So that when we come away we won’t be forgotten” he adds that Fleetwood Mac won’t be deserting England.
As Peter Green said in the NME a few weeks ago there was minor dissension in the group over the suitability of “Oh Well” as a single.
“When we recorded it in the studio,” Mick explained, “everyone decided it would be the next single. Then John and I listened to it again and John had doubts and so did I.


“Peter said that if everybody wasn’t agreed he would put it out as a solo single and that would have been a bad thing.
“I started playing it over and over again and decided it was right. John’s doubts actually weren’t that he didn’t like it, but from the point of view of it being right for a single.”
John, Mick revealed, had actually made and lost a £5 bet with Peter that “Oh Well” wouldn’t make the top ten.
This apart, Fleetwood Mac always appear a very trouble-free group. Mick agrees: “It is something that has come over the long time we’ve been together. All groups start with teething troubles but some don’t bother to work things out.
“With us it has now got to the stage where no matter how heavy the pressures get — and obviously people in the band are going to have on and off days of being pleasant just like anybody — it is all understood.
“It never gets anywhere near the horrid backbiting that gets a hold in some groups. I have been in groups like that and it is horrible.
“John, Pete and I have know each other for years. That is what made it easy when Jerry and Danny came in. It is a friendship that goes back years and years and years and has been tested over and over and over and won`t ever crumble.”


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!

ARTICLE ABOUT Jimi Hendrix FROM New Musical Express, April 19, 1969

Some interesting comparisons between the US and the UK in this one. Enjoy and read on!


Jimi Hendrix shock: He wants to retire for a year!

By Alan Smith

UP the creaking stairs, past the accommodation agency, up the stairs again, then to a hardboard door in the gloom. Knock on the hardboard and wait. Footsteps. Then the strangely soft voice of jimi Hendrix — “Who’s there? Who’s there?” — and I mention my name and he opens he door and up I go.
There may be more space upstairs, but this room mainly seems to be his home… lOft x lOft, a big double bed in the middle with a canopy overhead, personal possessions, a monster dog, and the immensely affable Noel Redding and Mitch Mitchell, all not necessarily in that order.
It’s 3 p.m. but he pulls the curtains and blinks his eyes beneath the pastel brim of an Ascot hat and hunches down over Alley Cat and the largest circulation weekly music paper in the world.
I find Hendrix, articulate master of the guitar, wild exponent of sex and soul, a shy and introverted man away from the stage and the electric involvement of working before an audience.
If his friends were not here, watching and listening in the cramped room above the hiss of traffic on a rainy day in London’s Brook Street, I suspect he might be different. But he pours me a white wine, and one for himself, and he sits low in the seat and we talk about his affection for Britain and the way he sees his future.


“It’s a different type of atmosphere here. People’re more mild mannered. But in the States there’s more money to be made — that’s why you have to go there. And not too many people say No specially when the money’s about ten times better.
“Emotionally, though, I dig anywhere as long as it doesn’t bore me to death. I always have music, but it’s pretty hard to say what else I need in life to turn me on. Anything, I guess (laughing)… anything!
I’m as human as anybody else, and I’m not so involved that it’s possible for me to work on and on without ever needing to take a break and forget and rest for a while. Like right, at this moment… we’ve been working solidly for about three years, and there has to come a time when you have to get away from it all.
“What I want to do is rest completely for one year. Completely. I’ll have to. Maybe something’ll happen and I’ll break my own rules, but I’ll have to try. It’s the physical and emotional toll I have to think of.”
Mitch Mitchell says he knows the feeling only too well and how so many people out there in the public don’t realise the way life can pile up on an artist, what with the food and the time changes and sometimes seeing a different country only for a few hours every day.
Noel Redding says it’s not really so bad, because Jimi and the Experience went to the States last year, and in a way it’s now just like getting on and off a bus.
Somehow we’re then talking about the advantages and disadvantages of recording in America and in this country, and Jimi returns from a temporary departure into the pages of the NME to say he has no real complaints about the quality of recording facilities in Britain. Some artists wail about it, sure. But not him.
“Mainly,” says Jimi, “it depends what kind of music you go into. You can get sixteen tracks in the States, but who needs sixteen? You need only four really, if you’re going into something straight. Only occasionally do we need more, like some of the thing’s we did on our last LP. That’s what I call expression music.”


I ask about break-ups and Noel says he can’t see the Experience and Jimi splitting up at all.
“I’ve got my thing going with Fat Mattress,” says Noel, “and nobody’s gonna stop me doing my thing.
“Just because of Fat Matress, it doesn’t mean it’s gonna break us lot up. Why should it? The pop business is getting more free, and that’s fine by me.
“The only time you get groups coming together and then breaking up soon after, the way it’s happened recently, is when you’ve got people like Dave Mason. Dave shouldn’t be in a group. He’s not made that way.”
There is no comment on all this from Jimi Hendrix because, once again, he is back among the pages of the largest-selling weekly music paper in the world!
But I do get him to talk about the way he’d face the future if he found himself poverty-stricken tomorrow. He laughs and says he’d probably do what he’s doin’ now, but without the money.
Talking about the past, he remembers how he once played with Wilson Pickett and Ike and Tina Turner and the Isley Brothers. “Once in a while I like to listen to that soul stuff, but I don’t like to play it too much anymore. Soul isn’t adventurous enough. It’s just the one same thing.”
About himself: “I like to treat people fair until they screw you around. You can be terribly honest these days, but this tends to bring out a certain evil thing in people. Sometimes I’d like to say !?*!! to the world, but I just can’t say it because it’s not in my nature.
“I don’t know, sometimes everything makes me uptight once in a while. What I hate is this thing of society these days trying to put everything and everybody into little tight cellophane compartments.
“I hate to be in any type of compartment unless I choose it myself. The world is getting to be a drag.”
He picks up the paper and sits up with a flash of The Untamed Hendrix bristling across the ten by ten.
“I ain’t gonna be any cellophane socialite,” says The Wild Man of Pop.
“They don’t get me in any cellophane cage. Nobody cages me.”


But what happened to their friends in “Clouds”?

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!

ARTICLE ABOUT Keith Moon (The Who) FROM New Musical Express, April 19, 1969

This article was found in print about a month before the group released their breakthrough album in the US, the now legendary “Tommy” album. So Moon may have liked to joke about its first single, but he didn`t know that this album would make The Who a household name for people all over the western world.
Read on!


As `Piebald Lizard` leaps to No. 10, NME visits the Highgate Palace of…

Moon: Drummer extraordinaire

Words in the local by Richard Green

PRINCE Pizzowl Teenuque Moon, self-styled Ambassador to Highgate, made his grand entrance in the local exactly one hundred minutes late and graciously explained: “Matters of State, you know.”
His subjects, instead of showing the required respect, fell about laughing. This because “his Highness” is the latest guise of Keith Moon, Who drummer extraordinaire.
Since he advertised in a national newspaper recently for a title, Keith has been enjoying his own brand of regal status. He likes being introduced as a prince and he screws up his eyes and shakes with mirth when people respond.
Keith is feeling pleased that “Pinball Wizard”, or “Piebald Lizard” as he insists it be called, is doing well. Apparently this means the group will not have to work so hard on it.


“Oh, good,” he replied when I told him its high NME position. “We can have a holiday now. That’s the best time to go away, when they all want you here.”
Keith has been spending some time recently in Bournemouth. To prevent panic among the more staid members of that community, I hasten to add that he has only been staying with his parents-in-law and has no evil intent.
“You have to get away now and again, else you’d go mad,” he grinned. “That’s why I won’t have a phone. You’d get home from a gig about four a.m., get the baby off to sleep and the phone’d go, there’d be people yelling ‘We’re coming round’ and the next thing, they’d be lugging crates up the stairs.
“You’d lie in bed watching them troop through, alsatians, performing elephants, the lot. They can’t phone me now, so I’m safe.”
And he broke up into another period of squeaking laughter. Whoever wrote “laugh and the world laughs with you” must have had Mr. Moon in mind.
He ordered another round of “tomato juices with the wonder ingredient — vodka,” then told me: “The LP’s finished. Actually, it was quite a quick one, it only took about four years! There’s only the mixing to do now.”


Stage act

As Pete Townshend revealed in the NME a few weeks ago, the Who’s act is to be based entirely around the “Deaf, Dumb and Blind Boy” album. Keith, in a rare moment of seriousness, elaborated.
“We may have to cut a bit because the album lasts about two hours,” he commented. “Maybe we’ll cut it to ninety. We’re doing that now on stage, though. ‘Specially places like universities where it goes on until one. We go on about eleven and there’s no hurry.
“It doesn’t mean the group’ll change, just the act. That’s only to get the feel of a continuing story across. All the songs are linked by a theme and one carries on from another.”
A friend asked Keith what the growths at the side of John Entwistle’s mouth were. He had been seen on “Top Of The Pops” sporting them.
“Oh, the best way to annoy the Ox (a Who-ism for J.E.) is to keep calling him Peter Sarstedt,” Keith advised, once more the Satanic smirk playing about his mouth.
Someone else asked Keith what the programme had been like and he replied: “We were about the only group down there, they’re filming most of it now. One bloke that was on was that coloured guy who’s good with his hands… Black and Decker’s his name I think.”
At this point, a reporter phoned and asked to speak to Keith. Keith decided it was time for a merry jape and put me on the line to answer the questions for him. We wait with baited breath for the resultant feature.


Enter Pete Townshend to try and persuade Keith that a rehearsal is necessary. Keith tells Pete that I’ve already written the feature while waiting for him and I add that Keith’s statements have been outrageous.
“Oh, Christ, what’s he been saying,” Pete moaned. “I can just see next week: We’ll be holding auditions for a new drummer!”
Pete dragged a protesting Keith away before further harm was done, Keith wanting to go back to his fifteen-room flat above a garage.

Make noise

“It’s useful being above a garage, you can make as much noise as you like,” he pointed out. “I only use two rooms and let some to a little old lady. There’s one where a bloke had a party about a year ago and I haven’t bothered to take the decorations down yet.”
There is also the room where a champagne bottle emerges from a wall. Keith alleges that having got upset with Kim, his wife, once he aimed the bottle at her head from a distance of two feet and missed. It stuck in the wall where it has remained ever since. Much to the amusement of two year-old Mandy who is used to seeing Daddy do funny things.


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