ARTICLE ABOUT Cream FROM New Musical Express, February 4, 1967

I never shared an article with Cream before, but here it is! 2 out of the band`s 3 members are now gone but will not be forgotten as they have left behind a huge amount of work in this and other bands. Enjoy this great article printed just a couple of months after they released their debut album.
Read on!


Cream cut loose

By Keith Altham

This is the Cream interview which got loose in London – ran wild over their publicists` office – finally plunging from the depths of Mao Tse-tung, Aldous Huxley and the paraphernalia of Nazi Germany to Dan Dare, “Wind In The Willows” and Lord Snooty!

It began one rainy afternoon in Bruton Place when Ginger Baker, bearing not the slightest resemblance to any living person, staggered into the office where I awaited the trio — with his eyes closed.
“How are you?” I enquired.
“Terrible,” he replied and staggered out — still with his eyes closed. It transpired that both he and Eric Clapton (still a-bed at 3.30 pm) were recovering from the “Jimi Hendrix Experience” at a late night club the previous night.
Ginger returned and subsided on to a couch — opened one eye which looked remarkably like a large red marble — and spoke of his days as cycle pursuit champion with the Cambrian Wheelers! Ginge was very fit in those days, he said.


“I did a lot of cycle racing,” said Ginge, “sprint, time-trials, cross-country — I did ’em all,” he sighed, apparently for days now gone.
“I got my first gold tooth today,” he volunteered, “I rather like it.”
Following that revelation he went back to sleep and ten minutes later Jack Bruce arrived. Jack was in good form. He had been to bed since 3 am.
“I was reading ‘Wind In The Willows'” he explained. “I’ve been reading quite a bit lately — I read this other book about an alligator patrol in New York.
“It seems a lot of people who bought those little tiny alligators as pets got worried when they began to grow and flushed them down toilets.


“Then the `gators’ began to breed in the sewers and men had to be sent down to exterminate them. Then there was a book by Aldous Huxley where he says that everyone should try LSD —once— and he gives reasons why!”
From books we passed to papers. Jack apparently followed the Jell Hawke, Matt Dillon cartoon strips.
“My idols as a kid were Lord Snooty in the ‘Beano’ and Tough of the Track in the ‘Hotspur,’ said Jack. “I think what impressed me most was that Tough used to train on fish and chips. Or was that Wilson the super-athlete? He was always knocking people out with cricket balls.”
“Dan Dare and Harold Larwood,” mumbled Ginge, “they knocked me out. Larwood was the England fast bowler. He killed a dog on the boundary once with one of his faster deliveries. I played cricket — I was a slow bowler!”
From papers we got to politics and the “yellow peril” — a slight diversity of opinion here.
“I rather admire the Chinese for what they are trying to do — ideas of social equality . . . ” said Jack, ” I hope they don’t get loused up in this revolution.”
“I hope there is a civil war,” said Ginge, “it’s the only sure way to stop ’em dropping bombs on everyone. Those Red Guards are the Hitler Youth movement all over again.”
Which brought us very nicely to the arrival of that brilliant guitarist Eric Clapton, wearing his iron cross tucked discreetly inside his shirt.
“I don’t know why there is a sudden interest in the Nazi uniforms or decorations — I wear this simply because I think the design is great, said Eric.


SS cap

“I’ve got an SS officer’s cap,” said Ginger, “I think it’s a good thing to wear these things. It makes a few people remember there was a war — it’s not a thing to forget or let happen again.”
“I think possibly the more fanatically interested have the kind of fascination for Nazi items in the same way people have a fascination for horror comics!” said Bruce.
We turned to more musical subjects.
“Jimi Hendrix is the most beautiful guitarist I’ve ever seen,” said Clapton. “I sat there watching and listening to him at the club last night and I couldn’t believe it. I felt like a fan all over again.”
“Some kids think that about you,” said Ginger sleepily, but pointedly.
With Jimi Hendrix’s fantastic stage act in mind we turned to the subject of why so many coloured groups from the U.S. have such a hackneyed stage presentation.
The Four Tops, for example, have such great voices but a finger-clicking, arm-waving, side-stepping routine that goes back to the Platters and beyond.
“I think they have been conditioned to believe that is what we want and what is expected of them,” said Clapton. “America has been stuck in a rut since the 1930`s with some of its stage acts and stage suits when it comes to groups.
“The Americans are terribly conventional on this score. Look at what the Beach Boys have to wear – can you imagine them coming on in military jackets?”
Having taken the top off the cream and some of their attitudes we started in on what they thought of their own group.
“I`d never play with anyone else,” said Ginge, “we`re playing the things we like and drawing good crowds. Our musical ideas are in sympathy with one another and we enjoy what we`re doing.”
“We`re not over concerned with our image,” said Clapton, “we are concerned with our music, new ideas, a new LP on which all the compositions will be our own and trying to be creative as a team.
Do they hope they get to No. 1 with “I Feel Fine”?
“I hope we never get to No. 1,” said the quietly perceptive Mr. Bruce. “It`s much better to be travelling than to have arrived!”


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The original music paper this article came from (pictured at the top) is for sale!
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ARTICLE ABOUT Brian Wilson (Beach Boys) FROM New Musical Express, January 28, 1967

A very strange but quite informative “description” of the songwriting genius from The Beach Boys. If you haven`t listened to this man`s music then I suggest you head over to a place where you can listen to “Pet Sounds”, released in 1966. Fairly old, yes, but worth its weight in gold from a perspective of songwriting, arrangement, production and performance. Very inventive for its time and still higly enjoyable to listen to. Go on -check it out! You know you want to!
Read on!


Brian: loved or loathed genius

By Tracy Thomas

If you should ever meet Brian Wilson, you would either take to him or despise him immediately. His continual drive for a new “kick” would charm or alarm you.
His desire for very close and constant ties with his friends would develop or envelop you.
But you could not ignore him. And no matter which view you took, your recognition of his talent would override your emotions and you would respect him.
For, coming second only to Smokey Robinson, Vice-president of Motown Records, songwriter and producer for the Miracles and Temptations, and lead singer and performer with the former group, Brian is the complete musician.
Singlehandedly, for all practical purposes, he has made the Beach Boys the top group in the world. “Singlehanded” because Brian takes each song from the first inspiration through to the record sleeve, with only occasional advice and certainly complete co-operation from the others, but without substantial collaboration.
The Beach Boys have no manager, which places more responsibility on the broad, bulky shoulders of their reluctant, but undeniable leader.
Brian is too hasty, too easily moved by something momentarily new and groovy. All too often, he forgets past decisions. And he calls BB corporation meetings at the drop of Mike’s cap, ostensibly to form new policies, but usually just to talk.


But by virtue of his size and his genius, Brian, despite his ramblings and changes of mood and inclination, is spiritually the leader (actual decisions are made by the majority).
Brian’s appearance is striking — he’s very tall, well over six foot. His weight fluctuates weekly — he’s constantly on or off a health food diet. His hair is kept long (longest in the group) and shaggy (he combs it with his fingers, all the time).
His clothes do not fit the BB mould. He goes for big paisley or flowered shirts with ballooning sleeves, tail hanging out over his white Levis. It’s pretty much what most Southern Californians wear, only more expensive.
He is invariably hungry. And he wanders a lot, mentally and physically his mind is usually on another track (side two, cut three).
Marilyn Wilson is very housewifely and motherly to everyone, though she’s only 20 years old. She and Brian were sweethearts for years before they married last year.
Brian’s in-laws, the Rovells, have a picture in their home of the pair when they were teenagers. The Wilsons spend 50 per cent of their time at the Rovells’ and Marilyn’s two sisters are frequent visitors to the Wilson home.
The last time I saw the Beverly Hills house, it was furnished in expensive casual. Two enormous, but friendly dogs followed their master and mistress everywhere — from spacious room to large patio. Marilyn had charbroiled some huge steaks and corn on the cob. I must say that she’s a great cook, and so’s her mother!


However, the home is currently undergoing radical remodelling. Tales of a room that looks like the inside of a tent and one that’s a sandbox have been circulating.
Next week, the entire plan might be different, perhaps oriental. Brian’s a changeable lad.
At times, he is remarkably perceptive and sees right through a cloudy situation. Mostly, he’s full of opinions on every topic. Some are valid, all are interesting.
He fees deeply the new closeness of his family. It was not always so and the sensitive Wilson boys are painfully conscious of yesterday’s fireworks.
All three attribute this new sympatico to their mutual discovery of God. None values organised religion, but all agree on the concept of God.
In the recording studio, Brian is another man. Every part of his brain is concentrated on the job at hand.
When one of the others makes a funny comment, he either doesn`t hear it all, or has to pause momentarily before chuckling.
He is a fanatical perfectionist. He will listen to a track over and over for 20 minutes before throwing it out. I’ve been at a three-hour recording session during which only one set of da-doo-ron-rons were recorded.
The track that he kept, he threw out two weeks later and they re-did it with woo-woo-she-swop or something.
Brian usually goes into a session knowing exactly what he wants. He’s been hearing this for several weeks now and goes straight to his work. Changes are seldom made in the studio. Instead, the revisions are made in between, after Brian’s listened to the track a thousand times.


This dedication to perfection does not always endear him to his fellow Beach Boys, nor their wives, nor their next door neighbours, with whom they were to have dinner, but the session ran over an extra hour. But when the finished product is “Good Vibrations” or “Pet Sounds” or “Smile” they hold back their complaints.
As Bruce says, “When all is said and done (and after the last BB corporation meeting, I think we’re getting close to that point) Brian is worth the traumas!”


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


Here is a nice article from the height of Status Quo`s success in the UK. It is easy to forget that underneath the band`s easy-going nature, this is the most successful rock band ever in the UK. They may play what many people would characterize as “simple boogie rock”, but they forget how genius it is to create so many catchy and popular tunes on the same formula. If it was easy – everyone would do it! These guys have my respect! Enjoy!


27 chairs broken, front row demolished, manager speechless

Ho Ho Ho. Good fun innit? All the kids are here with their booze and their toilet rolls and it looks like being another major triumph for rockanroll music. It`s STATUS QUO on the road, and JULIE WEBB was there to see the devastation.

“It gives you a sense of power when you see chairs all busted up after a gig. It sounds corny…but as long as nobody`s been hurt all those busted chairs signify a good time.”
That`s Status Quo guitarist Rick Parfitt talking after their Liverpool Empire gig (27 chairs broken, front row demolished, manager of venue speechless.)
At Quo gigs you can see the pathetic sight of managers beseeching audiences to “sit down,” and adding hopelessly that “No-one is allowed in the aisles at any time”, while the crowd stand on their chairs even before the band have even taken the stage.
At Sunderland – the opening date of their British tour – the manager wanted to stop the show after the first number. But was unsuccessful.
Depending on which side of the coin you look at, Status Quo are either down to earth or common as muck. Certainly they must be the bawdiest band on the road.
(They get toilet rolls thrown at them on stage – as opposed to hats or bracelets.) And they have also, for their sins been described as lame brains.

Parfitt thinks the lame brains bit is quite funny.
“We`ve had a whole lot said about us…dandruff in our hair, lame brains, Status-Quo-are-this, Status Quo are-that- but the houses are always full.
“We`ve never tried to promote an image of being an intelligent band. We just enjoy a loon.”
He thinks for a moment, then adds:
“We`re not so much lame brains – but we`ve always had this kind of humour…basically we`re a lot of scruffy rock`n`rollers.”
Before this present tour, Quo were gigging in Australia – place they alternately slag off or praise. And one thing that does apparently get up the band`s collective nose is the Aussie press.
“Funny people out there, as it happens,” says Parfitt. “The press will build up anything into a big story. Anything seems to make the front page. There was one incident when I was supposed to have had two groupies in a lift. Well, in fact it wasn`t me – it was one of the road crew – and the manager of the hotel caught him, got abused, and came at the roadie with a tin opener.

“So now there`s this big story on the front of Truth magazine and it`s all a load of bullshit because it`s supposed to be about me and it wasn`t because I wouldn`t do anything like that.”
Parfitt doesn`t consider sueing. “I just write it off as a laugh. And we had a laugh in Australia – even when we arrived after 26 hours flying. About eight in the morning it was, and we were hustled into a press room – all TV cameras and half a dozen press men out in front with microphones asking stupid questions.”
Questions like?
“Well, one bloke asked if we played better because we`d got long hair. And there were things like, `Do you take drugs`. So you just look them straight in the eye and say, `Of course we do`. They can`t really react back because you grin at them when you say it, and they don`t know if you mean it or not.”
They look back with pleasure on a TV show.
“There was this big backdrop with Status Quo written all over it, and we were doing a very silly interview. Spud (John Coghlan) pulled the backdrop down. The interviewer lost his cool a bit, and France (Rossi) started undressing me.”


If you are getting the impression that Status Quo can be destructive, you could be getting warm.
“Yeah it`s both silly and destructive sometimes. Some nights after gigs it just gets outrageous…lot of fun. When you start getting silly you want to do something to keep yourself on that level. Like, there`s a cup on the table and it`s fun to try and do a trick with it that you know isn`t going to work.
“The cup gets smashed and tea goes everywhere, and then it starts with soda syphons…”
After the Sunderland gig, at least four people got drenched by either beer or a soda syphon. Why Bother?
“It`s just the feeling of the band after a gig. It was the first night as well. There`s normally a bit of a piss up on the first night. A few drinks, chat flowing, and then it gets a bit out of hand.
“If everybody`s in the same spirit and everybody`s copped a bit…like, you might have a plate of sandwiches on your head and this bloke has been squirted with soda, then it`s fun.”

After the damages are paid for, is there any money left, one wonders?
“We make a profit in Britain. The gross of a British tour is normally fairly high, but then when everything is paid out -publicity, the hire of halls, damages, whatever – it really does cut it down in a big way. More or less by half. But we make enough out of a British tour to give ourselves a Christmas bonus.
“Financially it`s hard to say exactly where we stand because we`re putting a lot of the money into assets. Companies we`ve set up. We`re not immensely rich but we`re working for the future.
“I`d like to come out of it with a few bob. We`ve all got our houses and cars and basically that`s all we need.
“But it`s a lot of hard work – the next year is going to be ridiculous. Three American tours, hopefully Japan, Europe and a couple of albums.”
The first of those albums is nearly complete and set for release early in the new year.
“There`s ten tracks as opposed to the usual eight, and all of them should be under five minutes.”

Try to analyse Quo`s music and you run into trouble. Suffice to say wherever they play in Britain, they go down ecstatically before audiences predominently dressed in jeans, often with bottle in left hand and bog roll (ready for throwing) in the other.
Parfitt attempts to explain why the audience go wild. “I think the kids are up on their chairs because they`re a rock and roll crowd, and they know what to expect from us on stage. It`s difficult to watch us sitting down.
“We like it when they`re raring to go. It`s great to walk out on stage and see a bank of people. You can feel the electricity in the audience. We`re going on to bash out hard rock music at them, and work hard to them, and if there`s not a vibe from the audience it`s more difficult.”
On stage, Quo`s dashing and wheeling around has in the past presented problems. Rossi and Parfitt have 20-foot leads, but they still get caught up with each other.

“We`ve never had any electric shocks but we`ve often whacked one another. Once I had to follow France around the stage for five minutes because my pegs were knotted up in his hair. The roadies had to untangle us halfway through a number. I pulled half his barnet out.
“Yeah, we`ve whacked one another…but it`s great when it gets like that.”
Any real disasters?
“Well, we`ve fallen over a lot. We call that getting our wings. I remember three years ago doing a small youth club – we`d just gone on and the kids were going mad. France went dashing across the stage, turned round, fell off the stage and knocked himself out. Quite funny, as it happens.”
Everything, fortunately for Quo, has a funny side.
“It`s a kind of warm sarcasm”, says Parfitt. “We don`t think we`re rude but say there`s a bird with big tits we`ll say, nice jumper you`re wearing there.”
Like I said, depending on which side of the coin you look.

Position purely incidental.

Position purely incidental.

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

This number of New Musical Express also contains articles/interviews with these people: William Jellett, Mike Patto, Kilburn and the Highroads, Hank Marvin, Alvin Lee, Michael Chapman, Barry White, Sandy Roberton.

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:
2. The offer should be around or upwards of 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.


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

I have set some rules for myself on this blog – one is that I will never publish an article with the same artist until I have had at least 5 updates with other artists. Today I am going to break that rule.
When I published the article about Status Quo, someone posted it on a Quo forum on the internet and suddenly I had hundreds of hits on my blog. As a signal for all of you out there – I really do like hits on my blog, and also as a “thank you” to the Quo fans – here is another Quo-related article! 🙂


Musicians talk tape
This month: Rick Parfitt of Status Quo

Equipment: A phillips N2 607 car stereo cassette player. This can be mounted on its own bracket under the dashboard or direct on the transmission tunnel. It takes little room, is easy to fit and operation is simplicity itself. Just lower a cassette into position and click down – the deck automatically switches on and begins playback. The unit will automatically switch-off at the end of the tape and the cassette can be semi-ejected by squeezing two buttons.
Specification: Cabinet Dim. 10 x 112 x 57 mm Fast rewind time: 70 secs. for C60. Output: 5 watts per channel. Wow and Flutter: 0,4 per cent. Signal To Noise Ratio: Better than 45db. Frequency Response: 100 – 10,000 Hz. Recommended Retail Price: £38.74, including speakers.

Parfitt: I`ve only just had the new tape deck fitted and the first thing I did, as soon as I got it installed, was to get the new Humble Pie tape “Eat It”. I find that sort of thing makes good listening when I`m driving. I really dig driving and like to listen to tape all the time.
During the day I usually play things by Pie, Zeppelin, Rod Stewart and the Faces – that`s really the sort of thing I`m into.

Then I sometimes play “Piledriver”. I`ll play it and think to myself, “oh Christ! We should have had so-and-so going there”. But that`s cool because you can use some of those ideas on the next album.
Playing tapes of your own music helps you learn and progress – as far as I`m concerned that`s true anyway.
I find my taste in tapes is different to my taste in records because of the different playing environment. Because I dig driving, going down the motorway, playing something like Zeppelin while I`m doing a ton, really gives me a buzz. I get a little distortion off the set when I`m trying to blow the back windows out but I hope to remedy this when I have another two speakers fitted. I don`t want two at the front and two at the back, I`m having four fitted in a line across the rear.


I don`t always play loud music though – I also have a selection of down-volume, funky, nice-music things. At night, when there`s not much traffic around I might play something like the Carpenters.
I`ve had both cassette and cartridge systems but I much prefer the former – eight-tracks are more prone to problems and a cassette is neater and less bulky. Status Quo used to have a cassette-deck in the old band car and I can remember the number of times we used to play old Chicken Shack tapes on our way back from gigs – particularly “O.K. Ken”. That one, for us, was really great.
Another great one was that Fleetwood Mac set with “Albatross” on it.

Some music turns on mindpictures for us. When we recorded “Oh Baby” we all visualised pedalling a bike, and on the album we`re recording now, there`s a track where we visualise three Arabs walking across the desert.
I know it probably sounds mad but it has that sort of feel to us. It`s like when we did “Don`t Waste My Time”, that brought top-hats and gaiety to mind – it`s got a lot of flair and cheekiness about it.
We`re now doing a country-type track, country to me being the sort of thing the Byrds did on “Easy Rider”. That`s a beautiful tape. But now I`ve got to forget about cassette-decks for a while and get back to the sixteen-track at IBC.
We`ve done about four tracks of our new album so far including “Claudy” which I consider to be the best thing we`ve ever done.


Full page ads in colour for the all-girl band Fanny – someone really believed in them!

This number of the NME also contains articles/interviews with these people: Carly Simon, Roger McGuinn, Tempest (Jon Hiseman), Dory Previn, Glencoe, Grimms, Jack Bruce, Tony McPhee + a special on the music scene in New York.

This edition is sold!


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

You can`t ignore a band where two of the members later played for The Who and The Rolling Stones and one of them went on to enjoy a terrific solo career. So here is a concert review for those of you who are interested!


KERUUNCH – The Circus Hits Town

JAMES JOHNSON postscripts the FACES tour
– and finds the answers to the critics

It apparently doesn`t take long to find new ways to knock a band. Take the Faces for example.
With their British tour over and the plexiglass stage packed away for another day, the word round less charitable quarters
is that they`re past their best; they`re tired, rely too heavily on old material, and the easy-going style they created has near enough exhausted itself.
But that`s a little unfair, wouldn`t you say? Or at least a trifle premature.
Maybe in some minor respects the band have indeed eased up. Touring, in general, is now taken a little more calmly and they`ve even cut down on the boozing.
Yet the firm and unalterable fact is that when they`re on stage they are, quite simply, the brightest, most entertaining outfit in British rock and it`s unfortunate if all they get for their pains is a kick in the teeth.
I caught two concerts on the tour – at Brixton and Sheffield – and it was obvious from both that whenever the Faces play it`s still a mighty big event.
Perhaps, of the two concerts, the Brixton gig was more ostentatious – a whole crowd of Faces` friends in the circle, an unending chain of collapsed chickies being squeezed ungraciously out of the front rows and dragged across stage…while the band provided an extra touch of circus with drinks on stage served by a dwarf standing no higher than Kenny Jones` hi-hat cymbal.
Yes, it was a steaming, rollicking night in the grand old Faces tradition.

By contrast Sheffield was a milder, quieter affair – if any Faces concert could be described in such terms – but interesting in that it provided a chance to watch the band working with things not altogether running smoothly.
The scene was Sheffield City Hall, to be precise. The city had hummed all day with expectancy and when the kids – an uncompromising bunch with rough hands and loud throaty voices – tumbled into the auditorium they brought with them their own tough, loose atmosphere.
Down in the bar it was elbowroom only, with bitter selling fast as the serious drinkers warmed up.
Most barely looked up from their pints as a guy with big boots, large nose and sloping forehead, obviously already well soused, slouched in a corner yelling “Rod-nee, Rod-nee” with the kind of venom normally reserved for football terraces on a Saturday afternoon.
Backstage though, things were decidedly cooler. Promoter Peter Bowyer paced the corridors wearing a face as anxious as an expectant father.
The Faces were late, getting later and all anybody could blame was the English weather, mid-December.

With their usual panache, the band were flying to all gigs in a specially hired plane. That is, all expect little Ronnie Lane, who, in particularly homespun manner, was travelling round the country in a Land-rover with his family in the back.
This time, though, the Faces plane – with all five on board – had been grounded in London by fog. And, with obvious delay, they were coming up by car instead.
Perhaps they shouldn`t escape blame entirely. After all it doesn`t take much imagination to foresee that this might happen in the middle of winter.
Still, Vigrasse and Osborne went on, played a comfortable, punchy little set and came off to find still no word or sign from the Faces.
The hall-manager started getting tense about licenses and Bowyer`s face grew longer as the first rounds of slow-handclapping infiltrated from the front. But at least the roadies appeared unconcerned, knowing anyway that the band have never been exactly the world`s best timekeepers.
“It won`t matter,” said one, casually hitting open a Coke can against a table.
“You know what`ll happen. Rod`ll go on, say: `Ow are yer? Sorry we`re late mates`, they`ll get into the first number and nobody`ll care.”

And, of course, most of the impatience in the audience was really half-hearted. After all it was Friday night, two days before Christmas and the Faces were going to be on stage sooner or later. You couldn`t help but feel good.
Then, with the arrival outside of a Daimler, there`s a flurry round the stage door; noise, speed, action, people pushing and the Faces are there.
A quick dive in the dressing room, time just for a change and a tune-up and then the band are on stage with 2000 voices raised in mighty acclaim.


It was a magical, heartwarming moment. There was Rod raising his glass to the upper circle, Ronnie Wood in trousers like they`d been made out of red foil, Kenny Jones adjusting his drums like the true professional, Ian MacLagan in a tasty piece of tartan suiting and Ronnie Lane looking the East London kid in a natty Petticoat Lane barrow boys suit.
And Keruunch, with the welcoming roar still pouring out of Yorkshire throats, the band swooped into the beautiful opening,
sliding chords of “Memphis Tennessee”.
They had come on cold, the stage was frankly too small for comfort and they looked really a little brusque, even grim. But after three numbers, the length of time they seem to normally take, the band hit full stride, and they really did stride.
Yeah, it sounded fine, music that made the eyes steam, the pulse quicken.
Next it was a number Stewart pointedly described as a new one, twice in fact, although forgetting to mention the title. But the chugging, rolling, momentum of it was just the impetus needed for the crowd to rise to its feet as one.

By “Maybe I`m Amazed” it started to look as if the Faces were enjoying it too. It`s an old number, yes, but still sounded fresh, while “I`d Rather Go Blind” was amazing, with Wood splicing off pealing guitar notes before shuddering into a chord and Stewart proving once again that he`s one of the monster, razor-edged vocalists of all time.
As is usual, Wood had virtually his own spot on “All You Need”, sliding over the frets with cigarette jutting out between firmly-clasped lips.
The band`s next single “Cindy”, plus “You Wear It Well”, and “Maggie May” saw them still warming without perhaps quite hitting top but all the band smiled on “Angel” as the people out front swayed, singing the chorus, hands clasped above heads. An amazing sight.
More numbers, a super-charged encore with “Twisting The Night Away”, footballs kicked out to outstretched hands and finally the band are back in the dressing room looking a good deal more pleased than when they arrived.

By the time they were back at the hotel the general view was that the concert had been a good one if not a great one; no more, no less and nobody really seemed too concerned.
The talk at the dinner table was football rather than music.
Stewart wonders what`s going to happen to the Scottish team now that Docherty is at Manchester, cabaret is provided by Ron Wood taking over the restaurant`s hot-plate, pouring brandy over it and igniting a little dish known as “Plat de Burnze`oteldown` made up of salad, menu cards and anything else that happens to be available.
Mostly, though, the atmosphere is low-keyed. Jones and Lane want to go back to London for the night while most of the others want to go to bed.
Perhaps, by Faces standards, the concert had been unspectacular.
Perhaps it could be said on more run-of-the mill gigs the Faces have indeed lost some of their zip, some of their enthusiasm.
Even so, it doesn`t detract from their performance. At Sheffield they`d still put on a hell of a fine show. Next time they play the City Hall tickets will again be hard to find.


David Cassidy used to be the one that all the little girls dreamed of. When studying this ad you could be right to conclude that he was mighty popular in 1973.

This number of the NME also contains articles/interviews with these people: Jimi Hendrix, Fumble, Joni Mitchell,
Danny Seiwell, Class of `73 (Hopefuls to succeed), Stray, Trapeze.

This edition is sold!