Andy McConnell

ARTICLE ABOUT Lynyrd Skynyrd FROM SOUNDS, May 31, 1975

A really great article to read. Credits to Mr. McConnell for this one – well written! McConnell may be better known these days as an expert on glass on BBC`s “Antiques Roadshow”. A man of many talents then!
Read on!

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Ronnie Van Zant kicked his Scotch habit: it`s wine now…

Life at the top is tough when you`re Lynyrd Skynyrd, as Andy McConnell found out

It`s 4 P.M. at the Santa Monica Holiday Inn, five hours before the first of two sell-out Lynyrd Skynyrd shows at the Civic Auditorium, a mile down the Pacific promenade. Lead singer Ronnie Van Zant lies head on pillow and guitarist Allen Collins sits talking to Al Kooper. He`s the New York slicker who discovered the Jacksonville, Florida, band in an Atlanta bar in 1972, and has gone on to produce all three of their gold albums and their Top Ten singles – `Sweet Home Alabama` and `Free Bird`.
Van Zant lifts his head. “Kooper,” he declares, “I just gotta Mercedes and I ain`t even seen it yet. Ah jus` can`t wait to get back home an` see it.” Kooper grins back at the gruff little singer whose cowboy hat wearing habit has left a permanent ridge pressed around his blond scraggly hair, like an invisible fallen halo.
“I just got an Excaliber,” replies the producer. “It`s called Lynyrd Skynyrd after the person that paid for it.” The room dissolves into a sea of laughter.
In contrast to their raucus high-decibel music, the Skynyrds are a quiet, unassuming bunch. Despite years of solid gigging, one feels they remain uncomfortable in many on-the-road situations; slightly out of sync with the rock and roll business in overdrive around them.
After all, it`s only three years since guitarist Gary Rossington had to jive neighbourhood blacks into street running races and place bets with the band`s last half-dollar to feed seven hungry mouths and pay for gas to get to gigs.
Their new-found affluence has caused problems, however, especially to Ronnie. “I was drinkin` a lotta Scotch,” admits the man credited with `vocals, lyrics and J&B` on the band`s first two album sleeves. “It was gettin` so I couldn`t feel it any more, I was pretty burnt out on it. The doc said I was doin` myself in so I quit.”
So confident was he of his ability to kick the demon alcohol that Ronnie took on a total of $4,000 in bets to that effect. It was no time at all before he was off the wagon. “It`s wine now,” he laughs in a mellow drawl taking a broken-ended knife to his fingernails. And the bets? “Oh, I ain`t gonna pay them mutherfuckers,” he declares.

TATOOS

Van Zant and Collins each proudly lift the right sleeve of their T-shirts to reveal Technicolor tatoos acquired the previous day in a moment of drunken madness. “Allen and I went stumblin` into this place in the boondocks and said `We want some tatoos`. The guy asked us which ones we wanted, we pointed up to designs on the wall and he was stickin` needles into us straight away,” giggles the singer.
“Your mama`s gonna whoop your hides when you get home,” says Kooper, narrowing his eyes behind dark shades. Ronnie simply holds his self-satisfied smile.
Skynyrd make no secret of their admiration and respect for Kooper. Chances are that without him they could still be playing tin-pot Southern bars and clubs like the one he found them in three years ago.
Of the original five-piece Skynyrd, Van Zant, Collins and guitarist Gary Rossington remain. They named the outfit after their high school gym teacher Leonard Skinner, invariably the figure of authority who`d catch his pupils with hair reaching their ears and order a shearing. “He owns a real estate company now,” laughs Allen. “He did an interview in a Jacksonville newspaper and said he was expecting a royalty cheque from us for using his name.”
The current Skynyrd line-up is completed by Ed King as the third guitarist, Billy Powell on keyboards, bass player Leon Wilkeson and Artimus Pyle who recently replaced Bob Burns on drums.
Kooper found the penniless outfit whilst recording in Atlanta. “I was going out every night to the clubs, checking out local bands,” he recalls. “I`d had the idea of forming a label as an alternative to Capricorn after seeing so many great unknown bands in the South. Just imagine how I felt when I walked into this club one night and saw the guys playing songs like `Free Bird` with nobody paying them the slightest attention.”
“The bars were really tough. One night we saw a guy get his head blown off,” grimaces Rossington. “But we didn`t mind playing them `cause we didn`t know nuthin` different. Hell, if three people clapped you`d feel so great you`d tear the place down.”
Kooper duly formed his Sound Of The South Records and signed Skynyrd as the first act. They had already recorded enough material for two albums at Muscle Shoals under Jimmy Johnson but nothing had seen the light of day. “We bought them tapes from Jimmy,” reveals Ronnie. “We`re gonna re-do the vocals, add some back-up vocals, touch them up a bit, sit on them for a while, then release them as an `Early Lynyrd Skynyrd` album.”

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`PRONOUNCED`

Their first album for Kooper, `Pronounced Leh-nerd Skin-nerd`, was a collection of songs Van Zant had written with assistance from the guitar players over a four-year period. Recorded in Doraville, Georgia, the sound was a raw blend of blues, hillbilly country and British boogie packed with typically Southern flavour; moaning slide guitar, country pickin` mandolin, aggressive guitars, driving rhythm section in straight 4/4 and dry, thirst-parched vocals. Van Zant`s lyrics completed the geographical picture with tales of disapproving daddies, guns, train rides, ghettos, the Lord and getting high on dope and booze.
“Ronnie stands in the shower singin` to himself and the songs just come out,” explains Allen scratching his meagre three-day growth. “Ma shower`s got the best acoustics in the world,” laughs Ronnie. “Ah always look for the melody first, then think up the words as ah go along. Ah memorise them, then take `em to one of the guitar players and we arrange everythin`.”
The debut album hovered in the lower regions of the chart for five months; creeping into the sixties, dropping back into the eighties, back again into the fifties. By the time they went on the road for their first tour, supporting the Who on their 1973 tour, they had over 100,000 sales under their belts.
“The tour opened in San Francisco at the Cow Palace in front of 18,600. We walked out on stage and went `eeerrrc, God, what am I goin` t`do?` Everything was played ten times too fast. We were awful, but by the time we got to the third night everythin` was jus` fine,” says Gary.
Massive success finally arrived with `Second Helping` and its single `Sweet Home Alabama`, the South`s indignant reply to Neil Young`s `Southern Man`:
“I heard Mr Young sing about it / I heard ol` Neil put it down / Well, I hope Neil Young will remember / Southern man don`t need him around.”

The Los Angeles Record Plant-produced album was considerably more slick than its predecessor. With Leon Wilkeson returned to the band after a short leave, Ed King could concentrate fully on augmenting Rossington and Collins` guitars, instead of having to double on bass as he had done on the first. Skynyrd`s fortè became the ability to balance the guitarists; two holding back for up to ten bars, then sweeping in at the perfect moment.
Both album and single turned gold. With `Free Bird` released as a follow-up single, Skynyrd rapidly emerged as an important headline attraction across the United States.
November and December found them outside their homeland for the first time; England, Scotland, Belgium, France, Germany and Holland. “It was real fine,” smiles Allen at the memory. “It`s very much like the South over there; the people seem much closer together, care for each other much more than they do on the West Coast or in New York.”
“It`s a much more sophisticated audience over there too,” adds Ronnie untangling his stained red T-shirt from underneath his back. “They don`t raise hell right when you go on stage like they do here. They make the band prove its worth.”
Skynyrd returned to the studio after Christmas, this time at Webb IV in Atlanta. Previously Van Zant and the guitarists had all their material written and rehearsed prior to recording sessions. This was not the case for `Nuthin` Fancy`; though `Saturday Night Special` had already been recorded for the soundtrack to `The Longest Yard`, starring Burt Reynolds. Nothing else was prepared.
“It was the best time I ever had in a studio,” raves Allen.
“It was awful,” groans Kooper who resumed smoking cigarettes during the recording after having given up for a year. “I nearly had a nervous breakdown and ended up in the looney bin. We`d get up at noon, have some breakfast, head into the studio and record straight through until six or seven the next morning. Then the same the next day… every day for three weeks.”
Kooper says the album is an attempt to recapture some of the rawness of the first effort, yet is only partially successful. The country-flavoured `Made In The Shade` and `I`m A Country Boy` certainly hark back to first album numbers like `Mississippi Kid`, but the rockers are far more lithe. From the outset there was no way Skynyrd could return to the Southern punk arrogance of earlier days, simply because the quality of their musicianship and professionalism has improved so dramatically.

OPPOSITION

Unfortunately Kooper`s firm-set ideas and the band`s natural development have unintentionally set themselves up in opposition, with Kooper wanting a sound that Skynyrd really cannot provide today. The result is that the album occasionally feels stretched, lacking in the hotter-than-hell feel that hallmarked the debut albums. “The sessions were a battle between myself and the band,” admits Kooper. But he insists: “That`s the way it should be – it creates the best music.”
That aside, with manager Peter Rudge now in control of their affairs, a very healthy track record and healthy European experience behind them, Skynyrd seem set.
As Ronnie so delightfully put it: “I think we could record `Mary Had A Little Dick` and it`d sell.”

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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!
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 George Harrison FROM SOUNDS, November 9, 1974

A very exciting interview with Mr. Harrison. He clearly evades some questions that are a lot tougher than what I think music journalists are allowed to ask stars of this magnitude these days. This one is really worth reading. Enjoy.

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The dark horse rears his head

After months of rumours and years of wishful thinking, George Harrison has finally hit the road. His massive tour will take in 27 American and Canadian cities for 50 concerts in under two months. It`s the longest tour ever undertaken by a former Beatle since the fragmentation of the band four years ago.
Harrison held an hour-long press conference in the Champagne Room of the Beverly Wilshire Hotel to answer any questions. The room was cram-packed with reporters, television crews and photographers. He spoke about the Beatles, together and otherwise, drugs, the up-coming tour, his newly formed Dark Horse Records, his wife Patti who is living with Eric Clapton, his personal taste in music and much more.
SOUNDS` ANDY McCONNELL was there.

Why, after all these years, have you decided to return to the States?
I`ve been back here many times. This is the first time I`ve been back to work. It`s the first time I`ve had an H-1 visa since `71.
What are the reasons for not having an H-1?
I had the same problem as John Lennon. I was busted for marijuana back in `67 by Sergeant Pilcher.
Did you have a hard time convincing the people to give you a visa?
It takes a long time, you know. A lot depends on Washington and how busy they are and they`ve been pretty busy lately. We applied for it months ago. It`s come through fine, but once the tour`s over I`ve got to get back.
What are your feelings about the up-coming tour?
I think if I had more time I`d be panic-stricken, but I don`t even have time to worry about it.
What kind of material will you be doing on the tour?
Couple of old tunes and a lot of new ones. The old tunes seem to have got slightly different arrangements. I`m gonna do “My Sweet Lord” and “Give Me Love”, but slightly different variations of them. They should be much more loose.
Will Ravi open the show?
No, I`ll be opening the show, but it`s definitely not going to be a Bangladesh Mark II, if that`s what people are thinking.
Will you be playing Britain and Europe?
I`d like to. I tried to squeeze a concert in just before Christmas although all the halls were booked out. The feeling within the band is that we should do a gig in London. They`re saying, `let`s do 12 dates, let`s tour England, let`s tour Europe`. I want to go to Japan. I want to go everywhere. This year there`s too much for me to do and not enough time to do it in.

Is there a paradox between your spiritualism and the atmosphere when you`re touring?
It is difficult, yeah. It`s good practise in a way, to be, as they say, in the world but not of the world. You can go to the Himalayas and miss it completely. Yet you can be stuck in the middle of New York and be very spiritual. I noticed some places like New York bring out a certain thing in myself while I found in places like Switzerland there were a lot of uptight people because they`re living in all this beauty, there`s no urgency in trying to find the beauty in themselves. If you`re stuck in somewhere like New York you have to look within yourself; otherwise you go crackers.
Do you have any anxieties as the tour approaches?
The main one is that I`ve lost my voice, I mean to a degree. It`s getting a bit rough and gravely. There`s a good chance the first few concerts I`m gonna come out playing instrumentals (laughing).
Do you have an album in the can?
Almost. I have a few things to do on it.
Who plays on it?
Some of the basic tracks I did last November. I had (Jim) Keltner, Ringo, Gary Wright, Klaus (Voormann). Some of the tracks I did this year with Willie Weeks, Andy Newark, Tommy Scott; the people in the band on tour with me.
What`s the album entitled?
“Dark Horse”.
Why was there such a gap between this album and “Living In The Material World”?
I`ve been busy working. I was busy being deposed. I`ve been doing some tracks of my own, did the Splinter album, finished up Ravi`s album, been to India for two months, organised the music festival from India; I`ve done a million things.

Why don`t you grant personal interviews?
There`s nothing to say, really. I`m a musician, not a talker. If you get my album it`s like “Peyton Place”, I mean it`ll tell you exactly what I`ve been doing.
When will it be released?
When I`ve finished it.
What are your hopes for your Dark Horse Records? Do you see it becoming very large?
No, no! I don`t want it to turn into a Kinney. I`d like it to be decently small.
What artists do you hope to get on it?
I don`t hope to get any in particular. To tell you the truth, I`ve been here just over a week, and if I signed all the people who gave me tapes, I`d be bigger than RCA and Kinney put together, but fortunately I don`t have time to listen to them all.
Do you pay much attention to what the critics say?
I cancelled all my newspapers five years ago, so I don`t really know what people say. If I do see a review of an album I`ll read it, although it doesn`t make too much difference what they say, because I am what I am whether they like it or not.
Are you ever amazed at how much the Beatles still mean to people today?
Not really. It`s nice. I realise the Beatles did fill a space in the `60s and all the people the Beatles mean anything to have grown up. It`s like anything; if you grow up with something you get attached to it. One of the problems in our lives is that we get attached to things. I can understand that the Beatles did nice things and it`s appreciated that people still like them.
The problem comes when they want to live in the past, when they want to hold on to something. People are afraid of change.

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Have you seen the play?
You mean `John, George, Harry, Ringo, Fred, Bert and Stigwood`? That`s been going on there but I haven`t had a chance to see it yet. I hear conflicting reports. Some people say that it`s lousy and they`re in tears because they say Brian Epstein is lousy, others say it`s fantastic, Brian comes off like an angel. I`ll have to see it when I get a day off.
Are you involved in any serious negotiations to get the Beatles back together for one night?
No, you`ve been reading Rolling Stone.
What did you think of that article?
The point is, it`s all a fantasy, the idea of putting the Beatles back together again. If we ever do that, the reason will be that we are all broke. There`s more chance that we`ll do it because we`re broke than because… and even then, to play with the Beatles… I mean, I`d rather have Willy Weeks on bass than Paul McCartney. That`s the truth, with all respect to Paul. The Beatles was like being in a box, we got to that point. It`s taken me years to be able to play with other musicians. Because we were so isolated it became very difficult playing the same tunes day in, day out.
Since I made “All Things Must Pass”, it`s just so nice for me to be able to play with other musicians, and having played with other musicians, I don`t think the Beatles were that good. I think they`re fine, you know.
Ringo`s got the best back beat I`ve ever heard. He hates drum solos. Paul is a fine bass player, he`s a bit overpowering at times. John`s gone through all his scene but he feels like me, he`s come back around. We`re all at that point. I mean, to tell you the truth, I`d join a band with John Lennon anyday, but I couldn`t join a band with Paul McCartney, but it`s nothing personal. It`s just from a musical point of view.
How did you choose the musicians in your own band?
I didn`t really choose them… so many things in my life I don`t really do; I just feel like an instrument. I knew I was doing a tour and I knew I had to have a band, but I didn`t want to commit myself to anybody, I just let things roll on. I only met Andy Newmark and Willie Weeks a few months ago. If I hadn`t met them, I wouldn`t have a rhythm section, but I believe the Lord provides me or you or all of us, if you believe that, he provides you with whatever you need.

What is your relationship with John and Paul?
It`s very good, actually. I haven`t seen John because he`s been in the States although I`ve spoken to him over the phone. He seems like he`s in great shape. I just met Paul again and everybody`s really friendly, but that doesn`t mean we`re going to form a band.
Let me change the subject… Are you getting a divorce?
No, that`s as silly as marriage.
Did you make any musical rebuttal to “Layla”?
Pardon?! How do you mean, musical… what rebuttal! That sounds nasty. Eric Clapton`s been a close friend for years. I`m very happy about it, I`m still very friendly with him.
Seriously? How can you be happy about it?
Because he`s great. I`d rather she was with him than with some dope.
What`s your attitude on drugs now?
Drugs? Got any? What drugs? Aspirin? What are you talking about? What do you define as drugs? Whisky? I don`t want to advocate them because it`s so hard to get into America.
What do you consider to be the crowning glory so far in your musical career?
As a musician? I don`t think I`ve got any yet. As an individual, just being able to sit here today and be relatively sane. That`s probably the biggest accomplishment to date.
Who are some of the contemporary artists that you admire most?
Smokey Robinson, I`m madly in love with Smokey Robinson. There`s so many of them. I like Dicky Betts. I think Ry Cooder is sensational.
What about Stones?
Yeah, the Stones, you know, they`re fine, you know; nice. I like the Stones. Variety`s the spice of life.
Can you see a time when you`ll give up being a musician?
I can see a time when I`d like to give up this kind of madness, but I`d never stop music. Everything`s based on music.

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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: Ken Boothe, Van Morrison, Pete Brown, Roger Glover, Pink Floyd, David Puttnam, Mott The Hoople, Bad Company, Phil Spector, Thin Lizzy, Janis Ian, Elton John.

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 Status Quo FROM SOUNDS, August 10, 1974

It is very strange, but the most successful bands of all time in the UK didn`t ever really “make it” in the USA. They tried, but ultimately they had to admit failure there. Not that it mattered much, as the rest of the world clearly loved them very much. Well, it is America`s loss, and our gain. Who wouldn`t like to have these fun, loveable guys around, turning out their catchy boogie-rock? I would.

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The simple plod along Status trail

Andy McConnell reports on Quo`s progress from a pool side in Los Angeles

“We`ll plod along steadily. Things have happened to us over the years but we get over them. We keep getting knocked down, then knocked down again but we get up again. We`ll carry on and in the end we`ll look up and suddenly realise that we`ve made it,” said Francis `Mike` Rossi from beside Status Quo`s Los Angeles hotel swim pool.
The singer / guitarist / spokesman`s comment seemed to sum up his band`s simple philosophy. After ten hard years on the road in England and Europe the band have `suddenly realised` that they have made it over there. They have had a number one and a number two album and a series of top singles in England; statistics reflected all over Europe.
Now it`s the turn of the States.
“The first tour over here was good,” said Rossi in his heavy Cockney accent. “We got good reactions and we were told by everybody that things were very promising.”
Then they were `knocked down`…
“The second was a disaster. We started off at the beginning of the year with the Fleetwood Mac that wasn`t Fleetwood Mac. It was that mock-up Fleetwood. The tour started to fall to bits right from the start. People were throwing bottles at them and demanding their money back. Everybody was having rows. Then we were supposed to do some dates with Nazareth but they didn`t come over. I caught pleurisy, Richard Parfitt got something so we packed up and went home.”
Since the first tour Quo`s popularity has soared so much in England that it must be difficult for guitarists Francis and Richard, bassist Alan Lancaster and drummer John `Spud` Coghlan to come out and tour the States as second or even third on the bill.

“Yeah, it`s hard to come out here and have to start from scratch again,” the unshaven guitarist agreed. “Over here we don`t mean a thing, but in England we have reached a point where we can ask for whatever we want; each tour is bigger and better than the last one. We can have things there that we can`t over here. It`s a difficult psychological thing.”
The band had arrived in LA the night before. They had flown over from London for the start of a six week tour, opening with Rory Gallagher at Santa Monica.
Although it`s difficult to categorise bands` music, Quo`s is a sort of London 70`s R&B, I suggested.
“Yeah, that`s a nice phrase. I like that. It`s hard to say what it is but that sorta sums it up. It`s a kinda raunchy R&B. I dunno, it`s just something we get off on,” he said admiring his rapidly tanning chest.
But Quo`s music has not always been in that bag. No way.
The band knew each other from years back. They`ve been together as a four-piece for almost ten years. Francis knew Alan from the time he was 12-years-old. They found `Spud` two years later. They met second guitarist Richard in 1965.
Under the name of The Spectors they played as support band for touring solo acts in England. Anybody from the Dixie Cups to Madeline Bell, now of Blue Mink. They toured for a short while as Traffic until Stevie Winwood`s outfit of the same name broke onto the scene.
Eventually they chose Status Quo as a name. Their first single release was a weird little number, “Pictures Of Matchstick Men”.
“It got to the top five in England, number seven over `ere and higher in all sortsa places over the world. We used to think that if we ever had a hit single all our troubles would be over,” lamented Rossi with a vague smile.

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“We thought that everything would be fine; no problems, no worries, our mums and dads would stop `aving a go at us. No chance! We were told what we should wear, told what we should say, what we should play on stage. All that old crap, yer know.”
After “Matchstick Men” the States forgot about Quo. So did England, well almost. The next single flopped. Things looked bad. The third one sold well, the fourth flopped. “We really got into a rut. Our producer had a strange urge to put strings on every track we cut.” Another single bombed.
Suddenly they got hold of a song they really liked, “Down The Dustpipe”. They got themselves back in the charts.
“We found ourselves in a situation that if we played a spot on television the night before we would pack out a gig, but things would die off towards the end of the week. There were usually 20 or 30 kids upfront screaming and trying to get hold of us while the rest of the hall was silent. The blokes would be there to get women and the women were there to get men. There was no satisfaction. We`d come off and there`d be nuffing; a couple of people would clap, that`s all. They wouldn`t know what you`d done and didn`t care either.”
So they decided to make a break. Instead of playing ballrooms and dance-halls, they started playing small clubs for either nothing or just expenses. They had another single success, with a song culled from an album. One album later they waved goodbye to a recording company they had grown to hate.
It took a year of court-cases and lawsuits to free themselves before joining a new, more sympathetic company. With the experience under their belts they recorded “Piledriver”.
“We put out “Paper Plane” from that album and everything went WHAM!” said Rossi leaning across the table. “Everything just bust wide open. Since then we`d have four smash singles on the trot in England.”
With Quo`s astonishing success, the old company jumped on the band-wagon, releasing tracks from old albums as singles and putting out their own, unapproved compilation albums.

“We had “Paper Plane”, our own single in the charts there were two singles from the other company; the “Piledriver” and the new “Hello” albums were in the album charts while the other company`s “Best Of…” and Golden Hour Of…” sets were high-flying. We were trying to keep a steady flow of material and there was this other lot flooding the shop with singles and albums. It was ridiculous.”
Since then Quo have had their new “Quo” album released in England along with the single, “Break The Rules”. The single was top ten. The album?
“We knew the album would do well,” declared Rossi draining the last of his 7 Up from the bottle. “We knew it would. But it turned out to be incredible. The first week of its release it went into the charts at number two. From then it fought it out with the Carpenters and Rick Wakeman! It`s amazing.”
Why come over to the States to start again from the bottom? Surely the last album will make enough money to keep them in plenty for a year?
“You can`t stop. You just can`t say that`s enough. We could stay in England and work away, turning out album after album and saturate things. We don`t want to do that.
“You have to come over to the States; it`s a natural thing to do. Richard said the other day `when you are in a race and you are half-a-mile in front of everybody else, you don`t stop, you keep going`. That`s what we are doing.”
What`s happening after this six-week trip, I enquired.
“We go home and try to get some things down for the new album which should be out early next year. Then we`ve got four days off, off to Sweden, Denmark and Norway then come back over here again in October,” answered Rossi.
Back to the States again? Four tours in 18 months?
“I think so. If we are really going to make a go of the States I want to do it now, not spread it over five years, coz we`ll be a bit old by then. We`ll all be 21,” he smiled with a twinkle in his eye.

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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: Bob Marley, Billy Preston, Ronnie Lane, Golden Earring, Ronnie Spector, Duane Eddy, Lynyrd Skynyrd, Andy Fairweather Low, Viola Wills, Mick Jagger, Suzi Quatro, R. Dean Taylor, Johnny Bristol, Julie Driscoll, Argent, Georgia Fame, Vangelis, Greenslade.

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.