Barbara Charone

ARTICLE ABOUT The Who FROM Sounds, November 8, 1975

A good, honest interview the way I like it. This one should be great for anyone interested in this band.
Read on.

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The magic had begun to dwindle… but now we`re shit-hot. We`re back to the stage where we can go anywhere and do a good show.

The Who`s verdict on The Tour and The Album. By Barbara Charone

PETE TOWNSHEND has a point. A very good point. `Where do you fit in magazines where the past is the hero and the present a queen’, he wrote for Roger Daltrey to sing on ‘They Are All In Love’ from the `Who By Numbers’ album. And it’s quite a valid question.
Where do the Who fit? So The Sunday Times safely locks them away in the sixties time capsule, remnants of something that was. In one neatly constructed paragraph they dismiss Pete Townshend as a writer who exhausted his topic after three songs. Jaded disbelievers file the Who under nostalgia, bringing them out of the closet with caution, fondly thinking of them much like you’d look at an ancient family scrapbook. But why concentrate exclusively on the past when the present is just as good and the future could possibly be even better?
Some 70,000 paying customers caught the Who on their recent romp round Britain. Not one of them was an aging geriatric patient bent on reliving youthful memories.
Maybe the kid standing precariously high atop a steel beam at Wembley likes Queen. Maybe he goes to see Status Quo when they’re in town. But right now this kid is imitating every Townshend gesture down to the last guitar swoop and leap across the stage. This kid never saw them at the Marquee or the Scene Club. This kid doesn’t even own a copy of ‘My Generation’ let alone ‘Who’s Next’. But this kid almost falls off his steel beam during the ‘Tommy’ finale. That’s today. Y’see the kids are all right.
With the Who inspiration isn’t rehearsed. Neither are the mistakes. Pete Townshend’s guitar strap falls down during the `Won’t Get Fooled Again’ finale. Roger Daltrey forgets the first verse to ‘Summertime Blues’ leaving John Entwistle a vocal solo. Playing with headphones to hear the ‘Baba O’Reilly’ backing tapes, Keith Moon gives one final percussive assault just after the rest of the band have finished the song. Townshend falls over during some visual acrobatics and Daltrey laughs.

But that’s exactly what makes the Who great. There’s an ominous sense of danger that permeates every concert, that very real knowledge that chaos could break out momentarily. Equipment fails, guitars feed back, tempers flair, the band threaten to break up in the dressing room after a show, disaster lurks overhead. Take the first night of their British tour.
Six thousand pounds had been spent on risers for the equipment and the drums to give the band more room on stage, to heighten the visuals. So there’s Keith Moon playing only to himself because the rest of the band can’t hear. Six thousand pounds and they threw it all away after the show.
“I think the first gig could have blown the whole thing,” John Entwistle admits. “There was absolutely no communication. We were just playing stuff we’d memorised and hoped it fit. The risers cut the band off from each other. It’s always like that. When we haven’t been working for a long time we try to do something new. And every time we do something the whole sound just goes. The times we’ve stuck Keith on rostrums and pulled him off the next night,” John sighs.

Tolerant

“The Who is a band that’s got to hear each other. If we don’t the whole thing falls to pieces. We’ve got to be on the floor with the amps close so we can hear what we’re doing. We’re more confident now because we can actually hear each other!”
Just a few years ago the first night in Stafford could have been the beginning and the end of the tour. Then the Who could have easily locked themselves in their dressing room and battled out the problem. Now they’ve matured because they`re determined to survive.
“We’re a lot more tolerant towards each other now. There’s still flare-ups, arguments, and screaming matches. But at least now we know what makes us tick,” Entwistle slyly beamed. “Now we know we can do a good show. That second night in Stafford cured us all. We just hadn’t done a show like that for ages.”
Prior to this recent period of productivity, the Who had grown collectively disillusioned and depressed over live performances. They had lost the enthusiasm and inspiration integral to elevating a show from the routine to the sublime. Playing five concerts in June of 1974, four at New York’s Madison Square Garden and one at London’s Charlton Athletic ground, the Who despised themselves for mechanically going through onstage motions.
“I nearly walked out of the band after the Charlton show,” Entwistle recalls. “I just couldn’t take it anymore, couldn’t take the lack of enthusiasm onstage. Since `Quadrophenia’ it’s been very difficult. Pete hasn’t wanted to particularly work onstage. He felt he wasn’t giving anything. Now he feels better than he has the last five years.
“Before we all wanted to keep the band together, but now we all want to work. Concerts had become straight Who gigs. We’d come offstage and say ‘Well that’s another one gone’. We`d never say ‘that was an amazing thing you played’. There was absolutely nothing there. The magic had begun to dwindle.”
“It got to the point where it just wasn’t fun anymore,” Daltrey said, echoing Entwistle’s statements. “And if it ain’t fun why bother?”
Yet the fun was a long time coming. A disturbing lack of good times permeated strained atmospheres during the first painful weeks attempting to record what eventually became ‘The Who By Numbers’. Normally optimistic Daltrey became depressed over the recording progress.

Traumas

“It just got to the point where I began to think that maybe we had done as much as we could within our framework. I kept telling myself that wasn’t true,” he said somberly.
But that tenuous maybe held steady. The Who felt like they had exhausted their framework during the first album sessions. Part of the problem revolved around differing rates of individual growth.
“We found it very difficult to record at first,” Entwistle recalled. “We couldn’t play well together and kept falling back on oldstyle Who playing without trying to put anything new into it. In the end we just had to takea break from recording, do a rehearsal and just jam between numbers to prove we could play again. We took a mobile down to Shepperton which did us a lot of good.”
Even more despondent that the group was producer Glyn Johns who had worked with them laughed. “Who’s Next’ was time however, beginning traumas and problems seemed insurmountable.
“Glyn had to go through a lot in those early sessions,” John admits; “When you get to a session and no one turns up I imagine you get somewhat disillusioned.
“I’ve had more fun making other albums,” Glyn Johns laughed. ” ‘Who’s Next’ was made under more satisfying conditions. This was more of a challenge because the atmosphere was far from relaxed. When they first arrived in the studio they weren’t a band. When they left the studio, they were. The album speaks for itself.”
While the rehearsals proved they could still play well together, the Who almost discarded the album much to Glyn Johns, horror when they heard the final mixes. About to scrap the entire project and return to the studio to record additional tracks, the band realised the problem lay in the album running order and subsequently worked out a more rationale line-up.
“The first album order just seemed to go down and down,” Entwistle said seriously.
“But the second order was like a new album. It’s the type of album we needed after the grandeur of ‘Quadrophenia’. We needed to prove that we`d done something since ‘Tommy’ as it had been regurgitated and thrown up again. We needed another album to let people know we were playing new music.
“Personally I think the next album should be live so people will know that we`re still touring,” he laughed ahout their recent onstage holiday. “We tried to do a live version of ‘Tommy` once and maybe we could include some selections from that. We need some new onstage numbers. We can’t play ‘Summertime Blues` for the rest of our life. But by the time we tour America again in the Spring we should be able to do another live album.”
Although it won’t be included on another live album, much of the new studio album translates easily to stage. Unlike the bulk of ‘Quadrophenia’ with its complex backing tapes, the more basic material from `The Who By Numbers’ finds the group returning to their original format.
“The synthesizer was the one thing I missed,” John admits. “I could have seen it on several tracks. But Roger doesn’t like synthesizers, he thinks they’re fake. Still I like to use them to colour the songs theme.”

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In tears

Deceptively low profile on first listening, much of the new album is charged with Who aggression and emotion. Several observers have remarked that they wished Townshend had been in a more optimistic frame of mind when writing the songs. Others insist the record is not indicative of group morale and believe Townshend should have released the material as a solo album. These complaints seem equally deceptive as first listenings.
The songs are stuffed with more genuine feeling and emotion than some of the bands better known work. Underneath the disillusion, lies a promising future optimism. Either Townshend writes words the band personally identify with or the band play merely emotionally. Or both.
“In a lot of ways I feel the same as Pete,” John said. “I could really relate to ‘How Many Friends’ and so could Keith. Moony was nearly in tears when he heard that song. Still, before we did ‘Squeeze Box’ and ‘Blue, Red and Grey’ the album had a different identity. Those songs brighten the whole thing up. I was personally more restricted on this album because complicated bass parts didn’t seem to fit so I simplified a lot of it.”
In many ways the cover caricature of the group, drawn by Entwistle, neatly parallels the inside contents. When the Who are apart friction and break-up rumours circulate but when they are joined together, the combination is unbeatable.
“That cartoon of the group has been around for about eight years. The first time I ever drew cartoons was on our American tour with Herman’s Hermits,” John laughs. “Pete and I were doing a comic strip. Pete’s was the Duchess versus Plum. We used to call Roger the Duchess because of his big, floppy hat and fur coat. Bob Pridden (sound engineer) was Plum, scruffy little man. My comic strip was Dr Jekyl and Dr Noom which was Moon, a monster that chased old ladies in wheel chairs.

“When it came round to this cover the band turned to me and said it’s your turn, so I just drew the cartoon updating the clothes and appearances as they have changed. Pete’s used to have more hair and no beard. I changed his nose as well, flattened it up. Roger’s had the same hair with different clothes. Keith’s is more or less exactly the same. Mine’s different cause I drew in an extra scar.” he laughs fiendishly. “Originally I was going to have birth signs with scales but then I thought that was a bit too far but.”
Astrology would have been too cosmic for the Who verging dangerously close to Yes or the Pink Floyd. Instead they stuck to a stark cover to compliment the authentic insides. It is the brute force of the Who that comes through onstage and record whether’s it’s the gentle frustration of ‘However Much I Booze’ or the vulnerable truths of ‘Dreaming From The Waist.’
“Making that album wasn’t easy in any way at all,” Glyn Johns admitted. “Reflecting on it, the greatest thing is that the end result is very healthy. That’s worth it. The Who came out of those album sessions full steam ahead and that’s very important.”
Full steam ahead means that the Who are earning their reputation as rock’s greatest performing band. Revitalised and invigorated, they are not living off the past. They play with a vengeance because they are determined to prove their worth. Even ‘Tommy’ is being done for a reason, not to capitalise on Ken Russell’s Technicolour glory but because they enjoy playing it. The days the Who walked offstage, and said ‘Well that’s another one gone’ are thankfully over.
“Actually it was our idea to do `Tommy’ onstage again. The reason I agreed to it was because everyone expected us to drop ‘Tommy’ from the act because of the film so instead we thought we’d do more of it,” Entwistle said with amused irony.
“We’re determined not to let anything worry us and try to do perfect shows. It’s obviously very important for us to keep the Who going. But I’d like to see the solo careers continue. I missed playing with the Who during the Ox tour but that’s what allows us to bring something extra to the band when we get back together. That’s what helps us grow.

Jamming

“We haven’t played this well since the ‘Live At Leeds’/`Tommy’ era,” John said proudly. “I suppose you could say we’re shit-hot. We’re back to the stage where we can go anywhere and do a good show. Before we’d just jam at rehearsal or in the studio and it was unbelievable but we could never do that onstage. We haven’t been able to jam onstage since we stopped doing ‘Tommy’. Now, ‘My Generation’ onwards is all off the top of our heads.”
The good shows are paying of with handsome results. Normally cold, sterile and cavernous, the Who transformed Wembley into one giant mass of sweating bodies all moving on the same rhythms. I can`t even remember `Brown Sugar` doing that to people. The kid on the high steel beam nearly fell over. What`s most positive is the future. While fondly paying homage to the past, the Who are impressively saying hello to the present.
As one observer astutely remarked: “They almost look like they love each other.”

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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 Steve Hackett (Genesis) FROM SOUNDS, October 25, 1975

Exciting times for Mr. Hackett as he was recording his first solo album while completing the first Genesis album without Peter Gabriel. It must be said that it all went very well. His solo album “Voyage of the Acolyte” reached No. 26 in the UK and No. 191 in the US. The album recorded with Genesis, “A Trick of the Tail”, was a even greater success, reaching No. 3 in the UK and No. 31 in the US.
Good times for Genesis and Steve Hackett, indeed.
Read on!

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Hackett relieves himself

… with a solo album. The Genesis gent reveals all to Barbara Charone, who doesn`t mind a bit.

Having failed his driving test for the second time that very morning, Steve Hackett was in surprisingly good spirits. Perhaps his orthodox examiner disliked long haired musicians.
Soft spoken, you`d hardly believe that Hackett was lead guitarist with Genesis. Still, the examiner complained about faulty steering. If only he knew the true identity of this aspiring driver, the examiner might have been lucky enough to obtain the collected works of Genesis for a niece or nephew.
Despite the fact that Hackett had arisen at the ungodly hour of 7 am, he had much to smile about. With the rest of Genesis, he has been working on their next album for several weeks now at Trident, already pleased with the results. Fresh from his first solo project, `Voyage Of The Acolyte` Hackett has come up with an album of high quality. None of the usual self-indulgence here.
“I deliberately kept away from trying to prove how fast I could play,” Steve said taking a break from group recording. “I didn`t want the album to sound like a guitar record. There`s snatches of flash playing but that`s not really my scene.
“What I wanted to do was try out as many ideas as possible. I wanted to fulfill a number of roles basically writing for instruments like cello, mellotron, flute and voice which I had never done before. I used as few people as possible, keeping the nucleus small. It sounds a bit like a group because I like using combinations of instruments.”
Various blends of sounds and tempos make the album quite a departure from the average `solo` flight. Taking full advantage of the Genesis rhythm section of drummer Phil Collins and bassist Mike Rutherford, Hackett wisely sacrificed one man virtuosity for a more sophisticated sound. It was a gamble that paid off handsomely.

“It was definitely a risk,” Steve laughed recalling earlier inhibitions. “I honestly didn`t know if it would work. I didn`t know if the rhythm section would spring out of each track. The whole venture was a gamble. It`s just very different from what people expect of a solo album. It really isn`t even an actual `solo` album,” he frowned at the mention of that confining term. “My main role was directing.”
Musically, the atmospheres created could easily serve as a background film soundtrack, filled with images and visuals of faraway places and large chunks of dream like fantasy. Each song is related to a specific tarot card. This idea was used more as a springboard for composition and inspiration than a clever gimmick. There`s no journey to the centre of the earth thematic pretentions here.
“I tried to interpret different cards musically and took the strongest ones. `Ace Of Wands` symbolises the beginning of a new venture. Wands represents fire, initiative, and skill,” he grins sheepishly. “What better way to begin the album.
“I`m not trying to lay tarot cards on people or get heavy about it. They were just sources of reference really. `Star of Sirius` is an optimistic looking to the future. After some of the heaviness and introspection of some of the other tracks, I wanted something lightheaded with a bouncy pop song feel.”
The album has done much to strengthen Hackett`s personal self confidence, destroying previous frustrations that inevitably come from playing in a democratic band. Now he feels strong enough to step forward within the group hierarchy.
“I`m definitely more confident about submitting ideas to the band now. The album showed me that once I was happy with an idea there was really no reason why it shouldn`t work. I wasn`t particularly confident about my abilities as a writer and arranger before I did the album. In a band one relies heavily on the group for ideas. With us, the strongest things are always group written. Especially now.

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“I`m less frustrated now,” Hackett admitted, seemingly more secure even in conversation. “But I`ve got to live up to now. I couldn`t come up with a solo album of quality every year. This was just something I`ve wanted to do for a long, long time. But my main committment right now, is to the band.”
Genesis have always painfully laboured over each and every album project. Having spent the last few months writing and rehearsing for the group effort, studio recording has not only been productive but fairly quick. Obviously, this is a crucial album for Genesis, one that needs to be good to maintain followers and attract new ones. The band need to creatively and artistically survive Peter Gabriel`s departure.
“I was disturbed over a spate of letters in the music papers that assumed because we were involved with solo projects that Peter left. The decision was totally his own and quite separate from any course of band action. Don`t I sound like a politician?”
He also sounds like a musician. The next album from Genesis should be finished by the end of November. The band will not immediately promote the record on the road as plans for the stage show will require much careful thought and consideration.
“We want people to digest the album before we return to the road so they will be aware that Peter is no longer with the band. If we went out as a four piece now and people hadn`t already digested the situation, they would find it difficult to accept. It`s much easier for us to concentrate on the album now.
“What can I say?” Hackett said remaining purposely mysterious. “Maybe we will have that fifth member. Maybe we`ll try him out on one or two numbers in the studio, possibly even use a name singer on several tracks to get a mixed bag of vocal abilities. No one should worry that we`re going to turn into a totally instrumental band. We`re still very much songwriters,” Steve stressed.
“If people are patient with us I`m certain things will be all right in the long term. The short term problem is finding the fifth member. There won`t be any quality decline from us.”

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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
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ARTICLE ABOUT Peter Gabriel (Genesis) FROM SOUNDS, September 6, 1975

A really honest letter from Mr. Gabriel to the reasons for quitting Genesis. And he never went back, in effect changing the direction of Genesis into a more hit-orientated rock band. Fascinating stuff.
Read on!

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A statement by Peter Gabriel

I had a dream

Genesis have always been unorthodox when coupled with more conventional rock bands. Everything they have done from live concerts to studio albums has been both unique and slightly off-the-wall.
It comes as no surprise that Peter Gabriel has chosen his own words to explain his decision to leave the group rather than use contrived quotes from management or record company executives. Gabriel should be commended for his honesty.
We were given a hint of things to come, in the liner notes to `Lamb Lies Down On Broadway` when as Rael he wrote `The people in memory are pinned to events I can`t recall too well but I`m putting him down to watch him break up, decompose, and feel another sort of life.` Gabriel`s own statement concerning the break-up follows. I wish him luck with that other sort of life.
Barbara Charone

I had a dream, eye`s dream. Then I had another dream with the body and soul of a rock star. When it didn`t feel good I packed it in. Looking back for the musical and non-musical reasons, this is what I came up with:
OUT, ANGELS OUT – an investigation.
The vehicle we had built as a co-op to serve our song writing, became our master and had cooped us up inside the success we had wanted. It affected the attitudes and the spirit of the whole band. The music had not dried up and I still respect the other musicians, but our roles had set in hard. To get an idea through “Genesis the Big” meant shifting a lot more concrete than before. For any band, transferring the heart from idealistic enthusiasm to professionalism is a difficult operation.
I believe the use of sound and visual images can be developed to do much more than we have done. But on a large scale it needs one clear and coherent direction, which our pseudo-democratic committee system could not provide.
As an artist, I need to absorb a wide variety of experiences. It is difficult to respond to intuition and impulse-within the long term planning that the band needed. I felt I should look at / learn about / develop myself, my creative bits and pieces and pick up on a lot of work going on outside music. Even the hidden delights of vegetable growing and community living are beginning to reveal their secrets. I could not expect the band to tie in their schedules with my bondage to cabbages. The increase in money and power, if I had stayed, would have anchored me to the spotlights. It was important to me to give space to my family which I wanted to hold together and to liberate the daddy in me.
Although I have seen and learnt a great deal in the last seven years, I found I had begun to look at things as the famous Gabriel, despite hiding my occupation whenever possible, hitching lifts, etc. I had begun to think in business terms; very useful for an often bitten once shy musician, but treating records and audiences as money was taking me away from them. When performing, there were less shivers up and down the spine.

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I believe the world has soon to go through a difficult period of changes. I`m excited by some of the areas coming through to the surface which seem to have been hidden away in people`s minds. I want to explore and be prepared, to be open and flexible enough to respond, not tied in to the old hierarchy.
Much of my psyche`s ambitions as “Gabriel archetypal rock star” have been fulfilled – a lot of the ego-gratification and the need to attract young ladies, perhaps the result of frequent rejection as “Gabriel acne-struck public-school boy”. However, I can still get off playing the star game once in a while.
My future within music, if it exists, will be in as many situations as possible. It`s good to see a growing number of artists breaking down the pigeon-holes. This is the difference between the profitable, compartmentalised, battery chicken and the free-range. Why did the chicken cross the road anyway?
There is no animosity between myself and the band or management. The decision had been made some time ago and we have talked about our new direction. The reason why my leaving was not announced earlier was because I had been asked to delay until they had found a replacement to plug up the hole. It is not impossible that some of them might work with me on other projects.
The following guesswork has little in common with truth: Gabriel left Genesis.
1) To work in theatre.
2) To make more money as solo artist.
3) To do a “Bowie”.
4) To do a “Ferry”.
5) To do a “Furry Boa round my neck and hang myself with it”.
6) To go see an institution.
7) To go senile in the sticks.
I do not express myself adequately in interviews and I felt I owed it to the people who have put a lot of love and energy supporting the band to give an accurate picture of my reasons.

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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.

 

ARTICLE ABOUT Roger Daltrey (The Who) FROM SOUNDS, June 28, 1975

This is a refreshingly honest interview with the one and only frontman of the Who. This one should be read by all as Mrs. Charone conducted a really good interview here. Nice one, Barbara!
Read on!

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Roger rides a rock horse

Exclusive Roger Daltrey interview by Barbara Charone

It was rather bizarre actually. There was this enormous inflatible lady, red satin knickers and racy black lace. But she was headless. And there was this silver space capsule plummeting towards earth. But it wasn`t really moving. And there was a patient Roger Daltrey saying “Lola B flat”. And an even more patient Ken Russell saying “Lola A flat”. It was really rather strange.
The fantasy and illusions stop for lunch. The inflatible lady stays behind in a dingy studio at Shepperton while the rest of the less plastic crew take time out from the very last day of shooting `Lisztomania` for lunch.
Franz Liszt climbs out of the space capsule and suddenly becomes Roger Daltrey. Roger Daltrey, actor, climbs out of some fancy grey threads into some scruffy denims and becomes Roger Daltrey, rock singer. We are back to square one.
The atmosphere is decidely more realistic inside the practical but unglamorous canteen. The food is the same standard, barely edible stuff found in any cafeteria but the clientele is more attractive. People from wardrobe and makeup, directors, sultry female extras, all sorts.

ROAST CHICKEN

Roger Daltrey looks up from his roast chicken, casting an eager eye over the colourful crowd. He is very tired today, feeling the blunt edge of continuous work for the last 18 months. Not content to stay home and mind the pigs, Roger Daltrey has been busy lately.
We were talking about this dead end rock has run into. “It`s nothing to do with getting old,” says a member of the world`s only intact and unchanged rock and roll band. “It`s just learning things, growing up and becoming mature. It`s the growing up that`s anti-rock. Rock isn`t refusing to grow up, it`s the people that buy it; it`s what they want to hear. That`s what doesn`t want it to change.
“It`s still only the four people in the band. That`s why we`ve lasted because kids want to see the Who, see those four people. You can`t just turn it off, go somewhere else and expect people to put up with it.
“If the Who went onstage like the Pink Floyd, with an incredible light show, and stood there like four dead people that sounded great, our fans wouldn`t put up with that. Nothing is going to change. So what do you do?” The singer asked passionately. “What do you do?”
If you are the Who, you do a great number of things. You let the machinery unravel, slowly, allowing individual components to function without group environments, positively hoping that frustrations will disappear and the machinery emerge well oiled and more impressive than before.
While not known for their intimate comradeship offstage, the Who have seen even less of each other over the last 18 months with each member pursuing various cinematic and musical projects.
This Summer the individual components are being fused together again for the recording of the first Who album since `Quadrophenia`. Before examing the machinery in toto, let us briefly turn our attention to one energetic cog in the cycle.

“This album is very positive,” said Roger Daltrey referring to `Ride A Rock Horse`, his second solo album released next week. “The first one was a bit negative. If I`d been too positive then, it would have done the Who a lot of damage. I`m not insecure about doing a solo album now, which I was before. It`s not a matter of proving anything. It`s just that I love singing.
“It`s more the way I sing ya know?” he looked up intently making you understand instantly. “Like when I did my first album everyone said `oh Daltrey`s gone soft`. But that was just a side of me that got overshadowed in the Who. This one`s got more balls to it. It`s not wishy-washy at all. And the strings,” he says becoming excited,” aren`t any of that Mantovani stuff.”
Solo albums are a curious breed of record, alternating between the good and the not so good, sometimes sinking to new depths of tastelessness. There is no Court of King Arthur concept here, simply 10 musical songs. You remember, those catchy refrains that last a couple of minutes and are easily hummed? That`s right, songs.
“What I tried to do is get all my different influences on the album. There are little bits throughout that you can hear. One song, `Near To Surrender`, is me old soul days. It reminds me very much of an Otis Redding song, not the actual sound but the way it feels, “(emphasis on the feel).
“Little touches are thrown in all the songs. Like on `Hearts Right` there`s a solo bit that`s very Beach Boys with a little Stevie Wonder thrown in.” The singer laughs. “And `Milktrain,`” he says of a song vocally reminiscent of the Who`s `Dogs`, “reminds me of Syd Barrett, it sums up 1967, that whole flower power period.
“And `Ocean`s Away` has that water bit which is `Quadrophenia`. Of Course,” – he flashes a very large grin, eliciting looks of approval from nearby tables filled with the sultry female extras – “the Who stinks all the way through it. The Who are all over the record.”

INSPIRATION

But only in spirit and inspiration. Like his last solo album, which exposed someone named Leo Sayer to the world, Daltrey has chosen to record songs by less familiar names. This wise move achieves two purposes, simultaneously showing off Daltrey`s voice and new songwriters. Who wants yet another version of the same old songs?
“As usual I didn`t write any of the songs. But if I can`t write, at least I can expose other people because there`s so many artists that can`t get heard. I`d love the album to be a success because the people I`m trying to expose are worthy of getting a bit of success at last. Russ Ballard (who produced the album) has been around for years. He`s Mr Underated.
“I could have produced the album myself but it wouldn`t have been as good as what Russ did. Producing yourself on record is like trying to direct yourself in a film. What`s good to you isn`t necessarily the best you can do. You`ve got to get that something else.”
On the album songwriters like Paul Korda, Bugatti and Musker, Philip Goodhand-Tait, and Ballard, are exposed to an even wider public than before. As if this isn`t enough, Daltrey plans on allowing undiscovered talent to grow and mature on this record label, Goldhawke, of which his album is the first release.
“I feel very good about the record company. The Who should have been doing that a long time ago. When Track was set up those were the original intentions but it backfired.
“In the early days Track was really good. There was Hendrix and Arthur Brown. Then nothing. They lost interest in their own company which is sad. I hope that never happens to me.”
Paul Korda, who wrote three very good songs on `Ride A Rock Horse` is presently in Memphis recording an album for Goldhawke, singing like a `male Nina Simone`. And there are more extraordinary plans.

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“We`ve got a group of young girls,” pause for decadent giggles, “who can really sing. And we`ve got this 16-year-old girl we found doing `Lisztomania`. We were doing a scene for a live concert. All the audience were young girls, the blue knicker brigade” – pause for more decadent giggles.
“At dinner they used to get up and entertain each other. And this one girl got up without a microphone and sang `River Deep Mountain High` and I couldn`t believe it! It was incredible. So we signed her up.”
And there`s the story about the guy who works in a `bloody tailor shop` and wrote a song for Roger. In a business continually low on enthusiasm, Roger Daltrey is an enigma, constantly full of enough energy and excitement to infuse any project despite the necessary voltage. Reacquainting themselves with each other again, the Who need an electrical shock.
“The Who need to get all that energy back together as a unit. At the moment we`re having problems finding that sorta energy. I`d like to see the Who back as a good rock and roll band,” Roger says with the vengeance of a real fan. “We are having a lot of problems. I won`t try and hide the fact that we are.”
I wondered if the problems merely revolved around not working together for a long time.
“It`s that and – well the group vehicle seems to have found it`s limitations on the surface. I think once we get down to it and really do it, we`ll find new boundaries. But at the moment, it all feels a bit cramped.”
With all the recent ballyhoo about the overwhelming `Tommy` film, one could easily attribute the band`s queasy feelings about communal confinement to the film. But the problems are deeper than just a fixation with that deaf, dumb, and blind boy.

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“No, the film hasn`t affected us,” Roger says somberly. “The problems started before the film. It`s us taking ourselves too seriously. That`s the main problem. You`ve got to draw the line somewhere.
“It definitely got to the point where it wasn`t fun anymore,” he says echoing similar statements made in the Press by Pete Townshend. “And if it ain`t fun why bother?
“It doesn`t all have to be fun but I`ve always enjoyed it. But it`s really a group thing. Pete`s having terrible problems with wanting to play again, play in the situation we were playing in. To me, it`s all down to us. You`ve got to go onstage and try to get better and better. Some nights you don`t succeed but after a length of time you do get better.
“Pete seems to want to be able to get better immediately when nothing has changed. I understand his frustration `cause he doesn`t want to jump, when they say jump. But then again, it`s also entertainment.”
For a long time now, critics have suggested that while elevating them to new heights of commercial and artistic acceptance, the `Tommy` album has done nothing but hold the band back. Daltrey disagrees.
“It`s not `Tommy` that held us back. Nobody wanted to listen to what we were doing. `Who`s Next` holds up much better than `Tommy` but nobody wanted to take it seriously. Nobody wanted to give it the amount of thought they gave `Tommy`, just because it was 10 songs and no great, big, bloody thing about a spastic. It was just a bunch of songs rescued from another concept (Lifehouse).
“The whole head of the group was good at that time. We`d had the huge thing of `Tommy`. We were out there playing because we really wanted to play. No big heavy numbers. It was great,” Roger sighs in fond memory. “That was the most enjoyable period of my time with the group.
“The only thing I was down about then was a fear that the Who were getting overshadowed by the synthesiser. It didn`t happen because we took the songs onstage and did without it.
“In `Quadrophenia` we got drowned in it,” he laughs, “and funny enough `Drowned` was the only song that pulled us out. That was my main argument, you`ll never get the Who to play like machines. We`re not robots.”

Sure enough the inevitable happened. Taking `Quadrophenia` on the road without using additional musicians and destroying what made the Who great, meant using complicated tapes of backing tracks. Being a band that thrived more on emotion than mechanics, the Who would often start before the tapes and the tapes would sometimes start before the Who. On a good night they started together.
“What happened with rock and roll music is that it got caught up in technology. Even though it takes leaps and bounds when new sounds come out, nothing really changes. There`s a parallel everywhere. Only technology changes. Rock took on an enormous race between 1964 and 1974 and that`s slowing down. Suddenly it`s got nowhere to go.
“Rock isn`t going to change,” Daltrey says, old passions returning. “All you can do is keep writing the same kind of songs. You can`t let it die. So much has been done but I can`t see something new coming along. That`s why being flexible is so important.
“And, at the moment, the Who isn`t very flexible,” – he says the word like it`s made out of plastic. “That`s where we`re finding the crunch at the moment.”
This being 1975, several founding rock bands seem to be feeling that same crunch. Traffic have broken up. Punters put bets on this being the Stones` last American tour. Time off the road becomes longer than time touring. The Who are the last salvation of a dying era. Do they feel that pressure to stay together?
“I don`t give a shit about that. I don`t care whether they expect us together or not. As long as the next thing we do is 1 per cent better than `Quadrophenia` then I`ll be well satisfied. The album will be a straight album, no concepts and it will get done this Summer. We`ve attempted to start it already,” he says delicately of the fragile situation called making records.
Several weeks ago there was a lovely Saturday afternoon when the sun shone all day and temperatures were pleasantly warm. A perfect day for a rock and roll concert but the schizoid bill at the Crystal Palace Garden Party hardly excited any followers.

Instead it was a very long day of pretty much unexceptional music and so it was with much pleasure that I watched the Who that same night, on a `Second House` re-run, going through their paces at last year`s Charlton concert.
“That`s the Who,” Roger says of the days the band played live. “Either we own up and say that`s what we do or we pack up. I just don`t know.”
We sat in silence for a few minutes, cups and saucers clanging away in the background. Movie people getting ready to go back to a world of illusions. Finally I asked the dreaded question. Is no more Who a reality now?
“Yeah”, he says hesitantly, “very much more. I can accept it now. I couldn`t two years ago. And the reason I think I can accept it now is because maybe we have done as much as we can do. It`s nothing to do with existing outside the Who. I could have done that years ago; we all could have, no doubt about that.
“It`s just you get to a point where maybe,” optimistic emphasis on the maybe, “maybe you`ve just done as much as you`re ever gonna do within that framework. That`s being really honest.”
But certainly you don`t want to believe that? “I keep telling myself it isn`t true,” Roger laughs returning to his more boisterous self, shedding the serious overtones. I`ll be in there fighting till the last bloody second but like I said, I could accept it now.”
Those are harsh words coming from, perhaps, the Who`s most dedicated fan, who through the years has continually spoken of the Who as some magical society, capable of possessing extraordinary powers. All of which is very true.
Several devout Who admirers expressed surprise over the band`s recent appearance at star-studded, Hollywood-type premieres held round the world to signal the opening of the film event of the year. Some disillusioned followers didn`t understand what Ann Margret, champagne and caviar had to do with rock.
“You`ve got to go in and say this is a film, it`s just bloody show biz. You`ve got to get into that head. It`s just a laugh, nothing more serious than that.
“Those premieres did Pete a lot of harm. He got all these paranoias about who the hell is going to like the Who now. I mean our fans still like us,” Roger says sincerely, almost trying to convince Townshend even though he`s not here. “The film ain`t important at all. It`s the Who that`s important.”
It is 1975 now and the Who have grown up. But so have the audience. `Quadrophenia` completed the circle. The Who must begin another circle or abandon the vehicle.
Lunchtime was over now. Roger Daltrey had to stop being a rock singer and become an actor again. The inflatable lady still wore red satin knickers and racy black lace. The space capsule was still plummeting towards earth. I thought about the Who survival. “Lola B flat” barked Ken Russell. It was really rather strange.

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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.

ARTICLE ABOUT Genesis FROM SOUNDS, May 10, 1975

A very good account of this concert by Mrs. Charone that should please fans of the Gabriel-era Genesis.
Read on!

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Can you see the rael me?

By Barbara Charone

Michael Rutherford stretches, staring out the hotel room window, gazing out on the greater Bristol nightscape, all aglow in motorway yellows and ominous blacks. “It could be North Carolina,” he sighs glancing simultaneously at the sterile Holiday Inn room behind him and the urban darkness ahead. It could also be Birmingham or Paris with its unreal Eiffel Tower reflecting in the plate glass. It could even be Italy or Portugal. It could be anywhere.
Night-time stretches from here to eternity, finally returning back to Britain, just as Genesis have done, coming home after a strenuous six month tour of several continents and many countries, all of it a testimony to the durability and strength of their latest work, `The Lamb Lies Down On Broadway`.
Tonight`s location is Bristol, the venue Colston Hall. Everybody is there. Rael clutches his imaginary weapon, an aerosol spray can, rubs the dirt into his scruffy white T-shirt, rolls up the cuffs of his blue blue jeans, feels the leather of his jacket, and peers out at this evening`s intruders. There`s Lenny Bruce, Marshal McLuhan, Groucho Marx, Evel Knievel, friends, relatives, strangers and lots of everyday people, all of them shut off from the outside as they journey into the world of fantasy.
While the collective audience sit in awesome anticipation, the band arrive in their respected Range-Rovers, a mode of travel adopted for the British tour which pleases everyone. Six months on the road with a show which has long since felt new to them, and keyboard man Tony Banks still chats with drummer Phil Collins about smoothing out tempo changes in the exercise in aggression `Evil Jam`. Ten minutes before showtime, bassist Rutherford and guitarist Steve Hackett talk about improving `The Musical Box`. Six months on the road certainly hasn`t tempered musical integrity.

The dressing room could only belong to Genesis with its colourful assortment of nuts, raisins, Meusli, cheese, bread, immature avacados that only look ripe, apple juice, coke (cola) and various bottles of spirits. But don`t go thinking what cosmic health fanatics they are, hung up on be-yourself lyrics and pedantic preachings. While theoretically closer to groups like Yes, Floyd, Crimson and ELP in progressive technology, they still retain strong leanings towards rock with rhythms that could only be described as funky.
Five minutes before showtime Peter Gabriel enters the room, looking for a coffee, not that he needs added caffeine energy, dressed up as Rael with make-up outlining this street fighting kid`s fantasies. Throwing mock punches right and left, Gabriel primes himself for the macho urban posture Rael adopts in the first half of the show. Thirty seconds before showtime, two roadies furiously break up large blocks of ice, dry ice fumes floating onstage in time for Tony Banks to kick off the piano rumblings that sound like waterfalls to signal the start of the show. The crowd cheers victoriously. Having not seen Genesis for too long a time, they are ready.
“This is better than last time,” one fan proclaimed to his mate halfway through the third number of the evening, `Broadway Melody of 1974` as Groucho Marx and friends made their slide screen entrance. “Better than last time?” his mate asked in disbelief. “Yeah,” he sighed with an air of superiority as the Marx brothers left the screen replaced by James Dean, “this is the best”.
With six month`s maturity, the show runs like well oiled machinery allowed the freedom to fluctuate or halt at an appropriate bumps and grinds. Tonight`s lot are quietly fanatical, sitting in rapt attention, caught up in the fantasy. This low-key behaviour robs the production of some of the more eclectic magic that ran up the spine at last month`s Paris show. Getting off to a late start, the band begin to hit stride on `Evil Jam`. By the time they reach the tense climax, those currents are finally jumping up the back-bone, making you shiver.

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With repeated listenings and live viewings, different songs and segments alternate as favourites. Yet the overall strength of the piece never weakens. Gabriel`s characterisation of Rael has grown from strength to strength as he becomes more and more Rael-like, picking up Rael`s every gesture and nuance, affecting the personality en total.
Rael`s mental and physical tortures that befall him in the second half are reminiscent of those epic myth-like endurance tests in `The Odyssey`. The `Slipperman` costume that you`ve seen all the gruesome photos of, heralds musical changes and dance steps that are a sophisticated rendition of the Willow Farm segment from `Supper`s Ready`.
The biggest change however in the visual performance is Peter`s in-between sides introductions. Gone are the references to Rael which made the listener assume that possibly much of Rael was Peter. Now he simply says `There I was strolling down 22nd Street`. Lightweight intros gently destroy illusions of grandeur, letting us know there are no pretensions.
The band`s musical mastery still wends its way towards perfection. Banks and Hackett now work together, forming an integral part of the musical tension with their cleverly weaved guitar / keyboard interplays, often preventing the listener from deciphering which is which. Rutherford adds punch to the rhythm on bass, and sophistication to lead lines on guitar. While Phil Collins, as always, continues proving that he still is the best drummer working in rock today as well as a fine harmony singer.
“Think about it,” the same fan was saying to the same friend when the final notes of `Lamb Lies Down On Broadway` were still ringing as the audience stood clapping for an encore, “They`re so much better than the Pink Floyd.”

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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: Back Street Crawler, Mallard, Leo Sayer, Mud, Jet, Average White Band, Al Green, Ray Charles, Chinn and Chapman, Hawkwind, Slade, Genesis, Dr. Hook, Helen Reddy, Alex Harvey, Bachman Turner Overdrive, Bill Munroe, Kraftwerk, Kinks.
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.