Bill Henderson

ARTICLE ABOUT Slade FROM SOUNDS, October 19, 1974

Here is a nice one with the drummer in Slade, Mr. Don Powell. Hope you like it!

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Slade: the final challenge

Yet another round of London hotel interviews for Slade. They must have stayed in (and subsequently been banned from – through no fault of their own) almost every hotel in town. It`s just as well they keep building new ones. This time Slade are here to finish off their “Flame” movie and to see the rough version of the finished film. Bill Henderson spoke to drummer Don Powell.

Slade interviews rarely produce much in the way of controversy – a bit of chat, a few laughs, reiterations of the Slade manifesto.
Basically, there`s never a lot new to speak about. Another hit single another hit album, another sell out tour of Britain, of Europe, of Australia and Japan. There isn`t a lot of contention there. The only sore point that ever arises is America, and the group`s relative lack of success there. And that is always dealt with the standard statement of intent (which I`ll return to later).
Now, at least there`s something different in the pipeline – a film. But even that could hardly be described as a variation from the norm of pop star progress from Bing Crosby/Frank Sinatra onwards. But at least it`s something new to talk about.
The film is about a group called Flame, as you probably know. The story of Flame is basically the story of Slade with a little scriptwriter`s licence.
“The writer, Andrew Birkin, and the director travelled with us during our last States tour, talked with us about our early days and wrote the story line basically around that,” explained Don. “They got to know us individually and wrote our characters to the parts.
“The worst part was wondering how the real actors were going to take to us but it was incredible. It was a bit strange at first but they helped us along.”
So basically it`s the story of Slade with the lads playing themselves. It`s not strictly a comedy but, as you might imagine, adlib Slade humour does surface throughout. We should be seeing it early in the New Year, perhaps even in time for Christmas.

And of course there`s an accompanying soundtrack album, recorded two weeks before the film:
“We knew the basic storyline of the film so Nod and Jim wrote the songs to fit. We didn`t have any free time so they had to write it on our last American tour and then we rehearsed them as we went along – getting to the halls earlier and in hotel rooms and things. Then we spent like two weeks solid in the studio putting it together.”
The diversification of the Slade sound that has been apparent over the last album and recent singles will continue. This time they use brass.
“It`s the first time we ever used anything outside the group before, it was really strange having other guys in the studio and then listening back to it afterwards. We sound like a real group! We used the brass – Georgie Fame`s horn section – to augment a few things. And Nod and Jim`s writing is getting a lot better, trying to be a bit more experimental now.”
Chas Chandler is mixing the album in New York at the moment, then when the “odds and sods” are completed for the film, Slade begin yet another tour. This time of Europe, starting in…. Iceland. To be followed by a tour of America in the New Year. (Nothing planned for Britain at this stage).
But America, the cloud on the Slade horizon, the only blot on their success escutcheon, Through steady touring they`ve got to the stage where they sell out wherever they play but their records still don`t mean a light. Discouraged, Don?
“No, not at all. I mean, we`re actually getting to like working there now. When we first went we didn`t like the country – we liked working there but we didn`t like being there, until lately.”
America is the challenge, perhaps the only challenge they`ve got left. Their records still seem to fall between the AM and FM radio stools, in spite of the change in the Slade sound. The Slade answer to the dilemma as ever seems to keep on plugging away until America capitulates.

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“We really need to work there a long time, we haven`t worked there very much really. It`s a weird place, it`s so big. We`ll be spending quite a lot of time over there in the New Year.”
But after all, touring is the only way Slade know. It`s their prime motivation.
“We`re the kind of group that it`s hard for us not to work, to actually tour `cause we get bored if we don`t. I mean, it`s great to have some time off when we`ve finished but it`s great to get back. That`s the big kick we get, doing one-nighters.
“Making records is OK but you can`t beat being on stage. I like working in the studio but it gets kind of  mechanical. Studio work has gotta be done obviously but I don`t like going in for one or two days as we usually have to do. I like to work up and do what we gotta do and get back to the stage again.
“Even travelling I like, although we never get time to see anywhere. We spent some time in New Orleans last time – an amazing place, so unlike America. I couldn`t believe it: the hotel we were staying in, the Platters were playing downstairs in the bar, Clarence Frogman Henry was next door and somebody else next door again. And they`re the originals – not like what you get here at the Top Ranks!”
But in spite of Slade`s uncompromising attitude to America, playing there has changed them.
“We play longer and different numbers in America than in England. They want to hear the hits here, obviously you don`t get that in America.
“We went over there completely unknown – and we still are basically – so we tried new things and also got back to how we used to be in the early days, trying out new things and playing longer.”
Ah yes, the old days. Nostalgia.

“Last time in the States we managed to drive between some cities which was better. I think back to the old days of travelling in the van, stopping off at a tranny caff in the middle of the night for greasy bacon sandwiches and a big mug of tea – with no saucers!” (A reference to the genteel hotel crockery.)
“Back in Wolverhampton we still knock around with the old gang, always bringing up about the old days when we used to play the pubs and were always told to turn down. We still use those pubs and Wolverhampton`s still basically the same, the same groups playing.”
Roots is what you call it, I suppose. Slade still live in Wolverhampton, still aren`t quite used to the big city. And it`s the awareness of these roots that makes Slade a genuine “people`s band”, that chatting to them doesn`t bring out much in the way of profundities but is more like speaking to the guy next door and what keeps them touring with no urge to do anything else. Playing live like they always have, like they always will.
Speaking of the current scene, Don spoke of his liking for the Sparks and Bad Company records but that he would prefer to see them on stage. He likes 10cc and having worked with them in America has seen them live – the only time Slade ever get to see anybody: “Personally I`ve got that thing of seeing people live before making comments about them.”
The only way he knows how. When I asked him what innovations he might like to introduce to the band`s sound, the reply was entirely fitting: “Personally I like to use an old kit with pigskin heads to get back to that old, earthy sound.”
Which sums it up pretty well.

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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: Humble Pie, Stephen Stills, Robin Trower, Big John Vary, Aj Webber, Rolling Stones, Syreeta Wright, Wishbone Ash, Mike McGear, Bert Jansch, Rufus, Minnie Riperton, John Coghlan, Bob Henrit.

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 10cc FROM SOUNDS, September 21, 1974

Funny to read these interviews where the subjects speculate if they`ll be active and on the touring circuit in the future. 10cc wondered if they would be touring in 10 years time in this one, thinking they might not last until the mid-80s. Well, someone called 10cc recently toured my home town in 2018, and I dont believe they were a cover band…
Great band worthy of your attention.

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Hang on friends! There`s a lot more goodies in the pipeline

So say 10cc in their song “Oh Effendi”. And it`s true. Leastways that`s what Bill Henderson thinks. So does Graham Gouldman – and he should know. Or, a tale of a recherche rock group, Friday 13, a Rainbow concert and an interview with a bass guitarist.

The capacity crowd is restless. Slow handclaps ebb and flow. The auditorium and stage are dark. Then ears are filled with peals of thunder and the voice of God. We greet “the fabulous, far-out, funky, freaky, hippy, happy, zippy, zany, wicky, wacky… 10cc”. The Rainbow last Friday evening. And a house in Victoria last Friday afternoon.
First off is “Silly Love”, the current single and a good example of the multilevel 10cc song, working with three separate interior logics. The sound is loud but the vocals are mixed up high and clear over the instruments. As it needs to be with songs where the lyrical content is of a greater importance than that normally found in rock or pop.
“We`ll always write these kind of songs but there`s nothing to stop us writing, say, a straight love song. It would have to be a great song but it would be a regular love type of lyric. That`s something we`ve never done till now. Eric and Lol started “Silly Love” as a love song and then of course it couldn`t be done. But Eric and I have written one.”
“As far as `Silly Love` is concerned, the only thing we were worried about – as we were worried by `The Dean And I` was the fact that it was another track off the album. But we had to take other things into consideration, which were: we had to keep the momentum of the group going till the next single, which obviously will be completely new, it will definitely not be off the album; and it (`Silly Love`) will also help to sell the album which is obviously very important to us. And balancing those two things against not putting it out because it is yet another cut off the album, we decided to put it out and I think it`s been the right decision. As it was the right decision to put `The Dean And I` out as well. Although we were worried about it, because we understand that it is… it`s slightly unfair. We do honestly realise that but we have to weigh up both things.

“We shouldn`t have to make decisions like that `cause ideally we should have had some completely fresh material ready but we were just taken by surprise, y`know. But I don`t think this situation will happen again. It`s a matter of time, though.”
“Silly Love”, with Eric displaying a raunchiness on guitar not commonly expected from 10cc, finished to collossal cheers. And was followed by “Baron Samedi”, a song from “Sheet Music” written by Gouldman and Stewart. But whereas “Wall Street Shuffle” by the same team is brilliant, “Samedi” seemed a rather uninventive song to me on record. As a straight rocker on stage it works fine though.. A new feature of the stage act is displayed during “Samedi” – five mini-arches wity multi-coloured fairground lights that flash during the short solo (or rather duo) by the twin drummers, Kevin Godley and Paul Burgess.
It`s followed immediately by “Old Wild Men”, which from the start is spoiled by crackles and hums from the PA. The band are visibly upset but do a great job in holding the song together through to the end.
“It always comes up, both with Eric and me, about the past. Things which aren`t to be knocked or anything but I tend to think now that what 10cc is doing is gonna be more important than anything Eric did with the Mindbenders or I did as far as being a writer`s concerned. `Cause now I`m not a writer on my own anymore, I`m in a partnership and now I`m a partner in a group as well, so it`s a different thing for me now. I`d rather not talk about that type of thing `cause it`s all been said before, right from the beginning. Although it`s interesting to think about how we could approach our old numbers, I`d like to do other people`s songs as well.
“I dunno, I just like not to put any limits on what we could do. I wouldn`t discount the idea because we`re a group that writes all our own material. But at the moment we`ve got to make it as 10cc – the songwriting/production team, unit that we are.

“The only thing about doing “Groovy Kind Of Love” and “Bus Stop”, say, is that they might be a bit trite, y`know. Those were songs that were right for the time and that`s what pop music is about. Y`know, it writes about the time, about what`s happening today and I mean, I know that there have been hits of revamped songs and somehow Bryan Ferry puts a new slant on a song by merely singing it, it doesn`t have to change at all – just his voice makes it his. I suppose we could do the same in a way but at the moment I don`t think we could do it.”
It`s now about eight or nine years since those songs were hits. Do you feel old, Mr. Gouldman?
“I`m rather pleased actually. It means that you can still do it, that I`ll still be doing it hopefully in ten years` time from now – in one way or the other. I doubt if I`ll be on the road in ten years` time. Mind you, there are people on the road more than ten years older than me, aren`t there?”
`Old men of rock and
roll
Came bearing music.
Where are they now?
They are over the hills
and far away
But they`re still gonna
play guitars.
(`Old Wild Men`)
“Old Wild Men” featured Lol on Gismo and Graham on sixstring but it limped. Through no fault of the band`s. A pity.
Kevin, looking cool in white suit, long scarf and freakier fuzzed hair than before, stepped from behind his drums to sing lead on “Fresh Air For My Mama”.

Eric Stewart, after the concert: “Kevin`s the only one who`s getting the image thing together. We went up the King`s Road and to Kensington this afternoon looking for something to wear. We ended up wearing the things we brought in our cases.”
Sartorial stakes: Lol Creme – teeshirt, jeans; Eric Stewart – shirt, jeans; Paul Burgess – teeshirt, jeans; Graham Gouldman – patterned shirt, smartly creased trousers, shined shoes…
`Cause I`ve never been
freaky
Or funky or laid back`
(“Sacro-iliac”)
“I`ve always been a stage musician but never looked like one. I`ve always liked playing on stage. That`s how I started, with little groups, just from a desire to play on stage. But I`ve never been a `stage personality`”.
The clear, ringing soulful voice of Kevin Godley. The end of “Mama”, followed by “one that we like, sing along with this one”, “Donna”. Lol hitting the high notes that I`ve heard him strain for before. Then another swop round: Graham on acoustic sixstring and Lol on Rickenbacker bass almost as big as he is: “The Sacro-iliac”. A song about a dance that involves doing nothing. Not one of my favourites on record but on stage it`s one of the best yet of the evening.
“We`re going to make a new tape for the start and we`ve put three new songs in, “Hollywood”, “Sacro-iliac” and “Worst Band”. I think you`ll see the direction that we`re moving towards. It`s more of an act as opposed to going on and doing all your numbers. Playing regularly improves your playing no end. You can play without thinking what you`re playing and just concentrate on feel and projection – to as much an extent that we can do anyway – or I can do. Because at one time we were just like a semipro group only playing Saturday nights, that type of thing, which isn`t any good.”

“Sacro-iliac” was a new writing combination for 10cc – Godley and Gouldman.
“It was an experiment really. We`d never written in those combinations before (“Oh Effendi” was Godley/Stewart) and it did come out that it added a different colour. I don`t necessarily agree with you that the songs aren`t as good as the others. I think they`re different. And I think it`s quite refreshing as well.”
“Ships Don`t Disappear” features Eric on slide and the powerhouse pair on percussion. Lol announces it: “the words are meaningless but the lyrics are very important.”
“We haven`t been doing any recording but a helluva lot of writing – I`d say about half the material ready for the next album. And what we`re doing this time, instead of writing a song and recording it and writing another song and… we`re writing a load of songs first. We might even record more than we need and then sling out what we don`t think is up to par.
“Kevin and I started a song some time ago that we`re going to finish. But Eric and I have written three songs and Kev and Lol are working on quite a long thing at the moment. I`m not going to say what it is till it`s done but it`s very interesting.
Next is “Somewhere In Hollywood”, another track with intricate arrangements. A roadie brings on a snare drum and temple blocks to the accompaniment of syrupy, cinema interval music and does a totally naff card trick. Kevin again steps forward to sing lead. But like “Old Wild Men”, “Hollywood” is all but ruined by cracklings and buzzes.
Eric: “It was caused by a lighting man putting on a certain bank of lights which were causing interference. We told him five times not to put them on but he kept doing it and eventually we had to send someone up there to threaten him. He stopped. But before he did the buzz was ten times as loud when I kicked the pedal for phase guitar on “Hollywood” so I couldn`t do the effects properly.

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The last time a buzz like that happened was in Los Angeles on the last American tour. That time I touched the mike and was knocked out cold for five minutes, so I was very tense tonight. It was really odd on stage – if one of us had smiled it would have been OK but… “We played a two hour rehearsal in the afternoon and everything was perfect. We came back at night and everything had changed. Before the show we were going around saying we weren`t superstitious or anything like that, afterwards it was `well, it`s Friday 13th, isn`t it?”
And unfortunately the two songs where the sound had to be perfect to succeed were the two most affected by the interference. But no way was the set a disaster. The strain was showing however as Kevin sang flat through a part of “Hollywood.”
Then there was “Speed Kills”, a simple song by 10cc standards, basically built round a simple riff with minimal lyrics, among them.
`One finds / It`s so
hard / To make it
It`s gotta be the right
time`
“But what`s been fantastic about this tour is that they`re pretty well all sold out. Like the Free Trade Hall has always been the best place to play in Manchester. All the best bands have played there. We`ve all been to millions of concerts there to see the best people in the world. To actually play in it and it`s sold out is great.”
Eric: “We`ve never been that popular in Manchester funnily enough. I think London is more our audience. But we`ve had sell-outs since we came back from America. We`re finding the audience that we`ve always been looking for.”

Graham: “That`s the proof of the pud to me. It doesn`t matter, as far as being on the road`s concerned, you can have twenty hits, well, not twenty but let me say… I don`t think a group like Mud would necessarily sell-out the Rainbow.”
`All because of circum-
stances way beyond
control,
We became the dar-
lings of this thing
called rock and roll`
(The Worst Band In The World`.)
I think they did actually.
“Maybe they`re a bad example. How about Suzi Quatro?”
I`ve a sneaking suspicion she would too.
“Oh. Anyway, it`s been different for us. For being, in inverted commas, a no-image band, it`s been harder and it`s taken longer but it`s more solid, y`know. There`s less chance of us disappearing from sight if the next record isn`t a hit or the next two records aren`t hits. We`ll still be there `cause I think we`re pretty solid now.”
And although it was not by design, 10cc have built up gradually and apparently logically over the months.
“Yeah, well you see, a lot of groups like… two prime examples are probably Cockney Rebel and Sparks, where there`s such a strong image on one record that they`re stars overnight. It took us five hit records in eighteen months and we`re just getting to that stage now. So it`s all down to image, I think, the non-image. But it`s good that we`re finally coming through.”
Eric: “It`s getting better all the time.”
Then “Oh Effendi” and the last number “Wall Street Shuffle”. The crowd won`t let them go and they do a surprising encore, their `flop` (as Lol calls it), “Worst Band In The World”. “Worst Band” was just a little too unconventional for the record buying public, or rather the BBC that didn`t play it. But 10cc are different.

“We are a very good rock band but we don`t do rock as such because other people are doing it. If we did it we`d just be like fifty per cent of the other groups. There`s no point in doing it. I`d rather that everybody liked us but it can`t be unless you`re someone of the status of the Beatles, say. You can`t please all the people all the time, as someone once said. But unless you`ve got an appeal that gets to everybody then it`s better to be sort of hated and loved rather than being liked by everybody, y`know. Because if someone does hate you then that means that somebody loves you as well. I think `Neanderthal Man` was a good example of that. It was either loved or it was absolutely despised by people – and it was a smash. So I suppose there`s something there.
“There`s always going to be, particularly with a group like us, a sort of criticism said about you if you`re trying to do something a bit different. I think it takes people some time to get used to something a bit fresher.
“Cause I used to be very conservative about music – when the Shadows did a track with strings I hated it. I remember that, I thought `they`ve blown it for me`. And it was progression really – but I couldn`t stand the thought of that `cause they were, like, tainted. But when the Beatles did it, that was great `cause of course they used strings like no one else had used them.”
But “Worst Band” with its backing tapes was rather scrappy. By this time it didn`t matter. And finally, what  else. “Rubber Bullets”. R8ot at sell-out sign? Not quite but almost. “Up, up, get up,” said Lol, “we`re not doing it till you`re all up.” So everyone got up and bopped. And the evening ended in a barrage of thrashboogie that would have put Status Quo to shame.
The end.

But there are a lot more goodies to come:
“We want to put some numbers into the act that aren`t on record yet as opposed to recording them, then a month later rehearsing them for the road, when we sort of listen to the record and think, `ah, we did this bit`. It`ll be interesting to do it the other way round. But always there`s the time problem involved – we`re in the studio for two or three months and you`re not on the road in that time and record things, then you learn them afterwards.
“We go into the studio next week, then do college dates in October, then November and December in the studio. Which is great `cause we get into a different sort of lifestyle when we`re recording (hipvokke) we go on a whole different plane… man. You do actually, it`s funny. And it`s good because you concentrate every effort. Because we take so much time over recording we`re not the type of band that can go in today and put down a rhythm track and go back to it next week, put on some vocals and do some overdubs the week after. We just concentrate all our energies on one thing at a one time. It`s best that way.
“We`ve got to get into the atmosphere, the mood of recording. Every time we do a new album it`s got to be better than the last one and I think we did that with “Sheet Music” over “10cc” but the next one`s got to be that much better again. It`s quite a hard task and it did hang us up when we started “Sheet Music”.
“But you`ve got to think you can always improve on what you`ve done, always. That`s always been our principle. But it`s a good principle for everything, I suppose.”

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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: Adam Faith, T. Rex, David Essex, Nazareth, Gallagher and Lyle, Jackie Lynton, Trapeze, Ben E. King, Chris Wood, John Stewart, Steve Ashley, Isley Brothers.

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 Argent FROM SOUNDS, August 10, 1974

So why share these articles about Argent? A band I guess people nowadays may have never heard or have forgotten?
Because there were some exceptionally great musicians in this band and they created good music that you should have a listen to. That`s why. Enjoy!

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Argent: New man, live album, tour

By Bill Henderson

Argent have a new member, nineteen year old guitarist John Grimaldi from St. Albans. They are also in the process of finding a vocalist/instrumentalist.
Grimaldi was previously `unknown` – his only other group apart from a school band was a local semi-pro outfit, Flux.
“We were a jazzy-type, McLaughlin-influenced band and were on the verge of splitting up when I heard about the Argent job,” Grimaldi told SOUNDS.
“We were initially looking for a guitarist/vocalist which is why we didn`t get John when we first heard him,” explained Rod Argent, “because he was just a guitarist. We were hoping to get both in one but we were really knocked out with John. We thought we`d go on and see if we could find someone with a really good voice as well. In other words, just go through the availabilities before we decided. But we were always knocked out with him and I think he`s a real find.
“We narrowed things down to about five or six really good guitarists and when you get to that stage it`s not a question of how good a guitarist he is but how sympathetic he is musically – if you play something he can see what you`re driving at immediately. That becomes the main problem once you get to a certain standard. And that`s really why we settled on John because he had empathy with the band. Although he really has got tremendous technique; speed isn`t everything, but I think he`s probably the fastest guitarist I`ve ever heard when he wants to be.”
There has been some deal of controversy about this vacancy.
Rod: “We never, contrary to what it says in one of the trade papers last week, offered the job to another guitarist. That`s not true at all. We did say to this particular person, `do you want to come down for a blow?`, and he was going to but he decided to make a go of it with his own band. That was Bill Nelson of BeBop Deluxe.

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“But the only guy we offered the job to was John. We must have tried about 150 guitarists in all, some of them well known and some of them not. And John was head and shoulders over everybody.”
So what are the immediate plans for the new Argent?
Rod: “The first thing is to record an album, at the moment we`re putting down ideas and new material. We`ve got a live album made before Russ left, coming out in August. Which is a good thing `cause it gives us time to really get an album together and release it a few months afterwards. We`ve got a tour starting, hopefully, on November 20, which we`ll have to get together for. We`ve got lots of new things to get together before the tour, like a complete new PA system which is quite exciting – there`s some more exciting new things involved with it. We`ve got a lot of new gear, I`ve got some more Moog gear and keyboard things that are being worked on at the moment.”
And the new vocalist?
“He doesn`t have to be an outstanding instrumentalist but obviously the more the better. But the main thing we want is a good high voice to blend with Jim and I. And also an instrumental texture if we need it. We were possibly thinking of a violin but it could be anything.
In the past the main trouble with us is that we had diversities within the band so that we never got going in one direction and people didn`t really know how to think of us. I think that inhibited the band as well `cause we couldn`t push forward and develop in one direction strongly and really get an identity. Which is really frustrating when you look back on the results. I want to keep all the good things that we had and be really melodic and very exciting. We`re not going to turn into an introverted band. We`re going to be forward and mature-sounding. We`ve got a much firmer direction now.”

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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, Status Quo, 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.

ARTICLE ABOUT Rick Wakeman FROM SOUNDS, June 29, 1974

A very strange article. I don`t really know what I shall say about this, but it is kind of different. You judge yourself, but don`t expect any deep musical analysis in this one.

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Is your journey really necessary?

By Bill Henderson

Well, to start with I could tell you what a lousy map drawer Rick Wakeman is. How the bus driver couldn`t follow his map and how we got lost in England`s green and pleasant land. Rick Wakeman`s Magical Mystery Tour or Journey To The Centre Of Nowhere In Particular. So naturally we had to stop at a couple of pubs to ask for directions, which didn`t get us much farther – in fact, back to where we originally got lost from. Or how we asked a policeman who said, “You`re the second coach to ask me that tonight.” And how we finally arrived at the pub.
But while it might have a certain picaresque interest in comparison with, say, “Cobbett`s Rural Rides” or R. L. Stevenson`s “Travels With A Donkey”, it wouldn`t be of much interest to you lot. So instead I`ll tell you how an invitation arrived from A&M Records to go to Rick Wakeman`s local to have a booze-up and a game or two of darts.

CRASS

“Go along,” said Peacock and Mackie in unison, “and come back and write lots of words about it.” “But everyone knows that Rick and Yes aren`t saying anything about anything for a month and I`m not going to be as crass as to ask him about something he doesn`t want to talk about,” I protested. “Well, go and enjoy yourself,” they said, “but still write lots of words.”
So I did.
I can report that Rick is fit and healthy – with a somewhat sunscarlet face. And he seems totally relaxed and happy (which is a good augur for the future): he strode about the crowded pub in an embroidered black velvet jacket (for the benefit of any sartorially-minded readers), smiling and chatting, with his own everpresent, “Rick”-in-scribed beer mug.
But what did he tell you confidentially about his future, about Yes, about the reasons for the split, about the Stock Market slump or the Middle East situation! Nothing. It was neither the time or the place to speak or ask about any of them. Instead Rick told jokes (Not one of which I can remember unfortunately).
He also remarked on our mutual trait at the moment – that of attracting angry, insulting letters from SOUNDS readers. He joked about it obviously, but he does notice, he does pay close attention to such things. He is concerned about what people think.

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And he`s concerned about his community too, apparently helpfully involved in local affairs. Very much a popular local figure – as well as being one of the lads in the pub, knowing everyone and everyone knowing him (although slightly larger than life in that environment with his long blond hair and standing a head above most people there).
He led the cheerleading in the darts matches too. (“Bring out the Branston” (?)). Oh yes, the darts – I almost forgot about that.
As far as my by then slightly inebriated brain can remember, the A&M Records team (into which I found myself pressganged) beat Rick`s local team twice (no thanks whatsoever to me). Then Rick`s Cripples (as it said on the scoreboard) played a hastily-assembled Press team, including myself. The Press, I`m afraid to say, lost miserably. Though no great thanks to Mr. Wakeman, I seem to remember, whose arrowing ability doesn`t quite match his skill on the eightyeights. (Mind you, he`s a lot better than I am – not very difficult).
Time to leave. As I left the pub I noticed a “Journey To The Centre Of The Earth” sticker on the door of the pub, which seemed quite apt juxtaposition. Then a totally uneventful journey back to the metropolis. But a fine evening. Thanks a lot, Rick.

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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: Eric Clapton, Bill Henderson, Moody Blues, Laura Nyro, Carly Simon, Eddie Riff, Leonard Cohen, The Rats, Alex Harvey, Dave Edmunds, Blood, Sweat & Tears, Gordon Lightfoot, David Bowie.

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.