Concert review

ARTICLE ABOUT The Who FROM New Musical Express, February 4, 1967

A great article by Mr. Drummond who unfortunately died in 2005 just 59 years old. He had been working in Afghanistan for the Institute of War and Peace Reporting and was coming to the end of his three month engagement when he collapsed.
He leaves behind some great articles written for the NME as you can all read here. Thank you for your contribution to music history, Mr. Drummond!
Read on!


Who are mellower fellows now

says Norrie Drummond

AFTER twice failing to turn up for appointments, Keith Moon eventually arrived for our third arranged meeting an hour late. I was waiting for him with the group’s panicking publicist Nancy Lewis in a small coffee bar not far from Piccadilly.
He apologised, ordered coffees and settled down at our table.
“I didn’t realise it was so late,” he said, “and the traffic on the way here was dreadful. I bet you we’ve got a parking ticket by the time we get back.”
Although neither Keith nor John Entwistle drive, they have just taken possession of a new Bentley. They have their own chauffeur, a young man called Wiggy, who looks a cross between John Lennon and Mao Tse-tung.
“We got the Bentley at a reduced price,” explained Keith. “You see, John and I have been recording a group called the Brood and their manager runs a car salesroom.”
John and Keith are toying with the idea of forming a production company. “We’ve been thinking about calling it Moonwhistle Productions. But at the moment we’re deciding which company will issue the Brood’s record. It may come out on Reaction or possibly its subsidiary, Repulsion,” he gagged.
I mentioned to Keith that in the past few months I had noticed a distinct change in the personalities of the group. The tensions and frayed tempers had disappeared, John was now talking, Pete and Roger had mellowed. I asked him what had brought about the sudden change.
He agreed that they all had mellowed recently. “The group works much more as a unit now than we did six months ago. To progress we felt we had to change our outlook. We had to be less outspoken and be more pleasant to people.
“For the first year we said a lot of things we didn’t mean merely to create impact. Mind you, the fights and arguments we had were all genuine enough but some of the statements we made in interviews were deliberately controversial.
Now, of course, I think we’ve developed as individual personalities. We don’t need to be as outrageous as we were before, and I think that now we are far more natural. We now speak our minds without worrying so much about image.”
I asked Keith about the group’s proposed TV series and whether it would be similar to the Monkees’ show or not.
“I like their TV series myself,” admitted Keith, “but I don’t really think our series will be anything like it. We’re completely different personalities. We’ll probably end up in a five-minute spot after the Epilogue on BBC-2, co-starring with Ollie Beak and Noddy.
“As the Who were one of the first groups to smash up their guitars and equipment onstage, how did Keith feel about the Move, who have apparently taken the smashing up bit a stage further ?


Not bad

“They’re not a bad group. I don’t really know much about them except that the bass player moves like John Entwistle.
“I know a far better act, though. Two motor mechanic friends of Roger Daltrey called George The Weld and Jaimo The Rub.
“George goes about welding cars, doors, people, anything he can lay his hands on, and Jaimo then polishes them up!
“In their act they’re going to put cars and effigies of Hitler together again”
Building things up instead of smashing things up — maybe that’s what the Who are going to do in future, too.

But it doesn`t help their stage act a bit

I CAN’T help wondering just what the Who are all about. Their concert at London’s Saville theatre on Sunday was a mixed-up ragbag of their hit songs, new group compositions, flashing lights and winking toy robots wandering around the stage.
Oh, it was all pleasant and inoffensive enough — perhaps too inoffensive — and the sound was good, but all their former excitement seemed to have disappeared.
Admittedly, smoke bombs and fire crackers could not be used because of the fire risks, and the law regarding the use of stage props on Sundays must be taken into consideration, but the Who and their managers have always been able to think of something in the past.
The numbers they played — including “Happy Jack,” “Barbara Ann,” “Maurice The Spider” and half a dozen more — were good, but not what one might call overwhelming.
No smashed drum kits, not one broken guitar, merely a feeble thrust at one of Pete Townshend’s amplifiers. There was some good and original lighting using square and rectangular spots.

Went wrong

But what was the purpose of intentionally bringing down the curtain half-way through the act? As far as I could see the only thing it succeeded in doing was to drive about fifty people from the theatre.
But then perhaps the whole act was a “happening”- a “freak out.”
It could easily have been that I was simply disappointed with the Who after seeing the Jimi Hendrix Experience, which closed the first half of the show.
Despite the fact that only one mike was working and a meeting of the ETU seemed to be taking place on stage at the same time, they brought the first spark of life from a hitherto unresponsive audience.
Hendrix doesn’t only play his guitar — he caresses it, abuses it, mothers it and talks to it. He has a love-hate relationship with it. He is often happy with it, occasionally annoyed by it, but always the master of it.
He played “Wild Thing” the way the Troggs never could, and “Like A Rolling Stone” the way Dylan never would. He plays his guitar with his teeth, his feet, his amplifier, his elbow, occasionally his hands, and sometimes it plays on its own. Jimi Hendrix also sings — very well!


This band only recorded a handful songs, but were very influential in psychedelic music scene. What could have been, if not for the draft?

If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!
The original music paper this article came from (pictured at the top) is for sale!
1. Send me an e-mail if you are interested. Send it to:
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Hawkwind FROM Sounds, December 27, 1975

A very positive review even if their biggest hit was missing from the set!
Read on.



Concert review by Robin Smith

HAWKWIND playing the Top Rank is like the Royal Philharmonic performing at the Rainbow. Something just doesn’t fit. But Reading’s home of baggy trousers, Rod Stewart haircuts and Brut aftershave didn’t deter the Hawkwind faithful.
Some seeds of change are growing in the band. The old mystique that made them so popular is being sprinkled with good old showmanship – largely by Robert Calvert, back in the fold again. Hawkwind are actually laughing on stage and a merry drum roll was played during an instrument change.
But they started out in traditional manner with ‘Assault and Battery’, a solid wall of sound interrupted briefly with some flute work, from Nik Turner. `Steppenwolf` ringed the changes for the band. It had an almost funky feel and Calvert pranced around singing like a cross between Ferry and Jagger.
The new style took the Hawkwind die-hards by surprise. Cries of `Silver Machine’ were heard — but the band played on with Calvert’s `Ragnor Rock’. `Brainstorm’ was a return to the old style. Plenty of weird noises and strobe lighting — a dated but eye riveting effect.
Then a thoughtful melodic number took the crowd by surprise again, before `Master Of The Universe’ restored confidence in the band. A really terrifying piece with Calvert donning a flying helmet and looking like an air ace back from the dead. The crowd lapped it up.
But no encore and no ‘Silver Machine’, a bad tactical error.
At the moment Hawkwind are treading a fine line between ending their old style and starting a new act. If they forsake their cosmic routes completely, then they may lose many fans. It’s best not to tamper too much with your trademark.

The original music paper this article came from (pictured at the top) is for sale!
1. Send me an e-mail if you are interested. Send it to:
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Black Sabbath / Aerosmith FROM Sounds, December 27, 1975

This is one of those strange ones that happen from time to time – the support band gets a better review than the headliner. If that is in any way “correct”, I don`t know, as I was only nearly ten years old at the time and didn`t frequent many concerts at that age. Maybe some of the readers know?
Read on!


Black Sabbath/ Aerosmith
Madison Square Garden

Concert review by Toby Goldstein

IT WAS the kind of show no one over 18 wants to cover unless they’re paid to do so. Yet in spite of formidable odds against a proper reception, regardless of the beer spray which rained down on a hefty chunk of audience during their encore, Aerosmith, at least, proved they will be a band to reckon with in future, an Important Group in terms of both music and showmanship.
Leader Steve Tyler is a barrel of laughs. A Bostonians version of the Jagger school, he follows Mick in cut of hair, costume and attempted stage antics. He looks convincing enough.
After a time, the klutziness fades, for Tyler is as believable a singer as they come, Aerosmith are skilled in the arts of rocking and rolling and, best of all, not once did they attempt playing at jet takeoff volume.
The set was concentrated around their third album, ‘Toys In The Attic’ but also payed homage to the best of earlier albums. Older singles ‘Dream On’ and ‘Same Old Song And Dance’ illustrated what had pulled this group out of the mainstream.
Black Sabbath headlined the show, and a band with more persistence at repetition would be hard to find. Ozzie Osborne looks and acts at least five years backdated, with the songs hewing to a similar pattern.
Older material was indistinguishable from the newer, all three-chord exercises in success through overkill. It must be said that the audience was firmly in Sabbath’s corner, treating them as conquering heroes for more than an hour of the stuff, but after Tommy Iommi started to bleed, victim of a tossed-up tin can, I knew it was time to leave.

The original music paper this article came from (pictured at the top) is for sale!
1. Send me an e-mail if you are interested. Send it to:
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Alice Cooper FROM SOUNDS, September 20, 1975

Mr. Barton was not convinced by Cooper going it alone. Quite an interesting perspective in this one.
Read on!


Alice`s pantomime

Concert review by Geoff Barton

“Well, …. it`s surrealist, innit?” remarked the girl sitting in front of us, eyes open wide, staring at the impressive Empire Pool stage.
Alice has obviously spared no expense for this show: two tall, translucent grey pillars with a thick beam lying on top of them, like a futuristic version of Stonehenge, dominated the platform. In between them was a bed of twisted metal, beside them an over-large toy box, behind them provision had been made for a band. Surrealist indeed.
The Heavy Metal Kids got the evening off to a raucous start: front man Gary Holton was as obnoxious as ever, tripping over periodically and telling his year-old jokes (“We`re gonna play a dancin` number now, but seein` as you`re sittin` down rub your asses on the seats”) The Kids were brash and loud, but didn`t try quite hard enough to win over the crowd. No encore.
Alice took to the stage after a long interval and, tugging at his red leotard, cavorting gormlessly around to tunultous cheers, snarled out the appropriate opening lines to `Welcome To My Nightmare`.
It soon became clear, however, that what should have been the ultimate fusion of rock and theatrical excess was in fact no more than a rather lewd pantomime.
Alice, taking the lead role in this epic, has well and truly discarded his malevolent, blood-lusting `Killer` image and now reminds you of a demented Jack minus his beanstalk.
He plays the frightened little boy, plagued by rotten dreams: he`s taunted by groups of superbly acrobatic dancers, he cowers, crawls, sits cross-legged in front of the toy box and enjoys a Punch and Judy show – in all, a rather embarrassing role.
He acts a vengeful Peter Pan figure who slashes with a sword, kicks around a limp female dummy, is attacked by bulbous spiders and decapitates a blundering cyclops – theatrical overkill, at times laughable and mostly less than convincing.

This was Alice`s trip. If nothing else, it served to tax his abominable voice and reveal to one and all that he has the absolute minimum of stage presence. He should never really have gone it so completely alone.
Alice`s musically excellent band were demoted to mere backing musicians. They were lined up at the back of the stage and could generate little excitement because of their seemingly minor roles (except for the Steve Hunter/Dick Wagner guitar duel, one of the highspots of the evening). Alice had to carry the whole show – and he just failed to pull it off.
It was all precisely timed and choreographed: a combination of live and filmed action, where dancers would leap from and into a cinema screen was quite impeccable – even though it wasn`t rock and roll. Many were all too easily impressed by the effects – the biggest cheer of the evening arose when a giant spider`s web was hoisted up from wisps of dry ice and not when, for example, Alice sang `No More Mr Nice Guy` or `Department Of Youth`.
Even when the theatricals were over and the band played straight rock and roll for the encore, it was strictly anti-climatic. I believe solos were played, though the only clear view I had was of the keyboard player`s head.
“I expected something a little more spectacular,” said the same girl at the end of the concert. I wouldn`t necessarily agree with that – but I do believe that Alice should save shows like this for Broadway and at the same time carefully assess his position in the leading role.


The original music paper this article came from (pictured at the top) is for sale!
1. Send me an e-mail if you are interested. Send it to:
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Status Quo FROM SOUNDS, May 17, 1975

Did the mighy Quo ever play a a bad concert in the 70s? I am sure they did, but there weren`t many. Here`s another one of those good ones.
Read on!


Quo`s May blitz

By Pete Makowski

It may be unlucky for some people but to Quo 13 years represents a longevity that equals and even surpasses many well established bands. And to celebrate this little event the band decided to undertake an anniversary tour opening at Leicester`s De Montfort Hall last Thursday.
It was, as expected, a raging success and also revealed a new musical side to the band in a set that lasted over one and three quarter hours and was executed at a ball-breaking pace. The audience was, as expected, solid Quo fans, and being Quo fans they made sure it was an event to be remembered.
The evening opened with a set from The Pretty Things, another band who have been around for a while. Their set was impressive but not properly paced, too many long drawn out `come on clap your hands` sessions. The last time I saw them, their set was tighter, slicker and had more success. Still a really ace rock band.
Quo`s set opened up with a swirling mass of dry ice, the closest the band have ever got to theatrics. The band got onto the stage and it was Blitzkreig. They opened up the set, as they did last tour, with `Love Me When I`m Down`, with Alan Lancaster stooped over his bass, growling the vocals with fire and brimstone. A sea of denims surged forwards as Rossi belted out the vocals of `I Saw The Light`, off the `On The Level` album.
Next a change of guitars and Parfitt took the microphones, slowing the pace down with `Nightride` and then bringing it back up to the normal Quo energy level with `Little Lady`.
Silence fell over the hall as Rossi`s hoarse vocals accompanied by a quiet (would you believe?) guitar backing played `Most Of The Time` which developed into an extra heavy weight twelve bar.


Then came the contrast with a slow tempo country ditty by the name of `Claudie`, featuring some strong harmonies. This was followed by a trip down memory lane in form of `Gerundula`, featuring, wait for it, Rick Parfitt on acoustic guitar, Rossi playing a Les Paul (the first time I`ve seen him play a different guitar) and Alan Lancaster on rhythm guitar… have Quo gone acoustic?
No, but at last they have found a way to pace their set without killing the energy level, the audience didn`t seem to mind and the atmosphere was brought up to an almost electrifying peak with a medley featuring `Backwater`, `Just Take Me` and `Forty Five Hundred Times`, with some surprisingly competent guitar work from Rossi, whose style is usually more forceful than constructive.
These numbers also displayed John Coughlan`s hard tireless attacking drum playing that provides the backbone to Quo`s solid wall of sound. Next came a series of powerchord boogie workouts with Rossi, looking a bit worse of wear by now, running up and down the length of the stage, with Lancaster and Parfitt following his example.
`Roll Over Lay Down`, `Big Fat Momma` and `Don`t Waste My Time` had the crew rocking from side to side. The amazing thing about Quo gigs is that no matter how frenzied the audience is there are never any attempts to storm the stage even though there are no barriers and minimal security.
The set ended with `Roadhouse Blues`, featuring the infamous sailor`s hornpipe and when you see a few thousand kids jigging it`s quite something. The band returned with an encore featuring `Caroline`, `Mean Girl` and an amazing drum solo from John Coughlan, culminating with `Bye Bye Johnny`. Hasn`t anyone told these guys we`ve got an energy crisis? Great stuff.


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:
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.