Fanny

ARTICLE ABOUT The A-Z of Heavy Metal FROM SOUNDS (Part 3), April 26, 1975

And we continue with part 3 in these series. I must admit that I didn`t know all these bands/artist before reading about them here. Funny how some fell by the wayside and others became household names.
Read on!

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Rock from `eavy to `umble or
The Sounds A – Z of Heavy Metal

Compiled by Pete Makowski and Geoff Barton

D

Deep Purple

Originally the band sounded like the culmination of all the things that Vanilla Fudge had striven for. Elaborate arrangements, well played rock. The band was formed by ex Artwoods and Flowerpot man Jon Lord, Ritchie Blackmore (ex Screaming Lord Sutch, Neil Christians and the Crusaders) and former Searcher Chris Curtis in `68. Curtis left and was replaced by bass player Nick Simper plus the addition of vocalist Rod Evans. The band recorded three albums with this format – `Shades Of Deep Purple`, `Book Of Talysein` and `Deep Purple`. Evans split to the States to form Captain Beyond with ex-Iron Butterfly guitarist Mike Pinera and Bobby Caldwell. Simper went on to join Warhorse. Simper and Evans were replaced by Roger Glover and Ian Gillan respectively. They recorded `In Rock` in 1970, and the distinct sound of Blackmore`s piercing, innovative guitar style that took Hank Marvin`s tremelo one step further, plus the screaming banshee vocals of Gillan made this THE definitive progressive rock album. Purple rose from the underground following when they achieved commercial success (`Black Night`, Strange Kind Of Woman` and `Fireball`). They achieved gargantuan popularity in the States with `Machine Head` which was the top selling US album in `73. An album later Gillan and Glover split and the future of the band was dubious, but they went on and added unknown vocalist Dave Coverdale and ex Trapeze bassist Glenn Hughes. This made for a change in the band`s music, but not in the impetus of their success.

Deviants

While the rest of the world was dressing up in beads and kaftans, Mick Farren and the Social Deviants, taking their cue from the MC5, hopped into their leathers and became a street punk rock politico band. In other words, they bashed it out loud and had titles like `Let`s Loot The Supermarket`. They were born in Spring 1967 with Farren, Duncan Sanderson and Russ Hunter as the core and the fluctuating guitar team of Paul Rudolf and Sid Bishop. By the end of `67 they`d dropped the social bit (well, says Farren, “it was a bit long and cumbersome to say”) and they broke up during a tour of America in 1969. Russ and Sandy joined up with Twink and Rudolf in the Pink Fairies. The Deviants left behind three albums – `Ptoof`, `Disposable` and `Deviants`. The Pink Fairies were worthy successors, but they too are defunct now. Paul Rudolf now has The Paul Rudolf Bugs Bunny Drugs Band.

E

Eire Apparent

Eire Apparent is notable for two things – the presence of guitarist Henry McCullogh, subsequently with the Grease Band, Wings, and, occasionally, Frankie Miller and the production of Jimi Hendrix. One Buddah single, `Rock`n`Roll Band` shows just how well the combination worked.

F

Fanny

This four piece all girl group stripped away all the pre-conceived chauvinistic views of women in rock. They could hit as hard as a battering ram. Formed in California the original line up consisted of June Millington (guitar/vocals), Jean Millington (bass/vocals), Alice De Buhr (drums) and Nickey Barclay (keyboards/vocals). The popularity of this band opened a market for other female rock bands (Isis, Birtha, Mother Trucker). June Millington was the first to leave the band and was replaced by Suzi Quatro`s sister Patti. Nickey Barclay, who was the band`s main writer, left last year to form her own band, Good News.

Foghat

Energy laden, blues based rock and roll laced with glamour. Foghat were one of those bands, like Climax Chicago, struck big in America but haven`t even created a ripple of interest in this country. The original band were ex-Savoy Brown members Rod Price (guitar), Tony Stevens (bass), and Roger Earl (drums). They were soon joined by `Lonesome` Dave Peverett on guitar. They have recorded three successful albums (`Rock & Roll`, `Energized`, `Rock And Roll Outlaws`), on Bearsville label and recently Tony Stevens left to be replaced by Nick Jameson.

Andy Fraser Band

Fraser surfaced with a new band following Sharks and an aborted liaison with Frankie Miller – Nick Judd on keyboards, Kim Turner on drums and Fraser on lead bass and vocals. They`re the loudest I`ve heard in a long time and as cocky and as unsubtle as you like.

Fusion Orchestra

Later re-titled Jill Saward`s Fusion Orchestra, this band is not so much heavy as flashy, visually and musically. When last seen, Jill would whirl dervish-like from instrument to instrument as if seeking an electric Holy Grail. A somewhat frenzied band, in which the drummer has been known to do a solo stretching from one end of the hall to the other.

G

Brian Gamage And The Spikes

Issued a single, `Brain Damage`, in mid-1974. It featured a guitar solo played by hurling a meathook at a highly amplified Stratocaster. The band were first formed in 1963 and the current, ever-changing line-up stands at Brian Gamage vocals, Carole Lewis bugle (the only two remaining original members), Arthur Boonstock harpsichord and Ollibund Socket assorted tympani. Their long-awaited album `Blue Funk` is set for release in the distant future.

J. Geils

Energised R&B driven by the `Wolfman Jack` type vocals of ex-art student and disc jockey Peter Wolf and the screaming mouth-iron, courtesy of Magic Dick. This band of Americanos started life in `67 by Wolf and drummer Steven Bladd. The rest of the band – Danny Klein (bass), Seth Justman (keyboards), J. Geils (guitar) and Magic Dick Salwitz were picked up from a technical engineering college. They started out as a gritty, down to earth boogie band. Their last two albums (`Ladies Invited` and `Nightmares` – on the Atlantic label) were a little more sophisticated. Still a premier live act.

Geordie

Brash Newcastle band, formed in early 1972. Powerful stage act, had some success with the singles `Don`t Do That` and `All Because Of You` – the latter a blatant rip-off of all (at that time) current singles styles, notably Bolan`s `Solid Gold Easy Action`, but great fun all the same. Toured with Slade, have made two albums, `Hope You Like It` and `Don`t Be Fooled By The Name`. Line-up: Brian Johnson vocals, Vic Malcolm guitar, Tom Hill bass, Brian Gibson drums.

Golden Earring

Dutch band, guitarist George Kooymans formed it in 1965 as a bubblegum outfit. Gradually became influenced by early Sixties styles and developed into musically excellent, visually superb band but without much originality. They first came to Britain in 1973 in the wake of Focus` success and soon notched up a hit single, `Radar Love`, and an album, `Moontan`. Current efforts, `Kill Me (Ce Soir)` and `Switch` are disappointing – the band seem to have become too preoccupied with their flashy image.

Groundhogs

The archetypal heavy rock three piece, the Groundhogs originally derived their familiar sound in `68. They were a four piece blues band, but after the departure of vocalist Stephen Rye, Tony McPhee took over and in 1970, two albums later, they established their niche with `Thank Christ For The Bomb` which with the followup `Split` could be described as their definitive product. The moody hard edged sound of the band along with Tony McPhee`s sad sounding `droney` vocals made this mob a popular gigging band. In 1972 after the release of `Who Will Save The World`, drummer Ken Pusteinik left to be replaced by ex-Egg drummer Clive Brooks. This is when McPhee`s guitar and songwriting completely took over and after `Hogwash` he recorded a solo album in 1973 – `The Two Sides Of Tony `T.S.` McPhee`.

Grand Funk

Detroit punk rock at 14,000 watts. GFR were the first of the Teeny bop heavy rock gladiators. Originally put together by ex-Detroit disc jockey Terry Knight in late `69, Don Brewer (drums) and Mark Farner (guitar) were formerly from his backing band the Pack. They got Mel Scacher from Question Mark & The Mysterians. Funk went straight to the open air festivals, their main assets being volume and energy, and soon captured the hearts of a new generation of kids. The band suddenly became a monster (their fifth album `Survival` sold a million on the day of release) they became a liberated status symbol to the masses of teenagers who weren`t interested in The Cream or the Beatles. The band had produced their own album `Phoenix` after splitting from Knight and in fact rose back from the ashes and back into the charts. They added ex-Pack organist Craig Frost to their line up and their next two albums were produced by whiz kid Todd Rundgren.

Gun, Three Man Army, Baker-Gurvitz Army

Lots of Gurvitz brothers for your money. `Polecat Woman` is about the best thing they`ve done and is available on `Three Man Army Two`. The B-G Army sound promising.

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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: Frank Zappa, Gladys Knight, Women In Rock, Betty Wright, Steve Harley, Peter Frampton, Labelle, Peter Skellern, Ray Davies, Larry Uttal, Chris Spedding, Anne Murray, Sweet Sensation, Bernard Purdie, Mike Harding, Ronnie Lane, Yes.

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 Fanny FROM SOUNDS, November 27, 1971

As far as I know, all the four original members of this band is still alive and kicking in 2018 – but it seems like Nickey, the organist, has disappeared out of sight for everyone. She writes a little about her reasons at this fabulous Fanny-site: http://www.fannyrocks.com/
Strange that they deny their imortant role as figures of the Women`s Lib movement at the time, but I guess they just wanted to play music and get on with it the same way as male rockers do. I think their argument in the article is solid. A very important band, lacking in record sales compared to many others, but a very good band playing great music and quite clearly an inspiration for a lot of other girls to come out and play in what was a pre-dominately male territorium.
You should check Fanny out – they rock!

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Just doing their thing

By Martin Hayman

It was a case of girding up the loins, metaphorically speaking, when we went to see Fanny.
Fanny is an all-girl American rock band, and suspecting another Warners freak-show, I was prepared to be defensive about being a male chauvinist pig. It didn`t turn out that way at all. June and Jean, who are sisters, Alice and Nickey, are friendly, co-operative and eager to tell you what the band is all about and to disclaim the Women`s Liberation banner. So eager are they to tell you about it, in fact, that they tend all to speak at once, which is rather disconcerting, like watching a doubles tennis match with two balls in play.
But at least there`s no problems with mistaken identities: they introduced themselves gracefully as Jean Millington, who plays bass; Alice de Buhr, drums; June Millington, guitar; and Nickey Barclay, piano and organ. From then on in, it was a free-for-all. They all come from L.A. now, and despite their different backgrounds – June and Jean were born in Manila in the Phillipines, Alice, Mason City, Iowa, and Nickey, Washington, D.C. -They all seem to possess a clean-cut charm which is definitely all-American.

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Was it a gimmick, when it comes down to basics? “Well we just play rock music,” said Alice, “we don`t have a gimmick.” Jean: “Well if we do have a gimmick it`s that we`re female and we can`t help that any.” Nicky: “Some people view it as one.” Jean: “That`s in everybody`s opinion. I think we play well enough to be considered valid musicians.” And so it went on, with every question bounced around the circle of four girls and turned over until some sort of a consensus was reached agreeable to all parties concerned.
How did it come about that they got into rock music, until now regarded as a male preserve? Alice: “It just evolved. We all started playing about five or six years ago in groups in the usual way, you know, losing people and asking and finding out, advertising. It just happened to click with the four of us, because we`d all played with guys before. The chemistry was right, the magic was there.” They had all played with groups before they met each other, which is a measure of their independence – musically as well as personally. This is how Jean describes the formulation of the group as an all-girl combo: “The three of us had met prior to going to L.A. where we met Nickey -” “- after they had a recording contract,” interrupts Nickey, “they were the nucleus of the group.”
So what sort of music do they play? There was a chorus of “Have you heard the album” and “You must come and see us play”, but in default of either, “It`s Fanny music,” says Alice “It`s rock and roll, it has that kind of feel to it, but there are some slower songs on the album.”

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June, perhaps the least forthcoming, adds: “We feel we`re still at the stage where we have to hit people over the head on stage to get them to sit back and give us their full attention.” Alice: “`Cos they haven`t seen us, they just don`t want to believe that girls can play anything but crap.”
How did they come to take up musical instruments at all, in the beginning? Jean: “I started when I was about nine or ten, playing ukelele and just gradually moved to the guitar and bass.” She ascribes this to a love of string instruments and a sound they produce, which is to be expected from one who was brought up in the Pacific city of Manila, where the Millingtons lived until Jean was about thirteen. “We were just into playing around with the basic chords. We didn`t start playing professionally until we were sixteen or seventeen, and that was when we started out with folk singing.” They came to rock through folk then? “I guess so, June and I anyway. Alice started playing in the school band.” Alice: “When I was a junior, which is eleventh grade. I got a full set of drums, and from there got into rock and roll and moved to the coast and met up with June and Jean and played off and on with them for a couple of years, went to L.A. then we got Nickey after about nine months.” June: “I`ve only been into rock and roll since we came to L.A. – before that I was just like a rhythm guitarist.” Nickey: “When I met June she hadn`t really heard Chuck Berry, that was what blew my head out most.”

BENEFITS

What was the response in those days to the idea of girls as a band? “I think when we first started, before we could could play well, it was cute, you know, a girl playing rock and roll, just like guys when they start out and aren`t that good. I was fifteen when I started playing, you know, things like `Oh Sweet Pea`, `Louie Louie`, `Hand On Sloopy`… but you get better as you go along.”
And the Women`s Lib thing? “They want us to wave the banner and play their benefits. We always tell them, “Listen, we`re doing more for Women`s Lib by just doing it! We got our music to consider.” For those few words, thanks.

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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: Redbone, Frank Zappa, Redwing, Elton John, B.B. King, Bill Williams, Alice Stuart, Carl Palmer, Robbie Robertson, Lesley Duncan, Dave Burland.

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 FANNY FROM NEW MUSICAL EXPRESS, November 30, 1974

One of the first all-girl rock bands I knew about were The Runaways. They were cool and I liked them just as much for their music as much as I had certain…ahem…fantasies about some of the members of the band.
What I didn`t know at the time was that there were another all-girl band way before The Runaways called Fanny. Formed as early as in 1969, they had a name that invited you to speculate and wonder if these girls were even more outrageous and sexy than Cherie Currie singing “Cherry Bomb”. The problem was that in a time before the Internet there was no concert videos to see, and because they disbanded as early as in 1975, there were no records to be bought from this band, when I discovered them 10 years later, in my local record store.
So, this article are for all of you nerdy people who know about these bands from the darkest depths of rock`n`roll history. Me, you and David Bowie (who is a fan) can, to our luck, check them out on YouTube these days. Enjoy!

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Unnnghhh! Grunt, slurp…

…goes John Ingham. Fanny just smile sweetly and go on rockin`…

Let`s be sexist for a coupla paragraphs.
You take a look at the cover of Fanny`s new album, “Rock and Roll Survivors”, and there`s Jean Millington looking very come-hither, and memories well up of when Fanny were second on the bill at the Whiskey A-Go Go and she used to prop that bass in her crotch and make it talk, and the dreams and desires would stand at attention.
Then you take an eyeful of new guitarist Patti Quatro, and…well, kids, that`s a face and pair of legs whose promises are only fulfilled in fantasies. It`s like rock and roll`s initial thrill made corporate before your gonads; true D.O.M. heaven; a breathtaking reason to forget being jaded; the—— Down, rover; give us some straight facts.
Like, if Nickey Barclay (tinkler of ivories) is leaving the group, why do a UK tour with Jethro Tull?
Over to you, Jean, in Birmingham.

“Well, Ian (Anderson) was over for dinner one night when we just had the new album, and we played it for him and he really freaked. He just stood there and played it over and over and out of that we got the tour.”
Nickey, of course, had already left in July to pursue a solo career, so rather than try and (a) find a new member fast (not the easiest task, given genetic limitations) and (b) teach her the ropes, the band asked her to return for this tour. The result, naturally, is a less than unified band, not helped by the fact that 90 per cent of the time you can`t hear the keyboards. In the middle is the diminutive Cam Davis, former Press Officer`s assistant. To either side stand Ms. Millington and Ms. Quatro,
initially in black cloaks that hide all but face and arms.
When they are dropped…ah! Jean is wearing a red skirt that is cut in an arc across the front, revealing a delectable turn of thigh. Patti`s legs never end; her costume seems to be rags held together by perspiration. Men all over the auditorium rise in appreciation.

The music is frenetic; Cam sounding like a juggernaut coming through Dover, Jean unloading great dollops of oomph in all the right holes, Patti unleashing savage steamrollers of noise and then throwing in a flurry of precise, clear notes to float on top, moving across to Jean in a guitar duel, riding her axe, stomping her feet. When this band is complete it`s going to pulverise a lot of heads.
But is there still a hangup, in these enlightened mid-70s, of you being a…”chick group”?
“It`s hard to tell,” purrs Jean. “We`ve never been men.”
Patti maintains they all took sex change operations in search of an original gimmick. Turning the other cheek: “It`s harder to get people to take what you`re doing seriously, especially if you give off that vibe. But if you`re really working and putting out, they aren`t going to say, `Oh, you play good for a chick`.”
“People thought they were giving us compliments by saying that,” interjects Jean. “But starting two years ago the papers in L.A. stopped talking about us as a female group and just reviewed us as Fanny. It will probably stop completely when we get a hit record and headline tours.”

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But couldn`t you use your feminity as an “easy” ride to rock heaven?
Jean: “We don`t really think about it, to tell you the truth. We just concentrate on the music, because if that isn`t good it doesn`t mean shit. If you can`t cut the mustard, being the prettiest girl in the world won`t help.”
Patti: “But on the other hand, we don`t hide it. A lot of women would go up there in jeans and feel ashamed and think, `Oh, they`re not going to take me seriously.` If you`ve got the confidence, you should be able to go up there nude and it shouldn`t make any difference. When I go on I want to feel like I look good, and if it`s a skirt then it`s a skirt.
“And when you sweat a lot, you don`t want to be completely covered in pants…But you don`t want to hear that…It`s all so sordid, my dear.”
No, really girls, it sounds quite clean to me.
“Oh, we`re a clean group. We come off stage smelling like a perfume bath.”

But before we leave these dabblings into matters of gender, how about groupies, especially in a country where it seems even Bryan Ferry can`t score.
“Oh, there was a boy of about 14 outside the stage door last night, who asked for a kiss,” says Jean. “And I couldn`t think of a good reason to say no, so I gave him a little kiss and he was waiting for a French one and he said (plaintive voice), `Is that all?`”
It rapidly transpires that Fanny have no trouble in the organic electric blanket department, though, Patti says, “They don`t have the nerve to say, `You want to screw,` so it`s all in terms of `Would you like a drink`.” She smiles innocently.
How about other females?
“They`re more like truck drivers,” grimaces Jean. “But we do get a lot of girls in out of the way places who have been inspired to form groups because of us. It makes you feel very responsible.”

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

This number of New Musical Express also contains articles/interviews with these people: Elton John, The Crystals, Yes, John Sebastian, Bachman-Turner Overdrive, Rod Stewart, Johnny Winter, Frank Zappa, Magna Carta, Ray Shulman (Gentle Giant).

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 around or upwards of 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Rick Parfitt FROM NEW MUSICAL EXPRESS, MAY 5, 1973

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

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

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Musicians talk tape
This month: Rick Parfitt of Status Quo

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

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

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

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

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

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

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

This edition is sold!