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ARTICLE ABOUT The Troggs FROM New Musical Express, December 10, 1966

I am going way back here – I know. This is probably one of the oldest music magazines that I have. Even if it is, there is some worthwhile reading in these ancient papers. Some of you may never have heard of this band, but I am sure that a whole lot of of you know their songs – like “Wild Thing” and “Love Is All Around”.
A very special setting for this interview done in Germany, only about 20 years after the second world war.
Read on!


Troggs caged in Berlin zoo

Special by Keith Altham


ERIC BURDON, who is so devoted to the birds in London’s St. James’s Park, would love it here on the twelfth floor of the Berlin Hilton. I am awakened by the sound of the pelicans in the Berlin Zoo below, the scene of the Troggs’ Press reception yesterday. Troggs are pop giants here, creating the kind of fan fervour that the Rolling Stones experienced in their early days.
Their manager Larry Page and I arrived on Saturday to find the group already installed in the hotel, where the big attraction was listening to the local AFN broadcasts beamed to U.S. Servicemen.
These include interruptions like “When you phone your girlfriend don’t talk about your work. She may not be a spy, but the man listening-in is!”
This kind of unhappy comment is a constant reminder that we are staying on an island — a city divided in half in the centre of East Germany. It’s a grim grey city of cement. Ultramodern office blocks dominate and a huge skyscraper is surmounted by a blue-and-silver neon symbol for Mercedes cars, revolving halo-like about us (you can see it in the film, “Quiller”). At night red, blue and green flickering lights cut into the blackness but something seems wrong as you look out toward the horizon.
Reg Presley drew my attention to the fact that from a line parallel to the Reichstag building and beyond, the lights went out almost to the point of a total blackout. This is the dark Eastern sector.
“Frightening, isn’t it?” said Reg. It was chilling.
The Troggs had just completed their Swedish tour with mixed feelings. They had their amplifiers changed to receive continental voltage but it transpired that Sweden is one of the few countries that retains a European system. The amplifiers blew up on the first night!
“Audiences and fans were great,” said Reg. “In Stockholm we played a club and later the manager said it was the first time in four years he had heard screaming there.”

Saturday afternoon was spent chatting in the hotel and apart from Pete Staples and I being politely ejected from the bar for not wearing ties there were no major international incidents.
The evening provided an interesting excursion to the Eden Playboy club, a lively scene where young people dance and let rip.
An interesting variation in “go go girls” was provided by the dancing frauleins, who plunge into a swimming pool (in swim costumes) as the finale to their act. They are joined almost immediately by the more well-lubricated German lads who dive in — in their suits!
The Troggs were well-feted and as guests of honour invited to throw the girls into the pool! This they did with such enthusiasm that everyone shared in the dip!
During the course of the evening Larry Page was announced as their manager and credited with composing “I Can’t Control Myself”, which amused Reg (who wrote it). A German interpretation of “Wild Thing” was played, called “Lisbeth”.
The Sunday morning Press reception in the Berlin Zoo provided onlookers with free entertainment as the Troggs posed in an animal cage while a zoo keeper offered them a hunk of raw meat!
One four-year-old young fraulein was torn to distraction between the relative merits of a grizzly bear and Pete Staples opposite, who appeared to be wearing the animal’s mother!
Pete’s new full-length fur coat (see picture) is the subject of much amusement in the group and his version of Bud Flanagan’s “Underneath The Arches”, dressed in this ensemble and strolling down the Budapest-strasse, has to be seen to be believed!
After a short meander among the zebras, monkeys and seals for the benefit of photographers, we returned to a hot meal, provided in the grounds by our hosts, the Hansa Record Company, which issues the Troggs in Germany.



Over a lunch which included such delicacies as kanoodles (dumpling-like objects of unknown origin) and goulash, Chris Britton stressed the need to keep a sense of humour to relieve tension while on these never-rest tours.
“We’ve worked up a number of good routines,” he revealed. “Pete’s `Long John Silver’ is now nothing short of a masterpiece and Ronnie does a nice ‘Wilfred Pickles’, while Reg has developed a genius for relieving moments of sheer terror — like when the amps blew up! — by underestimating the situation with a camp ‘Whoops!'”
From the zoo we shot off to the huge Deutchlanderhaller, which seats 10,000 people and is a striking contemporary version of our own Wembley Empire Pool.
“The Germans are well organised,” said Reg. “We’ve come up against same bungling in certain parts of Scandinavia, but here they get things done. We ask for something and it’s no problem. There’s no discussion, no fuss, just action. And Hans Blume, from Hansa Records, has chaperoned us about like we were his own babies.”
Also on the concert was Graham Bonney, who got to No. 1 in the German charts with “Super Girl” and stayed in for over six weeks. He had some interesting things to say about his new single as he signed pieces of paper, bare limbs and photographs thrust at him by those lucky and enterprising enough to get into rehearsals.
“I’ve just recorded a Bruce Johnston composition, `Thank You Baby’,” Graham told me.
“There’s naturally a lot of Beach Boy influence in it and Bruce himself helped produce the session for me. It should be out about the second week in January. I’m knocked out about it.
“Bruce and I became friendly while on tour here in Germany about a month ago and he agreed to help me with the song. Such a modest guy, isn’t he?” I agreed.
The concert was a storming success, with Graham Bonney, ably backed by the Remo Four, giving a swinging performance.
Then the Hollies presented their usual slick brand of musicianship and well-balanced programme — “Taste Of Honey”, Chuck Berry’s “Too Much Monkey Business”, and the Four Tops’ “Reach Out, I’ll Be There” (Which Graham Nash informed the 9,000 audience they were thinking of recording before finding it at. No. 10 in the British charts after returning from the U.S.) and “Stop, Stop, Stop”.
Next we got a group called the Boots, who stamped about a bit, with one fellow dressed up as a Martian, sporting an antenna!


Opening up with “Louie Louie” to a clap that sounded as if it had been stolen from the World Cup final — only the shout was “TROG-GUZ” and not “ENG-GLAND!” — our Troggs had the audience greeting their “I Can’t Control Myself” and “With A Girl Like You” with frenzied delight. After other songs, they ended with ” Wild Thing,” which made the crowd just that!
An announcement by a back-stage official declared that British groups were unfair to them because they request the lights dimmed. 9,000 fans voiced their disagreement and so did manager Larry Page — and that was enough to ensure the lights went down.
They went up again with any movement in the crowd and had it not been for that and poor sound balancing, which prevented the vocals reaching the back, the Deutchlandhaller would have had the kind of scene on their hands which had only previously been experienced by the Beatles and the Stones.


The original music paper this article came from (pictured at the top) is for sale!
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ARTICLE ABOUT Pink Floyd FROM New Musical Express, December 13, 1969

Here`s a real goodie for those of you who like the Floyd.
Read on!


Three years ago, when they started Underground they had a rough ride

Pink Floyd have the last laugh

By Nick Logan

When the Tremeloes can talk about playing progressive material then the day is dawning for the complete establishment into pop of a stream of music once laughed at and contemptuously dismissed as a short-lived fad.
Three or so years back when it was all starting, Pink Floyd were getting a rough ride from the pop pundits… but went on to do perhaps more than any other group to open the way for the new breed of pop musicians who in 1969 have made their presence felt in no uncertain manner.
As far as last laughs and all that, Pink Floyd have plenty to chuckle about.
“When we started in UFO it was a beautiful place to play,” recalled Floyd keyboard wizard Richard Wright when we spoke last week. “But when we went outside London nobody wanted to know. People used to throw bottles at us.
“At the same time we had a slight hit with See Emily Play and people expected us to play Top 20 stuff. Instead we came along with this strange music they didn’t understand.
“People just didn’t believe in us; I think they regarded us as a huge joke,” continued Richard without bitterness. “They saw us as a lot of freaks getting up on stage and playing freakish music.
“I’ll never forget Pete Murray saying on ‘Juke Box Jury’ that we were just a cult and would last for six months.”


From the groundwork laid by the Floyd and their contemporaries the whole Underground network, along with the University circuit, built up.
Could Richard forsee the progressive boom? “I knew it would happen some time but I didn’t know if it would happen quickly or slowly.
“I don’t think we could have seen it happening to such an extent where today the Underground is now the overground and Underground groups are getting better money than the teenyboppers.
“Yes I would agree that it is today’s pop music, and it is really nice because there are so many groups playing good music and it is accepted everywhere.”
Everywhere? “Well there are still a few places where a few people will walk out, but generally speaking it just gets better and better.
“Even Glasgow, which you might expect to be an incredibly bad scene for a group like us, is a really beautiful place to play.”
What did Richard think changed it?
It was UFO; it was groups like us and the whole hippie philosphy that was connected with it.
“And because the pop thing was then so shallow and empty and people wanted better things. Now because of it even straight pop is becoming better.
“Audiences now demand that you must he able to play your instrument — it’s not just a question of having a pretty face or wearing way out clothes. I should think it’s pretty hard to establish yourself as a teenybopper group now.
“It’s nice too that what has happened in the past three-four years has encouraged really good musicians to care about what is happening in pop and to form their own bands.
“It is very encouraging to find that what you believe in is commercial.”



After a couple of medium successes with singles, the Floyd dropped away from the market to make their name through albums. Their double set, “Ummagumma,” is at No 9 in this week’s NME Chart.
I asked Richard if the group had any inclinations to return to singles, with the successes of Fleetwood Mac and Jethro Tull in mind.
“Well we had that one hit and then two after that didn’t make it,” he replied. “Then we came to realise that it was not important to get hits and that, in fact, a No 1 for us might be a bit of a drag.
“I find the whole business of pop and Top Of The Pops a drag, and the singles scene is a dying market anyway.
“I’m not putting it down. If we got a single that went to No 1 it might be nice but it wouldn’t be important because that’s not what we are about.”
He see nothing wrong however, with other groups breaking into the singles field; nor does he feel it will do them any harm.
“It is rubbish to say they have gone commercial,” he maintains. “Bands like Jethro Tull and Fleetwood Mac believe in what they are playing and in the end it always comes down to the music.
“It is not a question of a sell-out — it means in fact that pop is growing up.
“From now on I believe pop music will be good music. There will be still more change but the standards have been raised and I cannot see them going down again.”
Pink Floyd, of late, have encountered a great deal of success in the film world with their scores for “The Committee” and “More,” released as their last hit album, and Richard sees this as further proof of the new acceptance for progressive music.
In this field they’ve recently completed the score for a TV cartoon series in the States — the producer asked them to do it after hearing “Saucerfull Of Secrets” — and for an Italian film to be released here in February.
An album of the music will be released at the same time and as the group will be recording a further album later this month there are plenty of Floyd goodies on the horizon.
“Film scores are very hard work,” commented Richard. “On the Italian film we worked solidly day and night for two weeks to produce 20 minutes of music. But it is very satisfying work and we’d like to do more of it.”
He went on to reveal that the score also contains some un-Floydian segments; the group using blues and country and western music at certain points.

New Tour

In February they start a concert tour at London’s Albert Hall and plan to develop more the Azemuth Co-ordinator used on previous dates.
Richard explained it is a stereo system with either four or eight speakers that can be set up around a concert hall so that the audience is completely immersed in the sound — 360 degrees stereo if you like.
They would also like to work with an orchestra. “We want to write a complete work for the orchestra and ourselves so that the group is another part of the orchestra.”
Then, if it is possible, the orchestra would be split up and positioned around the hall — along with the speakers — so the audience would he sitting in the middle of the music.
I don’t think they fear any competition from the Trems with that!



ARTICLE ABOUT John Lennon (The Beatles) FROM New Musical Express, December 20, 1969

I can`t resist re-printing those articles featuring one of the most important songwriters and musicians of the last hundred years. Even if the articles are a bit confusing as this one. Read it and you`ll know what I mean. But still, a lot of good stuff too. Enjoy!


Lennon: I won`t sell out

Bore, fool or saint?

By Alan Smith

THEY say John Lennon is insane, a fool, and a bore. They call him an embarrassment, a joke, and a man too interested in his own publicity. They talk about white bags, long hair, posing nude, pirate ships, recording in a hotel room, staying in bed for a week, more money than sense, insulting the Queen, hurting his Aunt Mimi and being dead by 40.
Very few talk about stomachs swollen with hunger, Vietnamese villagers burned alive, men crippled for life, a year to talk about peace delegates around a table, Biafra, or the Bomb.
If John Lennon ever pricks a conscience, he lets the guilt fly out, deflates his cause and gives the outlet. Never mind Vietnam. What about Aunt Mimi? Never mind Biafra. Did you see those nutters in the bag?
These are the knocks, this is the criticism, and if it`s all true then the chances are that in the fullness of time John Lennon will end up as the most expensively bankrupt ex-Beatle of all. And still the world will be without peace.
My own view is a belief in his absolute sincerity, tempered with a near-screaming hope that one day soon he’ll come in just a little from the world of the bizarre. I want him to win.

Always a Beatle

Talking about the furore which followed when he returned his MBE and the reasons he gave in his letter John said:
“What a drag that thing was about, it doesn’t matter if I’ve given the MBE back, technically I’ll always be an MBE. That’s like I’ll always be a Beatle!
“Just say I hadn’t put that line on my letter about ‘Cold Turkey’ dropping down the charts. What would they have attacked? And they’re going to attack, man — whatever.
“If it hadn’t have been Cold Turkey,’ the whole concentration would have been on insulting Her Majesty. Instead, they printed what I had to say in the letter, and whether my Auntie is going to be hurt.
“And anyway, it’s not that serious. Our whole game is to say to people that WAR ITSELF is a game that’s gone too far. The problem with the revolutionaries is that they get so serious — so involved — that they’re now playing the politician and the Establishment’s game.
“You don’t win like that. We think that was the mistake that Ghandi and Martin Luther King made . . . by becoming The Leader and The Saint and The Holy Man who Does no Wrong. Nobody likes saints alive. They like ’em dead. And we don’t intend to be dead saints. We’d rather be living freaks.”
“Yoko and I keep fighting for what we believe by rebounding mentally against each other. This thing we have together is telepathic. We’ve been together almost 24 hours a day for almost two years.
“Couples pick up on us, of course. There was a guy interviewing us the other day, and he was saying that he and his wife were listening to `Wedding Album’ at home, and his wife was saying `What the hell is it?’ and all that. And then they sat together, and halfway through it she came over and kissed him. And he said to her: ‘That’s what it’s about.’ That was so rewarding, man.


Couple gimmick

“There’s never been a couple to really identify with before. That’s our gimmick. Our gimmick is that we’re a living Romeo and Juliet.
“And you know, the great thing about us influencing in this way, is that everybody’s a couple. We’re all living in pairs. And if all the couples in the world who are in love identify with us . . . and our ideas go through them . . . what per cent of the population is that?! And then let’s all turn on the one that’s complaining about the image, and why did you get it out, and all that!
“Let’s get with the lovers first. They’re going to produce all the children.”
Yoko: “He’s right. If you can’t work on being a couple, how can you work on the world?”
We talked about FEAR.
Said John: “Fear comes and goes. I have the same fears and paranoias that anybody else has, and I have a real fear of dying, or Yoko dying before me when we`re 60, and all the other insane fears. Any fear you’ve got, I’ve got. People think Yoko and I must be in an immune state of glorious luxury.
“They think Money Saves You, but we’re very insecure. You tell me any fear you’ve got and I can tick it off.
We talked about REGRETS.
“I regret that Yoko wasn’t my child. I don’t like the idea of her being born in somebody else’s womb. That’s one of my great jealousies. It’s a drag that she was in somebody else’s womb, but I can’t do anything about it.
“I have day-to-day regrets, but they don’t affect my future attitudes. I like to play the future blind. I like to play conceptual chess, rather than have the chess on the board.”
We talked some more about the BEATLES:
“The way we all feel in the Beatles today is a bit of a residue of all the meetings we had at the time of the ATV-Northern Songs thing. We were together every day for these terrible, terrible meetings which made us uptight. It’s all that, that’s still in the air between us. It’s nothing that serious. It was just so hard for us.
“We had to listen to all this jazz about business, and hear about banking, and try and think about the technicalities.”
We talked about MONEY:
“We got to hear how much we’d wasted, and that was a real bring-down. It put all of us in the Beatles into the wrong situation.

Wasted money

” God, I don’t like to think about the money we wasted. The John Lennon of ten years ago would have sworn his head off. I mean . . I still did. It was such a waste. I’d sooner have given it away to some deserving gypsy.”
We talked about YOKO’S MISCARRIAGES:
“We’re both a bit choked about babies, with two miscarriages. Both of us feel like laying off, but we don’t know how to, how you do it! It’s a terrible bringdown at the time, but like anything, you carry on.
“Now we think maybe it was because we didn’t want one. Maybe a baby would interfere. How much time would we have for it? I don’t regard the whole thing as fate, though. I don’t believe in the Will of Allah and let ’em — on you.”
We talked of the “GET BACK” film, to be premiered in the New Year:
“No, George doesn’t have a row with me in it. I think he had a bit of a barney with Paul, but you don’t see it. He’s just there one day, and not the next.
“George said: ‘I’m leaving,’ and we carried on, and then he came back.”
BEING HATED: “When I do things I do, I don’t want people to dislike me.
“I prefer to be loved, obviously. That’s the whole ball game. They’ve got to love me even if I’m a Jewish transvestite Negro with a hunchback and one leg. But I want to be loved for myself, not some kind of image.
“I’m not going to paint myself white to be loved. I’m not going to sell out. I’m not going to play that ball game, prejudice and fear.”
STAGE FRIGHT: “I get nervous and physically sick. I’ve been away from stage appearances for a long time.”



ARTICLE ABOUT Rolling Stones FROM New Musical Express, December 21, 1968

Here`s some more Stones for you. They have a lot of fanatic fans and their contribution to rock music is nothing less than legendary. Still rocking in 2020, they seem indestructible even if their age is catching up with them in various ways. They will live on in rock`n`roll history, that`s for sure!
Read on!


Keith Altham joins the Stones Rock`n`Roll circus…

The greatest show on earth

The Rolling Stones put in some overtime last Wednesday when they spent 17 hours working on their telethon production of “The Rock and Roll Circus” which is likely to become a pop classic when it is shown. Michael Lyndsay Hogg, who directed some of the more memorable “Ready Steady Go!” sagas, produced this epic with a little help from his illustrious friends, John Lennon, Yoko Ono, Marianne Faithfull, Eric Clapton, Mitch Mitchell, Jethro Tull, classical pianist Julius Katchen, the Who and “perpetual” violinist lvri Gitlis.
It was, in fact, the most exciting pop show I have ever seen and one in which I was involved with those “maniacs” Keith Moon and Pete Townshend, who organised compulsory audience participation and early morning P.T. until 5 o’clock Thursday morning.
“If you had told me four years ago that we would have been involved in something like this I would never have believed you,” said Brian Jones, “but everyone is really enjoying themselves.”
Someone asked John (Lennon) what kind of amp he wanted and he just said “oh one that plays!” The idea is that if everyone has fun the people who watch will too! ”


When I arrived on set at the Wembley studios around noon I was distressed to find that the boxing kangaroo had been axed. I had also missed Mick wrestling with a live tiger the previous day.
We entered the viewing room in the studios where Michael was waxing enthusiastic over yesterday’s “rushes” of a mysterious American group called the Liquid Wallpaper.
“Oh, great work, Mike – nice shot — that’s the way to shoot rock and roll,” he drawled at a projection apparently taken by the cameraman standing on one leg, shooting under his left armpit through the strings of a guitar.
They were, in fact, very good, but my enthusiasm wained as I arose from my kneeling position in the darkened room and cracked my forehead on the sharp corner of a table.
Dabbing at the wound as the lights went up Michael kindly remarked on his way out, “How are you Keith — just sitting there bleeding — fine!
“The grand parade in the Circus ring was a photographer’s paradise with Yoko dressed as a witch with tall black pointed hat and John as a tumbler. Keith Moon minced up in black tights covered in bright glittering coloured spangles.
“Wait till I change out of my street clothes,” he quipped. Eric Clapton wore a suit of many colours and Mick was dressed as a ringmaster. The photographers were let in and crowded round like a cloud of locusts with Rolliflexes clicking. Ten minutes later Mick curtailed the photo call by announcing: “One more for Andy Gray,” referring to our Editor and the show was almost on.
The usual technical hitches resulted in the entire parade being stuck in the tunnel entrance to the ring from which the sound of Ivri’s interminable violin emerged along with loud rude noises from the Who attempting to play ancient brass instruments. Ivri launched into a Beatles composition.

“Hope you’ve got your performing rights money ready, mate — we’re all composers here,” quipped Townshend.
“Except me — I’m a decomposer!” added Moon. Much laughter from tunnel after 15 minutes of technical hitches.
Meanwhile, back in the sound room Jimmy Miller was semi-hysterical as engineer Glyn Johns raced around checking tapes.
“I haven’t had this much fun with my clothes on for weeks,” declared Jimmy. Jimmy also produced Traffic records and I asked him about the recent break-up of the group.
“It was a complete surprise to me,” he admitted. “I never thought Stevie would leave the group so suddenly. I know he has been very influenced by jazz organist Al Koopers’ recent one-man-work and that he has ideas about playing every instrument on future discs — even drums himself.”
Back in the ring the Parade was on with Cowboy, horse, midgets, clowns, trapeze artists, fire-eater and acrobats supplementing the pop stars.
That being completed, the other acts dispersed around the studios to watch Jethro Tull set up for their contribution, “A Song For Jeffrey.”
Eric Clapton was casting covetous glances at a midget’s huge red-crepe bow tie — “I’d give anything for that,” he whispered.
“Ask him for it,” suggested Keith Richard.
“He won’t part with it,” replied Eric. ” Made it himself.”
” Nick it,” suggested Keith. “You wear his tie and I’ll wear his trousers!”



In spite of all their musical progression it’s most noticeable of late that the Stones are becoming very much interested in blues music again. It was Jagger who expressed admiration of Jethro Tull’s brand of blues and asked them on the show.
Brilliant guitarist that he is, Clapton admitted that his inspirations were really still in his past. “I’m still a rocker,” he grinned, “and there’s nothing I can do about it!”
The event of the afternoon was probably the Super Group composed of Lennon, Clapton, Richard and Mitchell. They played a version of Lennon’s “Yer Blue’s.”
For one or two people it was interesting to note that as a guitarist Lennon, to quote one critic — “is not half bad.”
It was even more noticeable at one or two impromptu jam sessions back stage with the Super stars getting into old rock and rollers like “Hound Dog” and “Peggy Sue.”
Yoko provided a strange diversion to one side with a new dance in which she contrived to wiggle completely inside her voluminous black dress so that neither head or limbs were exposed.
Their second number was an improvisation with Yoko giving us an exhibition of “Japanese throat” which I do not pretend to understand so I will not attempt to criticise.
Sometimes I think she is quietly laughing at our attempts to read meaning into the meaningless.
It really is time that people were kinder towards John and Yoko. As far as I know they have never intentionally hurt or abused anyone and yet they have become the butt for every cheap comic stuck for a joke.
They spent the entire day and next morning along with us, supporting the Stones show from the audience. Photographers returned with smiles and reports of the new “mellow fellow” which is Lennon.
A tea lady brought back excited news after they signed her autograph book and chatted to her: “I was a little frightened of them but they were so nice it made me ashamed!”
Lennon, the millionaire who sat perched about on amplifiers and boxes in his old blue denims — a hole in the elbow and biro marks on the well worn knee — is a man worth watching and listening to and when people like him, Townshend, Burdon, Jagger, Walker, Marriott and Lane quit this business so will I. Talent and guts are rare combinations.


Meanwhile back at the show, Miss Marianne Faithfull in a beautiful aubergine gown sat with regal elegance upon a divan and trilled a Gerry Goffin “Something Better” number quite superbly arranged by one Mick Jagger which may yet see her return to records.
Trapeze artists were suspended above pianist Julius Katchen, who admires present pop groups because so much in the classical world is becoming “machine made,” while he played “The Firebird” and a piece of Brahms.
A nice man, as well as a gifted pianist. Clowns, fire-eater and cowboy on horseback led to the Who.
The Who did their mini opera in which Keith Moon regaled us with his latest impersonation of a human fountain by having beer spilled onto his snare drums while in top gear.
Although he might smile at the thought, Townshend is now almost a piece of pop-folklore with his catherine wheel like arm movements and aggresive leaps. The act must make great TV.
Around about 2 am the Stones were on stage and warming up with “Route 66.”
They got through “Jumping Jack Flash” and “No Expectations” to prove they still have the most exciting group sound in the world and the most interesting visual vocalist in Jagger.
At times he strikes attitudes reminiscent of an obscene Nureyev!
“Sympathy With the Devil” was Mick at his provocative best, in which he whipped off his shirt to reveal a tattooed Devil’s head on his chest.
This resulted in the total collapse of a young lady near the stage. “You Can’t Always Have What You Want” is their new number which may be the next single – and likely their next number one.
By 6.30 am Pete Townshend had donned a red leather seat as a hat which together with his red pancho made him look like a member of the Klu Klux Klan.
We all ended up on the finale — “Salt of the Earth” — and I rather suspect I may be seen in a soppy hat and smock amidst the others in a rousing chorus at the end.
At 6.30 am I was earning my lift home by helping pack the Stones amplifiers.


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 Fleetwood Mac FROM New Musical Express, December 21, 1968

It is so nice to have a look back in time and read these historical texts from a time when these bands still were in their infancy. This band had already made their two first albums at the time, both released in 1968, and they were soon on their way to a fantastic career!
Read on!


Perfection before hits –
that`s the claim of Fleetwood Mac

says Richard Green

MOST groups hope and pray that their latest record will be a hit and are extremely disappointed if it does not become one. Not so, however, Fleetwood Mac even though their “Albatross” is flying high.
This odd situation stems from the quintet’s desire for perfection in their music and its need to always put out good records.
The newest member of the group, Danny Kirwan, who looks as though he is about to sit for his ” 0 ” levels instead of going on stage with one of the country’s biggest groups, told me about the Mac’s attitude before they left for an American tour.

No worry

“If this one hadn’t been a hit, we wouldn’t have minded because we’d have been able to look back, and say ‘that was a good record’, ‘he said confidently.” The last one,’Need Your Love So Bad,’wasn’t a big hit, but it sold quite well and was another good sound.”
Getting Danny to say something or express an opinion is quite difficult as he is a shy lad who is generally content to let others do the talking.
So I tried the old trick of attempting to loosen the tongue with alcohol. On Danny, that doesn’t come off.
Vainly hoping that he would be incensed, I asked him why Fleetwood Mac swear on stage and if he didn’t think it had an adverse effect on people’s opinions of the group.
He didn’t say anything for a while, then he looked up and commented: “They seem to like it. If Jeremy yells ‘——` or something, a cheer goes up. I don’t think it does any harm. If they like it, let them have it.”
He should have been in the diplomatic corps, but as he isn’t, I asked about the difficulty of having three lead guitarists. This time, the response was immediate and definite.
“It doesn’t work like that, you see,” he told me. “It’s not three lead guitars playing at the same time. We all have our own spots. When Jeremy’s playing, Peter and I don’t play the same, we stay in the background, then Peter has his go and then me.
“We don’t work things out before we go on, we just take our spots when it comes to it and we play what we want to play.”
He also talked about the Mac’s image as a group that plays mainly Elmore James numbers and little else.
“Only Jeremy plays Elmore James numbers,” Danny reasoned. “When he does his spot, he may pick one of his numbers or he may not, it depends. We’re gradually getting away from the Elmore James image and we won’t be playing his numbers much longer . . . unless Jeremy wants to.”
Fleetwood Mac’s current American tour is a long one, but “Albatross” and a couple of good LPs are around to keep their fans company until they return. When they do, it will be back to the gruelling slog of clubs and ballrooms.
“We seem to play in all the pubs that have clubs upstairs,” Danny agreed. “That seems to be our scene. It would be nice to play a few concerts, but that’s not really Fleetwood Mac’s scene.”

New scene

Danny was recruited to the ranks of Fleetwood Mac after being unable to find suitable musicians with whom to form his own group. How did he find fitting into a well-established outfit? Difficult?
“No, not really because, as I say, everyone has his own place and we don’t clash,” he replied. “At first, I found I had to concentrate more, but that was only because I’d been playing with little groups. Soon, I found I was in with things and the going was easy.”
First on the list of things to do when the group is back from America is to get another LP ready. And Danny told me a story about it which illustrates how free and unbound by strict rules they are.
“Peter and I have done most of the things for the album, and Jeremy’s not going to be on it.”
Noting my look of surprise and clevery guessing what I had in mind, he quickly added: “That doesn’t mean he’s leaving, be just doesn’t want to be on it. He may change his mind, then he will be.”


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