Humble Pie

ARTICLE ABOUT The A-Z of Heavy Metal FROM SOUNDS (Part 4), April 26, 1975

So, as mentioned before, this concludes this series as I don`t have the next number of Sounds which ended with bands up to the letter Z.
I guess the two journalists in question here would correct a couple of things if they had the chance… among them the name of Kiss`s second album and the very strange omission of a band like Led Zeppelin in this article. They may not have been “metal” enough, but then some other bands shouldn`t be here too.
Read on!


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

Compiled by Pete Makowski and Geoff Barton



A hard rocking unit who recorded two albums on the Purple label (`Bullet Proof` and `Bolex Demtia`) then split. The band consisted of John Cann (guitar), ex-Atomic Rooster bassist John Gustafson and Paul Hammond (drums).


You know the Hawks. Been together for years, once a people`s band, latterly spaced-out cosmic trippers with a diverting light show. Heavy as an asteroid; loud as a rocket blast; entertaining as a sci-fi novel. Their albums on UA are all readily available: `Hawkwind`, `In Search Of Space` (a classic), `Doremi Fasol Latido`, `Space Ritual` and `Hall Of The Mountain Grill`. Freak hit was `Silver Machine`. Follow-up `Urban Guerilla` was almost a success, too, but got deleted because of political implications. Current effort, `Kings Of Speed`, is the plague of the SOUNDS office.

Heavy Metal Kids

Came shortly after Silverhead and had that same punk rock appeal about them. Headed by mouthpiece Gary Holton they have been progressively building a strong following although their debut album on Atlantic didn`t sell as well as expected. Since then Micky Waller (ex Jeff Beck drummer) has left to form his own band and the band have changed their name to the Kids.


If the Troggs took Chip Taylor`s `Wild Thing` and made it kind of sleazy, Jimi Hendrix took it and gave it a sense of menace – which is why Makowski decides to include Hendrix but exclude the Troggs from this exhaustive list. One presumes. When Hendrix was on he was magnificent – one of the few men who could take the solo guitar and make it sound so good it didn`t need another instrument within a thousand miles. He could also be unbearably tiresome, over-extending licks and riffs until they bled white. But who else could have taken `Star Spangled Banner` and made it work for young America?

Humble Pie

At one time the Pie looked like strong contenders for the rock and roll throne the Stones had been so comfortably sitting on. They had a hard rhythmic style to put them in that league. The band were formed in `68. The combination of Steve Marriott, both from huge groups of that era (the Small Faces and the Herd respectively), sealed the band`s success from the start. Ex Art and Spooky Tooth bassist Greg Ridley and Jerry Shirley completed the line up. Their move to A&M from Immediate in 1970 coincided with a transition in the band`s style, a more aggressive brutal sound. This plus their consistent roadwork led to their imminent success in States and this country (they released three albums during this period `Humble Pie`, `Rock On` and `Live At The Fillmore`). It was obvious that Frampton and Marriott were taking two opposite musical directions and this led with the departure of the former who went to form his own band – Camel, who are still recording on the A&M label. The Pie took on the guitar services of ex Bakerloo, Colosseum man Dave Clempson. The band`s sound became more basic, the `white man soul` vocals of Marriott came to the forefront and they produced one killer of an album titled `Smokin“ in `72. This was followed by three less inspiring efforts (Eat It`, `Thunderbox` and `Streets Rats`) and the band are in the process of splitting.


Formerly Flesh, this band first made their mark at the Marquee club where they built up a strong following. The line up then consisted of Steve Haynes (vocals), Micky Lluelyn (guitar), Kenny Lyons (bass), Kenny Daughters (organ) and Tony Beard (drums). They recorded their debut album last year on the Firefly label called `High Street` produced by ex Vinegar Joe guitar player Pete Gage. Since then the band have seen the departure of Beard who has been replaced by ex Tundra man Henry Spinetti.


Out of the same camp as the Allmans/Marshall Tucker/Wet Willie, the guitar of Spencer Kirkpatrick and vocalist Wayne Bruce make this band a powerful, up front outfit. A four piece with only one album to their credit but worth watching. A big reputation down South.


Iggy Pop

He emulated his heroes – Jagger and the Doors – with unrestrained and exaggerated vigour. A showman supreme, he got a band together in his Ann Arbor home town in `69. Their sheer punk rock enthusiasm made up for their lack of musical skill, but essentially they were a live band and their albums sounded empty save a couple of songs that just happened to work. They recorded two albums on Elektra (`The Stooges` produced by ex Velvet John Cale, and `Funhouse`). Later Bowie produced them (`Raw Power`) an improvement, it was hailed by critics, but Iggy mysteriously disappeared and has had an uneven career since.

Iron Butterfly

Iron Butterfly are, arguably, the most successful, as far as record sales go, of all heavy bands. Their album `In-A-Gadda-Vida` shifted an incredible amount of copies and was just about the Sixties most successful album – it was the first to be awarded a platinum disc and stayed in the US charts for 140 weeks (Butterfly sold, in all, some seven million albums in that decade). They began in San Diego in 1966 and recorded their first album `Iron Butterfly – Heavy` within a year. Six albums were released by the band and all hit the US charts. Their original line up was Erik Braunn guitar, Lee Dorman bass, Ron Bushy drums and Doug Ingle organ and vocals. Later Braunn was replaced by two guitarists, Mike Pinera and Larry Reinhardt. They were basically a heavy blues based outfit with an irritating penchant for electronic gimmickry. Ingle, the band`s leader, had an eerie vocal style which became their trademark. Butterfly have recently reformed with two original members, Braunn and Bushy, and two new members, Phil Kramer bass and vocals, Howard Reitzes keyboards and vocals. They have an album, `Scorching Beauty`, out currently on MCA. It`s marginally better/worse than anything they`ve done before, depending on which way you look at it.


James Gang

Formed in Cleveland, Ohio the original band consisted of Joe Walsh (guitar, keyboards, vocals), Jimmy Fox (drums) and Dale Peters (bass). The band produced a versatile range of what could be described as tasteful rock and roll. Walsh`s musical ambitions led to his departure and current solo successes after four albums (`Yer Album`, `Rides Again`, `Thirds`, `Live In Concert`). The remaining two employed the talents of Dominic Trojano for two albums (`Strait Shooter` and `Passin` Thru`), then left to record a solo album and is currently with The Guess Who. He was replaced by Denver guitarist Tommy Bolin and they have recorded two albums (`Gang Bang` and `Miami`). Now they`re a good rock band but nowhere near the standards of the original Walsh line-up.

Jo Jo Gunne

They never managed to sustain the success they had with their first single `Run, Run, Run`. The band was formed by two ex Spirit members Jay Ferguson (keyboards) and John Locke (bass). After three albums guitarist Matthew Andes left to be replaced by John Stahaley (formerly Spirit and Stahaley Brothers).

Judas Priest

Birmingham five piece who look like they could step into Sabbath`s shoes judging by the response they`ve been getting on tour. They have an album out on Gull records and are currently working on new product.



Rock and roll meets Hammer films. Kiss have tried to combine glamour, horrorock, showmanship… if there was a drink comparable to their mixture of styles you`d have to have a strong stomach to hold it down. The band consists of Peter Criss (drums), Gene Simmons (guitar), Paul Stanley (guitar), Space Age Frehley (lead guitar) and they`ve recorded three albums (`Kiss`, `Nothing To Lose`, `Dressed To Kill`) on the Casablanca label.


Love Sculpture

Featuring Dave Edmunds and a bit bemused when their heavying-up of `Sabre Dance` was Number One here in 1967, they were “A local band that was never meant to be” according to their leader. They toured America because it was a good way to get their air fares paid, but split up when they got home. What really put the cap on it was when they found themselves topping the bill over Joe Cocker. They thought the joke had gone far enough.

Lynyrd Skynyrd

Seven piece Skynyrd have taken the States by storm over the last couple of years, their first album setting some non-Southern dudes back on their heels. Three guitars lead the Skynyrd attack but from evidence of their last (third) album they`ve taken their foot off the gas a bit.


Mahogany Rush

When Frank Marino was only fourteen years old, he had a bum trip. When he recovered in hospital he discovered he had suddenly acquired an adeptness for playing the guitar, he could play the solo on Garcias `Viola Blues` note for note even though he never heard it before. Then Hendrix overtook his style.

May Blitz

Headed by ex-Jeff Beck drummer Tony Newman, this band were given a lot of promo but didn`t live up to it. They recorded two albums on the Vertigo label (`May Blitz`, `2nd Of May`) and split.


`Brothers and sisters! I wanna see your hands up there! Lemme see your hands! I wanna hear some revolution out there brothers! I wanna hear a little revolution! It`s time to move! It`s time to testify! And I wanna know – are you ready to testify? Are you ready? I give a testimonial – the MC5!` So begins one of rock`s heaviest (if not the heaviest) live albums, the Motor City Five`s `Kick Out The Jams`. The band had several albums released over here on both the Elektra and Atlantic labels, but all have long since been deleted. The only MC5 material currently readily (or easily) available is a track on the `Age Of Atlantic` sampler album, `Tonight`. Brief facts: the band originated in Ann Arbor, Michigan, in the early/middle Sixties; their trademark: unsubtle, unsophisticated, often barely competent metal which assaulted you (both live and on record even at the most moderate volume) with the force of a fragmentation bomb and the intensity of a dentist`s drill; they were extremely politically orientated, turning up and gigging at many a revolutionary, extremist party rally; Rob Tyner, vocalist, was (and probably still is) the epitome of the perpetually screaming, practically out of tune rock singer. The MC5 once proted Norman Mailer to write a particularly gruesome account of one of their concerts. It`s a fact not too widely known that the jingle for Noel Edmonds` jolly `Kick Out The Jams` spot in his morning show comes from the album of the same name, except that it`s cleverly censored: the MC5 scream, `and right now it`s time to – kick out the jams, mother fuckers!`, while Noel has sensibly toned this down for his listeners and inserted `brothers and sisters` for the offensive final word.


American band featuring ex- Edgar Winter sideman and sessionist Ronnie Montrose on blistering guitar. First album, released in 1973, was a rocker from end to end. Curiously, the band (at least on the two occasions I`ve seen them) fail to match up to their recorded sounds in live performance. Original line-up: Ronnie Montrose guitar, Sam Hagar vocals, Bill Church bass, Denny Carmassi drums. Alan Fitzgerald replaced Church for the second album `Paper Money` and Hagar recently left to form his own band, Sammy Wilde And The Dust Cloud. A new vocalist has not yet been announced, though Montrose is still intact.

Mott The Hoople

Mott the Hoople were always a schizophrenic band. Being the brainchild of Guy Stevens, they couldn`t have been anything but – he wanted a group that merged the Rolling Stones with Procol Harum. So their early albums zigzagged from manic, bad tempered thrash to reflective ballads – a quality that wasn`t reflected in the anarchy of their invariably shambolic live gigs. Finally, they gave up and split up. Then Bowie, `Dudes` and success. But Mott had always been a loser band, stumbling from one crisis to the next, and they remained so – once the original line-up split (Mick Ralphs and Verden Allen moving on ultimately to Bad Company and Cheeks) and the permutations of guitarists and keyboardmen started, the rot had set in. They fizzled out with Ian Hunter unable and unwilling to carry on as the group lynchpin any more. His solo career continues with the last Mott guitarist, ex-Spider, Mick Ronson, on another schizoid course; while the Mott remnants are about to record their first album with a new (secret) singer and guitarist. The future is uncertain as ever the past was.


If Cream had never existed it`s doubtful that Mountain would have followed. Felix Pappalardi (Cream producer and bassist in his own right) pulled together the talents of Leslie West (guitar), formerly with a band called the Vagrants, Corky Laing (drums) and Steve Knight (keyboards) and broke really big in America but couldn`t repeat the feat in Britain. Felix had a great influence on Cream in the studio and some of these themes were much evident in albums such as `Nantucket Sleighride` and `Flowers Of Evil`. The band split in 1972 and spawned West, Bruce and Laing but reformed following the WB&L collapse only to work sporadically. Best albums vie between `Nantucket` and `Climbing`.



A dynamic rock and roll four piece (Dan McCafferty, vocals, Manny Charlton, guitar, Pete Agnew, bass, Darryl Sweet, drums) from Dunfermline didn`t take off until the release of their third album `Razamanaz`. This was followed by chart appearances (`Broken Down Angel`, `This Flight Tonight`). Their next two albums (`Loud `n` Proud` and `Rampant`) sold well but their popularity waned in Britain when they concentrated their energies abroad where they are in the big league. The band have returned in powerful form with `Hair Of The Dog` which was produced by Charlton (the previous three were produced by ex-Purple man Roger Glover).

New York Dolls

`Too Much, Too Soon` was an appropriate title for their second album, the Dolls never quite seemed to make it. Visually and musically they were meant to represent New Yawk debauchery, the kid of the street sound. The band – David Johansen (vocals), Johnny Thunders (guitar), Sylvain Sylvain (bass) and Jerry Nolan (drums) – built a large following at Max`s Kansas City which captured the heart of the critics but were limited in their audience appeal (mainly confined to areas that were attracted by glitter rock).


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!

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ARTICLE ABOUT Humble Pie FROM SOUNDS, May 25, 1974

A band that history forgot? Well, we are not forgetting them on this blog. Hope you like it.


Concert review from Charlton Athletic Football Ground

By Pete Makowski

Humble Pie were easily second best to the Who. They were so hot `n` nasty I could have listened to them for the rest of the night. The last time I saw them was at the Hyde Park concert supporting Grand Funk and they came over twice as strong at Charlton. They opened up the show with a punchy version of “Whatcha Gonna Do About It” (remember that one?) with Marriott screaming out those vocals like there was no tomorrow. That guy goes easily alongside your Rodgers and Daltreys. His voice is so strong and soulful that added to the band`s powerful playing you can`t but help tap your foot continuously. Something which surprised me, was Greg Ridley`s voice, which is as ferocious as his bass playing.
They played material off “Thunderbox”, their current album which has sadly done nothing here. The title track sounded much stronger than the recorded version with Clem Clempson laying down some real mean guitar work and the newly shorn Marriott leaping and bounding across the stage belting out chords left, right and centre. The audience were with them all the way and it was obvious that the band were working their proverbial balls off, definitely giving of their best that day.
They never eased up once throughout the set. “I don`t need no fucking doctor”, as Steve described it, and an elongated version of “C`mon Everybody” was some of the best of an ultra fine set. Methinks a Pie tour wouldn`t go amiss.


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: Goldie Zelkowitz, Curtis Knight, Simon Alexander, Steely Dan, Chris Stainton, Ronnie Lane, Elliott Murphy, Loudon Wainwright, Tim Buckley, Steve Miller, Beach Boys, Tommy Vance, Jim Simpson, Stefan Grossman, Lynsey de Paul, Mott the Hoople, Kevin Ayers,
Dave Cousins, ELP.

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 Humble Pie FROM SOUNDS, January 8, 1972

This band had more chart success after Frampton left the band and he had more success without this band, so it turned out well for them after all. One of the greatest English rock drummers also get a mention in this article.
Have a good read!


Adding a little blues to the Pie

By Ray Telford

Humble Pie are now a band of some stature in Britain. Of course it took the super-aware American audiences to pick up on them first and start giving them the kind of respect any band needs for a healthy growth but that has seemed to be the way with most of the best of our home-grown rock bands – The Grease Band and Procol Harum being two of the more obvious examples.
Humble Pie returned from their umpteenth American tour a month before Christmas. That had been their first bunch of dates with new guitarist Dave Clempson since he took over from the talented and still under-rated Pete Frampton. In his last few months with Humble Pie, Frampton became aware of an ever increasing alienation between himself and the music he was obliged to play.
Clempson tells a similar story. Over two years he`d become some kind of guitar sensation with Colosseum but he too felt he was being drawn into musical directions which were not his cup of tea. There`s little doubt that Clempson`s departure from Colosseum did a lot to break up the band generally. Also they were a group largely out of place, sad as it may be, among contemporary British and American rock bands and I have little hesitation in guessing that this alone did much to speed up the Colosseum split.

Dave, however, has no such high flown theories. He simply speaks for himself when he says: “Before joining Colosseum I was just a happy little guitarist playing what I liked best but with Colosseum there was always something to live up to. The whole band were always consciously trying to knock people out and in the end that was what was beginning to screw me up.”
Nevertheless, it would have taken a shrewd observer indeed to predict a year ago that an instrumentalist like Clempson would one day find a home in a hard grooving band like Humble Pie. Dave hadn`t heard much of them until joining, apart from a few radio spots and a small tour of Germany they did with Colosseum two years ago. What he did hear, though, Dave liked.
Although he never had the chance to play a lot of blues in the past couple of years, Dave reckons he`ll now be able to make up for lost time.
“I`ve always thought of myself as a blues player and all the people in the band want me to play the blues and this is one reason why I`m much happier. With this band there`s no obsession about being better than anyone else which was what was happening in Colosseum. The guys in Humble Pie maybe aren`t the best at what they`re doing but we feel it and enjoy it and it just feels really natural.


“You know, Greg (bassist Greg Ridley) is much the same as I am. He`s very paranoid about his playing. He wants me to teach him more about the technical things in music because right now he feels he needs it. He`s got amazing feel, a real natural feel, but he wants to know more about what he`s actually playing. Bass players like Jack Bruce are perfect because he has this feel born in him and he`s got a ridiculous technique.”
Taking into account his previous dissatisfaction, or even disillusionment with Colosseum, I put it to Dave that forming his own band would have been an ideal solution. He says it was a thought which he had toyed with and had even gone so far as suggesting the idea to one of his old friends from his days in Birmingham, drummer Cozy Powell, who now sits in the drum chair of the Jeff Beck Group.
“Someday I`m going to be in a band with Cozy,” Dave said determinedly. “When my first band (a useful blues band called Bakerloo) broke up I was going to get a band started with Dave Pegg and Cozy in Birmingham but then Dave joined Fairport Convention and I went to Colosseum and Cozy was also involved in a few things so it never came off. But I did think quite a lot about getting my own thing started a few times while I was with Colosseum.”
Naturally Dave`s link up with Pie presented problems but again he points out that they were things which only needed a little time to put right. He says joining was easy because they were playing the music he felt and knew best. Instrumentally, his biggest hangup was getting the hang of knowing how much to play and how much to leave out.

Dave admits to being somewhat apprehensive, though, about his replacing Pete Frampton, if not from a musical viewpoint, certainly on a personality basis. Especially in the States Frampton was much loved. Dave was worried about group images and wondered, needlessly as it turned out, if an ex-member of Colosseum was acceptable to Humble Pie audiences. The two guitar styles varied greatly but each fitted. However, the past American tour proved that audiences or appreciation had not dwindled over the departure of Frampton.
“When Pete left the band they wanted somebody who had a different style and not somebody who was going to be purely a replacement for Pete. Rick Derringer really wanted the job desperately but he played too much like Pete. They needed somebody too who could fit in along with Steve`s (Marriott) singing and rhythm guitar playing.”
Humble Pie are in the studios for the greater part of January recording their fourth album. It`ll be the first time Dave will have recorded with the band. He`s proved himself on gigs the forthcoming album will be his final test.


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: Sandy Denny, Mimi Farina, Josè Feliciano, T. Rex, Crowbar, Muggsy Spanier, Canned Heat, Eric Clapton, Teddy Osei, Georgie Fame, Rolling Stones.

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.



Here is a band that most have heard the name of, but still may not know their music. One of the bands forgotten by the tick-tocking of time, effectively ending their career in 1975 and then releasing two albums at the start of the 80s as a final “hurrah”.
The original members of this band all played in several bands, many of them known at least at the level of Humble Pie or more. Everyone knows Peter Frampton after his famous solo live album “Comes Alive”, but Steve Marriott should be a familiar name for most, not at least through his time playing for Small Faces.
At the time of this interview their greatest success as a band were still waiting just around the corner. In 1972 and 1973 they charted both in the UK and the US with the albums “Smokin`” and “Eat It”.


A Humble offering of rock `n` roll

By Royston Eldridge

Humble Pie have made it but they haven`t had it easy. They`ve done it the hard way by spending months working around America, living down that initial supergroup ballyhoo that they never really wanted, until now when they`ve reached the stage where they`re accepted as a rock and roll band in their own right.
And that`s really all they`ve ever wanted. “I can`t kid myself,” Steve Marriott says, “I`m an old rock and roller, I`ll never be anything else, I`ve never wanted to be anything else.” Peter Frampton thinks the same way too and both of them have always wanted a group to play in where they`ll be known as musicians and not pretty faces.
“We`ve done a few clubs in England, the Marquee and things like that, and we also did one Locarno which we decided we`d never do again after being screamed at. We`ve never wanted that; all we`ve wanted to do is just to lay some rock and roll on the audience and try and bring a little bit of excitement back. It`s been a bit dull, don`t you think?”
So far all the excitement that Humble Pie have created has been in America where they`ve worked their way up from supporting act to headliners. A switch which happened in one week in New York. “We played the Fillmore with Cactus and the next week they asked us both back and the next time we headlined over Cactus. It was a really good gig,” Frampton explains.


In England progress has been slower but then Humble Pie haven`t played here that much. “When we first started we did a concert tour in England on the strength of the hit single and people weren`t really sure of us, they didn`t know whether we were going to be a teenybopper group or whatever. They weren`t too sure of our past reputations.
So we just decided to do America first, somewhere to go to where they had no pre-conceived idea of what we are, and we started from scratch there. I mean they knew Greg from Spooky Tooth and they knew Steve had come from the Small Faces but they didn`t really know Jerry or myself. I was known just about from the Herd because we were always meant to be going over but we never really made it.
“Now we`ve spent like nine months slowly building up a reputation in America and we`ve got a reputation as a good band now. It`s taken us some time, sure, the last tour was three months long, but we`d made up our minds to stay until the album got into the charts and it has done. It didn`t get as high as we`d have liked it to but it made it.” Frampton spoke from Frankfurt where he, Marriott, Greg Ridley and Jerry Shirley were in the middle of a European tour.
The Piemen return on Friday for Saturday`s Hyde Park concert with Grand Funk Railroad, a group that Humble Pie have played with a lot in the States. “We`ve done some really big arenas with Grand Funk and it was good for us because we`re able to reach so many people in a short space of time. Like at Madison Square Garden and St. Louis you`re playing to 20,000 at a time and then we`re playing Shea Stadium with them in July.



During their last American tour, Humble Pie recorded at the Fillmore East and they hope to have a live album and their next single out of what was put down on tape at what Frampton describes as a “really good” gig.
“We did it about three weeks, it was the last gig we did and it was really good. We`ve got to mix it again, we`ve mixed it once, but we`re going to take the tapes to America with us when we go over to play Shea Stadium.
“The single will probably be `I Don`t Need No Doctor` which is a number that Ray Charles does very well. And the album will probably be a double album and that`ll be out in September. The single should be out at the end of July.
“The album will have the whole of the stage act on it and even some of the numbers that we don`t do every time. There`ll be some of our real favourites like `Rolling Stone` which is the Muddy Waters number, `Gilded Splinters` and `Four Day Creep` which is normally our opening number.”


Hyde Park apart, Humble Pie aren`t likely to be playing England again until late autumn. After their next American tour they plan to return to Europe for a two-week round of appearances and then come back to England although Frampton feels there aren`t many good venues left.
“There seems to be something of a close down. When I was there I got the feeling that there was no excitement anymore, they`ve closed down Mothers in Birmingham which was a good gig, like doing the Marquee, but there`s not much else especially outside of London unless you do a concert tour. There`s Birmingham Town Hall, there`s a few other town halls, but there`s nothing like the Lyceum and you can`t keep playing London.”
America then remains of major importance to Humble Pie although they`d like, in Frampton`s words, to lay some rock and roll on English audiences. America has accepted them, England remains to be conquered.


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: Traffic, Bronco, Yes, Kate Taylor, Gary Burton, Tony Williams, Stephen Stills, Murray Head, Sandy Denny, John Sebastian, Clouds, Heads & Hands and Feet, Blind Lemon Jefferson, Blood, Sweat & Tears, Curtis Mayfield, Scotty.

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.