Keith Moon

ARTICLE ABOUT Keith Moon (The Who) FROM New Musical Express, April 19, 1969

This article was found in print about a month before the group released their breakthrough album in the US, the now legendary “Tommy” album. So Moon may have liked to joke about its first single, but he didn`t know that this album would make The Who a household name for people all over the western world.
Read on!


As `Piebald Lizard` leaps to No. 10, NME visits the Highgate Palace of…

Moon: Drummer extraordinaire

Words in the local by Richard Green

PRINCE Pizzowl Teenuque Moon, self-styled Ambassador to Highgate, made his grand entrance in the local exactly one hundred minutes late and graciously explained: “Matters of State, you know.”
His subjects, instead of showing the required respect, fell about laughing. This because “his Highness” is the latest guise of Keith Moon, Who drummer extraordinaire.
Since he advertised in a national newspaper recently for a title, Keith has been enjoying his own brand of regal status. He likes being introduced as a prince and he screws up his eyes and shakes with mirth when people respond.
Keith is feeling pleased that “Pinball Wizard”, or “Piebald Lizard” as he insists it be called, is doing well. Apparently this means the group will not have to work so hard on it.


“Oh, good,” he replied when I told him its high NME position. “We can have a holiday now. That’s the best time to go away, when they all want you here.”
Keith has been spending some time recently in Bournemouth. To prevent panic among the more staid members of that community, I hasten to add that he has only been staying with his parents-in-law and has no evil intent.
“You have to get away now and again, else you’d go mad,” he grinned. “That’s why I won’t have a phone. You’d get home from a gig about four a.m., get the baby off to sleep and the phone’d go, there’d be people yelling ‘We’re coming round’ and the next thing, they’d be lugging crates up the stairs.
“You’d lie in bed watching them troop through, alsatians, performing elephants, the lot. They can’t phone me now, so I’m safe.”
And he broke up into another period of squeaking laughter. Whoever wrote “laugh and the world laughs with you” must have had Mr. Moon in mind.
He ordered another round of “tomato juices with the wonder ingredient — vodka,” then told me: “The LP’s finished. Actually, it was quite a quick one, it only took about four years! There’s only the mixing to do now.”


Stage act

As Pete Townshend revealed in the NME a few weeks ago, the Who’s act is to be based entirely around the “Deaf, Dumb and Blind Boy” album. Keith, in a rare moment of seriousness, elaborated.
“We may have to cut a bit because the album lasts about two hours,” he commented. “Maybe we’ll cut it to ninety. We’re doing that now on stage, though. ‘Specially places like universities where it goes on until one. We go on about eleven and there’s no hurry.
“It doesn’t mean the group’ll change, just the act. That’s only to get the feel of a continuing story across. All the songs are linked by a theme and one carries on from another.”
A friend asked Keith what the growths at the side of John Entwistle’s mouth were. He had been seen on “Top Of The Pops” sporting them.
“Oh, the best way to annoy the Ox (a Who-ism for J.E.) is to keep calling him Peter Sarstedt,” Keith advised, once more the Satanic smirk playing about his mouth.
Someone else asked Keith what the programme had been like and he replied: “We were about the only group down there, they’re filming most of it now. One bloke that was on was that coloured guy who’s good with his hands… Black and Decker’s his name I think.”
At this point, a reporter phoned and asked to speak to Keith. Keith decided it was time for a merry jape and put me on the line to answer the questions for him. We wait with baited breath for the resultant feature.


Enter Pete Townshend to try and persuade Keith that a rehearsal is necessary. Keith tells Pete that I’ve already written the feature while waiting for him and I add that Keith’s statements have been outrageous.
“Oh, Christ, what’s he been saying,” Pete moaned. “I can just see next week: We’ll be holding auditions for a new drummer!”
Pete dragged a protesting Keith away before further harm was done, Keith wanting to go back to his fifteen-room flat above a garage.

Make noise

“It’s useful being above a garage, you can make as much noise as you like,” he pointed out. “I only use two rooms and let some to a little old lady. There’s one where a bloke had a party about a year ago and I haven’t bothered to take the decorations down yet.”
There is also the room where a champagne bottle emerges from a wall. Keith alleges that having got upset with Kim, his wife, once he aimed the bottle at her head from a distance of two feet and missed. It stuck in the wall where it has remained ever since. Much to the amusement of two year-old Mandy who is used to seeing Daddy do funny things.


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!

ARTICLE ABOUT Keith Moon (The Who) FROM SOUNDS, December 29, 1973

Enjoy this great chat with Keith Moon from the last number of Sounds in 1973. Difficult to believe all those myths about him when you read this one. He probably did have a “bad” way to behave on occasion , but as is common in so many of us, we have a little bit of light and shade in our personalities. Hell of a drummer, he sure was.


Life in the old Tom yet

Steve Peacock talking to Keith Moon

We`d been told that Keith Moon was ill, thus he wasn`t appearing in “Tommy”, but as often happens that wasn`t quite the case. In fact, he said, he`d never agreed to do “Tommy” at the Rainbow this year in the first place, but they`d said he would, and excused his withdrawal on the grounds that he was ill. Such is showbiz.
In fact, Mr. Moon was looking in peak condition, dressed as he was in impeccable early sixties gear – from the black, exquisitely tailored three-button jacket, the broad pink-stripped shirt with white button-down collar and black knitted tie, the slightly flared black cord trousers, to the original “She Loves You” stomping Beatle boots with cuban heels and pointed toes – all genuine and from the wardrobe of Mr. R. Starr.


He`d been for a screen test for a part Ringo was to play in the film “Stardust” – he already has a part in it, but they asked him, so why not? And, in fact, he was planning to visit the Rainbow for “Tommy” – but in a purely backstage role. He had promised, he said, to keep Viv Stanshall sober. No comment.
And he had been ill – though that was during the Who`s American tour. Or rather: “I`d been made ill. Someone put elephant tranquiliser in my drink. We found out later from the San Francisco hospital that four people who`d drunk from the same brandy bottle as me had been laid out, but fortunately I have a strong constitution and I didn`t notice it until it started to hit me towards the end of the show – then I was a total blank for ten hours. It seems the West Coast is very good at that kind of thing, they seem to think it`s funny, but if I ever found out who did it I`d rip his arm off and beat him to death with it.” Merry prankster, you have been warned.


As for “Tommy”, well – he feels he`s done that show as many times as he wants to, and he didn`t particularly want to get up on stage and flash through Uncle Ernie one more time: “It`s like playing the same song over and over again – eventually you get bored with it so you leave it out of the act. I`ve got fed up with playing the same part over and over again, so I`ve left it out of my act – no reason other than that.”
Or sometimes you re-arrange the number, and in a new form. Uncle Ernie Moon will go through the hoop just one more time. Keith has a number of projects on the go at the moment, including the “Stardust” film in March – which is loosely a follow-up to “That`ll Be The Day” with David Essex – Who tours of Europe and America later in 1974, and the film version of “Tommy” with Ken Russell directing, which they`ll be shooting in April. Earlier in the New Year, the Who will be recording some new Townshend songs for the film`s soundtrack. As musicians the “Tommy” film involves the whole group, but as actors it involves Roger and Keith “more than Pete and John. They really don`t have any interest in acting – John, for instance, would much rather be in the studio making music than making films, whereas with me it`s vice versa.”
So there`s life in the old deaf and dumb friend yet: you`d have thought that “Tommy” had had such a run with and without the Who that it would be very difficult to breathe new life into it. “Which is why it had to be Ken Russell – he`s the only person who could do that, the only person I know anyway. He came down to the studio while we were recording `Quadrophenia`, and he impressed each of us… he seemed one of the most perceptive men I`ve met. He really is an amazing man – if you start a sentence he`ll not only finish it for you, but go into the next one while you`re still thinking about it. I`m really looking forward to working with him.
“I spent a couple of hours with him over a bottle of wine at his house, and the way he saw the characters, the way he`d developed the characters, and the ideas he was coming up with… they`ve never ever been done like Ken`s going to do `em. His whole conception of `Tommy` is totally different from the way anyone else has seen it, but it`s still `Tommy`.”


Could he be more specific? “Well no, not really – you`d have to spend a couple of hours with Ken Russell. But then we`ve got to see whether the ideas work, so the only way you can really know is to see the film.”
And so to “Stardust”. It`s a follow up to “That`ll Be The Day”, he says, in so much as that film covered a period up to the Beatles and the British invasion of America, and this one will take in the period from then up to the present day. “That`ll Be The Day” was: “a kind of English version of `American Graffitti` – America couldn`t  really identify with it, but this one goes from the Liverpool thing, the Beatles thing – which is one of the reasons Ringo didn`t want to do it, because he`s been through all that – brings the English and American things together, and then follows them as they began to find their own identities again.”
So while “That`ll Be The Day” was really more concerned with what was happening around the music of Chuck Berry, Buddy Holly, and all those people – life as related to the jukebox and transistor radio speaker – “Stardust” will concern itself more with the life and times of musicians and others in the business of music. “It`s more involved with the pressures the musicians were under – the agency problems, management problems, what it takes to get a group to America, advertising bullshit and the hype that goes on to get a record in the charts – all that kind of `for God`s sake don`t say balls to a reporter, and don`t forget your 17` stuff. I think a lot of people will be more interested in that than in hearing a lot of oldies but goldies.”
Once again, Ray Conally has written the script, and Keith is more than happy: “He`s great, because he says `if you don`t like the way I`ve written this bit then I`ll change it, or you can write it, or we`ll write it together` – the important thing to him is to get it right for the person who`s playing it. He doesn`t feel he`s written a successful part unless the person who`s playing it feels comfortable saying the words.”
It seems that in the way Keith is able to work in films, he`s in an ideal situation. He`s able to be involved with all the aspects of creating a movie, rather than merely being one of the director`s pawns as we`re led to believe is generally the case. Hitchcock`s cattle – actors dictum seems as far away as the man with the cigar doing his `sign here and I`ll make you a star` routine in the pop world.


“Well, we`re all involved in trying to get the best film we can – that`s the most important thing. If I`m best at doing one thing, then I`ll do that, and the same with the others. We all get on well together, and we`ve all shared the same experiences, but on different levels. For instance, Ray`s never been on the road so when he says `what`s it like to be stuck in the back of a transit for eight hours?` I can tell him. I can`t write it, but I can explain to him what it feels like to be stuck in the back of a bloody transit for eight hours, and he can put it into words.
“There`s this great rapport, and it`s so much fun working on a film right from when it`s conceived, through the casting stage – thinking `who`ll be best for that bit, who`s really gone through that?` – right to making it. We don`t take it lightly, I don`t want to make it sound flippant, but the idea of one person directing on his own, one person casting, one person doing something else just doesn`t apply any more. That kind of enthusiasm comes out in the film, and it shows – on the screen it shows.”


He seems to have made the switch from drummer with the Who to film actor with remarkable ease. “I don`t think I`ve ever not been an actor – I`ve always been an actor that plays the drums. I haven`t been a film actor, but there are many aspects of acting – it`s just different ways of projecting. You project through the theatre on stage with the Who, and you project in a different way to a camera for a film – it`s the same thing, just a different approach. On a screen that`s maybe 70 foot wide, you may only have to lift your little finger, whereas to get the same effect on stage you`d have to swing your whole arm.”
He`s always been an actor – I wonder. Has he just been playing the part of the crazy drummer from the Who all these years? Are you an actor offstage Keith? “I seldom stop acting, except… well, when I`m asleep.”
Is it a conscious thing? “Not all the time. I`m a natural extrovert, and if I want to get a point across then I`ll use expressions – vocal or physical – that`ll do it. That`s what acting is, I suppose, and it comes very naturally to me.”
So instead of sitting in a hotel room saying “I`m bored”, you`ll throw the bed out of the window? “Something like that.”
There was that disturbance in Montreal for instance. “Ah, yes… well, it just escalates. `Oh dea, vats zis, it`s fallen off ze table… appears to have smashed on zose glasses zere… ooooh, dear, oh dear, now you`ve knocked a chair over and the cushions and the desk`s fallen over… bam, bam, bam, bam… oh dear, now the television seems to have gone out the window…`

“It`s not planned, it just escalates, the adrenalin builds up and then bingo – `what would you like? Cold coffee, a bit of toast and six hours in Montreal nick. I shall have to write to the Queen about that really – Canadian breakfasts are terrible. I`ve had much better in Holloway. She`s neglecting the colonies – `bout time she went over there, showed the old boat race again.”
One of the best descriptions I heard of that kind of human whirlwind was by the novelist Edna O`Brien. On TV, Russell Harty asked her if she ever `freaked out`. Yes, she said, in the sense that she got into something to such an extent that she just didn`t think about ever coming back.
“You do”, affirms Mr. Moon. “You just become one with all of it, and then when you`re brought down and all of a sudden you`re sitting in the back of a Black Maria, that`s when it hits you. (In his best downtrodden Dudley Moore voice): `Dear Mum, once again Life has stood up and punched me right between the eyes.`
“That`s when you`re back to reality. It`s impossible to explain, it`s complete escapism. You`ve got all this energy which has got to go somewhere – and it takes you.”


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: Leo Sayer, Tim Bogert, Gallagher&Lyle, Keith Emerson, Deep Purple, Magma.

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 Keith Moon (The Who) FROM SOUNDS, May 5, 1973

This number of Sounds was very reduced and presented as the “Emergency edition”. This was because of what Sounds called the “May Day industrial disruption”. But still, this interview with one of the legends gone too early, Keith Moon, was still available for us to read. And it is a good one.


Bored Side Of the Moon

Penny Valentine meets an old friend

Keith Moon, it was rumoured, was bored. Normally I wouldn`t have believed it. I mean Moon over-zealous, Moon looning, Moon causing riots across the globe? Yes – such rumours I would have believed. But Moon bored, actually BORED? No indeedy.
Still, such tales emanated from a good source. Pete Townshend in fact. There I was standing in Wardour Street at around 6 p.m. the other day (waiting to get home I assure you) when Townshend loomed in the distance, on his way to the station, and we cheerily shared a cab.
On the way we talked of many things – shoes, ships, sealing wax… and Keith Moon`s boredom. Pete, it transpired, had tried to cheer him up with tales of `only two weeks to go and we start on the next album.` But Moon had stuck firm and said, somewhat gloomily, that two weeks was a damn long time to wait for activity – or words to that effect.
Pete had taken the whole thing with humour – a man obviously well accustomed to such tales of woe within the Who, a group let`s face it who do not like inactivity at the best of times.
So when, some days later, it was set that I should parlay to Mr. Moon over a few brandies in a local pub I put it to him straight. What, I enquired, was it all about? And indeed was it a fact?
Needless to say when we got to the nitty gritty things weren`t quite as dastardly and dramatic as I had at first supposed.

“Mmm well,” and he stuffed a cigarette into a long holder with great dash – if not applomb – “I suppose I must have been when I spoke to Pete. But I do manage to stave off a lot of the boredom I could suffer when we`re not working. Like doing the film, other incidentals.
“I think it`s important to have a `hobby` outside the band. If all your energies were directed into the Who it would be very easy for the whole thing to just take you over. It`s important that there are other things going on that we can all get into so that the Who doesn`t become a chore.
“It`s also important that those things stay simply hobbies and that the Who is the utmost thing in all our minds – which, I may say, it is.”
For those of you who are the smallest bit fashion concious I feel I should, at this stage, point out that this very day Mr. Moon is looking quite resplendant. He is wearing a three piece suit (yes a suit) topped off with a very large spotted bow tie – and that cigarette holder.
He also now sports a gap in his front teeth. Very endearing when he grins, which he does a lot, and an addition which heightens his strange resemblance to the late Robert Newton (famous, you may recall, for his rousing TV performances in “Treasure Island” and a gentleman whose impersonation Moon has off to a fine art. Much “argh Jim M`lad”).
Keith is also sporting an air of some sobriety – a fact that also comes as a surprise today. The main reason being, I am informed, that he has promised to be very upright indeed when he appears later this very afternoon on Radio 4 giving a talk on “The Care of Guns”. Somehow this all adds to the amusement of the day.

Interviewing Keith Moon can be dangerous. He is extremely likeable. He is also very very funny. But unless people know him well they tend to shy away from his image of achetypal maniac, in fear that they may never be seen again once having trotted off to have words with him.
In fear, indeed, of meeting a ghastly end in some far flung public call box at his wily hands. It is this image that Moon has carried with him since the very earliest days of the Who – somehow setting the whole atmosphere of the group at large.
They have gained from it – just as they have sometimes suffered from it. Moon is not a man to be ignored. And yet he can be serious, down to earth and beguiling. He tries hard today to smother the obvious temptations to have me curling on the floor in hysterics, unable to set pen to paper. Indeed for the first quarter of an hour of our conversation he is damn near solemn.
We talk about this image of his and whether he ever feels the other side of his character is being swamped by it. His answer is brief and to the point: “I find it very difficult to be serious – put in a ready laugh there would you? (Okay Keith – ha ha ha) I always see things in a very funny way. I can see any situation at any time and see the funny side to it.
“Anyway there`s bugger all I can do about my image. I`d have to change my whole lifestyle if I wanted to do anything about it.”
We also talk about his extra-curricular Who activities – like “That`ll Be The Day”, and the yet to be seen film with Harry Nilsson. The part from “That`ll Be The Day” was especially written in by Ray Connolly – after they`d met on the set. Originally it didn`t have a line of dialogue. Then Connolly met Moon and… well words had to be found from somewhere.


Since that film Keith has also started work on a film script – something he wants to get into much more at a later date: “I met a lot of people during filming that started me thinking about working on various other things. The thing is that within the Who I`m not as into the music side as they are, I`ve always been more involved in the visual side of the group.
“There were several suggestions that with Roger doing an album and John doing his I should do a comedy album. But I was a bit dubious about the idea. So much of what I do is purely visual.
“I just can`t imagine doing `Eight million ways of falling over` for instance, on record. I feel that might get rather lost`.”
Next week the Who go into the studios and start work on the grand double album enterprise from Pete Townshend`s brain. Maybe it`s the proximity of getting back to work that`s cheered Moon up – 18 months is a long time without something other than an arm to get your teeth into.
So bored, a little, Moon might have been. But idle? Never. Aside from the filming there are all kinds of jollies to impart – very tempting sagas they are too. And by another couple of brandies Moon is telling them with some relish.
There is the saga of the Monty Python football match, for instance. Moon`s team, it transpires, were not doing very well. Python`s mob were tromping them soundly: “I`d say the result was two goals, a try and two submissions.
“During the first half we brought all these little kids into our goal mouth. They stood looking winsomely across the pitch and everytime Python roared across we yelled `Mind the kids`. Very good, and it worked.”

During the second half Moon moved a bar, well equipped, into the goal mouth instead. This time cries of “Save the ale!” caused Python to disband in some confusion. No more goals were scored.
There is also the saga of Moon `touring` in the Australian production of “Tommy”. Aside from Graham Bell, moon was the only other original member of the Rainbow cast that accepted the invite to do a two week run in Australia. His Aussie version of Uncle Ernie apparently was something to be seen.
“Because we hadn`t worked for so long I needed the money – and also there`s a great duty free shop in Singapore, so I thought it would be a good idea. I wasn`t really looking forward to it because the last time I`d been in Australia was in `68 and it wasn`t a very happy tour.
“I`d never met such a lot of pig headed bastards and we had all these hassles with the press and the authorities. They weren`t into a lot of long haired idiots coming over and spearing the bearded clam – it upset them.
“But this time everyone was great, I did 4 TV chat shows and the whole place felt different. We were only supposed to do the show for a week but we sold out so many times it went into two. In the end I could see myself spending the rest of my life shuttling between Melbourne and Sydney.

“I think my Uncle Ernie over there was even grubbier than it was here. I really played him as a dirt-ridden old pervert – type casting you may think. In the breaks between shows I used to go into the park in my filthy old mac and straggly beard and jump out from behind the bushes. It terrified all the audience that had just come out.
“You know the only instructions I got on how to play the part for Australian audiences was from the director who came up one day and said, `Moon if you go on sober again I`ll sack you`.
“Apparently he didn`t feel I was really getting all the relish I could into the role because I was behaving myself. After that I got better.”
So Moon emerged from the `new` Australia a wiser and richer man? Well, no, not exactly. Unfortunately his returning plane to London stopped over in Singapore for a good 24 hour period. And that`s where that really good `duty free shop` lurked. And that`s where Moon lurked. And that`s why he didn`t return to London laden with wealth.
Still he had a good time. And he certainly wasn`t bored.

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: Glencoe, Chris Wood (Traffic), Davey Johnstone, Tom McGuinness, Groundhogs, Beach Boys.

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.


I really like this interview with the legend that is Keith Moon. What Moon didn`t know at the time was that he would go on his last tour with The Who this year. There wouldn`t be much of his plans to become a movie star either.
Still considered one of the greatest drummers in rock – enjoy this great interview with a political twist.


Is KEITH MOON The Biggest Loony in the World?

Or is DENIS HEALEY Even Dafter?

ROY CARR tells the heart-tugging tale of

The Chancellor and the Drummer Boy

When Keith Moon first left the Old Country, it wasn`t to seek a refuge from the taxman. Anyone familiar with Mr. Moon will agree that, up till quite recently, he`s never possessed sufficient funds to worry about such things.
No, the truth is that for the best part of their career the Who have been busy paying off the numerous debts that they have accumulated over the years.
Keith Moon, Esq., with the self-assurance of a man invited to address The Explorers Club after returning from a highly successful expedition into hitherto uncharted terrain, clarifies his current financial position over oxtail and red wines.
“I left Britain”, he recollects with an air of authority, “before Denis Healey came to power. Aside from the weather, I enjoy California because it suits my particular lifestyle – also it never rains. Apparently, one day it did rain, but I was asleep at the time”.
As one who likes to live out of a suitcase, Moon entertains the thought of commuting between Los Angeles and London at the slightest whim; but for the time being his residency in America will be on a much more permanent basis.
Mr. Moon and Mr. Healey have been forced to cross swords.

Moon rationalises that it`s ridiculous, just because the Who will be spending a greater part of the year touring and recording, that in order to stay in, or for that matter gain easy access to Britain, they would have to run a business as a tax loss.
He fully realises that it`s a very touchy subject, but he argues that under the present “regime”, there`s no logical incentive to re-invest any profits in Britain.
“People often misconstrue why so many entertainers, celebrities and sports stars flee the country”, he continues with all seriousness. “It`s not that one isn`t patriotic… perish the thought old chap. What so many people fail to appreciate is that in many cases a person may only ever have a single opportunity to make it”.
In the case of rock musicians, declares Moon, the lifestyle is so precarious that the vast majority are only good for a couple of albums and a couple of tours, and often a degree of success merely enables them (if they`re fortunate) to pay off their most pressing debts. He then goes on to point out that by the time an act is in any position to break even, they`re either on the verge of breaking up or have lost their box office appeal.
“And they may never again have the opportunity to re-establish themselves. Worse still, if they only make it for a year they often stand to end up being worse off financially than when they were playing around the pubs for beer money”.

It`s no secret that economical instability and increased Government taxation has drained much of the adrenalin out of the once thriving British entertainment industry. One can almost detect the regal strains of `Land Of Hope And Glory` growing louder over the clatter of crockery and cutlery as Keith Moon (his hand over his heart and his head held high) makes a plea for those about to go into exile.
Unfortunately, there`s only myself and the wine-waiter to hear him, and the wine-waiter doesn`t understand English.
Thus spake Moon: “I`m British born and educated and proud of it”. He clears his throat. The waiter shrugs his shoulders. “Yet America gets the benefits”. The waiter smiles when he hears the word “America”.
“I`m not just talking about rock stars”, continues Moon, “I`m talking about professional people. I`m talking about a lot of money… millions, millions of pounds and this Government is too bloody damn stupid to realise what they`re doing.
“They`re driving out all those people who make the money – whether it`s on a long or short-term basis. How on earth can a professional man afford to work and live in Britain? He can`t. He`s penalised because of his talent and because of his business acumen and individual enterprise.
“I`m talking from experience now. It`s just not worth making a film or an album over here, and the result is that the business suffers. Skilled people are put out of work and a potential money-making industry goes into decline.
“If you`re a best-selling recording artist and decide to make an album in this country, you can forget about ever seeing 90 percent of the profits because that goes straight to the Government.
“Believe me, anyone who becomes successful is insane to stay here. Anyone who makes sterling – convert it! Sterling isn`t worth a bloody light abroad.”

Temporarily setting aside its financial implications, Moon chooses to elaborate upon the artistic side of his burning ambition to become accepted as both a Bona Fide Movie Actor and a Television Personality.
In Britain, Moon insists, he is automatically type-cast. “I`m a rock star who only ever gets offers to play rock stars. I`ve done that in all four films I`ve been in”.
Hold on, weren`t you a Nun in 200 Motels?
And a throughly disgusting sexual pervert in Tommy?
“Typecasting old chap, typecasting”.
The waiter registers an expression of shock as he overhears the conversation. I register the same face-quake upon being presented with the cheque.
Moon guffaws.
“As an erstwhile actor-laddie”, Moon continues, as efforts are made to reactivate my heartbeat, “I want to do much more acting. It`s the same as a brewer living in Hamburg… you`re in the thick of it, and the same goes for Hollywood”. Quickly adding, “I don`t mean brewing, I mean acting”.
What else!


“Also, Hollywood offers much more scope in television. There`s a lot more than just plugging your latest record on either the Lulu or Cilla Black Show.
“What else can you do over here? Be one of Bob Monkhouse`s Square Celebrities and hope somebody picks your square, make a prick of yourself on the Generation Game – didn`t he do well! ! !”
You can always guest on the Des O`Connor Show!
“Precisely… and no matter what people say, Hollywood is still the Entertainment Capital of the World and, if I`m into making movies it`s the obvious place for me to live.”
Already Keith Moon has attracted the attention and in some cases the friendship of movie moguls like Sam Peckinpah, Mel Brooks and John Huston. There have been unconfirmed rumours that Peckinpah was interested in re-making the classic `Soldiers Three` yarn with Moon, Ringo and Harry Nilsson cast as the trio of British Army privates stationed in India during the Queen Victorian Raj. Likewise there is a strong possibility that a comedy script written by Moon and Graham Chapman may soon go before the cameras.
A 40 page draft has been delivered simultaneously to Peckinpah, Brooks and Huston for their candid and professional opinion.

“Basically”, explains Metro Goldwyn Moon, “Graham Chapman and myself have written what can best be described as a High Adventure movie – just how high the adventure will be remains to be seen.
“What I`ve tried to do is to combine all the truly great adventure and pantomime stories into one… Treasure Island, 20,000 Leagues Under The Sea, Dick Whittington, The Pied Piper, Grimms – and select an all-star cast in the title roles”.
According to Moon, he`s already secured verbal agreements from such box office stars as James Caan, Elliott Gould, Peter Sellers, Oliver Reed, Peter Cook, Ringo Starr and Zsa Zsa Gabor – who, it transpires, has taken a particular personal interest in Our Lad.
“But she can forget it, I`m much too young and also much too skint to become husband number… well whatever it is. Seven!”
“As I was saying. Aside from a cameo role as Long John Silver (naturally), my role would be producer.”
One thing is certain: no matter how long before plans are finalised, Moon`s movie will not be shot in Britain.
“It will be produced in America with an American crew. I would much rather make it in Britain but the cost would be astronomical and I would have to be prepared to lose on it. “If I made the movie in Britain it would be subject to British tax on a world-wide basis; therefore I could easily end up paying a lot of money out of my own pocket for the `privilege` of making it here.” Moon argues that if one cannot make a profit by bringing money into Britain it`s no use to do so since there won`t be any margin of profit to re-invest in future projects.

“The more films that are made abroad the more the British film industry will suffer. At the moment, there`s no alternative.”
However, Moon wishes to point out that he`s not letting personal ambitions get in the way of The Who.
“Suddenly”, he says with excitement in his voice, “it`s the Who again, and to tell you the truth we didn`t really know quite how it would work or if it would work at all. But once the four of us got back together again the chemistry started fizzing.
“When Pete, Roger, John and myself were out there on stage – Bang!!! It really is something I can`t explain. Sure, I want to get into things like movies but I`m not about to sacrifice the Who because of that. It`s too much fun.
“There`s two sides to the Who”, he insists. “There`s the Pete Townshend side which is all intellectual and there`s the crazy side, the fun side – me”.
We leave the restaurant and climb into the back of Moon`s white Rolls Royce. “I`m the pop image, too many people have forgotten that rock`n`roll is fun”, he says. Then, as we pass the Law Courts, Moon jumps on me and begins tearing off my clothes in full view of the public.
Thank God he won`t be back for almost a year.


A nice overview of musicians birthplaces.

I have personally transcribed this from the original paper. 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 New Musical Express also contains articles/interviews with these people:Gary Holton, Ronnie Lane, Warne Marsh, Bad Company, Kid Strange.

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:
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