Lynyrd Skynyrd

ARTICLE ABOUT Lynyrd Skynyrd FROM SOUNDS, October 25, 1975

After a very hectic period when I needed a break from all this blogging, I am trying to continue my project with this article. I hope you missed me! 😉


Lynyrd skynful

Concert review by John Ingham

The correct term is schnapps; guitarist Gary Rossington calls it `snaps`. It was the catalyst for a group fight that left singer Ronnie Van Zandt with a broken hand and bruised windpipe and Rossington with two slashed wrists. The next night they played the first concert of their European tour.
This review is hopelessly entwined in comments and arguments heard after the gig. Early on Peter Rudge had commented that Skynyrd are either brilliant or abominable, never in between. Afterwards he commented that it wasn`t worth coming 3,000 miles to see, and Van Zandt continued the theme until the early hours of the morning. Perhaps it was disgust because their sorry condition was self inflicted…
Because from this unbiased viewpoint, never having seen them before, they were pretty good, especially considering the condition of Rossington. (He said afterwards that it felt as though his hands were being knifed the entire time). Not inspiring, certainly, and not without sound problems, but hardly of the magnitude and ear-splitting volume that Van Zandt insisted had been the case.
Their repertoire consisted of oldies – `Saturday Night Special`, `Give Me Three Steps` and the obligatory `Free Bird` – as well as numbers that will be on the new Tom Dowd-produced album. Like most boogie bands their forte isn`t virtuosity, but unlike most others, they fill the space with riffs and rhythms that lift and exhilerate and are never boring. Pianist Billy Powell, especially, was knocking out fiery runs whenever he could be heard, and the interaction between Rossington and other guitarist Allen Collins, on a good night, would have been awesome.
So if what they think is bad is in reality quite good, think what they`ll be like on a good night. Barring any more rounds of schnapps, of course.


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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ARTICLE ABOUT Lynyrd Skynyrd FROM SOUNDS, May 31, 1975

A really great article to read. Credits to Mr. McConnell for this one – well written! McConnell may be better known these days as an expert on glass on BBC`s “Antiques Roadshow”. A man of many talents then!
Read on!


Ronnie Van Zant kicked his Scotch habit: it`s wine now…

Life at the top is tough when you`re Lynyrd Skynyrd, as Andy McConnell found out

It`s 4 P.M. at the Santa Monica Holiday Inn, five hours before the first of two sell-out Lynyrd Skynyrd shows at the Civic Auditorium, a mile down the Pacific promenade. Lead singer Ronnie Van Zant lies head on pillow and guitarist Allen Collins sits talking to Al Kooper. He`s the New York slicker who discovered the Jacksonville, Florida, band in an Atlanta bar in 1972, and has gone on to produce all three of their gold albums and their Top Ten singles – `Sweet Home Alabama` and `Free Bird`.
Van Zant lifts his head. “Kooper,” he declares, “I just gotta Mercedes and I ain`t even seen it yet. Ah jus` can`t wait to get back home an` see it.” Kooper grins back at the gruff little singer whose cowboy hat wearing habit has left a permanent ridge pressed around his blond scraggly hair, like an invisible fallen halo.
“I just got an Excaliber,” replies the producer. “It`s called Lynyrd Skynyrd after the person that paid for it.” The room dissolves into a sea of laughter.
In contrast to their raucus high-decibel music, the Skynyrds are a quiet, unassuming bunch. Despite years of solid gigging, one feels they remain uncomfortable in many on-the-road situations; slightly out of sync with the rock and roll business in overdrive around them.
After all, it`s only three years since guitarist Gary Rossington had to jive neighbourhood blacks into street running races and place bets with the band`s last half-dollar to feed seven hungry mouths and pay for gas to get to gigs.
Their new-found affluence has caused problems, however, especially to Ronnie. “I was drinkin` a lotta Scotch,” admits the man credited with `vocals, lyrics and J&B` on the band`s first two album sleeves. “It was gettin` so I couldn`t feel it any more, I was pretty burnt out on it. The doc said I was doin` myself in so I quit.”
So confident was he of his ability to kick the demon alcohol that Ronnie took on a total of $4,000 in bets to that effect. It was no time at all before he was off the wagon. “It`s wine now,” he laughs in a mellow drawl taking a broken-ended knife to his fingernails. And the bets? “Oh, I ain`t gonna pay them mutherfuckers,” he declares.


Van Zant and Collins each proudly lift the right sleeve of their T-shirts to reveal Technicolor tatoos acquired the previous day in a moment of drunken madness. “Allen and I went stumblin` into this place in the boondocks and said `We want some tatoos`. The guy asked us which ones we wanted, we pointed up to designs on the wall and he was stickin` needles into us straight away,” giggles the singer.
“Your mama`s gonna whoop your hides when you get home,” says Kooper, narrowing his eyes behind dark shades. Ronnie simply holds his self-satisfied smile.
Skynyrd make no secret of their admiration and respect for Kooper. Chances are that without him they could still be playing tin-pot Southern bars and clubs like the one he found them in three years ago.
Of the original five-piece Skynyrd, Van Zant, Collins and guitarist Gary Rossington remain. They named the outfit after their high school gym teacher Leonard Skinner, invariably the figure of authority who`d catch his pupils with hair reaching their ears and order a shearing. “He owns a real estate company now,” laughs Allen. “He did an interview in a Jacksonville newspaper and said he was expecting a royalty cheque from us for using his name.”
The current Skynyrd line-up is completed by Ed King as the third guitarist, Billy Powell on keyboards, bass player Leon Wilkeson and Artimus Pyle who recently replaced Bob Burns on drums.
Kooper found the penniless outfit whilst recording in Atlanta. “I was going out every night to the clubs, checking out local bands,” he recalls. “I`d had the idea of forming a label as an alternative to Capricorn after seeing so many great unknown bands in the South. Just imagine how I felt when I walked into this club one night and saw the guys playing songs like `Free Bird` with nobody paying them the slightest attention.”
“The bars were really tough. One night we saw a guy get his head blown off,” grimaces Rossington. “But we didn`t mind playing them `cause we didn`t know nuthin` different. Hell, if three people clapped you`d feel so great you`d tear the place down.”
Kooper duly formed his Sound Of The South Records and signed Skynyrd as the first act. They had already recorded enough material for two albums at Muscle Shoals under Jimmy Johnson but nothing had seen the light of day. “We bought them tapes from Jimmy,” reveals Ronnie. “We`re gonna re-do the vocals, add some back-up vocals, touch them up a bit, sit on them for a while, then release them as an `Early Lynyrd Skynyrd` album.”



Their first album for Kooper, `Pronounced Leh-nerd Skin-nerd`, was a collection of songs Van Zant had written with assistance from the guitar players over a four-year period. Recorded in Doraville, Georgia, the sound was a raw blend of blues, hillbilly country and British boogie packed with typically Southern flavour; moaning slide guitar, country pickin` mandolin, aggressive guitars, driving rhythm section in straight 4/4 and dry, thirst-parched vocals. Van Zant`s lyrics completed the geographical picture with tales of disapproving daddies, guns, train rides, ghettos, the Lord and getting high on dope and booze.
“Ronnie stands in the shower singin` to himself and the songs just come out,” explains Allen scratching his meagre three-day growth. “Ma shower`s got the best acoustics in the world,” laughs Ronnie. “Ah always look for the melody first, then think up the words as ah go along. Ah memorise them, then take `em to one of the guitar players and we arrange everythin`.”
The debut album hovered in the lower regions of the chart for five months; creeping into the sixties, dropping back into the eighties, back again into the fifties. By the time they went on the road for their first tour, supporting the Who on their 1973 tour, they had over 100,000 sales under their belts.
“The tour opened in San Francisco at the Cow Palace in front of 18,600. We walked out on stage and went `eeerrrc, God, what am I goin` t`do?` Everything was played ten times too fast. We were awful, but by the time we got to the third night everythin` was jus` fine,” says Gary.
Massive success finally arrived with `Second Helping` and its single `Sweet Home Alabama`, the South`s indignant reply to Neil Young`s `Southern Man`:
“I heard Mr Young sing about it / I heard ol` Neil put it down / Well, I hope Neil Young will remember / Southern man don`t need him around.”

The Los Angeles Record Plant-produced album was considerably more slick than its predecessor. With Leon Wilkeson returned to the band after a short leave, Ed King could concentrate fully on augmenting Rossington and Collins` guitars, instead of having to double on bass as he had done on the first. Skynyrd`s fortè became the ability to balance the guitarists; two holding back for up to ten bars, then sweeping in at the perfect moment.
Both album and single turned gold. With `Free Bird` released as a follow-up single, Skynyrd rapidly emerged as an important headline attraction across the United States.
November and December found them outside their homeland for the first time; England, Scotland, Belgium, France, Germany and Holland. “It was real fine,” smiles Allen at the memory. “It`s very much like the South over there; the people seem much closer together, care for each other much more than they do on the West Coast or in New York.”
“It`s a much more sophisticated audience over there too,” adds Ronnie untangling his stained red T-shirt from underneath his back. “They don`t raise hell right when you go on stage like they do here. They make the band prove its worth.”
Skynyrd returned to the studio after Christmas, this time at Webb IV in Atlanta. Previously Van Zant and the guitarists had all their material written and rehearsed prior to recording sessions. This was not the case for `Nuthin` Fancy`; though `Saturday Night Special` had already been recorded for the soundtrack to `The Longest Yard`, starring Burt Reynolds. Nothing else was prepared.
“It was the best time I ever had in a studio,” raves Allen.
“It was awful,” groans Kooper who resumed smoking cigarettes during the recording after having given up for a year. “I nearly had a nervous breakdown and ended up in the looney bin. We`d get up at noon, have some breakfast, head into the studio and record straight through until six or seven the next morning. Then the same the next day… every day for three weeks.”
Kooper says the album is an attempt to recapture some of the rawness of the first effort, yet is only partially successful. The country-flavoured `Made In The Shade` and `I`m A Country Boy` certainly hark back to first album numbers like `Mississippi Kid`, but the rockers are far more lithe. From the outset there was no way Skynyrd could return to the Southern punk arrogance of earlier days, simply because the quality of their musicianship and professionalism has improved so dramatically.


Unfortunately Kooper`s firm-set ideas and the band`s natural development have unintentionally set themselves up in opposition, with Kooper wanting a sound that Skynyrd really cannot provide today. The result is that the album occasionally feels stretched, lacking in the hotter-than-hell feel that hallmarked the debut albums. “The sessions were a battle between myself and the band,” admits Kooper. But he insists: “That`s the way it should be – it creates the best music.”
That aside, with manager Peter Rudge now in control of their affairs, a very healthy track record and healthy European experience behind them, Skynyrd seem set.
As Ronnie so delightfully put it: “I think we could record `Mary Had A Little Dick` and it`d sell.”


I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!
The original music paper this article came from (pictured at the top) is for sale!
1. Send me an e-mail if you are interested. Send it to:
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

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!

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 Golden Earring FROM SOUNDS, February 1, 1975

Never knew that Earring toured with Lynyrd Skynyrd until I read this one. Seems to me like a odd bill but that was what was so refreshing in the 70s – there were fewer “rules” and you could expect the unexpected. The band released their latest studio album Tits ‘n Ass in 2012 and are still a touring entity.
Read on!


Dutch courage pays off

Strange chaps, these Golden Earrings. First `Up And Down Absurdia` was the title of their new album, then `Plus Minus Ubsurdio` and now it`s `Switch`. What`s going on? Geoff Barton investigates.

Golden Earring and Lynyrd Skynyrd were together responsible for one of the best concert series of 1974 – you remember, the powerful, if rather controversial double billed tour which, if nothing else, brought the rock year to an exciting and climatic close.
Heavy bets were laid and many a drunken pub argument was had as the question was raised time and again: which of the bands would emerge the better? When it was all over it was a very close thing – finally, it turned out to be impossible to decide.
Yes – it all worked out rather well and was, in all, a very fine package indeed. But what has been happening since then? Well, the Skynyrds are back in Muscle Shoals, working and recording for MCA; Earring are up to very much the same thing – they`re putting the finishing touches to a new album.
I met a busy Earring band at London`s IBC studios and first of all watched George Kooymans lay down a simple but particularly frenzied lick to enhance a virtually completed track for inclusion on the aforementioned album.
Then I went down with Barry into the studio proper to talk about the upcoming album. Is it still going to be called “Up And Down Absurdia”, Barry?
“No,” he laughs, “no, it isn`t. That was once its working title but, well, it isn`t any longer. Our first – rather cruel, I must admit – idea was to give everyone some different names and make a big joke about it all. We had this highly absurdistic feeling before we started this project, that was why the `Absurdia` was there, you know?
“Then I suddenly didn`t like `Up And Down` any more because I saw this album cover – I can`t even remember what it was – which happened to say `Up And Down, This And That`, you know? That always happens – you have something, then you come across something similar and you have to start all over again.

“So then it was changed to `Plus Minus Absurdio`,” he sniggers, “which is quite a funny switch because it`s exactly the same, only it sounds different. But, well, that was too trendy as well. Eventually we decided to keep it straight and simple and call it `Switch`. It`s a good compromise, it means so many things – like it`s a little plastic knob, or it`s an operation. A switch can be anything, you can switch neighbourhoods, switch jobs, switch ladies, you know.
“That was it. I came up with a song called `The Switch` and it all just seemed to fit. We came up with ideas for the cover and everything. All of it really worked well.”
Last time I met Barry he hinted that the cover for “Up And Down Absurdia”, er… “Switch” was going to be something very special, incorporating an alternative sleeve or two to confuse record shops and would-be buyers of the album. Is that still going to happen?
“It`s been, how do you say it, perfectioned?”
“Perfected. Perfectionalised – sounds a lot more English, doesn`t it? Yes, it`s been perfected now and it`s going to be designed by a famous Dutch artist, Corstiaan de Vries. It ties in very much with the title. There`s a lyric sheet, plus the alternative cover, photographed by Graham Hughes.”
Will the album still be a kind of concept album?
“Well, I think all albums are basically concept albums if they`re made in the same lapse of time in the same state of mind. But to me the real idea of a concept album is one which tells a story – in that fashion, I don`t think `Switch` is a concept album at all. But personally all the lyrics were written in the same period, so there`s a definite line in everything. It`s quite an ironic line, really, but I like to think of it as absurd rather than ironic.”
Make of that what you will.


I mentioned the tour with Skynyrd. Were you pleased with the way it went?
“Oooh yeah,” he says, enthusiastically. “As a matter of fact we didn`t really want to play England at that time because of the lack of new product. People would come and say to us: `if you tour England and you don`t have a hit single out, well, forget it. You`ll just have 100 people sitting in the front row`. So we didn`t expect that many people to show up.
“But all the halls were really full and I think we did some of the best concerts we`ve ever done. It was really a fantastic show – Lynyrd Skynyrd are a fine band and I think people got their money`s worth.”
But all too often the media seemed more concerned with Skynyrd than with Earring, didn`t it?
“Yeah, yeah,” he says, as if he`s heard all this before. “That would have really worried me if the same thing had happened with the people in the hall – like if people were still screaming for Skynyrd during our set – then I`d probably freak out. But that never really happened. Skynyrd always played a fine set and they`re great guys and I`m not knocking them at all at the moment – but they never really stole the show, you know?
“So when it actually didn`t happen and people are trying to insinuate that it did happen – what can you do? It`s like somebody telling you that your nose is flat and your ears are sticking out 30 centimetres, and you look in the mirror and you see it`s not true. That`s a silly example, but you know what I mean?”
Earring are soon off to tour Holland, Germany, France and Belgium – there`s also a possibility of a one-off gig at the Rainbow before they leave for the States in April. If that single British concert doesn`t come off they`ll be into an extensive British tour almost immediately after they`ve finished American commitments – that means some time in the Summer. Meanwhile, “Switch” is released throughout the world in early March.
“This has been our dream for so long,” says Barry, “to have an album out at the same time – everywhere. Before, we`ve always had one album out here, another there and a real old one there. It was just one big fuck up, all mixed up and horrible.
“This is going to make things a lot easier for us.”


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: Average White Band, Chick Corea, Gilbert O`Sullivan, Guess Who, Led Zeppelin, Trapeze, John Martyn, John McLaughlin, Gary Moore, Billy Connolly, J. Geils Band, John Holt, Hall & Oates, Donovan, Country Joe McDonald.

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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3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Lynyrd Skynyrd FROM SOUNDS, August 10, 1974

I think I have seen somewhere that this particular article is one of those that fans of this band sees as one of the most pivotal in the band`s history. Well, I can sort of understand why. So here it is in all its glory.


Skynyrd singe God`s beard in Memphis

Down in Memphis Lynyrd Skynyrd are hot property. Their recent gig at the Memorial Stadium was supporting their idol Eric Clapton on the last leg of his American tour and they made it tough for the guitar God. But, Clapton produced one of the best gigs he`s played to date and Sharon Lawrence was there to report on the fireworks.

This is a story about a steamy, hot, lazy Sunday afternoon in Memphis, Tennessee, and what happened when blues master Eric Clapton met up with an authentic, young Southern band named Lynyrd Skynyrd, the same Lynyrd Skynyrd who learned more than a few of their tricks from Eric Clapton records and a live Clapton gig or two when Skynyrd were punk kids playing for a few bucks a night and virtually starving, and Eric Clapton was God.


Lynyrd Skynyrd are simply loved to death in Memphis, Tennessee. They were specifically put on the Clapton bill by promoters who weren`t quite sure how the “new” Eric Clapton would draw. Ross was the first act onstage, then Foghat. Ho hum.
Then the stirring strains of “Dixie” and the big Confederate flag behind Skynyrd`s drum kit was unfurled and the seven men of Lynyrd Skynyrd hit the stage and the tens of thousands of people who almost filled the big Memphis Memorial Stadium went wild.
Skynyrd are their boys, Southern boys whose most ingratiating ingredient is a certain strong spirit that encompasses pride, freedom and brotherhood. You can love `em even when the sound system is failing, and you can`t quite make out those three glorious lead guitars.


Masses of people bunched together sweating in the hot sun and loving every minute of it… thousands of hands raised in applause to the skies. It was a thrilling sight, what the best of rock is all about, what all those hyped-up festivals seldom really are.
“You stop that fighting,” said Ronnie Van Zant, Skynyrd`s lead singer. “You stop it right now!” Ronnie Van Zant commands his stage like a field marshal and two spaced-out people in the audience trying to kill each other are simply not going to be allowed to succeed if Ronnie Van Zant has anything to say about it.
Ronnie Van Zant likes to talk, especially if he`s had his whisky. And he`s an eloquent talker. Ronnie Van Zant is often someone well worth listening to, and as he introduced that Skynyrd stunner “Free Bird”, the audience listened well.


“Three years ago my band and me collected enough Coke bottles to turn them in for the deposit money we needed to get down to Miami to see Derek and the Dominoes. Eric Clapton was one of our idols. And we`re happy we`re playing with him today. It`s a thrill.
“But now we`re doing a song for a hero who can`t be here today. Put your hands together for Duane Allman.”
Eric Clapton had his hands full following Lynyrd Skynyrd, and he was well aware of it. People in the Clapton camp had been quietly talking about Skynyrd for several days before the Memphis gig. “Eric is up for Memphis,” was the word. His reputation was on the line, especially in Memphis, one of the homes of the blues.
Some of the Clapton band watched Skynyrd devastate the audience with “Free Bird”, then encore with “Sweet Home Alabama”, their first hit single currently climbing the American charts. The Clapton people seemed to like Skynyrd and they were impressed by the reception the band was given. Eric stayed in the dressing room.
A few minutes later, Eric, his face looking pale, and drinking a tall Vodka and orange, received Skynyrd in his dressing room for a few minutes. The Skynyrd boys were nervous and excited. Eric was gracious.
God knows it must have been a strange feeling to be with people with all that fresh young energy who had learned their craft listening to his songs and who do a version of “Crossroads” that`s a killer.
Then, Ronnie Van Zant, feeling his whisky and never ashamed to speak his mind, started talking about Duane Allman. It made Eric nervous. Finally he nodded when Ronnie kept insisting, “You go out there and play for Duane.”


Clapton, as they say, did good, even after starting out with that diabetes-inducer “Smile”. Eric`s set built in momentum and bass player Carl Radle, the unsung hero of the Clapton tour, and the drummer Jamie Oldake kept it cooking. The audience liked all those reggae riffs Eric seems to be into these days, but they most liked “Badge”, “Crossroads” and “Blues Power”.
Lynyrd Skynyrd were up at the back of the stage watching intently. Eric had damn well better be playing for Duane.
Skynyrd kicked Clapton`s ass and one had the feeling that after the gig in the back of his mind, he was grateful. It was one of the best dates on his American tour. He was on the spot to deliver.
Look at Eric Clapton and you see where rock has been. Look at a band like Skynyrd and you pray this is where rock is going. The arrogant, frightening, English guys who surround people like Eric Clapton don`t seem to be interested in the music. Their pleasure comes from throwing people bodily off the stage for no apparent reason as often as possible.
Lynyrd Skynyrd know who their friends are. They have a crew who would and have worked for free when the band was starving. As Ronnie Van Zant says, “We`re the real brothers of the South.”
Van Zant`s not bragging, simply stating a fact.
“We`ve gone through hell for seven years. We love each other and we`re not ashamed to say it. We know who we are and who we play for. I couldn`t work without our roadies. They couldn`t work without me.
“The sharks are moving in on us, but we`ll fool `em. Pressure us too much and we`ll go back to the swamp and wait it out. And if it takes us three years of starving we`ll be back. And we`ll be better than we ever were. But we won`t be bought and sold like pieces of meat.


“And we won`t have people around us who are greedy and who don`t care about human beings.
“We`re Southern rebels but more than that, we know the difference between right and wrong.”
Skynyrd learned plenty from Eric Clapton a few years ago. He could learn from them now.
The day after the concert the two leading Memphis papers declared Lynyrd Skynyrd to be the champion of the Sunday gig. Lynyrd Skynyrd had delivered for the audience was the gist of the reviews Skynyrd were thrilled with those reviews. But they`d be more than happy to play with their friend Eric Clapton again and let him blow them off the stage.
That`s the kind of Southern boys Lynyrd Skynyrd are.


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: Bob Marley, Billy Preston, Ronnie Lane, Golden Earring, Ronnie Spector, Duane Eddy, Argent, Andy Fairweather Low, Viola Wills, Mick Jagger, Suzi Quatro, R. Dean Taylor, Johnny Bristol, Julie Driscoll, Status Quo, Georgia Fame, Vangelis, Greenslade.

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.