Music Blog

ARTICLE ABOUT Keith Richard (Rolling Stones) FROM New Musical Express, December 6, 1969

I wonder if Mr. Richard has the same views on the people and bands below these days? A very frank point of view it is, and it is kind of refreshing. I don`t think he would be as candid if interviewed today, but who knows?
Read on!


Keith Richard on Mick, Beatles, Led, Faith, Tull, Gees

Special by Ritchie Yorke

THE news that the Rolling Stones have resumed personal appearances must have gladdened the hearts of pop fans everywhere. The Stones always were the most important performing group to come out of England.
At the Stones’ office behind Oxford Circus in London just before leaving for America, guitarist-composer Keith Richard discussed the tour, Mick`s foray into films and several popular groups.
“The whole tour thing is very strange man, because I still don’t really believe it. We did the Hyde Park concert and it felt really good, and I guess the tour will feel even better. And we need to do it. Apart from people wanting to see us, we really need to do a tour, because we haven’t played live for so long.
“A tour’s the only thing that knocks you into shape. Especially now that we’ve got Mick Taylor in the band, we really need to go through the paces again to really get it back together.”
George Harrison told me that he thought the reason the Stones were going on the road again was money, and Keith didn’t deny it.
“Yeah, well, that’s how it is. We were going to do the Memphis Blues Festival but things got screwed up. Brian wasn’t in that good a shape and we had various problems. I personally missed the road.
“After you’ve been doing gigs every night for four or five years, it’s strange just to suddenly stop. It’s exactly three years since we quit now. What decided us to get back into it was Hyde Park. It was such a unique feeling.
“But in all the future gigs, we want to keep the audiences as small as possible. We’d rather play to four shows of 5,000 people each, than one mammoth 50,000 sort of number. We’re playing at Madison Square Gardens in New York, but it will be a reduced audience, because we’re not going to allow them to sell all the seats.
“We’re certainly going to have to rehearse like hell. That whole film thing in Australia was a bit of a drag. I mean, it sounds dangerous to me. He had his hand blown off, and he had to get his haircut short. But Mick thinks he needs to do these things. We`ve often talked about it, and I`ve asked him why the hell does he want to be a film star.
“But he says, `Well Keith you’re a musician and that’s a complete thing in itself, but I don’t play anything.’ So I said that anyone who sings and dances the way he does shouldn’t need to do anything else. But he doesn’t agree so I guess that’s cool.
“The trouble is that it has disorganised our plans! It happened just as we got Mick Taylor into the band, and just as we were finishing the album. We had one track to do and we accidentally wiped Mick’s voice off when we were messing around with the tape. And there’s Mick stuck down in Australia, about 3,000 miles from the nearest studio. It’s pretty far out.”

Mick`s absence

Mick’s absence has also been felt in other areas. The Stones have not been able to record a follow-up single to “Honky Tonk Women,” which was the second biggest selling record of their career, after “Satisfaction.”
“I have a couple of ideas for the next record,” Keith said, “and I think we’ll cut it in Los Angeles when I meet Mick.
“I wrote Honky Tonk Women as a straight Hank Williams-Jimmy Rodgers sort of number. Later when we were fooling around with it — trying to make it sound funkier — we hit on the sound we had on the single. We all thought, wow, this has got to be a hit single.
“And it was, and it did fantastically well; probably because it’s the sort of song which transcends all tastes.”
While we were talking, the muffled sounds of a Creedence Clearwater Revival album could be heard in another office, and I wondered if Keith was impressed by the group?
“Yeah, I’m into a very weird thing with that band: When I first heard them, I was really knocked out, but I became bored with them very quickly. After a few times, it started to annoy me. They’re so basic and simple that maybe it`s a little too much.”


Blood, Sweat and Tears

Blood, Sweat & Tears? “I don’t really like them… I don’t really dig that sort of music, but I suppose that’s a bit unfair because I haven’t heard very much by them. It’s just not my scene, because I like a really tight band and anyway, I prefer guitars with maybe a keyboard. The only brass that ever knocked me out was a few soul bands.”

Led Zeppelin

Led Zeppelin? “I played their album quite a few times when I first got it, but then the guy’s voice started to get on my nerves. I don’t know why; maybe he’s a little too acrobatic. But Jimmy Page is a great guitar player, and a very respected one.”

Blind Faith

Blind Faith? “Having the same producer, Jimmy Miller, we’re aware of some of the problems he had with Blind Faith, I don’t like the Buddy Holly song, “Well All Right,” at all, because Buddy’s version was ten times better. It’s not worth doing an old song unless you’re going to add to it.
“I liked Eric’s song, “In the Presence of the Lord,” and Ginger’s “Do What You Like.” But I don’t think Stevie’s got himself together. He’s an incredible singer and an incredible guitarist and an incredible organist, but he never does the things I want to hear him do. I’m still digging “I’m A Man” and a few of the other things he did with Spencer Davis. But he’s not into that scene any more.”

Jethro Tull

Jethro Tull? “We picked up on them quickly. Mick had their first album and we featured the group on the Rock ‘n’ Roll Circus TV show we taped last December (which still hasn’t come out, but hope remains).
“I really liked the band then but I haven’t heard it recently. I hope Ian Anderson doesn’t get into a cliche thing with his leg routine. You have to work so goddam hard to make it in America, and it’s very easy to end up being a parody of yourself. But he plays a nice flute.”

The Band

The Band? “I saw them at the Dylan gig on the Isle of Wight and I was disappointed. Dylan was beautiful, especially when he did the songs by himself. He has a unique rhythm which only seems to come off when he’s performing solo.
“The Band were just too strict. They’ve been playing together for a long, long time, and what I couldn’t understand was their lack of spontaneity, They sounded note for note like their records.
“It was like they were just playing the records on stage and at a fairly low volume, with very clear sound. I personally like some distortion, especially if something starts happening on stage.”

Bee Gees

The Bee Gees? “Well, they’re in their own little fantasy world. You only have to read what they talk about in interviews… how many suits they’ve got and that kind of crap. It’s all kid stuff, isn’t it?”

Crosby,Stills, etc.

Crosby, Stills, Nash and Young? “I thought the album was nice, really pretty. The Hollies went through all that personality thing before Graham left them, The problem was that Graham was the only one getting stoned, and everybody else was really straight Manchester stock. That doesn’t help.”


The Beatles? “I think it’s impossible for them to do a tour. Mick has said it before, but its worth repeating… the Beatles are primarily a recording group.
“Even though they drew the biggest crowds of their era in North America, I think the Beatles had passed their performing peak even before they were famous. They are a recording band, while our scene is the concerts and many of our records were roughly made, on purpose. Our sort of scene is to have a really good time with the audience.
“It’s always been the Stones’ thing to get up on stage and kick the crap out of everything. We had three years of that before we made it, and we were only just getting it together when we became famous. We still had plenty to do on stage and I think we still have. That’s why the tour should be such a groove for us.”


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 King Crimson FROM New Musical Express, November 29, 1969

Always nice to see a drummer being interviewed. Mr. Giles was a co-founder of this band but left after the first album, playing as a session drummer on their second album. I don`t know the reason for his departure, but maybe someone reading this blog knows?
Read on!


No instant reaction for British bands in U.S. report King Crimson

in a transatlantic call to Nick Logan

THE number of British bands zig-zagging lucratively across the American continent rises monthly. Fleetwood Mac, Nice, Jethro Tull, Led Zeppelin, Fat Mattress and, of course, the Rolling Stones were just a part of the heavy British contingent on the U.S. trail when King Crimson drummer Mike Giles phoned the NME from a New York hotel last week.
In fact, resident at the same hotel at the time were Joe Cocker, Spooky Tooth and Liverpool Scene.
But for all our successful exports – in King Crimson’s experience — being new and British presents no easy access to fame or instant acclaim.
“We thought there might be a bit more appreciation because we were English but there wasn’t,” said Mike.
“We have had to work extremely hard and had to change round our equipment and bits of our act. We’ve moved Greg (the vocalist) from the side of the stage to the middle for instance.
“There have been no sort of instant reactions. On the first night at Boston there was just a ripple of reaction from the audience. It was terrible.
“So we had to work really hard the next few nights and on about the third we were beginning to get people with us.
“On the whole I think we have found audiences more reserved than in England but that may be because we are unknown and they know nothing of our birth.
“The scene itself is very similar to that in England. Reputations grow more by word of mouth. If somebody likes you they pass it on to someone else.”
Considering it was 5.30 in the morning New York time Mike sounded bright and cheerful as he consulted his diary for interesting things to pass on — but he admitted that in the first few weeks morale had sunk a little low.
“Well maybe not low, but it wasn’t that good. It is improving now though. Mainly it was all down to that fact that we were having to hang around for three or four days of each week with nothing to do.
“But after all the bad luck… equipment breaking down, venues burning down and morale not too good… things are looking up.

Stones concert

“We’ve yet to do the places that really count and we’re looking forward to them… like the Fillmore West, the Stones concert in Miami, Los Angeles Whiskey. We’re with Fleetwood Mac at the Fillmore.
“When we have done these places, if we are worth knowing about then we will be known. If we are not, we won’t”
“I think we are still learning,” Mike replied when I asked what the tour had taught the band. “It will probably take three trips to find out what the answers are, but we have got as far as being able to see the light.”
Many groups find that the variable luck, prolonged travelling and inevitable periods of boredom have their compensation in serving to unite a band.
“Yes, that is so,” affirmed Mike. “We’ve found that it is knitting us together but we’ve yet to experience the results of it.”
Mike consulted his diary to tell me that after King Crimson’s gig at Chicago’s Kinetic Playground with Iron Butterfly, the hall was burnt down during the night — by gangsters, according to reports.
“Iron Butterfly had their equipment completely burnt out,” said Mike. Ours wasn’t too bad but we couldn’t use it for a couple of days because of the water in it. We had to cancel our second gig there.”
On a brighter note, the group was pleased to find acceptance for their free form specialities. “We didn’t intend to use any,” said Mike, “but we tried them on Saturday and they went down extremely well.
“One of the nicest jobs we did was last week in Detroit,” he went on. “We played with the Band, who were excellent. They are perhaps the best group we’ve seen; a very together unit.”
The Band apart, Mike said they had been disappointed with most of the American acts they’d seen.
“Most haven’t impressed us, like Iron Butterfly. Jefferson Airplane have an excellent light show but nothing really strong musically.
“We saw the Steve Miller Band, who are now down to a trio, and they were a disappointment as well.
“We also worked with Al Kooper in Boston and weren’t impressed with him either — although he’s a nice chap.”
The group haven’t had many chances to talk to young Americans but, says Mike, “the Underground seems to be pretty strong, mainly as a gathering point for young people.
“They are much more militant here about police and social problems because they are affected more.
“There’s also a lot of hostility towards people with long hair. There was a man in a supermarket making strong comments about us but we’ve tried to steer clear of that sort of thing to avoid trouble.”
“In the Court of the Crimson King,” which is at No. 10 in this week’s NME LP Chart, had been on release just five days when we spoke.
“We’ve had a fair amount of FM radio,” said Mike, and a few people in the business spreading the word and doing nice things.”
On their fifth week of the tour with four to go, the group is spending spare time writing material for the second album, and have most of the ideas. They plan to record during February and March.
“It will be different from the first,” offered Mike, “and better.”
After a holiday over Christmas the group then embarks on a series of major concerts.
“We hope to do some clubs as well,” said Mike. “I don’t think it would be fair to some of the audiences who cannot get to concerts – and also there are some nice clubs.
“But mainly it will be concerts because it’s not only better for us but for the audience as well.”


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 Rolling Stones FROM New Musical Express, November 29, 1969

Mr. Green was absolutely correct in his judgement of this album. Still counted among the very best of all the albums this band released. Great to see him going by it track-by-track too.
Read on!


Great Stones album!

declares Richard Green

ROLLING STONES: LET IT BLEED (Decca mono and stereo SKL/LK 5025; 37s 6d. Released December 5).

WHAT a great album! The Stones have obviously put a lot of thought and hard work into it and I have no hesitation in naming it one of the Top Five LPs of 1969 — people are going to have to go a long way to beat it.
There’s so much variety that each track makes you want to hear it again and again. The late Brian Jones is heard on a couple of numbers and Mick Taylor appears on his first Stones album. It’s really an incredible piece of work that shows the group and friends at their best.

GIMMIE SHELTER. This is one of the Stones’ mid-tempo specialities with a heavy beat and tons of oomph. Mick sings the first part and is then joined by Keith and Mary Clayton, before an easy guitar break that leads into a yelling solo by Mary. The whole thing becomes louder and wilder with Mick playing harmonica and the rhythm section letting rip.

LOVE IN VAIN. A slow, heavy ballad with a Hawaiian guitar effect and some nice mandolin work by Ry Cooder. Mick’s voice is in its rough and mournful mood as he sings about following his baby to the station only to see her leave on a train. It’s all very woeful and very appealing.

COUNTRY HONK. Grab your partners, folk, for the hoe-down version of “Honky Tonk Women.” A gas of a track, with Byron Berline on fiddle and Nanette Newman joining Mick and Keith on vocals. Mick Taylor appears on slide guitar and Charlie Watts gets a nice tapping beat going to hold the whole thing together. A fine number.

LIVE WITH ME. “Don’t you think there’s a place for you in between the sheets” sings Mick, so we all know what this one’s about. The whole works are thrown in, including horns arranged by Leon Russell, who also plays piano with Nicky Hopkins. Bobby Keys’ tenor sax gives a tremendous bite to the unrestrained sound that ends in a massive free for all.

LET IT BLEED. A lot like the first track in style, but with Ian Stewart’s piano playing a large part and Bill Wyman on auto-harp as well as bass. Keith gets some good sound from his guitar which butts in now and then with a series of phrases and his solo leads Charlie and Ian into a constrained rave up. Keith begins to dominate the proceedings again towards the end and though it’s five minutes, twenty-seven seconds long, you want to hear more.

MIDNIGHT RAMBLER. The original Stones, with Brian Jones on percussion. Again, it’s Keith who comes through strongest while Mick sings a medium-fast lyric and plays harmonica. About midway, it quietens and there’s some nice interplay between guitar and harmonica, then the whole caboodle speeds up and Mick’s voice can just be heard beneath the action. A sudden switch to a slow, quiet section which only serves as an intro to more raverama. Much long and much good.

YOU GOT THE SILVER. Short and Dylan-ish, with Keith singing and even sounding a bit like Dylan. There are odd bits of what sounds like an acoustic twelve-string guitar breaking up the song which is a change from the Stones’ usual style but which shows their versatility.

MONKEE MAN. Medium tempo with lots of instrumental work which gives Keith plenty of room to work out and Charlie gets his oar in with some nice playing. Mick begins yelling like an enraged chimp at the end as, again, all hell break loose.

YOU CAN’T ALWAYS GET WHAT YOU WANT. Ye Gods! The London Bach Choir: Madeline Bell, Doris Troy and Nanette Newman! Al Kooper on piano, French horn and organ, and Jimmy Miller on drums. It starts off like a chorale, then Mick takes over as the tempo increases slightly. The girls join him for the title line which is repeated over and over and that works well. There’s a part about the Chelsea Drugstore and an “angel chorus” backing Beaty goings-on in the foreground. A really long track full of surprises and a credit to producer Jimmy Miller and all involved!

Rolling let it

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ARTICLE ABOUT Jethro Tull FROM New Musical Express, November 22, 1969

Martin Barre was only on his third interview at the time and the band were still relatively new to adulation and fandom. Still, they were on their way and I guess Ian Anderson had a clear plan for the band all along, as he on the American tour of 1969 declined to play Woodstock as he was afraid they would be typecast as a hippie band.
Read on!


Jethro no one-man band!

By Nick Logan

WHILE the world is coming to love or loathe the eccentricities of Ian Anderson, they’ve been a little slow in recognising the existence of Glen Cornick, Martin Barre and Clive Bunker who, as devotees of the group won’t need telling, are as much Jethro Tull as Ian is.
Disc jockeys like Alan Freeman who ought to know better than to describe their act in a Top Of The Pops rehearsal as “Mr Jethro Tull,” and the BBC officials who persist in sticking the same label on their dressing rooms at Lime Grove, don’t help enlighten the masses.
Nor do the cameramen who focus so much on Ian that if an ear, top of a head or wayward arm is fleetingly glimpsed on the screen it is more by accident than design.
On the other hand, while they all get a bit upset about the “Mr Jethro Tull” bit, Glen, Martin and Clive are quite content to cede the mantle of Tull soothsayer to Ian in the sustaining knowledge that when it comes down to the real business of the group, the music and stage performances, their contribution can never be in question.
“I’ve done just two interviews since I’ve been in the group,” affirmed Martin when we talked in the Lime Grove canteen. “But none of us mind that. The kind of things Ian has to answer and talk about, all that analysis and comment, I wouldn’t care to do that anyway.” Glen nodded his headbanded head in agreement.
I had hauled the two of them off to the canteen after a run through in the studio of Jethro’s “Sweet Dream.”
Ian, whose outrageousness increases with every visit to the BBC, was in good form — his hair in bunches tied on each side with pieces of string, a strange knitted hat he found in Scotland on his head and wearing one of his famous overcoats, one side of which had been completely ripped away leaving the remains hanging in tatters.
“It got torn at the concert in Dublin,” Ian replied to arranger David Palmer’s inquiries. “Wait till you get a No 1 LP and it will happen to you,” he grinned through his beard.
In the canteen Martin was recounting how he was chosen from 70 other hopefuls in auditions to find a replacement when Mick Abrahams left Jethro Tull to form Blodwyn Pig.
As well as guitar, he played flute and sax in his former group. “I wanted a job as guitarist,” he recalled, “but it wasn’t easy. The group said that if I got a sax and learnt to play then I could join.

Three days

“I bought the sax on a Saturday and was playing it with the band on the Monday.”
Glen wasn’t to be outdone. “I once played bass for Tony Blackburn,” he announced, pausing to note the effect of his statement before adding that it happened some time ago in Blackpool when Blackburn was still with Radio Caroline.
“I was really frightened at first when I joined Jethro Tull,” continued Martin. “I thought I was an average or maybe slightly above average musician but I soon learned my shortcomings and it was pretty shattering.
“I discovered that I had been sitting back for the previous two years.
“At first with Jethro Tull I really had to force myself to play well. It took me a long time to get any confidence in myself.”
Glen broke in: “The sixth or seventh gig Martin played was the Fillmore East. We had been used to things getting bigger but it completely overawed us… and Martin had only been with us for ten days. After the kind of place he had been playing it must have been really mind shattering.”
The arrival of fame and fortune for Jethro Tull has had no apparent effects on the outlook of its members.
Ian was telling me a few weeks back that he still lives in the same £3 5s a week bedsitter in Kentish Town and, like the rest of the band, draws just £30 a week spending money from the group’s earnings.
On the fame side, both find the adulation strange and discomforting.
“I cannot grasp being thought of as a personality — which I will never be,” said Martin. “I am just a musician and I only relate Jethro Tull to music.
“Emotionally that sort of thing means as much to me as eating a boiled egg.”
Glen: “I find it very difficult now to talk to people outside music. There are things the group does without thinking that they think of as big things.
“People introduce you to their friends — this is so and so who you may have seen last night on Top Of The Pops — and it is like being in a zoo.
“Maybe they want a little of your supposed fame to rub off on them. Whatever it is, it is very embarrassing.”
Both Martin and Glen feel that Jethro Tull’s policy of restricting future appearances to concert tours is best for the public and the group.
Said Glen: “Concert halls are the only places where everybody gets a good deal — the public gets good music in comfortable conditions for a reasonable amount of money, the group has good playing conditions.
“You can get nostalgic about the good times but when you think of all the aggro… the stages too small to get the equipment on… having to change in corridors.’
“Personally if I was going to see a group I would rather go to a concert than stand at the hack of some sweaty club and just catch a glimpse of the guitarist’s head.”


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 David Bowie FROM New Musical Express, November 15, 1969

This article was published almost at the same time that Bowie released his second album, just titled with his name but later reissued as “Space Oddity”. I tend to believe that Bowie was spot-on when he said that he never had any traumas with girls. That is unlike me and a lot of other boys who unfortunately couldn`t say the same at a young age, but then again, Bowie was extremely gifted in a lot of ways.
Read on!


Don`t dig too deep, pleads oddity David Bowie

By Gordon Coxhill

IT looked like a piece of master planning, but it wasn’t. It looked like a monster hit, and it was. David Bowie’s “Space Oddity,” inspired by a visit to the film “2001,” was released just as the world was staying up all night to watch the moon landing.
Like the modest, self-effacing young man he is, David passed the credit on to his record company, but as it was written last November, he can hardly disown his amazing foresight!
“Put it down to luck,” he said over the phone from Perth, where he was about to begin a short tour of the Haggisland. “I really am amazed at the success, of the record, even though I had confidence in it.
“I’ve been the male equivalent of the dumb blonde for a few years, and I was beginning to despair of people accepting me for my music.
“It may be fine for a male model to be told he’s a great looking guy but that doesn’t help a singer much, especially now that the pretty boy personality cult seems to be on the way out.”
Much as David takes his songwriting seriously, he is amused by pundits who examine his material looking for hidden meanings even he is totally unaware of. “My songs are all from the heart, and they are wholly personal to me, and I would like people to accept them as such.
“I dearly want to be recognised as a writer, but I would ask them not to go too deeply into my songs. As likely as not, there`s nothing there but the words and music you hear at one listening.
“I see you’ve noticed that my songs are seldom about boy and girl relationships. That’s because I’ve never had any traumas with girls.
“I like to think myself a pretty stable person, and I’ve never had a bad relationship with an intelligent girl. And if a girl isn’t intelligent, I don’t want to know.”
Although David made a very good impression on the recent Humble Pie tour, he maintains he is a songwriter first, and even denies he is a good performer.
It was my first tour,” he told me, “and I never stopped being surprised the concerts even went on. It appeared so badly organised to me, but I suppose everybody knew what they were doing.

“For me, it was nothing near an artistic success, mainly because I was limited to a twenty minute spot, and I ended up accompanying myself after a mix-up.
“I was very pleased to see that `Space Oddity’ went down well, I thought the audiences would miss the orchestral backing which was on the record.
“I throw myself on the mercy of an audience, and I really need them to respond to me. If they don’t I`m lost. But all the same, I’m determined to be an entertainer, clubs, cabaret, concerts, the lot.
“There is too much false pride within the pop scene, groups and singers decrying cabaret without ever having seen the inside of a northern nightclub.
“I just want to sing to as many people as want to hear me, and I don’t care where I do it. Mind you, I refuse to have my hair cut or change my appearance for anybody. I’m quite happy with the way I look, and people will have to accept me the way I am, or not bother at all.”
A former commercial artist, David played tenor sax with a modern jazz group, “went through the blues thing;” during which time he switched to vocalist, and then joined a traditional French mime company, where he met and worked with Marc Bolan.
“Marc has been a great influence on me, not so much with his music, but with his attitude to the pop scene. He shuts himself off from the destructive elements, and prefers to get on with his work.
“That’s how I intend to be, in fact I ran away from London a while back when people started talking about me, and didn’t come back unless it was really vital.”
Inevitably, the underground cropped up, and David had some interesting comments on the movement, “I thought when the whole thing started,” he said, “that a whole lot of new, musically-minded groups were going to appear with some meaningful music and try and spread it around. Well, we’ve got the music, and most of it is very good too, but I can’t figure out the attitude of so many of the underground groups.
“It seems to me that they have expanded their own personal little scenes to a certain extent, and then they stop, content to play to the converted. That doesn’t get them anywhere, and in the end both the audiences and the groups will get fed up with the same faces and places.
“A lot is said and written about the musical snobbery with the fans, but I think the groups are just as bad. For some reason, even the words entertainer and cabaret make them shudder.”


Obviously, having a hit record and being able to command the money that goes with it, is going to make a few changes to Davids life, not least of all in his bank balance.
He seems to have made a good start already. “I’ve bought a big car and a nice little house which needs a lot more time and some money spent on it before it will be as I want it.
“I suppose other little things will crop up as time goes on. At the moment, I’m more concerned with remaining a 22 year old, or even going back a year to 21.
“This business might keep you young mentally but I feel almost middle-aged physically. I often regret not leading a more normal teenage life. From the time I was about 16, I never kicked a football over a common with my mates, I haven’t had to chat up a girl like an ordinary teenager for ages, and believe it or not I miss it.
“I have to try and figure out if a girl knows who I am and whether she wants me for what I am or my name. It’s a more difficult problem than it sounds, but as I was saying, I havent’ had much trouble with girls, touch wood.”
The immediate future for David looks bright, with as much live work as he wants, an LP on release this week (14), and even the prospect of his own TV show.
But the usual pressing worry about follow-ups hasn’t caught up with David yet. “Follow-up?” he queried, “but the first one’s still alive at the moment. Actually I haven’t even thought about it.
“I’m not sure if I’ve got a suitable song for another single, but even if I have, I don’t want to be one of those singers whose career depends on hit singles, and they are virtually dead for six months of the year.
“I hope to get some free time to do some writing when I return from Scotland, but even then I can’t write just because I’ve got the time. But its a bit early in life for all my ideas to have dried up, isn’t it, so I suppose I’ll come up with something.
At the moment, David seems to be the sort of person much needed in pop; full of original thought, a willingness to work, a hatred of the hard drug scene and class distinction in music and common sense enough not to let the fame and adulation surely coming his way, turn his head.
I’m sure he has been around long enough to withstand the pressures, and if he can’t, he’ll be wise enough to run.


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!