ARTICLE ABOUT Nazareth FROM SOUNDS, May 17, 1975

To me it is obvious that the writer of this article isn`t too fond of rock music. So it is a bit surprising, and also pleasing, to see that he remains objective in his review. This review could potentially be a catastrophe, but actually ends up really well.
Have fun and read on!


Nazareth on a Summer`s eve

By Howard Fielding

It was with some trepidation that we set off on the overland track to Salisbury last Sunday, to see Nazareth – it was a warm Summer evening, the kind you spend sitting outside a country pub listening to the gentle sound of nature.
It didn`t feel like the night to spend crammed together in a sweaty crowd of raucous rock fans stamping and shouting their appreciation of Nazareth`s brand of heavy music. Also I`d been getting a little bored, lately, of the kind of music which relies too much on bass drums and deafening volume – it`s all right for Wintery evenings, but not for the impending delicacy of Summer.
Though Nazareth didn`t seem to fit the bill, although it was a long time no see, it might make a change and so it did, and I can say sincerely, and with considerable relief, that the evening was pleasant, entertaining and enjoyable especially in giving the lie to my misconceptions.
Nazareth are a moderately weighty band, but I`d forgotten how much variety and interest they give to their set, and how they combine in their music many of the hallmarks of an excellent band. But before them came Mike Hugg`s new band Hug, an interesting prospect for anyone who enjoyed his silky husky voice in his days with Manfred Mann and subsequently in his fine solo work, but there`s been a considerable change of style, to far more direct and forceful music, led principally by the striking guitar work of John Knightsbridge. A band with many possibilities, this, and well worth seeing. Hopefully they`ll get their sound better mixed in future, so that the top and bottom end of the drum kit doesn`t drown the middle ranges of the other musicians – when Ron Telemak did play a drum solo you hardly noticed there was any change. But it`s nice to see the man back on the road again.


Nazareth started their set with title `Changin` Times` from the new album, a well-bought record in the Salisbury area, judging by the crowd`s response. Straight away, the reaction, one felt, was reassuring – the sound, for one thing, though pretty loud, was well balanced and you could hear and distinguish quite clearly what each person was playing. Initially, it was Manny Charlton, surprisingly enough, who took the eye – playing short solo breaks which people like to call tasteful. When that means anything, it implies that the solo part is complementary to the rest of the music – it`s one of my criteria of a good musician – and Charlton gets good marks for it. In fact, only twice in the whole set did he play anything which could mildly be described as irrelevant or indulgent – and those were very short and quite entertaining little flurries.
Then, during the second and third songs, there was time to notice the light show, one of the brightest sets for a rock band currently in use as I had forcibly explained to me – but it was good, and again, fitted round the music. The band work their visual groupings pretty well, often gathering in small clumps around Don McCafferty, and not satisfied with standing morosely still, or stomping about distractedly. It`s impressive to see a band who have rehearsed what it seems necessary to rehearse and to leave the rest to their own personalities.
Charlton`s guitar changes, Pete Agnew`s bass change, McCafferty`s changing of mikes and slipping on of white gloves for the ultra violet effects of `Jet Lag` all showed smooth polish but without losing their personal expression in the music the rest of the time. As the set moved on, and I was surprised how many songs the band got through, you could see how well put together their act is. There`s a well thought-out collection of songs, varying from the slow stuff, like Randy Newman`s `Guilty` which it takes a good band to do well – to the more familiar furious pace they play at most of the time. But lots of people like nothing better than having their ears bashed – and good luck to them – Nazareth can cater for their taste. What distinguishes this band from the mundane, though sometimes more famous, loud and nasty men is that you can sit and listen to Nazareth as well. There`ll always be a market for bodyline rock. What is important is that people should be able to distinguish good from bad and as long as Nazareth get picked out as a superior quality rock band you can be pleased that we still have some taste in this country.


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 Nazareth FROM SOUNDS, September 21, 1974

Great article from a point in this band`s career where things were beginning to really take off for them. What a great band this was. In my opinion, they deserve to be in the rock and roll hall of fame more than almost anyone else that they still haven`t inducted.


Die-hard Scots and Welshmen keep trucking

Pete Makowski reports from Munich

Well it`s only been two years since Nazareth stepped off the stage of the Marquee and entered the world of concert tours and international success. It seemed to happen so fast, didn`t it? A hit single and a headlining tour seemed to appear from nowhere, but those who solidly supported the band in their early years will realize this was no flash in the pan.
The last time I saw the band was at their first headlining date at the Rainbow, which was a bit of a disaster. You could say they blew it that night, although they had total command in places of the Marquee`s stature and Ally Pally, it seemed that they lacked the requirements at a fully sized concert hall.
The show lacked the strength and quality to qualify their headlining position. Still that was their debut to stardom and the ultra cool surrounds of Finsbury Park was no place to judge an up and coming band, especially when you`ve seen them rip other places apart.


These four Scots lads have carved their way to success with sheer hard work and good solid rock and roll. The band`s touring itinerary is still as full as ever, and they have been touring consistently since the beginning. Their output of records has been as much as three albums per year, which I feel lost out on the quality of the group, especially their last effort “Rampant”, where the lack of ideas was painfully obvious.
Although the musicianship was improving, the material (apart from a couple of tracks) lacked any originality and certainly didn`t match up to the standards of “Razamanaz” and its predecessors.
Still these die hard Scotsmen keep trucking on and this year is bringing them into larger amounts of spandoolicks (readies) as they continue to break into new territory, which should explain how I managed to blag my way to see them in Munich during their first headlining tour of Germany.
This was going to reveal Naz`s new stage act, which was reputedly a scorcher. Now that`s something that should not be missed by any heavy metal damme or herron.
The band were due to play the Circus Krone – a concrete circus which houses some resident tigers of mammoth size – and the circular, dome-shaped hall inside accommodated about 3,000 people.
The Naz lads entered the hall looking fit `n` fine. Dan McCafferty, the man with the granite-like features, strode up confidently to have a chat before the band`s soundcheck.
“Munich is like the London of Germany”, said an exuberant Mr. McCafferty. “I mean, the kids here get 28 good concerts per month, they`re spoiled. That`s why a place like Glasgow Apollo is THE best venue, the kids there sweat their balls off as much as the band.”
The man responsible for the Krone gigs was Karl, a shifty, obese character who spent most of his time eating, and reportedly falls asleep at the side of the stage during gigs. “Tonight`s concert is important”, he explained to Naz`s manager, Bill Feheely – a jovial character. “All of Germany`s Press will be here.” The words came out with awe-struck tones that made you think the Fuhrer himself was about to arrive.
Suddenly familiar Welsh tones were heard from the backstage area. It was the Man band and Co. The band have just begun their tour and they were appearing tonight along with Stan Webb`s new band.

Originally the bill`s line-up was intended to be only Naz and Budgie, but our feathered friends got a touch of the homesick blues and departed, cutting their tour schedule short. Oh vell, das icht Rock en Roll.
Nazareth have recently returned from the States and their progress, reports Dan, is slow but sure. I asked him when we`d be seeing the lads on home territory again. “You`ve probably heard this before from other bands”, he said, “but whenever we tour Britain we lose bread, so do most bands.” But THEY tour in Britain because it`s their country and they love it.
“We`ve got to spend a lot of time touring abroad, to top up the economical side of the business but I should imagine we`ll be touring in Britain early next year, after the next album has been completed.”
The band returned on stage to proceed with the soundcheck. A few bars of “Shanghaid In Shanghai”, “This Flight Tonight” and their rendition of Randy Newman`s “Guilty”, and it was all over. The sound was good and the group seemed happy with it.
We returned to the hotel, sat round in the bar and Dan spoke of the band`s experience in Iceland, where a bottle of scotch cost £10 and tickets for the concert were £7.
Manny entered the lobby of the hotel clutching a copy of Dicky Bett`s new album. Manuel “Manny” Charlton is the quiet one, who bears the features of a Spanish matador, with his continental black moustache. When he talks it`s usually to do with the band, the main subject of the evening being the band`s next album.
Who would be the producer? Would it be a live one? Where would it be recorded? These and many more questions have yet to be answered and as the night progresses the tinge of seriousness started to fade.
“The producer`s got to be called Jock McTavish”, said Dan. “See this segregation”, said Steve, the Cockney lights` manager.
By the time we reached the gig in the evening, Stan Webb`s band had finished boogying and Man were about to get on.
The dressing room was full of booze and food, provided by the promoter. The band made themselves comfortable, Manny disappeared into the next room to tune up his guitar. Darryl Sweet, who by now was wearing his third pair of spectacles, looked thinner and healthier.



He disappeared and reappeared wearing a silver, blue and white jerkin with trousers to match. You can say that Darryl Sweet burst into the dressing room wearing a suit that matched his drum kit.
I only managed to catch a few brief moments of Man. Suffice to say they are as tasteful as ever, and should undoubtedly do well for themselves, and, as expected, the audience reaction was pretty laid back.
Since the departure of their keyboard player Man music seems to have got much harder, which is inevitable with Deke on the front line. This gig proved to be a good starter for their forthcoming British tour.
Backstage Naz were preparing themselves for the gig. Their attire is not glitter – effective rather than flash, which can also be said for their music. Suddenly out of the blue popped ex-Silverhead guitarist Robbie Blunt, who is currently with Stan Webb.
The band have been going down well. They`ve already got the advantage of Webb`s popularity in Germany, but I`m sure the addition of Blunt plays a big part in it. They`ll also be recording an album and playing in Britain soon.
“I`ll just change into my poofy jacket”, said Dan as he headed for the adjoining room.
The band were about to go on, the lights in the hall were off, and the band could barely be seen walking on stage and plugging in. The audience in the front section got on their feet and began cheering while the kids in the surrounding area sat back and coolly clapped… very similar to a Rainbow crowd.
The band went straight into “Silver Dollar Forger”, the lights went out and a spot was concentrated on a shimmering tambourine which Dan was holding high in the air. This was followed by “Razamanaz”, a hard rocker featuring some cutting guitar from Manny.
The acoustic of the hall gave the PA a muzzy sound, which was balanced out by the third number “Alcatraz”. The audience were beginning to gather enthusiasm and gradually the back row mob began joining in. Naz kept on playing the numbers with high energy and professionalism. Their whole approach and performance has moved into a new dimension.
Some hard rocking with “Turn On Your Receiver” and a superb version of Little Feat`s “Teenage Nervous Breakdown” closely followed by “Bad, Bad Boy”, with Manny playing some fiery slide. “Guilty”, a slow bluesy number, highlighted the vicious vocals of Mr. McCafferty.


“Jet Lag” took on a whole new style with some incredible guitar from Manny with Pete Agnew accompanying him on twelve bars. This featured Dan on the voice box – a gadget which, in conjunction with guitar, produces an amazing moog type sound. The band featured a medley of numbers consisting of “Amazing Grace”, “F.B.I.” and “Smoke On The Water”.
By now the audience were worked up and it was “This Flight Tonight” that brought the whole place to its feet. Tough bass from Agnew and spacey guitar from Charlton, along with McCafferty`s hard vocals, make this one of the finest records they`ve made. The set was completed with a spectacular version of “Shape Of Things To Come”, featuring three mirror balls flashing from the ceiling and strobes.
There was no doubt that the band would have to come back for an encore. They returned to play “Woke Up This Morning”, featuring some powerful slide boogie from Charlton.
I made my way to the back of the stage where one of the promoters was saying that this was the best concert he`s seen here for a year and Karl was moaning that it was the first time kids have stood on the seats.
The band finished the number, but had to return again. “What shall we play?” asked Agnew as he leapt back onto stage. “Mmm let`s do `Morning Dew` said Charlton. The band haven`t played the number for over a year and it made a fine finish to the night.
When the band return to Britain you will see a totally new group. Their act is polished, has the substance, dynamics, excitement and competence to put them in the big league. Oh yes, the lads from the Gangy have come a long way in the last two years, which makes you wonder what we`ll see two years from now.


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: Adam Faith, T. Rex, David Essex, Trapeze, Gallagher and Lyle, Jackie Lynton, 10cc, Ben E. King, Chris Wood, John Stewart, Steve Ashley, Isley Brothers.

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 Nazareth FROM SOUNDS, July 20, 1974

When it comes to music, the Scottish people really should be proud of having such a great band as Nazareth in their midst. They were one of the most popular bands when I grew up in the 70s, and at school you either liked Nazareth or you liked Abba. There was nothing else for a while, and the imagery of Nazareth`s album covers were difficult not to notice and be impressed by as a young boy. That`s not to say that I wasn`t studying Abba`s album covers as much, looking for Agnetha…. Oh well, here is a good one with Dan McCafferty from the vaults.


Back in the USA

Proving for the second week running that he has a way with `phones, Ray Telford talks to Dan McCafferty from Florida.

As Billy Walker so succinctly put it after I`d put down the phone on Dan McCafferty who`d called from West Palm Beach, Florida, last week, “Nazareth are nice guys”. Nice guys they are too and so is Bill (he`s managed to keep that way by assiduously avoiding most of the music business assholes and as a result has maintained a reasonably normal head). He also digs Nazareth`s music to some degree which makes his observations on the Naz all the more palatable and genuine – yet another rarity in the music business.
Nazareth are now into the last week of their fourth US tour, a tour which Dan reports has won them a lot of ground with American punters even despite the fact that their last visit there ended up as a complete non event.
The last projected American tour for the band was in January of this year when they were due to support (along with S. Quo) some outfit which was going out under the name of Fleetwood Mac. It was not, of course, the real thing and rather than become part of the great Fleetwood hype Dan and the boys opted out and flew back to their Scottish homes for a few days respite before jetting it to Switzerland to finish off a new album, the recently released “Rampant”.
If Nazareth hadn`t sold so many albums as they have over the past couple of years then the ready excuse would`ve been of course that they were primarily a band to be heard live and that the magic didn`t quite become so apparent when the music was transferred onto magnetic tape, but the fact that they have sold albums in vast quantities both here and on the Continent proves that lots of people hold the band and their hard, brittle rock and roll in pretty high esteem.

As for the States… well Dan reckons it takes a few cracks at the place before you even begin to think you`re getting a foothold and this present tour he guardedly told me had achieved precisely that. The albums released in America so far, discounting “Rampant”, have been doing good business and the interest from press and the radio stations has been more than encouraging.
“All the same,” Dan needlessly informed me, “America is such a bloody big place. You can break big with the radio stations and the people in one State and maybe the neighbouring State too if you`re lucky but then there`s still the other side of the country to come to terms with.
“That`s why so many bands touring here see it as an endless round of gigs with so much hard slog you wouldn`t believe it. At least if you play just one whizz bang tour in Britain you can be sure that everybody is going to pick up on how well you`ve done. It seems like it`s more instant – that`s really the big difference.”
On the present tour Nazareth have been sharing bills with what Dan calls a string of good crowd pullers and are pleased with what they have achieved in terms of audience reaction and general musical progress. In Washington, he says, they met up with Little Feat, who apparently have not fallen apart contrary to all rumours this side of the pond.
It was one of Lowell George`s songs (Little Feat`s slide guitar player), in fact that Naz took it on themselves to record on the “Razamanaz” album and which has since become a main feature of the band`s live sets.
“It really was a great night,” confirmed Dan. “The whole thing was perfect and they certainly didn`t seem to me like a group who were about to bust up. Anybody who plays like they do really have no right to call it a day. They`re that good.”


On their return from America next week, Dan looks forward once again to being with his wife and son at their home near Dunfermline. He admits never to have had much time for the supposed trappings of a pop star`s life, and winces at the thought of having to leave his family at home while the band are on the road.
“There`s too many tense moments on a tour like this to have your wife and kids around. It wouldn`t be fair on them and it wouldn`t be fair on the band either `cause it is work. There`s no way you can call it a family way of life and luckily all our wives realise and respect that.”
The new Nazareth album, Dan happily reports is well in hand as far as suitable material goes. They had hoped to record some of the songs in America but time wasn`t on their side and so plans had to be shelved.
“We have written a few things, though we haven`t had a proper chance to rehearse them. The only chance we`ve had is to write them roughly on acoustic guitars in hotel rooms and then try them out at sound checks which isn`t really much good but the ideas are there and that`s what`s important. We`re due to come back to the States towards the end of the year and we`ll almost certainly be recording some stuff then.
“I`d like to try that studio in Florida where Clapton did his new album – there are some really nice sounds on that. Meanwhile we`re dying to get home and back to some sanity. We need to see our families again. Too right we do.”


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: The Graeme Edge Band, Robin Trower, Man, Nigel Thomas, Chris Stainton, Chilli Willi, Robert Wyatt, J.J. Cale, Dobie Gray, Roger Daltrey, Sonny Rollins, Druick and Lorange, The SHF Band.

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 Nazareth FROM SOUNDS, January 19, 1974

This interview was done just before the band travelled to make an album that would end up having one of their most striking album covers, Rampant, released in late April 1974.
The only cover version on this album was “Shapes of Things”, a song that would be “Nazarethified” so much that most people think of it as the band`s own, being a live favourite throughout the years. The album would go to number 1 in Austria and peak at number 3 in my home country Norway, being their best position in the charts of any album released here.


Shapes of things to come

Jerry Gilbert talks to Nazareth`s Manny Charlton

Manny Charlton is most concerned about Nazareth`s next album. On the eve of the band`s departure to Switzerland he was busy sorting through demo tapes to be played to producer Roger Glover once they all arrived in Montreux to start work on yet another album.
He regards the speed with which the band churn out albums as being essential, not so much for their own peace of mind as to fulfil their contract but at the same time he is very wary as to the direction the next progression should take the band.
This time, it`ll be an all original album which is already 98 per cent complete. The band may then decide to make up with the Yardbirds` “Shapes Of Things” or “There`s A Riot Going On” or even write another track themselves – for the album has been specifically designed to feature new group material.
“I think there will be a widening of the spectrum, doing things that we haven`t done before. We want to be a bit more adventurous, to incorporate the British feel and aggression with the American musicianship. Imagine Little Feat material done by Led Zeppelin, well that`s the sort of thing we`re after”.
After cutting their last two albums at the Gangy in Jamestown, Scotland, they have been forced to move to Montreux late in the day because of the energy crisis. They will be spending two weeks at the Montreux Concert Centre with the Stones Mobile, and with the material mostly in the can, they are hoping for a fairly straightforward time.

“We like to have a good idea of what it`s going to sound like so we do all the demos at home – then we just hope that when we get down to record it, it all comes together but we find that if we have a sketch of it before we go into the studios then Roger Glover will probably add some ideas”.
Manny admitted that it was difficult hitting a two album a year schedule, and as a result their five week Christmas holiday back home in Dunfermline was used as a solid writing and rehearsing period from midday until five, eight until one in the morning.
Once in Switzerland they`ll be anxious to get back to Britain and rehearse a new stage act for the States. By May they`ll be back touring England to coincide with the release of the album which is as yet untitled.
The irony of it all is that the tightness of their schedule prevents them from doing any gigs in Switzerland, which is not only a country that the band have yet to play but also a place where “Loud & Proud” has hit the number one spot.
“Making albums just gets harder all the time because our standards are continually rising”, says Manny, and perhaps the band still aren`t regarded with the kind of musical respect that they deserve. “I do tend to think that people regard us as just another rock band”, he acquiesced. “OK we`re not the Mahavishnu Orchestra but I think we`re pretty competent.


“Four or five years ago people would have thought a lot more of us, but even so I don`t think we`re classed like Geordie”.
How did he see his own tastes influencing the band musically? Manny is adamant about the bands he likes, and they mostly hail from the States. “I`ve been listening a lot to Joe Walsh lately and I think he`s the ideal musician. I`d love Nazareth to get to the same position as Joe Walsh or Little Feat because we really want to combine good songs with good playing. In terms of solos onstage I like to play a solo as long as it isn`t indulgent. I`m not up there to play guitar to myself and the band feel like that too – we`re just not that type of band, and besides, most of the solos are tightly rehearsed”.
In the meantime the band continue to move up the ladder in the States.
“Let`s just say we`re making progress”, Manny cut in circumspectly. “I think the time has passed when Americans welcome British bands with open arms, so we`re having to work hard. At the same time we don`t want to lose what progress we`ve made in Britain – we don`t want to become like TYA where we`re never in the country”.
In the interim, Mooncrest will be issuing a single of the band – and it will probably be a song written largely by Manny called “Castles In The Sand”. Says Manny: “It`s a Buddy Holly kind of thing along the lines of `Peggy Sue`. We specifically didn`t want this one to be on the album but if it`s a really big single the record company and management will be tempted to put it on the album because singles sell albums”.


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 Dylan, Jethro Tull, Bryan Ferry, Chris Squire, Rick Wakeman, Paul Butterfield, Sweet, Tim Hardin, Average White Band, Cozy Powell, Robin Dransfield, Andy Roberts.

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.