Nick Logan

ARTICLE ABOUT Bev Bevan (The Move) FROM New Musical Express, February 24, 1968

Nice to see a drummer get some attention sometimes. You should visit his hometown Birmingham if you get the chance and see his star in the walk of fame they have there. Personally I enjoyed the city a lot and found it a nice place to be.
Read on!


Nick Logan`s Spotlight on The Move

BEV BEVAN was on orange juice when I met him in a pub just round the corner from the group`s management. Bev is back on a keep-fit kick, having got himself a rowing simulator at Christmas to add to the chest expanders he has at home.
Unlike most drummers, Bev is a big fellow (six foot and nearly eleven and a half stone) and has one of those large round, genial faces that give the impression of a permanent smile.
But despite his adequate build, Bev keeps physical force for his drum skins. He lives at home in Birmingham with his widowed mother (his father died when he was eleven) and his pet Alsatian, Remus.
Bev is an only child and the attachment between him and his mother is a strong one. When he is away from home he phones her every day. She has always encouraged her son in whatever he wanted to do with his career, is one of the Move’s greatest fans and watches all the group’s television appearances whenever she can.
Like most of the others in the Move, Bev prefers to stay in his home town and has never thought of moving into London. “There are too many phonies on the music scene in London,” he says.
To a large extent, Bev is an uncomplicated, undemanding person.
His ambition is simply this: “Just to have the satisfaction of knowing that I have really had a ball and have seen the world.” He keeps scrapbooks with all the cuttings of Move write-ups because “it is nice to look back on things.”
He says : “When you are married and have kids it is nice to think that you have not wasted your life in a normal job, and that you have something to show for it. Everyone has to settle down eventually but it is nice just to see some life before you do.”
Bev is not a nervous worrier but does have normal fears. “I don’t think I worry a great deal. I worry about my mother and I worry a bit about the next couple of years. I do want to make a lot of money. That is the main reason I am in the business.”
One of his hates is cruelty to animals. I asked him if he’d like a lot of children when he married. “Kids got on my nerves actually,” said Bev, “but I suppose I would like some when I get married.
“Dogs have always appealed to me — they are so much less troublesome than kids. But I suppose I will change my views as I get older.
“I think I am a very young 23-year-old actually. My friends who have now got married and settled down seem so much older than me in their looks and the way they behave. I suppose you are affected by the environment you live in.”
At grammar school in Birmingham, Bev was a bit of a rebel, getting himself suspended a couple of times for outlandish clothes — he was a rocker in those days.
However, he was a reasonably good student, excelling in English and art and all sports, and left at 17 with three GCE’s.
At first he wanted to be a sports reporter, but was told he lacked sufficient GCE’s and instead settled for a job as a trainee buyer in a large store, playing drums with the semi-professional Denny Laine and the Diplomats in the evenings. Eventually this led Bev to the Move.
How has success with the Move changed him? “I have more confidence than I had before. But I am not very good at complaining about things. I don’t like starting trouble. Yes I am completely happy with the Move.”


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ARTICLE ABOUT Pink Floyd FROM New Musical Express, December 13, 1969

Here`s a real goodie for those of you who like the Floyd.
Read on!


Three years ago, when they started Underground they had a rough ride

Pink Floyd have the last laugh

By Nick Logan

When the Tremeloes can talk about playing progressive material then the day is dawning for the complete establishment into pop of a stream of music once laughed at and contemptuously dismissed as a short-lived fad.
Three or so years back when it was all starting, Pink Floyd were getting a rough ride from the pop pundits… but went on to do perhaps more than any other group to open the way for the new breed of pop musicians who in 1969 have made their presence felt in no uncertain manner.
As far as last laughs and all that, Pink Floyd have plenty to chuckle about.
“When we started in UFO it was a beautiful place to play,” recalled Floyd keyboard wizard Richard Wright when we spoke last week. “But when we went outside London nobody wanted to know. People used to throw bottles at us.
“At the same time we had a slight hit with See Emily Play and people expected us to play Top 20 stuff. Instead we came along with this strange music they didn’t understand.
“People just didn’t believe in us; I think they regarded us as a huge joke,” continued Richard without bitterness. “They saw us as a lot of freaks getting up on stage and playing freakish music.
“I’ll never forget Pete Murray saying on ‘Juke Box Jury’ that we were just a cult and would last for six months.”


From the groundwork laid by the Floyd and their contemporaries the whole Underground network, along with the University circuit, built up.
Could Richard forsee the progressive boom? “I knew it would happen some time but I didn’t know if it would happen quickly or slowly.
“I don’t think we could have seen it happening to such an extent where today the Underground is now the overground and Underground groups are getting better money than the teenyboppers.
“Yes I would agree that it is today’s pop music, and it is really nice because there are so many groups playing good music and it is accepted everywhere.”
Everywhere? “Well there are still a few places where a few people will walk out, but generally speaking it just gets better and better.
“Even Glasgow, which you might expect to be an incredibly bad scene for a group like us, is a really beautiful place to play.”
What did Richard think changed it?
It was UFO; it was groups like us and the whole hippie philosphy that was connected with it.
“And because the pop thing was then so shallow and empty and people wanted better things. Now because of it even straight pop is becoming better.
“Audiences now demand that you must he able to play your instrument — it’s not just a question of having a pretty face or wearing way out clothes. I should think it’s pretty hard to establish yourself as a teenybopper group now.
“It’s nice too that what has happened in the past three-four years has encouraged really good musicians to care about what is happening in pop and to form their own bands.
“It is very encouraging to find that what you believe in is commercial.”



After a couple of medium successes with singles, the Floyd dropped away from the market to make their name through albums. Their double set, “Ummagumma,” is at No 9 in this week’s NME Chart.
I asked Richard if the group had any inclinations to return to singles, with the successes of Fleetwood Mac and Jethro Tull in mind.
“Well we had that one hit and then two after that didn’t make it,” he replied. “Then we came to realise that it was not important to get hits and that, in fact, a No 1 for us might be a bit of a drag.
“I find the whole business of pop and Top Of The Pops a drag, and the singles scene is a dying market anyway.
“I’m not putting it down. If we got a single that went to No 1 it might be nice but it wouldn’t be important because that’s not what we are about.”
He see nothing wrong however, with other groups breaking into the singles field; nor does he feel it will do them any harm.
“It is rubbish to say they have gone commercial,” he maintains. “Bands like Jethro Tull and Fleetwood Mac believe in what they are playing and in the end it always comes down to the music.
“It is not a question of a sell-out — it means in fact that pop is growing up.
“From now on I believe pop music will be good music. There will be still more change but the standards have been raised and I cannot see them going down again.”
Pink Floyd, of late, have encountered a great deal of success in the film world with their scores for “The Committee” and “More,” released as their last hit album, and Richard sees this as further proof of the new acceptance for progressive music.
In this field they’ve recently completed the score for a TV cartoon series in the States — the producer asked them to do it after hearing “Saucerfull Of Secrets” — and for an Italian film to be released here in February.
An album of the music will be released at the same time and as the group will be recording a further album later this month there are plenty of Floyd goodies on the horizon.
“Film scores are very hard work,” commented Richard. “On the Italian film we worked solidly day and night for two weeks to produce 20 minutes of music. But it is very satisfying work and we’d like to do more of it.”
He went on to reveal that the score also contains some un-Floydian segments; the group using blues and country and western music at certain points.

New Tour

In February they start a concert tour at London’s Albert Hall and plan to develop more the Azemuth Co-ordinator used on previous dates.
Richard explained it is a stereo system with either four or eight speakers that can be set up around a concert hall so that the audience is completely immersed in the sound — 360 degrees stereo if you like.
They would also like to work with an orchestra. “We want to write a complete work for the orchestra and ourselves so that the group is another part of the orchestra.”
Then, if it is possible, the orchestra would be split up and positioned around the hall — along with the speakers — so the audience would he sitting in the middle of the music.
I don’t think they fear any competition from the Trems with that!



ARTICLE ABOUT Jethro Tull FROM New Musical Express, December 20, 1969

If you thought it an easy life to join a rock band like Tull on tour, then you need to think again, as Nick Logan found out. This is an very enjoyable write-up from another time. Recommended for everyone.
Read on!


New York stands up for Jethro

NME`s Nick Logan in America goes on the road with Jethro Tull

Heading for the top in U.S.

“THE Word” on Jethro Tull in America is rarely bettered and fast improving with their every frolicsome outing on the U.S. rock circuit. The position of top British rock attraction in the States stands but a tour or two away.
I got a quick initiation into “The Word” game within a few minutes of meeting up with Jethro in the lobby of their New York hotel after flying in to join the group for the remaining eleven days of a month-long tour.
“What’s the word on Nick Logan?” whispered Ian Anderson furtively, responding to my bemused reply with an explanation that “The Word” is a kind of oral bulletin sheet on the standing of acts that circulates among the American rock community.
“It’s amazing,” he added, “how the word can spread across the country. It’ll start here on someone and ten days later you’ll catch up with it on the West Coast.”
Such is how reputations are passed on.
The way they are made are through shows like the four sell out performances Jethro delivered that weekend at New York’s Fillmore East. Or like the previous, frequently record-breaking dates on this their third American tour and the first with them topping the bill on every gig.
It was also their first time topping at Bill Graham’s Fillmore and to sell out four shows at the 2500 seater theatre is an achievement even for a group of Jethro’s standing.
New York comes second only to the West Coast as a Jethro Tull popularity centre and, with the Fillmore success under their belt, next time in the city they’ll have graduated up to the 10,000 seater Carnegie Hall level.
The Fillmore as a place does its best to dispel the magic of it as a rock institution.
Empty and with the house lights on, it could be any one of the larger Odeons everyone has in their local high street. But no theatre would have a lighting and sound system so effective.

After rehearsals and a meal at the hotel we drove back to the Fillmore in a huge black limousine to see “JETHRO FUNK MATTRESS” looming up in neon lights on the horizon.
With every seat full the theatre begins to regain its magic. With no high stage or orchestra pit to segregate the participants, and with the justifiably highly-praised Joshua Light Show working excellently, the atmosphere is heavy and the effect a total involvement with the music.
Fat Mattress had waved the flag and exited, leaving the stage to a boring and unoriginal American band called Grand Funk Railroad who nevertheless got a standing ovation and bore out Ian’s feelings that a standing ovation U.S.A. style has to be viewed in perspective.
Ian was in good form with the asides and witticisms when Jethro took the stage later at 10.15. Each line, move or roll of eyeballs drew the desired response while Glenn Cornick, Martin Barre and Clive Bunker worked hard and tight behind to turn in one of the best sets I’ve seen them perform.
New York rock fans pride themselves on their super awareness and it soon became obvious that the standing ovation at the Fillmore is treated as a kind of ritual.
The group knows it will do an encore — it has to be pretty dire not to get asked — and the audience knows it too. But the game must be played to the rules, and with the required amount of stamping, shouting and clapping, so it is.
After the show, Ian was saying that people back home tend to believe that America gets a much better show from British groups than they do in England.
“It’s probably because so many groups have said audiences here are really hip, and say they play better here to more receptive audiences. But it’s not true.


No different

Our act here is no different from what you’d get at the Albert Hall. Their’s nothing fantastically superior about the playing here. Both get the same.”
The second set got under way at 2.45 — a normal time for the Fillmore. The second house was older than the first — which had been the last to sell out — and were also more Jethro conscious as opposed to being interested.
Consequently, there was more reaction for Ian`s patter, which is noticeably bluer than in Britain, and for the music. Again a strong act with the standing ovation procedure observed.
At the end the audience gave signs of standing their ground in their demands for more until the exit music dispersed their appeals.
Back at the hotel totally whacked I managed to get some sleep at six; 29 hours after I had got up in England. Five hours later I was up again, taking a cab out to Greenwich Village with Ian for him to buy presents for friends at home.
In an hour or so we managed a tally of one poncho purchased, two requests of “Can you spare a dime?” one to Ian for a cigarette (he gave him one of mine), one Vietnam street demo and a Black Power taxi driver who cut up everything in his path as he drove us back to the hotel.
The two shows that night went similar to Friday’s with, if anything, a better, more attentive audience — who would no doubt carry “The Word” around New York.
In the dressing rooms after each show the changing was done quickly and quietly; the mood more in tune with disaster than the success it had been. My time later with the band on tour taught me that unless something had gone badly wrong this was usually the case.
The following day found us driving 100 miles north to a student concert at the University of Massachusetts. It wasn’t until Glenn, Martin and Clive had gone off in the first car that manager Terry Ellis, Ian and I realised we didn’t know the way.

Locked doors

Undaunted we set off, locking all doors as we passed out through New York, and managed to lose ourselves in the forested New England countryside. A heavy snow storm further slowed us down and at one point we began sliding backwards down an icy slope.
The others had been there an hour when we arrived. Spooky Tooth and Johnny Winter had played and the audience was patiently waiting for Jethro. Ian changed hastily and tuned up his mandolin with Martin while Clive drew a skinhead on a blackboard and he and Glenn got engaged in a discussion about Vietnam, Nixon and the draft with a student guarding the classroom-come- dressing room door.
The concert was in a large barnlike building normally used for basketball. A low wooden stage had been set up in the centre with seats all round: With 3,500 present the show was a sell out.
For many of the young audience Jethro Tull was a new experience and the genuine, immediate way they responded to the band and Ian’s banter made a telling contrast in retrospect with the hip, pseudo sophistication of the Fillmore crowd.
The sound system was poor and the seating arrangements inadequate – Ian spent some time after pointing out to the student organisers how both could have been improved — but overall it was a greatly enjoyable show as much for the way the audience responded as for the music.
Afterwards we walked through the campus grounds, where youngsters were skating in the dark on the pond, to eat in the students union canteen.
When we set off again at 10 the falling snow had thickened and we drove around in circles for an hour or so before finding the Massachusetts Turnpike to Boston, another 100 miles away. Ian slept in the car.
We made Boston by 2.30 a.m., the others having got there at midnight. Ian and Terry went off for a late meal; I crept off to my hotel room shattered. If this was a fair example of life on tour (and it was) my constitution was going to take a battering.
I took one glance in the mirror at my crumpled clothes and the unwashed, unshaven, ashen-faced reflection and promptly collapsed into bed.



I have personally transcribed this from the original paper and you are free to use it as you like. If you use it on your  own webpages – please credit me or put up a link to my blog.

I haven`t printed any articles about Jethro Tull before. Time to rectify that! Have a nice read.

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Jethro and the amoebic surge…

Passion Play, the critics and beyond… Nick Logan pursues Jethro to an Alpine impasse

There are few bands more intrinsically British than Jethro Tull.
Sure, we`ve heard all those stories of how they`ve spent the past five years jet-hopping around the world, working their asses off in Europe, America, Japan, Wembley and all stations to Betelgeuse, pausing only to change Y-fronts in the Old Country. But didn`t we know all the time that they were really running an Army and Navy surplus store in Kentish Town and rerouting postcards and phony progress reports from the Santa Monica Lyceum and the Tokyo Hardrock?

Not so mes amis, I`m here to tell you: that wacky nine legged eccentric known collectively as Jethro Tull is indeed the globe-trotting cosmopolitan that the group`s travel agent`s bank balance would have us believe.
Why, aren`t we here now in wealthy cosmopolitan Switzerland watching Ian Anderson, Monsieur J. Tull incarnate, hob-nobbing with the Mayoralty of elegant Montreux – if not in fluent Francais – at least as if to the manner born. A strange sight indeed. Blackpool Baroque cheek-to-cheeking with Chalet Chic. Well I`ll go to the foot of our stairs.
But wait. There must be more to this than meets the eye…

Montreux is where J. Tull set down their nine feet when they snuck out of the U.K. back in 1972, using this strategically placed mountain-fringed resort as a centre of European operations for six months of that year.
In fact, they formed such a strong attachment for the place that, when they played a gig in the Swiss capital of Zurich last year, the band declared the event a benefit concert with proceeds to go to “the youth of Montreux.”
Something else came out of those six months in Montreux however, for here was planned and conceived the musical tractatus (henceforth known as “A Passion Play”) that united the critics of the Western World with a solidarity not witnessed since the release of “Grand Funk 1”.

Anyway, here we are in Montreux, in the restaurant of the Eurohotel, with Lake Geneva and the snow-topped Alps providing the backdrop for the presentation to the Vice-Mayor of the concert cheque for 50,000 Swiss Francs (approximately 6 1/2 grand).
A noble gesture in a business more noted for its gestures than its nobility…And also a useful occasion for the putting straight of a few things that need straightening out, which explains why Chrysalis Records have invited the press of Europe to congregate here to watch.
Or, as Tull manager Terry Ellis put it when the presentation ceremony was complete and the assembly prepared for the real event – the press conference:
“We`ve asked you here to clear up the confusion that seems to have followed the group`s decision to retire from concerts at the end of last year, to clear up any misunderstandings that the group might have split up.”

Fair enough, you might say. So what`s been going on?
Plenty, says Ian Anderson, hair shorter and swept back from an almost Pharaoesque beard.
The clatter of coffee cups is stilled.
To be specific, they`ve been making two albums – recording in London. One a group album, the other the soundtrack for the upcoming J. Tull feature film “War Child”.
No gigs planned at the moment, he says non-committedly, but they are certainly not ruled out when work on the film permits.

And of the film: “We have, for at least two years, been looking for a movie situation that we could use to get into something more subtle than the group can achieve on stage.”
The script, says Anderson when pressed further, is based on a story of his, and features two main actors apart from himself and the group. They play the parts of God and the Devil in a story that concerns “the Heaven and Hell around us.”
Wasn`t Anderson originally cast in the role of God?
Not I, says he, handling the occasion with customary aplomb. That was a misprint.
“I think Jethro have possibly been the hardest-working live group over the last five years. Not just in America but all over the world.

“And we have to play large halls most of the time. When we had the opportunity to play England last year, we chose to do two shows at Wembley rather than play lots of smaller halls over the country. We did that so we could play the show we had been playing in America, using all the lights and a lot of equipment, and generally keeping the show up to the standard it was in America.
“Unfortunately that standard doesn`t seem to have been well-received.”
Uhmm. Does one detect Mr. Anderson`s gaze turning on the small but cuddly British press contingent?
“The thing that annoyed me was that people seemed to dismiss it casually (“A Passion Play”) – whereas it was a record that took a lot of time to make and needed time to listen to. It didn`t seem that critics were prepared to take that time.
“Personally I think the music on the last album was our best-written, best-conceived – and possibly our most commercial as well – but it maybe wasn`t too easy to get into first time around.

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“I do feel,” continues Anderson against the rattle of coffee cups and the stare of TV lights, “that music ought to require the same effort from the listener as it does from the musician who plays it.
“Obviously that`s a very broad statement. It maybe doesn`t apply to people who play funky music – when they just stand there and get it on, and the audience can reciprocate at the same level. But musicians who play more structured music, or lyrics with more depth…then that requires greater attention.”
Doesn`t it require explanation as well?
“In some cases it may be very good to explain it beforehand. But I rather like the idea of offering the individual the opportunity to read into things what they will…people listen in different states of consciousness and they will, whatever you say, make their own interpretations. I would far rather put the ball firmly in their court and say, right we`ve done our bit – now, here you are.

“People seemed to object to the fact that they actually had to sit down and listen to it more than once, and to qualify the statements of their criticism – they seemed unwilling to do that to a large extent. They would rather dismiss it in a few words, which I do find unfair.
“It certainly doesn`t reward me in any way whatsoever for months of work. It`s not a very constructive criticism. Criticism ought first of all to be beneficial to the artist.
“Unfortunately criticism tends to be aimed at the audience rather than the artist and, even more unfortunately, seems to have an effect on what the public might believe, might buy, or might come to see. Because very often they seem to have no other source to turn to other than what they might read in the papers.”

At which point Terry Ellis cuts in: “If the group felt that the audience hadn`t enjoyed what they did, then I don`t think they`d be upset by any kind of criticism they got from the press. After all, they create for their audience, and if their audience doesn`t like it then that is a genuine cause for concern.”
The decision to stop touring, however, affects the audience, not the press.

Ian Anderson: “Absolutely, but that was just one of the reasons given in the press statement we made at the time – the fact that we were disappointed, hurt, by the criticism we received in the press. People do read and take notice of what is written in the papers, and it`s a little bit worrying to know that you`re going out there on stage having to face some sort of… y`know, it`s just not normal any more.
“Criticism aimed at a specific piece of music is fine if it`s constructive to the artist. I find nothing constructive in what I read, and I can only assume that it would have adversely affected public opinion if we`d have carried on this year doing odd tours in between making the movie.
“But there were other reasons, the biggest of those being that we`ve been working non-stop for five years, making records and playing tours, and for a couple of years now we have wanted the chance to do something different.”

When Terry Ellis called time-out and the assembly splintered into smaller groups, I talked to Anderson in the bar and asked him if he felt Jethro wasn`t too self-contained, too insular a unit to allow any kind of criticism through.
“Insular, yes, but we always have been, and if we`re worth anything at all, I think it`s because of that, because we keep so much to ourselves. None of us really have any social involvements outside the group…”
But doesn`t that cut off possible channels of constructive criticism from outside?
“Well, I think a lot of that criticism comes through in those brief seconds on stage when you pick out a couple of faces in the audience, y`know – or from people who write letters. In the past I`ve had really horrible letters, but I`ve never had any horrible letters about the new album. Not one bad letter.”

Among the critics who gave “A Passion Play” a unanimous roasting, there must however have been some people who genuinely felt that a fine band was misusing its talent. Or taking the wrong direction.
Would you listen to them?
“There`s no such thing as a wrong direction. There is only one direction you can take – because each album is a mirror image of how the band is thinking at the time.”
Accepted. But would he listen to that criticism?
“I would listen and discuss the thing endlessly, y`know. I would discuss it endlessly with Terry or with any of the people in the office – and they have every cause, for commercial reasons, to say, if warranted, `Look we`re a bit worried about this…
“I would listen to any critic who qualified the statements he made. But with `A Passion Play` there was more than usual adverse criticism which wasn`t qualified, which simply exhibited the attitude: `Well, okay, Tull have done their sort of epic “Thick As A Brick” thing. They`ve got that out of their system and we don`t want to go through that again.`

“What those people don`t know is that we made three sides of a double album during the time we were in Montreux, three sides of a double album which was just songs, y`know. But it didn`t have this great amoebic surge, this growth thing that playing an extended piece has.
“I think `Passion Play` was so much better than `Thick As A Brick` in musical terms, lyrically and so on. But if it`s not an accessible album, I still don`t think it warrants the kind of criticism that says, `This is clearly not a good piece of music` (derisory) – or that it waffles, or that the lyrics are obscure or whatever…”

“What pisses me off,” said Anderson later as we discussed wider areas of press criticism over coffee, “is that the next album returns closer to songs, and everybody`s going to think it was a calculated move on our part because of what happened to `Passion Play`.”
C`est la vie, mes amis.

A nice ad from Rod and the guys..

A nice ad from Rod and the guys..

This number of the NME also contains articles/interviews with these people: Ian Hunter, Alex Harvey, John Lennon, The Kinks, Bryan Ferry, Leo Sayer, Bob Dylan, ELP, Carlos Santana.

The original music paper this article came from (pictured at the top) is for sale!

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