ARTICLE ABOUT Paul McCartney FROM SOUNDS, November 20, 1971

A really interesting article printed just a few weeks before the first album that Wings released. In itself a very good band with some good tunes, but nothing less than you would expect from one of the major songwriters of this modern world. Personally I have always had a very weak spot for the Beatles, and I think they are probably THE most important group of musicians that ever was or ever will be. Yes, I am a fan of the Beatles, and anyone with just a small amount of musicality in them would and should agree.
Enjoy this interview with Sir Paul McCartney from way back.


Trying to keep things loose

Paul McCartney talks to Steve Peacock

Paul McCartney, sitting on the control desk in EMI`s number 2 studio at Abbey Road – “I went to New York looking for the best studio in the world, but I prefer it here,” – was talking, not unnaturally, about his new band, Wings.
“The night before John said he was leaving the group and all that, we were at home and it suddenly dawned on me. `If everyone else doesn`t want to do it, I`ll get my own band, even if it`s just a little country and western thing or something like Johnny Cash, just so I can get in there and have a sing.` Because that`s all I wanted, just to play.


Everyone did really, everyone was trying to play, but no-one wanted to do it with the Beatles.”
It`s been a long time since then, and Paul`s the only one who hasn`t yet got out on the road. John`s done it – Cambridge, Toronto, Fillmore East – George has done it – with Delaney and Bonnie, and with Ringo and all the others at Madison Square Garden. But Paul`s been hiding away. There`ve been two albums which haven`t had very good reviews, and which personally I`ve found rather lifeless, plus the odd single.


But now there`s Wings – a band. There are no firm plans for going on the road, though at the moment they`d like to do it, but there`s an album. We listened to it at the studio – McCartney jiggling about in his seat to it, obviously delighted – and certainly to me it sounded as if after years of reaching out for handholds, McCartney had found out how to do it again.
One side rocks hard and loud, the other side moves more slowly – just like the old records, one side for jiving, the other for smooching. That`s the way he planned it. “Mumbo” is the first track, and maybe THE track. “Bip Bop” sounds a bit like the Stones` “Stray Cat Blues”.
“Love Is Strange” is the old rocker`s words set to a reggae beat, and it works, “Wild Life” is the title track, with a strong vocal, a nice guitar solo, and a sound that isn`t far away from the first Moody Blues album. Good old Denny Laine.
Side two has an overall sound that`s pretty close to the Beatles when they were close – ooh-aah backing vocals, rhythm guitars, short solos. It ends with “Dear Friend” – very slow, piano, strings. “That`s the only one that`s at all about the Beatles situation,” he says. “Throw the wine – shut up, stop messing about.” But on “Wild Life” there`s a line that refers to “a lot of political nonsense in the air.”
Later, he was talking about political nonsense, all the trouble between him and the others, between the McCartney`s and Linda`s father, John Eastman, and Allan Klein. Politics, Paul called it, and he didn`t like it. All he wanted was to be out of the whole thing, to own the copyright to his own songs, forget the Beatles, sign a piece of paper saying we`ve split up, everything`s going to be shared by four.


“And John said, “Yeah, but that`s like asking us to stop the bombing in Vietnam.” We eventually decided that we were all Vietnamese, so that`s all right…
“But I keep wanting to send him postcards saying `The war`s over if you want it” – tell him what he`s saying. It`s just crazy, I`m sure the truth`s a whole lot more simple than it`s made out.”
Talking about John: “John`s John. John wants to wipe everything away and start again, but in doing so he never wipes anything away. He wants it to be him and Yoko against the world, or whatever, but he`s still in with all the others, in with all the contracts and going in to the meetings and everything.
“He`s getting pissed off with it though – I sense it. I`ve had a couple of good conversations recently with just John, and I`ve felt a lot of common ground with him. And I watched him on the Parkinson show, and really a lot of the things he`s into, we`re into as well.”



Did he like John`s albums?
“I liked `Imagine`, I didn`t like the others much. But really, there`s so much political shit on at the moment that I tend to play them through once to see if there`s anything I can pinch.” And how does he sleep?
“I think it`s silly. If he was going to do me he could have done me, but he didn`t. That didn`t phase me one bit. `You live with straights`. Yeah, so what? Half the f-king world`s straight; I don`t wanna be surrounded by hobnailed boots. I quite like some straight people, I`ve got straight babies. `The only thing you did was Yesterday`. That doesn`t bother me. Even if that was the only thing I did, that`s not bad, that`ll do me. But it isn`t, and he bloody knows it isn`t because he`s sat in this very room and watched me do tapes, and he`s dug it.”
But back to Wings. There`s Paul, and there`s Linda, and Denny Laine, and drummer Denny Seiwell who Paul found in New York before he did “Ram”. He was auditioning drummers in a dark basement, and he asked for rock and roll beat. Denny went straight to his tom toms – all the others went to the high hat. Denny got the gig. “I play all the lead guitar on the album,” said Paul, “except for a few places where Denny (Laine) and I play in harmony. I fancy myself as a guitarist, see. He did have a solo but I took it off him.” Denny smiled.


Linda sings, writes with Paul, and plays a lot of keyboards. “I like what she does. Her style isn`t like that old, hard pro thing that`s got all the technique, but it`s like children`s drawings. That`s not a very good simile, but it`s got what children`s drawings have got… innocence.”
The album was recorded with very little rehearsal, and a lot of the basic tracks were done live in the studio – a far cry from the painstaking technical methods of something like “Ram”. Why hadn`t he done something like this before?
“Well in a way I did, but it was me playing all the instruments, and you can`t get into it in the same way. `McCartney` was more or less me testing out the studio in the house – the kids in the back, Linda cooking dinner, and me sitting down and having a play. That was just that album, and then “Ram” was just the next album. But whereas with `Ram` I tried so hard that I really wanted people to like it, with this one I don`t care so much because I like it.”
How important was it to him that people like reviewers liked his work generally? “It was a little too important to me, but obviously I hope people will like what I do, so it gets to me. With this one it might get to me a bit if it gets shitty reviews but I don`t think it`ll get to me so much. I had to rationalise things after `Ram`.”
Wings have made an album, but the idea has been to form a group – a group that won`t just make records but that`ll play together a lot, and go on the road.
“We don`t know exactly how we`re going to do that yet, except that we know we`re going to do it quietly until the band`s got the confidence to know we can play anywhere. But I don`t want to start with a big `Wings at the Albert Hall!` thing, with all the Press and business people there. The basic idea is for us to turn up at a place that we just fancy visiting at the time, and try to arrange a little gig. Do it under another name or something. If we do it the other way, then we`ve got to be THEM, and do the whole bit, and when it comes to the night we just might not fancy playing anyway.
“My best playing days were at the Cavern, lunchtime sessions, when you`d just go on stage with a cheese roll and a coke and a ciggie, and people would give you a few requests, and you`d sing them in between eating your cheese roll. That was great to me, I think we got something great going in those days – we really got a rapport there, which we never got again with an audience. And if an amp blew up or something, it didn`t matter, because we`d just pick up an acoustic and sing the Sunblest commercial or something – and they`d all join in.


We used to do skits and things too – I used to do one on Jet Harris, stagger around looking moody and a bit drunk, playing “Diamonds”. He`d been to the Cavern once and fallen off the stage.
“That was the stage with the Beatles I thought was best, and that`s the way I`d like to be able to play again – if a few people happen to turn up to a gig then it`s usually great, but if you`re all sitting there like penguins waiting to judge me, then I`m going to be nervous, and I`m not going to enjoy it. I`m not like John, who swallows his nerves in Toronto and be sick just before he goes on – that I`m not going to go through thank you. It`s not necessary, and if it`s not necessary, I`m not going to do it.
“With this band we play good together live because nobody`s too hung up about what he`s playing. We`ll go round to Denny`s house and just sit there playing songs that we half-know. It`s good.
“We don`t want to be a media group – we don`t want to go everywhere and plug everything and have knickers with our name on them and all that. That won`t work for me now – it`s all done. It was great while it lasted but its over now.”


Did he really enjoy all that while it was happening?
“Yeah, it was great, obviously, and I did enjoy it, loved it, but it got to be a bit tight at the end. It was when we got to be Beatles with a big B that things began to be difficult because even if we wanted to go out and play, how the hell could we do it? We`d have had to have done a big million seater thing, and that`s why I was suggesting them that we all just go away somewhere and play, like I want to do with Wings. Ricky and the Redstreaks at Slough Town Hall or something – and everyone turns up for the Saturday night dance and finds it`s us.
“We`re all musicians, and the fun of being a musician is being able to play live to people. For us, it might be a year, it might be two years, or it might be next week. We don`t know, we might not even fancy going live in the end, and if that happens it`s all right too.
“I`m just trying to keep things loose, because life itself is loose. I don`t want to have to say `I`ll be in Slough tomorrow` on the way I feel today, because tomorrow I might not feel like it, and it`s great to be able to give yourself the evening off. Everybody talks about freedom and all that, but all you`ve got to do to have it is just to take it. You don`t have to do a Santana and tour the world or something – I`d rather have a few people annoyed that we didn`t turn up, or rather that Ricky and the Redstreaks didn`t turn up, than go through all that again. And as long as we keep that basic freedom, I don`t think we`ll go far wrong.”


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: Ray Charles, Marc Bolan, Bell & Arc, Ornette Coleman, Rory Gallagher, The Who, Felix Pappalardi, Van Morrison, Mr. Fox.

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It seems to me that almost every number of NME in 1972 featured an article about Marc Bolan and T. Rex. They were, without a doubt, one of the hottest attractions around at this time in history. I chose to print this interview because it is a nice document of an extremely excited Bolan at what would  possibly be one of the happiest times in his short life. Enjoy reading, man! 😉


Bolan and America

By Ritchie Yorke

In a recent interview in New York I found Marc Bolan, a breathless young musician in such a hurry that he barely had enough time to provide me with a progress report.
Bolan is the new grand star of the American rock scene in the true English tradition and – even if only a scant few of us realise his success was not as would appear, an overnight event – his new-found fame clearly becomes him.
After a string of number one hit singles, unrivalled since the booming of the Beatles across England and Europe, Bolan has, of course, finally brought home his talents to the North American market, which hitherto had completely ignored him.
In the past couple of years, U.S. taste makers have become increasingly wary of obediently grabbing onto foreign success stories, particularly British.
As a result of this it took Yes a full 18 months to ultimately equal their U.K. triumphs in NOrth America; Slade have yet to make any impression here, despite their recent English upsurge; and although Lindisfarne are beginning to nudge the market the like of Gilbert O`Sullivan remain relatively unknown.
It would seem that the days have gone when every English musical discovery, no matter how minor, automatically broke through into the States.
Be that as it may, T. Rex (or more precisely, Marc Bolan) have finally begun to make their presence acutely felt on these shores. “Bang a Gong” (“Get It On”) made the U.S. top five (unlike earlier singles, which flopped) and the “Electric Warrior” album also made the LP Top 50.

Bolan is aware of this and more. He came onto the phone for an interview on his last visit here, and within 30 seconds, I felt like I`d known him for years. He has that sort of overwhelming manner.
“Hi man. Whew. It`s too incredible for words. Dynamite. I must admit I was surprised it happened so fast. So much is happening. I`ve just spent an hour with John Lennon. It was incredible.


“I`d been trying to get hold of him for three days to invite him to our gig at Carnegie Hall. But we just couldn`t get hold of him. I mean, they`ve got to screen the calls. There`d be 2,000 groupies ringing him up every day. I finally got to him after the concert, and I found out he had wanted to go but couldn`t get tickets.”
And how was the redoubtable Mr. Lennon? “He`s fine. Fine. I`d never met him before. But I always felt strongly towards him and his music. He was saying something that got me.
“The Carnegie Hall gig was incredible. I thought I saw Paul Simon dancing in the aisle, and when I came off, I found out it was Paul Simon. He`d just bought a ticket, man, and came in and got off on it. It`s so nice. That`s rock`n`roll, man. I hope.
“You`ll have to excuse me. I`m slightly loose at the moment. There`s just so much happening. Yeah, it was a beautiful gig at Carnegie Hall. It couldn`t have been better. On the whole tour, we`ve drawn more people than I ever expected. We had 15,000 in Philadelphia. Incredible.

“Yeah…something`s happening here for T. Rex at last. I never thought America was going to come into it. I`m happy in that it happened the way I always wanted it – just people to people. I told myself we had to come and play here before it would happen.
“We`d been here once before…in May of last year. But it was much too premature. I`d only just begun to establish the way in which I`m working now. It wasn`t ready. We really hadn`t tried it out in England, and we then made the mistake of trying it first in America. This time we came with our shit together, man.
“And the people who know their music have been getting off on it. Like Mick Jagger. Mick came along to see us in Los Angeles, and told me it was the best thing he`d seen since the last Stones` concert. He was really rockin`…everyone wants to rock. That`s what it`s all about.



I mean, as a musician – sometimes you`re bad, sometimes you`re good. Most of the time on this tour we`ve been good.
“Did you hear that we sold out the Wembley concerts in London? That really did my head in. Yet for all the crap of making it or whatever, I`m still pleased just to be able to make records. John Lennon`s the same.
“The record sales figures are becoming frightening. It just does my head in. You know they sold 500,000 copies of `Telegram Sam` in England in only two days? Two days man! And it`s still on the charts – number two I think. I didn`t know there were that many people in England. I`m pleased it`s going down the charts now. I didn`t want it to be a hit for too long.
“Hot Love” was a real freaker. It was number one in Britain when I went away for a five-week European tour. It was still number one when we got back. That was incredible.

“The American thing is incredible because we were doing well for 18 months around the world before anything happened here. We were absolutely unknown in America all that time…I don`t kid myself. Nobody knew about us except a very small cult.
“It`s all the more amazing to get these incredible sales figures when you realise that we were lucky to have sold 500 copies of the first album three years ago.
“Singles have been terribly important. So many people said I was wrong when we started making singles. I`m pleased I was right. You need the singles for flash, and the albums for substance. I mean, as far as rock`n `roll goes, that`s it. Singles and albums. Then comes movies, opera – whatever you`re into.”

I asked him if he`d managed to get into any exciting new sounds by other artists during the U.S. tour.
“There`s not a lot of good things happening at present. I did hear a group called the Persuasions, who were doing the best vocal things I`ve ever heard in my life.
“Mick Jagger turned me onto that record by Betty Wright…`Clean Up Woman`. Have you heard it? It`s nice. Obviously I like the Neil Young single.”

I wondered if the pace of it all would not start to get to him.
“No man. We love it. But we`re really worn down. I haven`t slept for a couple of days. I need some time off. We`ve just been rockin` about. It`s still a joyous thing to experience. I know it will become a bore, but now it`s still pleasureable. And I want to make the most of it.”


The advertising was great at the start of the 70s. I really like the style!

This number of the NME also contains articles/interviews with these people: Joe Cocker, Gilbert O`Sullivan, Stephen Stills, Alvin Lee, Miss Flo Bender, Chicago, Jimmy Savile, Doors, Strawbs, Tom Jones, Middle of the Road, Brenda Lee, David Cassidy, America.

The NME this article came from (pictured at the top) is for sale!

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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. If you really like this sort of thing – follow my blog! Thank you!

Once again, a great edition of the NME with many fine artists interwieved. But I really had no other choice than to publish the interview below, as Deep Purple is one of the bands that I dearly love. Such a fine musical legacy – such fine musicians! Enjoy!


Purple battle against ill health
By Julie Webb

After a bad patch towards the end of `71 – when lead singer Ian Gillan was ordered to rest, and the band had to cancel an American tour – Deep Purple are back again. They`ve completed a short tour and almost ready is their next album, `Machine Head`, expected to release in March. This week NME`s Julie Webb spoke to bassist Roger Glover – a lesser-known quantity in Purple, because he does few interviews, but an interesting and articulate person just the same…

Q: How has Ian Gillan`s illness affected Purple: I understand he now has to rest considerably.
A: “Ian`s illness, hepetitus, was complicated with jaundice. His only cure is rest. We layed off for four or five weeks, and now Ian`s got to take it very carefully. He can`t lift anything now – not even a suitcase. But as long as he gets rest, he`ll be fine. Apart from that the band is very happy together.”

Was it ever suggested you bring in a temporary replacement?
“No, we never even considered getting another singer in – no one suggested that. Mind you, a few people outside the band suggested we do some gigs without him. As it was, they almost had to force us on stage in Chicago without him.
“I think the rest period was very important, in that when you rest you think much more clearly. The resulting album, “Machine Head”, was 100 per cent better as a result.

Was there any special reason for recording the album in Switzerland, which I understand to be the case?
“No – we chose Switzerland to record the album simply for business reasons. It wasn`t cheaper, or anything like that. We hired the Stone`s mobile, and that isn`t cheap. And by the time you add up things, like hotel bills, it works out pretty expensive. I`d hazard a guess at £8,000 – as compared to the last one, which cost around the £6,000 mark.
“Getting the Stones` mobile was our idea – we`d heard it was a good one, and it cost us around £5,000 for the time we had it. We recorded the tracks from December 6th to 21st, working at least twelve hours a day, and the whole thing was mixed in three days.
“You know, it`s a bit sick how people spend thousands and thousands of pounds building a recording studio, when we got the right sound in the corridor of a hotel. We hired a whole floor of the place. And had mattresses up in the windows to avoid people outside from complaining about the sound.”

Why write most of your numbers actually in the Studio. Surely it must work out expensive.


“When we make an album we`ve got to be happy and relaxed, and if you`ve got hassles of getting equipment in from a rehearsal room, it doesn`t help. It`s worth the extra money we spend in studio time, just to be able to avoid the hassles.”

Is it always a joint group venture, writing a number?

“Officially it`s a five-way split when we write, but different people contribute different things to different songs. We know who wrote what, but I don`t think it`s apparent to the listener.
“For example, `Fireball` was written mainly by Richie, John and Ian. The basic ideas usually stem from Richie and myself.
“On the new album I got most of my ideas during the four weeks off, just because I was able to take time off and listen to some music and also drive around in my car and relax.
On the lyrics side, sometimes Ian Gillan will do them on his own, or we`ll get together. With one particular track on the new album, `Smoke on the water`, that particular phrase just came to me. My first thought was to write it myself as a folk song.
“I mentioned the idea to Ian, and no more was said until we came to write the lyrics of a song in the studio. So that`s how that number came about.”


Isn`t it annoying, for those of you who contribute more than others`, to still have this five-way-split on the songwriting side?

“Sometimes I feel I`d like more credit for some of the stuff I do, but the decision to split it five ways was made ages ago before “Deep Purple In Rock.”
That`s because our music is basically the result of a jam session. I think it avoids friction this way, though I can`t say it won`t in the future. As soon as money comes into it, people change. Some for the better – some for the worse.”

So many groups split because of personality clashes, and as a group you all seem of incredibly different personalities. How have you managed to stay together so amicably?

“We`re pretty polite to one another, although I admit that can be a bad thing. Bad in that if you have a grudge against someone else, you don`t always come out with it.”

Do you socialise with each other?

“The only one I socialise with is Ian Paice, simply because we live together. Certainly we`re the two best people in the group to live together, the bass player and drummer. More in sympathy with one another.
I`ve learnt a lot from Ian. He`s forever practising, and he`ll play records of drummers and players that turn him on, and I`ll buy records by people who turn me on. So we both hear all kinds of different music and musicians.”

You said earlier that the new album was 100 per cent better. How then does it compare with `Fireball`?

“The feeling in the group is that `Machine Head` is the best album we`ve ever made. When you look back, `Deep Purple In Rock` was a good album that said everything we wanted to say – it also had a lot of fire. `Fireball`, was made in between tours. We didn`t have a month off before, like we had with this album, and at times we`d be sitting in the studio desperate for ideas. The end result was technically better than `Rock`, but it didn`t have that inner spark.
“Machine Head` is technically one step further than `Fireball`, plus it has that inner spark.”


Have you any thoughts for the immediate future of just becoming a recording group, as opposed to a band who tours most of the time?

“I don`t know how long we`ll go on for, but speaking personally I couldn`t be happier in the band than I am now. We still enjoy playing – and when we go on tour, the most enjoyable thing is the actual playing on stage. Sure we drink, and go to clubs and bars, but we try not to drink too much before we go on stage. You`ve got to look after yourself.
“We always have one drink before we go out there, just to loosen us up and take any worries away we may have. But heavy drinking – if at all – is done on a night off in a club.”

Obviously health is an all important factor, certainly since Ian`s illness…

“Oh yes – and six months ago there were some rumours circulating around about me leaving the group because of illness. Every time we went on stage. I had a bad pain where my appendix scar was. I spent a lot of money going to various doctors to find out what it was, but none of them could tell me.
“It got to the stage, in fact, where I was seriously thinking I`d have to leave the band because literally the pain was so bad I was doubled on stage.
Anyway, my doctor suggested hypnosis, and after several treatments it worked, I`ve never had any trouble since.”


Being part of a band like Purple must obviously have it`s financial advantages. Do you know how much you, or the band is worth?

“As a group we`re probably one of the best paid. For an English gig we get around £1,000, and although that sounds a lot, you`ve got to realise it costs us that a week just to run our business. The expenses are enormous.
“We all pay individually for our own instruments, and every six months we go and see our group accountant and he tells us how much money we have. We started off in the red – our management put £20,000 into the group, and it took us till the end of `70 for us to pay it off.
“My only thoughts are how incredibly lucky I am. I buy a lot of records, and I have good stereo equipment, but I haven`t really spent that much money. If I`m in a restaurant somewhere, I always want to buy everyone I`m with a meal.
“The most expensive thing I`ve bought is my house in Iver, which I`m hoping to move into soon, Ian Paice is the only one who hasn`t bought a house now – I think he`s waiting for somewhere like Buckingham Palace.
“Obviously, money invested in a house is well spent, but apart from that I like to paint – not very often, just for a few days in bursts – so one of my bedrooms is going to be a studio. A studio come darkroom actually, because I`m also interested in photography. I`ve recently bought a good camera. It`s something I want to take up seriously.”

You were going to take up a career in art at one time – do you ever regret your decision?

“No – not at all. Whilst I was at school I made my decision to be an artist, and towards the latter end of my schooling, after two years at art college, I became pretty disillusioned. I gathered I couldn`t become an artist simply because I was told I didn`t have enough 0 levels.
“As it was, I had to do a vocational course, and I started doing interior design. After a while I decided to sling it in favour of being in a group, but everyone else said I`d be an idiot to give it up. Whilst I was deciding. I had a nervous breakdown.
“I remember there was a woman teacher at college who helped me a lot by saying `don`t do what you think you ought to do – do what you want to do. Then if it turns out wrongly, you won`t have any regrets.`
“So I took her advice, and I`ve always gone by what she said then. I`ve learned that whatever happens, whatever I do, regret never changes anything.
“I seem to have found happiness within myself. No matter what goes wrong, it never affects my happiness.”

This number also had an ad for Wings latest single over a full page. It was written in response to “Bloody Sunday”  in Northern Ireland on 30. January 1972. This single sparked a lot of controversy and were banned by the BBC and also Radio Luxembourg. 


This number of the NME also contains articles/interviews with these people: Roger Daltrey (The Who), Tina Turner, Neil Young, Steve Miller, Bread, Frank Zappa, Marc Bolan, Faces, Chuck Berry, Nick Mason (Pink Floyd), Don Kirshner, Ron Wood, Captain Beefheart and Elton John.

The NME 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 around or upwards of 10 $ (US Dollars) to be considered. (This includes postage).
  3. We conduct the transaction through my verified Paypal account for the safety of both parties.