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The History Of Rock 1967
- 3. HISTORY OF ROCK 1967 | 3 I NTHEPOPULARimagination,1967isayeardefinedbyitssummer– a summer not announced by warmer weather, so much as by The Beatles’ release of Sergeant Pepper’s Lonely Hearts Club Band in June, andcontinuingthroughsinglesliketheirown“AllYouNeedIsLove”, “Itchycoo Park” by the Small Faces and Traffic’s “Hole In My Shoe”. It isalsoamoresymbolicseason,inwhichthetentativedrugdalliance, conceptual thought and musical explorations seeded in the previous year all burst into vibrant colour. Or, in the case of The Jimi Hendrix Experience, intoflames. Bands are leaving the cities. They are growing (and shaving) moustaches. Fans are following them in greater numbers not to scream, but to mingle with themassomethinglikeequals,tolistenandwatchthelightshow.AnAmerican city, San Francisco, becomes the spiritual home of this development – and quickly, of its kitsch. The “genuine” people, as Graham Nash observes, have alreadygoneelsewhere. The Beatles make influential music in 1967, but it may be The Rolling Stones (for whom this is not considered a vintage year) who are the avatars of the culture.InJanuary,BrianJonestellstheworldthatsomethingcalled“theAgeOf Aquarius” is coming. It is the sentencing in July of Mick Jagger and Keith Richardsthatthreatenstobringthesummer’sidylltoanend.Theband’sreturn with “We Love You” offers a new and ironic note of defiance for late summer. Come the winter, Jagger will be telling reporters that Satanic Majesties is “just anotheralbum”,astheyear’scostumesareremovedandputaway. The staffers of NME and Melody Maker were there with all these musicians, increasingly for longer periods. Transatlantic travel is fractionally more common, and when the opportunity arises, American groups are visited in their own surroundings. Making music has come to reflect an entire lifestyle, andtravelofonekindoranotherisbroadeningthemind. ThisistheworldofTheHistoryOfRock,anewmonthlymagazineandongoing project that reaps the benefits of this access for the reader decades later, one yearatatime.Inthepagesofthisthirdedition,dedicatedto1967,youwillfind verbatim articles from frontline staffers, compiled into long and illuminating reads.Missedanissue?Youcanfindouthowtorectifythatonpage144. What will surprise the modern reader most is the access to, and the sheer volume of, material supplied by the artists who are now the giants of popular culture.Now,acombinationofwealth,fearandlifestylewouldconspiretokeep reportersatarathergreaterlengthfromthelivesofmusicians. Atthisstage,however,representativesfromNewMusicalExpressandMelody Maker are where it matters. At Monterey with Brian Jones, or looning at UFO. Talking Coronation Street with The Monkees. They are with Traffic, awaiting a deliveryofpoachedeggs. Jointhemthere.You’llfliponit. Welcome to1967 1967 MONTH BY MONTH
- 5. 112TheBeatles PaulandGeorgediscuss thechangingBeatleslandscape post-SgtPepper.Thesongs,says George,“writethemselves”now. 116LPs/Singles Thelesser-spottedScott WalkerexplainshissoloLP. “HeroesAndVillains”reviewed. 118Radio1 TheBBCtakestheethosof thepiratesandmakesitlegitimate. Meetthepeople’sfavourite, JohnPeel. 124News! RIPOtisRedding– thestarspaytribute.Elsewhere: MurryWilson,paterfamiliasof TheBeachBoys,comestotown. 128BeeGees TheMancunian/ AustralianbrothersGibbreveal thesubconscioussecretsoftheir songwritingsuccess. 134TheRollingStones MickJaggerlooksbackon a“stimulating”year.And–“empty yourbrainsintotheashtray”– SatanicMajesties…isreviewed. 138TheBeatles RingoandGeorgework onMagicalMysteryTourand discusshowTheBeatlesis now“likeajob”. 144LPs/Singles PeteTownshend discussescoldbakedbeans,pirate radioandthethinkingbehindThe WhoSellOut. 145Letters Flowerpower,theFloyd, Jaggeronfire…Thereadersreply. TheRolling Stones–pages 10,106and134 MIRRORPIX HISTORY OF ROCK 1967 | 5 Time Inc. (UK) Ltd, 8th Floor, Blue Fin Building, 110 Southwark St, London SE1 0SU | EDITOR John Mulvey, whose favourite song from 1967 is You Set The Scene by Love DEPUTY EDITOR John Robinson I Can See For Miles by The Who ART EDITOR Lora Findlay Alone Again Or by Love PRODUCTION EDITOR Mike Johnson Happy Together by The Turtles ART DIRECTOR Marc Jones 2,000 Light Years From Home by The Rolling Stones DESIGNER Michael Chapman Interstellar Overdrive by The Pink Floyd PICTURE EDITOR Kimberly Kriete My Back Pages by The Byrds COVER PHOTO Tony Gale/Pictorial Press/Alamy THANKS TO Helen Spivak, Johann Chan, Gary Payne, Becky Redman, Sharon O’Connell, Michael Bonner MARKETING Charlotte Treadaway SUBSCRIPTIONS Sonja Zeven PUBLISHING DIRECTOR Ed Beale MANAGING DIRECTOR Paul Williams COVERS PRINTED BY Polestar Wheatons TEXT PRINTED BY Polestar Chantry | WWW.UNCUT.CO.UK
- 6. 6 | HISTORY OF ROCK 1967 ALAMY “Beingyoungisa conditionofthemind” NMEFEBRUARY18LateJanuary,KnolePark,Sevenoaks.TheBeatles filmpromosfor“StrawberryFieldsForever”and“PennyLane”. NMEgetsthelowdownfromtheirdirector,PeterGoldmann. “T HEBEATLESHAVEmade popmusicintomusic,” saidPeterGoldmann, thequietlyspokenSwede whohasbeendirecting TheBeatlesforthepastweekinandaround Londonanddowninthecountrysideof Sevenoaks.“PaulandIspokeagreatdealabout thisgeneration,andwearebothconvincedthat whatbeganessentiallyasamusicformfor youngpeopleisnowforeveryone.Beingyoung isaconditionofthemind;andyoungfashions andyoungmusicarenowforeveryonewho canthinkyoung.WhenBritishTVrealisesjust howwidearetheappealsandhorizonsof groupslikeTheBeatles,theymaytreatpop withtherespectitnowdeserves.” Peterisalivingexampleofhowtothinkand beyoung.Hewasdressedlikeanadvertfor CarnabyStreetinagreenvelvetfrockcoatwith ayellowpolkadotflap-overtieandasnappy blackcap.Heis31,andlooksasifhewerein hisearlytwenties.HisenthusiasmforEnglish beatmusicisreflectedinhisimaginative ContinentalTVpresentationsofgroupslike TheHollies,SmallFacesandTheTroggs.Itwas throughanearlypresentationofManfred ManninSwedenthatPetercametoknowKlaus Voorman,theirbassplayer,whobrought Peter’sworktotheattentionofBrianEpstein. “IreceivedacablefromMrEpsteinand gotaplaneoverthesameday,”saidPeter. “Originally,myenthusiasmforpresenting EnglishgroupsonTVinSwedenwasfiredby DickLester’sfinefilmofTheBeatlesinAHard Day’sNight.Ithoughtthatwasfantasticand wantedtotrytopresentthismusicinan originalandinterestingmanneronTV. Peterisnowconcernedthatpeoplemight beexpectingtoomuchfromhim,and 1967 FEATURINGTHEMOVE, THEWHO,PINKFLOYD, JIMIHENDRIX&MORE ING GT TH HE EM MO OV VE JANUARY–MARCH
- 7. HISTORY OF ROCK 1967 | 7 January30,1967:Swedish directorPeterGoldmann overseesTheBeatles’set- dressingeffortsforthe “StrawberryFields…”film “I arranged this weird tree-piano in a field, and all the wires we had tied to branches of a tree broke in a gust of wind” Peter Goldman
- 8. mentionedthathehasshotincolourboth “StrawberryFields…”and“PennyLane”films shownontheBBC’sTopOfThePopsthisweek, althoughwewillseethemonlyinblackand white.Heisconcernedthatsomeoftheclever lightingeffectswillnotcomeoffintwo-tone, buthewasveryhappyabouthavingworked withTheBeatles. “Myfirstmeetingwiththegroupwasat Ringo’shouse,”saidPeter.“Hewasverykind, andtookmeforawalkinhisgardenwithhis wife,Maureen,andtheirlittlewhitepoodle dog,Tiger.Igotmybootsallmuddy,andRingo insistedongivingmeanotherpairtoreplace them–thatisreallytypicalofhim. “Nearlyeverythingwentwrongduringthe filming,butTheBeatleswereverypatient.The horseswegotforthe‘PennyLane’clipprovedto bespirited,andwhenTheBeatlesgotoffthem theyjustbolted.Ittookusacoupleofhoursto recapturethemfromthefarsideofthepark. “ThenwhenIarrangedthisweirdtree-piano inafield,allthewireswehadtiedtobranches ofatreebrokeinagustofwind,andwehadto beginagain!Itwasforthe‘StrawberryFields…’ clip.Iwasamazedtofindthattherewasaban inBritainwhichpreventedTheBeatlesfrom mimingtotheirdisc–Icannotthinkthatthis servesanyusefulpurpose. “SoIhadtofindsettingsandideaswhich weresympathetictotheirsongswithout turningthemintocomicactors.Ringo, Ifound,wasverywellinformedoncamera andphotographictechniques,andPaulwas amostentertainingconversationalist,but thegrouphadallinformedmethatIwasthe director,andsoImustdirect.” Inspiteoffogs,badlightandothertypically Britishweatherconditions,Peterenjoyedhis fewdaysfilmingwiththeboys,andhasaneven higherregardforTheBeatlesaspeoplenow,in additiontohisadmirationforthemasartists. “Theyarefantasticallygiftedpeople–Iheard theirnewLP,andthatisgoingtosurprisequite afewpeople.Verydifferentfromwhatpeople wouldexpect,andverygood.” Peterhadafewwordstosayaboutthe presentationofTheRollingStonesonthe LondonPalladiumTVshow,whichhesaw whilehewashere. “Thatwasterrible,”saidPeter.“Thatisno waytotreatartists–andtheStonesareartists. Ithinkitwasaveryfairreflectionofthechildish distastethatsomemisguidedadultshavefor longhairandanythingthatisnew.Ifeltvery sorryfortheStones.Iftheyhad,perhaps,been allowedtopresentthingsthemselves,itwould neverhavehappened.” KeithAltham “It’s a luckier name…” NMEMARCH4Introducing…theformerGerryDorsey, MrEngelbertHumperdinck. T HISWEEKLETusallraiseour glassesanddrinktothehealthof EngelbertHumperdinck,whotops theNMEChartwith“ReleaseMe”.Iam,for one,delightedthathe’smadeitbigatlast. Notonlybecauseofhissheertalentand perseverance,butbecausehemadeit againstalmostimpossibleodds. Engelbert–orGerryDorseyashewasthen –beganhisrecordingcareerin1958when Deccaissuedhisfirstdisc, “MrMusicMan”.Therecord floppedandGerryand Deccapartedcompany, buthecontinuedmakinga reasonablelivingasasinger. Duringthenextthreeyears heslowlybuiltupareasonable reputationthroughTV appearancesonshowssuch asOhBoy.Peoplestarted recognisinghiminthestreet andhewasalwaysbeingasked forhisautograph.Hehad madeseveralmorerecordsfordifferent companiesandworkwasprettysteady–in fact,thefutureseemedverypromising indeed.Butthen,in1961,Gerrywastaken suddenlyillandspentthenext12monthsin hospital.Whenhehadfinallyfullyrecovered, hefoundthateverythinghadchanged. No-oneknewhimorparticularlywantedto. Duringhisabsenceothernameshadappeared totakeoverwherehehadleftoff.Gerry Dorseyhadbeenforgotten. Forthenextyearorsohetriedtopickupthe oldthreads.“Iwantedtocontinuesinging,” hetoldmethisweek.“ButIcouldfindvery littlework.SomanytimesIthoughttomyself, ‘What’sthepoint?’Ifeltlikegivingupthe wholebusinesssooften,butIneverdid. Ialwayshadthefeelingthatbeforemy illnessIhadachievedaslightamountof successandIatleastwantedtoregainthat.” Hestartedrecordingagainbutstillhehad nosuccessandmeanwhileothersingers wereracingpasthimupthechart.“Ican’tsay Iwasn’tupsetgettingnowherewhileother peopleweremakingit,”headmitted. Thenearlylastyearcame thechangefromDorseyto Humperdinck,andhe rejoinedDecca.“AtfirstI didn’tlikethenamebutnow I’vegrownquiteusedtoit. Humperdinckcertainly seemstobealuckiername.” Hisfirstbigbreakas EngelbertHumperdinck camewhenheappearedat theInternationalSong ContestinKnokke-Le-Zoute lastJuly.“Thatreallyopened uptheEuropeanmarketforme,”hesaid. “IstartedgettingTVoffersfromallover Germany,HollandandBelgium.” Todayheisoneofthebiggeststarsinthe Netherlands.Hehadjustreturnedfrom BelgiumwhenImethimandwasenthusing overtheaudiencesthere:“Everywherewe playedwasabsolutelypackedtocapacity– andtheboysarewilderthatthegirls.” EngelbertHumperdinckhassucceededin whathesetouttodo–togettoNo.1.“Idon’t careifInevergetanotherhitrecord.I’ve achievedmyambitionandnowI’mhappy.” Personally,Ithinkit’sjustthebeginningfor Engelbert. NorrieDrummond “I can’t say I wasn’t upset getting nowhere while other people were making it” Engelbert:bornin Madras,raisedin Leicester,about tokeeptheFabs offNo1withhis versionofcountry hit“ReleaseMe” GETTY 8 | HISTORY OF ROCK 1967
- 9. 1967 Anitashoots, Brianscores NMEMARCH18BrianJones’moviemusic couldwinCanneshonour. T HEMOVIEFORwhichRollingStoneBrianJoneshaswritten andproducedthemusic–asexclusivelyreportedintheNME twoweeksago–hasbeenselectedasGermany’sentryfor theCannesFilmFestivalfromApril24toMay11.Thepicturestars Brian’sgirlfriend,AnitaPallenberg. TitledMordUndTotschlag,itwillbescreenedinthiscountry (withEnglishsubtitles)byUniversalPicturesasADegreeOfMurder. ThefilmwasshotinMunich,towhichJonespaidthreevisitstosee thefilminpreparation–althoughallthesoundtrackrecordingstook placeinLondon. Groupsofvarioussizes,uptoandincludinga10-pieceunit, wereusedinthescore. Brianhimselfplayssitar,organ,autoharp, harmonicaanddulcimeronthesoundtrack.HeenteredtheWest LondonHospitalforacheck-uplastweekend,butdischarged himselfafterthreedaysandflewofftoNorthAfricaforarest. MickJaggerisalreadyholidayinginTangier. ³Aggressive counter-drugsaction istobetakenbythe policeinco-operation withInterpol,and particularattentionis beingpaidtopop artistsand“pop parties”.MickJagger andMarianne Faithfullwereboth searchedatthehome offellowRolling StoneKeithRichards atWestWittering, Sussexlastweek. Fifteenpolice searchedeight peoplewithasearch warrantissuedunder theDangerousDrugs Act.Substanceswere takenfromthehouse andexaminedat ScotlandYard.Mr LesPerrin,publicist, toldtheMMon Mondaythatno prosecutionshad beenmade. Meanwhilethe policearetousenew measurestostamp outtheimportation anduseofdrugs. Moreraidsare expectedtotake placeanddrugs recoveredinrecent raidsincludepurple hearts,LSDand IndianHemp. MMFEBRUARY25 ³TheBeatleshave nowapprovedOwen Holder’sbasicscript fortheirthirdfilm, andareawaitingthe finalscreenplay beforesettinga shootingdate.The picturewillfeature thegroupincomedy characterroles,with littleornosinging– buttherewillbeafull Lennon-McCartney incidentalscore. NMEJANUARY21 ³ThePinkFloyd, whosefirstsingle “ArnoldLayne”hit thePop50atNo33 thisweek,havenow completedfive tracksoftheirfirst album.BeatlePaul McCartneyhas alreadydroppedinto severalofthesessions andreportssaythe albumisa“knockout”. OnMondayThePink Floydfinishedfilming ashortpromotional clipforthesingle. MMMARCH25 HISTORY OF ROCK 1967 | 9 GETTY JANUARY–MARCH “Iturned inmy whitesuit” NMEJANUARY14NMEmeetsa hotnewAmericanguitarist. “Playingotherpeople’smusic washurtingme…” T HEMANFORwhomthewords “WildOne”wereinventedhashit us!JimiHendrix,22,fromSeattle, Washington,USA,courtesyof ex-AnimalChasChandler–debuts intheNMEChartatNo24withhisself- arranged“HeyJoe”(Polydor).Hendrixis aone-manguitarexplosionwithastage actwhichleavesthosewhothinkpophas goneprettywiththeirmouthshanging open.Whatthismandoestoaguitarcould gethimarrestedforassault.Thisisthe storyofhislifeinhisownwords: “Boredtodeathat16,Ijoinedthearmy –airborne.Alittlelessthanayearof screaming‘AHHHHH!’and‘I’mfalling’allthetime,so Isqueezedmywayoutbybreakingmyankleandhurtingmy back;thenItriedbeingseriouswithmyfirstlove–music. OneofTheIsleyBrothersheardmeplayinginaclubandsaid hehadajobopen.Sleepingbetweenthemhalltenements washell–ratsrunningacrossyourchest,cockroaches, stealingyourlastcandybar,soIfigured,‘Yeah,I’llgig.’But Igottiredofplayinginthekeyof‘F’allthetimeandturned inmywhitemohairsilksuitandpatentleathershoes. “AtourcamethroughtownwithBBKing,SamCooke, ChuckJackson,SolomonBurkes,JackieWilsonandHank Ballard.IlearnedanawfullotwhenIgotajobguitar- picking,behindallthosenameseverynight.InAtlantaI auditionedwithLittleRichard,coppedthegigandworked withhimallovertheUS–finallylandinginLosAngelesand playingmoregigswithIkeandTinaTurner.IquitLittle Richardbecauseofamoneymisunderstandingandtorest. ButwhocanrestinNewYork? “Igotajobwithanotherband.Ihadalltheseideasand soundsinmybrain,andplayingthis‘otherpeople’smusic’ allthetimewashurtingme.Ijumpedfromthefryingpan intothefirewhenIjoinedupwithJoeyDee&TheStarlighters –mindyou,thisisanout-of-sightgroup…but?!?!? “Aftersuckingonapeppermint-twistsalaryIhadtoquit andbeganplayingwithajukeboxband,andfinallyquit that,too,withnothingbuta‘wish’sandwich(twopiecesof bread–wishingIhadsomemeatbetween).FinallyIformed upwiththreeotherguysunderthenameofTheBlueFlames [noconnection].IwaslivingoffsympathyuntilmyEnglish friendappearedfromnowhereandpersuadedChas ChandlerofTheAnimalstocomedowntowhereIwas giggingandgivemeanear.WecameheretoEngland,picked outtwoofthebestmusicians–NoelReddingfromThe LovingKindforbassandMitchMitchell,anex-BlueFlame, ondrums–formedTheJimiHendrixExperience.NowI’m goingtomakecertainIdon’tfluffitallup!” KeithAltham Jimioutsidetheflathe shareswithmanager Chas Chandlerat34 MontaguSquarein London’sMarylebone
- 10. “Ourfollowersare questioningsomeof thebasicimmoralities thataretoleraratedin present-daysociety”: BrianJonesinHydePark, London,January1967 10 | HISTORY OF ROCK 1967 1967 JANUARY–MARCH GETTY —NMEFEBRUARY4— L ETUSCONSIDERthatuniquephenomenon –TheRollingStones’publicimage!When theStonesbeganrollingapproximately threeyearsagotheyfoundedtheirpersonal approachuponadirectappealtoyoung peoples’impatiencewithauthorityandthe basicpremisethatno-onelikestobetoldwhattodo– especiallyateenager.TheStonesbecame“thedefiant ones”–representativesoftheeternalstrugglebetween youthandtheaged;championsofthe“it’smylifeandI’ll dowhatIlikewithit”school. Theparentsspottedthedeclarationofwarupontheir authorityandrejectedtheStones;theStonespromptly rejectedtheparents.Todaythereexistsahugesocialbarrier betweentheoldergenerationandtheStones–abarrier whichsomecriticsarguemustbebrokenifthegroupareto “appealtoawidermarket”andmakethetransition,likeThe Beatles,intofilms. Sincetheirearlydaysthegrouphasprogressed immeasurablybothmusicallyandlyrically–takeagood listento“RubyTuesday”andJagger,withtheexceptionof thatrecentabortiveTVpresentationonTheLondon Palladium Show,iswithoutequalonstageasanagitator andinterpreterofmusicalexcitement. Anyimprovementinthegroupasentertainershasbeen largelyovershadowedbytheregularburstsofshock, publicityandpersonallifeexposésinanationalpress apparentlyasdedicatedtoapolicyof“withTheRolling Stonesonlybadnewsisgoodnews”asthegroupthemselves aretotheiruncompromisingattitudesandopinions. ItookupthesubjectwithBrianJonesinabaroff KensingtonHighStreetlastMonday,wherehesuppedapint ofGuinnessandflickedfagashintohisuntouchedoxtail soupatregularintervals.“Whyshouldwehaveto compromisewithourimage?”posedBrian.“Youdon’t simplygiveupallyouhaveeverbelievedinbecauseyou’ve reachedacertainage.Ourgenerationisgrowingupwithus andtheybelieveinthesamethingswedo–whenourfans getolderIhopetheywon’trequireashowlikethePalladium. “TherecentpicturesofmetakeninNaziuniformwerea put-down.Really,ImeanwithallthatlonghairinaNazi uniform,couldn’tpeopleseethatitwasasatiricalthing? HowcananyonebeoffendedwhenI’montheirside?I’mnot aNazisympathiser.Inoticedthattheweekafterthepictures ofmetakeninthatuniformappearedtherewere photographsofPeterO’Tooleinthesamenewspaper wearingaGermanuniformforafilmheismaking.But no-oneputhimdownforwearingthat! “Thephotographstakenofmyflatinaterriblemess recentlywereanothermisrepresentation.AnItalianfilm companywasfilmingintheroomandwepushed everythingintoonecornertomakeroomforthecamera crew.Wewerenotevenawareofthephotographsthatwere beingtakenwereforpublishinginapaperhere.You’veseen myflat–Idon’tliveinthatkindofmessnormally.I’ve complainedtothePressCouncilaboutthewholeepisode.” AtthispointenterMrKeithRichardsinhismaroon leatherjacket,UniversityOfHawaiiT-shirtandorange “Wearesoon tobeginthe AgeOf Aquarius” Astheyearbegins,THEROLLINGSTONESremainpop’sbadboys. BrianJones,however,isunconcernedbythebrickbatsof MaxBygravesandthepress,andiskeepinghismindopentohigher things.“Thereis,”saysJones,“ayoungrevolutioninthought andmannerabouttotakeplace.”
- 11. HISTORY OF ROCK 1967 | 11 THE MOVE
- 12. neckerchief,fullofapologiesforbeinglateashehadforgottenitwashis chauffeur’sdayoff.Howdoesheseethepossibilityofcomingtoterms withtheoldergeneration,asTheBeatlesappeartohavedone? “Youcan’tsuddenlybecomeacceptedovernightbycuttingyourhair, puttingonasuitandsaying,‘Look,aren’tInice?’–it’snotus,it’snot honest,andwhyshouldwe?”askedKeith. “Wehaven’tgotthesamePRset-upasThe Beatles,”addedBrian.“Anyway,Ithinkyou mustrealisethatcertainfansofTheBeatles shareagreatmanyofourideasandopinions.” Wemovedontojustwhoexactlyarethe Stonesfansnow;Brianobligedbydescribing onewhohad“passedon”. “MargaretStokeswasaStonesfanthreeyears agobutshe‘coppedout’,”hesaid.“Nowshe’s probablymarriedwithakidandanotheronthe way.Sheandherhusbandgotothesamepubs asherparentsandtheyarebothboredwithlife. Ifshegoestoseeapopgroupatallshe’llgoand seeDaveDozyandSpeakeasy! “Sometimeswegettheoldcharactersliketheonewemetinacountry clubovertheweekend.Hecameuptousandsaidhewasafanandthat he’dbeeninthebusiness40yearsandprophesisedthatwe’dbealright‘as longasyoukeepyer’armonies’. “Ourrealfollowershavemovedonwithus–someofthosewelikemost arethehippiesinNewYork,butnearlyallofthemthinklikeusandare questioningsomeofthebasicimmoralitieswhicharetoleratedin present-daysociety–thewarinVietnam,persecutionofhomosexuals, illegalityofabortion,drugtaking.Allthesethingsareimmoral.Weare makingourownstatement–othersaremakingmoreintellectualones. Ourfriendsarequestioningthewisdomofanalmostblindacceptanceof religioncomparedwithtotaldisregardforreportsrelatedtothingslike unidentifiedflyingobjects,whichseemmore realtome. “Conversely,Idon’tunderestimatethepower orinfluenceofthose,unlikeme,whodobelieve inGod.Webelievetherecanbenoevolution withoutrevolution.Irealisethereareother inequalities–theratiobetweenaffluenceand rewardforworkdoneisallwrong.IknowIearn toomuch,butI’mstillyoungandthere’s somethingspitefulinsidemewhichmakesme wanttoholdontowhatI’vegot.Ibelieveweare movingtowardanewageinideasandevents. Astrologically,weareattheendoftheage calledthePiscesage–atthebeginningofwhich peoplelikeChristwereborn. “WearesoontobegintheAgeofAquarius,inwhicheventsasimportant asthoseatthebeginningofPiscesareliketooccur.Thereisayoung revolutioninthoughtandmannerabouttotakeplace.” Returningtheconversationtoanykindoflevelrelatedtopopmusic proveddifficultandachanceremarkofmineastoGenePitney’s marriagebroughttheretortfromBrian:“You’vebeentryingtoreducethe conversationtothatlevelallafternoon!” “You can’t be accepted overnight by putting on a suit. It’s not us” 1967 JANUARY–MARCH “Jazzmen think you’re crap” MM FEB 4 Charlie Watts’ Think-In slot reveals him to be more interesting than supposed. “I’ve just got a boring face.” BUTTONS Andrewtoldmetodothedrawings fortheLPandhetoldmethetitlewas betweenthebuttons.Ithoughthemeantthe titlewasBetweenTheButtons,soitstayed.It wasmyfaultbecauseImisunderstoodhim. BIGSIDCATLETT I’vegotmanyofhisrecords. Whenyoulistentohimit’slikegoingbackto school.He’sfantastic.Heswingslikemadand he’sgotafantastictechnique.Listentosome ofthethingshedidwithCharlie P andLouisArmstrong.I w n’tsayBigSidCatlettwas m g atestinfluence. T CLARKE Oh,thedrummer. I ethim.He’sverygood.Isaw h Shelly’sManne-Hole.Hesaw m b tIdon’tgetupandsayhello, e iallytojazzmen,becausethey c efunnysometimes.Theythink y ecrap,butsomecomeacross a yhello.TerryClarkeisafunny p r.Hesoundsbiggerthanheis. I recordofJohnHandyat M ereyandon“SpanishLady”he s dstremendous.Hesoundslike E Jonesbuthe’saslight,white g Heisn’tamonsterlikeGinger B r.Theguitarplayerwiththat g pisaniceguy.He’sateacher. T violinplayerisfantastic.Ralph G sontoldmehe’sknownhim14 y sandyetheneversaysaword t mininterviews. MO ERNART Ittakesupalotofmy ght,butnotinthesensethat Ig uptogalleriesandgawp. dernartislikemodernjazz– justpeopleyoulike.Obviously ybodywholivesin1967should b wareofart.Whatyoumeanis P asso,Isuppose,andthat’snot modernart.ReallyIcan’ttalkonthesubject. Youshouldaskmywife. THELONDONPALLADIUMSHOW Ineverwatch theshow.I’mmoreconvincedthaneverthat nobodyeverdoesanygoodonthatshowother thanoneman,andthat’sSammyDavisJr,and hecanperformonapavement.Itjustisn’tmy showtostartwith,sotogoandperformonit… well.Personally,Ididn’twanttodoit,andI’m notsurewhywedid.Isupposeitwasa challenge.It’salwaysdonemoreharmthan goodtoanybodyI’veeverseenonit.Itwas incredible.I’veneverplayedinfrontofan audiencelikethat.Theywouldhaveclappedat anything.Theydidn’tknowwhatwewere doingorwhattheywereevenlookingat.We couldhavebeenYehudiMenuhinorRudolph Nureyev.RudolphNureyevwouldhavedonea betterjobthanYehudiMenuhinbecausehe’s betterlooking.Wethoughtwehadmadeit clearbeforewewentwewouldn’tgoonthe turntable.Thepointwaswehadtheeffrontery tosaywewouldn’t,sotheproducergotupset. Whyshouldhegetupset?Afterall,whatare youarguingabout?Justgoingroundonabit ofcardboardfor10seconds.Yetit’sbeen goingonfordaysinthepapers. FANS Wherewouldwebewithoutthem? I’mveryfortunateinthatIexistinthegroup withoutmanyofthehasslesofbeingapop star.Igetitwhenthefiveofusaretogether, butI’veneverreallylikedadorationformyself. WheneverIgetit,it’sforbeingpartofthe group,notforme.Ihopetheotherstakeit moreseriouslythanIdo! REDGUARDS YoushouldreallyhaveLennon here,withaquipoffthecuff.Ofcoursethey worryme.I’magainstanyformoforganised thought.I’magainstorganisedentertainment liketheLondonPalladium.I’magainst organisedforcelikethearmy,andI’magainst oftheth Parkera w wouldn m mygrea TERRYC I’veme himatS me,but especi canbe y youare andsa player Ihada Monte s sound El E vinJ guy.H Baker g group Thev Gleas y y years tohim MODE thou Igou Mod it’sju anyb beaw Pica
- 13. HISTORY OF ROCK 1967 | 13 MIRRORPIX organisedreligionliketheChurch.Idon’tsee howyoucanorganise10millionmindsto believeonething.HowmanyNazisbelieved? Onlyuntiltheendofthewar,thensuddenlyit was–Nazis?Nazis?Sohowmuchdotheyreally believeintheRedGuards?I’vereadalotabout it.Mickisgoodonpolitics.MickandJohnBird arefantastictalkingaboutpolitics,butit doesn’treallyinterestme.AskmeaboutSid Catlett,butnotpoliticalhistory. CONFUSION LikeIwasontheRedGuards.No–as IwasontheRedGuards.Likeisahorribleword. SUBURBIA Iliveontheedgeofatowncalled Lewes.It’saveryoldtown–thecountyseatof Sussex,andit’sbeingoverrun.Idon’tlikethe housesinsuburbia.Iwouldn’tliveinonefor free.Suburbiaisastateofmind,butno-oneis reallysuburban.Everyonehasadifferentmind. Iknowpeoplewhohavetogoonthetrainto workeverymorning,buttheyareasmadasthe nextbloke.Howamazingthisiswhenpeople makeoutsuburbiatobetheidealwayoflife anditisn’t–isit?I’mgladIdon’tliveinsuburbia. Thesadthingis,mostofthepeoplelivingthere weretakenoutofanopenlifeinLondonand putintoahouseonabuildingsite.Whentheir parentswereyoungthefrontdoorwasalways openandkidsfromfourstreetsdownwere alwaysin.There’sneveranyofthatinsuburbia. MICKJAGGER Veryintelligent,excepthenever stopstalkingwhenyoutalkintellectuallyto him.Idon’tknowifhe’sintelligent,somuchas bright.He’sverybright,butIknowmore intellectualpeople.He’sgreat,really.He’s verysoft,muchsofterthanhelooks.He’snot whatpeopleimagine–flashandever-happy. He’snot.Mickisoneofthosepeopleyouask: “Areyouhappy?”andhesays,“Yes.”Butyou neverreallyknow.Heneverstopsgoing.Ifhe writesagreatnumber,hegoesonto somethingelse.Thegrouphasmeant everythingtohim.He’sdonesomuch.Now he’sgottimetothink,andthingsaregetting moreinteresting.Ourrecordingsessionsare muchbetter.Thisnewoneisthebestwehave everdone.Youknow,IthinkmywifeShirley wasthefirstwomanevertoanswerMick intelligently.Itwasquiteafunnyincident.Mick hasverystrongideasaboutpoliticsand philosophy,andhe’snevertakenmuchnotice ofgirls’opinionsbefore.Itwasquitefunnyto seehimwhenShirleyansweredback.Itwas oneofhisideassmashed.Ithinkhe’slikelyto beapolitician.Thedragis,whenareporter asksMickaquestiontheyexpectaquip,so alotofthethingshesaysnevercomeout. SECURITY It’sverydangerous.Verynice,but verydangerous.Ifeelpretty secureatthemoment,butit doesn’thalfmakeyoulazy. POP Peoplehavetaken popularmusictodayand nearlymadeitintoanart form.That’sreallywhatThe Beatleshavedone.When Isaypop,Ithinkofgroups, apartfromaveryfewpeople likeCatStevens,Donovan andDylan.Idon’tknowaboutTheMonkees. Iliketheirrecords,butI’vegotonething againstthem.Theyaremass-produced.They werechosen,andeverythingisproducedfor them.EverythingTheBeatlesdidwastheir own.Butatthemoment“I’mABeliever”is agoodpoprecord.Goodforthem. AMERICA Americaisgreat,really.Idon’tknow howtheykeepitalltogetherwhenthey’vegot about50differentraces.Youtendtothinkof LosAngelesandNewYork,butthereare3,000 milesin-betweenfilledwithtotallydifferent people,andtheyrunAmerica.They’refantastic people,butAmericaisabitlikeabloodygreat suburbia.Theyaretoldwhattheylike.Funnily enough,withthisbigBritishthing,thekids seemtohavegonecompletelymad.Anti-this andanti-that.It’saphoneyexistence. ANDREWOLDHAM Andrew–Ilikepersonally verymuch,becausehe’salwaysbeenniceto me.Idon’tseehimalotreally.He’sdonealot forpopularmusic.Putthatdown. INSULTS Bloodyinsults–blimey,haven’tyou readthepaper?It’sbeenagoodweekfor insults.Insultscomefromacompletelackof understanding.Wemustbethemostinsulted groupever!Still,peopledon’tshout“Gityer haircut!”anymore.Itdidn’thurtreally,but whenpeoplesayitoftenenough,it’slike brainwashing.Youbegin tothinkyoushouldhave yourhaircut,onlyyoudon’t becauseyouknowyourears willstickout! GINGERBAKER Ihaven’t seenhimforages.Thefirst timeIsawhimwasatthe Troubadour,afolkclub,and Iwasplayinginaquartet.He cameinglaringatme.Hewas sogoodIjustcutout.Hereallyisgood.Ihaven’t seenhimplayforages,buthewasthenearest thingIhaveseentoacompletelyAmerican player.Americansputitdownthewaythey thinkitshouldsound,andsodoesGinger. GingersoundedtomemorelikeElvinJones thanElvindoes.ThoseGrahamBondLPshe didweresobadlyrecordedandtheywere doingsomeridiculousstuff.IspoketoDick Heckstall-SmithrecentlyandhetellsmeJon Hisemanisincredible,butI’veneverseenhim. BOREDOM Igivetheimpressionofbeing bored,butI’mnotreally.I’vejustgotan incrediblyboringface. However,wedidmanageto ascertainwhattheythoughtof MaxBygraves’actiononthe Palladiumlastweekwhen heproducedacanofaerosol andsprayedthestageon mentioningTheRolling Stonesbyname.“Brilliant,” saidKeithsarcastically. “Imean,allthatand‘Tulips FromAmsterdam’too!Didhe doitwithoutwearingawig,” retortedBrian.“Imean,that’s abitavantgardeforMax Bygraves–puttingdownthe Stoneswithoutwearingawig!” WesteppedoverMax Bygravesandconversationally circumnavigatedthedeathof PresidentKennedy–something elsethatMrJoneshasverydefiniteopinionsabout–andcaresabout almostobsessively.Aneatswerveindiscussionboughtustowhat,if anythingoranyone,isfollowingTheRollingStones. “I’dliketoseeTheMove,”saidBrian.“Theyarereallyanextensionof ourideaofsmashingconventions.Thosekindofsmash-upstheyhave –destroyingTVsets,carsetc–areallpartofdissatisfactionwith convention.PeteTownshend’stendencytosmashguitarsisaphysical reproductionofwhatisgoingoninhismind–Iwishhe’dwriteabook!” AsomewhatdisturbinginterviewwasroundedoffbyBrianinsisting thatthemuzakversionofRavel’sBolerowasturnedupoverourheads –“Itbuildstoagreatclimax”–andwefinallylefttherestaurant,MrJones inhisRolls,MrRichardsinhisgirlfriend’sdirtyredsportscarandmeby cab.Nothing,itseems,isgoingtochangeTheRollingStones–except, perhaps,oldage! KeithAltham • “Mick’s softer than he looks. He’s not what people imagine – flash and ever-happy” Jan22,1967:theStones’first appearanceonTheLondon PalladiumShow,whenthey refusedtojoinotheractson theroundaboutat theend THE ROLLING STONES
- 14. December31,1966:onabillwith ThePinkFloydandTheWhofor aGiantFreak-OutAll-NightRave atNorthLondon’sRoundhouse, TheMoveandmembersofthe audiencesmashupaCadillac (pairofstrippersnotpictured) 14 | HISTORY OF ROCK 1967 1967 JANUARY–MARCH
- 15. “Ourlife’s ambitionis tostartariot. Peoplelove violence.” Axes!Strippers!Hitler! Wherepsychedeliameets auto-destructiveart,you’ll findTHEMOVE.InRoyWood theyhaveacompositional genius,andinCarlWayne,a showmanwithaplanforhow tostandout.“Youmakethe trouserstighter,forastart.” HISTORY OF ROCK 1967 | 15 THE MOVE BARRY DAVIDSON; CHRIS WALTER/PHOTOFEATURES.COM MovefrontmanCarl Waynedisposes with RhodesianPM IanSmithineffigy
- 16. 16 | HISTORY OF ROCK 1965 16 | HISTORY OF ROCK 1967 —MELODYMAKERJANUARY14— H OWPSYCHEDELICISyourpop? Thisisthedemandingquestion posedtomanygroupstoday, strugglingforacceptance.It’s nolongeranygoodtosay,“Well, mate,wecanplayWilsonPickett, JamesBrownandallthatgear,”toanybody contemplatingbookingaband.Onehastoexplain whetheroneislikelytosetfiretotheauditorium, orbattertheaudience’ssenseswithflame,light andfiendishnoises. Onceitisprovedthesecapabilitiesareavailable, andinvastquantities,theroadtosuccessisopen. Forexample,oneoftheleadinglightsofthefreak-out brigade,ThePinkFloyd,werecompletelyunheard ofonlyafewweeksago,buthavealreadynetted aresidencyatLondon’sMarqueeClub,while remainingsemi-pro. TheMovehavebeenbuildinguptheirreputationin amaelstromofviolent“happenings”forsomemonths andhavejustbrokenintotheMMPopChartwith “NightOfFear”,theirfirstsingle. Buthowseriouslydothesegroupstaketheirwork? Fromourinquiries,anewpatternemerges– “SchizophrenicPsychedelicPop”.TheFloydare serious,whileTheMove…well,nowreadon. Thisiswhereourstorybegins. OriginallyanR&Bblues-typegroup,ThePink Floydfirstgotinvolvedwithexperimentation inlightandsoundwhentheyprovidedthemusic fortheHornseyCollegeOfArtLight-Sound workshop.Thisstartedaninterestinthe relationshipbetweenlightandsoundandthey continuedsmallexperimentsbutneverhadthe moneytodoanythingbeyondflashingafew footlights.SaiddrummerNickMason:“Wewere verydisorganisedthenuntilourmanagers materialisedandwestartedlookingforaguyto dothelightsfulltime.Thelightingmanliterally hastobeoneofthegroup.Whenwewereinour earlystages,wedidn’tplayalotofourelectronic “interstellar”musicandtheslideswerestillrather amateurish.Howeverthishasdevelopednowand our“take-off”intothemainlyimprovised electronicscenesaremuchlonger–and,of course,inmyopinion,theslideshavedeveloped tosomethingoutofallproportion.They’rejust fantastic.” ThePinkFloyd–Nickondrums;SydBarrett onleadguitarandvocals;RogerWaters,bass guitar;andRickWright,theorganist–havebeen quicklylabelledasapsychedelicgroup.Their opinionswerefairlydefinite.“Youhavetobe carefulwhenyoustartonthispsychedelic thing,”saidNickwarily.“Wedon’tcallourselves apsychedelicgrouporsaythatweplay psychedelicpopmusic.It’sjustthatpeople associateuswiththisandwegetemployed allthetimeatthevariousfreak-outsand happeningsinLondon.Let’sfaceit,thereisn’treallyadefinitionforthe word‘psychedelic’.It’ssomethingthathasalltakenplacearoundus–not withinus.” BassistRogerchippedin:“Ithinkthereasonisthatwe’vebeen employedbysomanyofthesefreak-outmerchants.Isometimesthink thatit’sonlybecausewehavelotsofequipmentandlighting,anditsaves thepromotersfromhavingtohirelightingforthegroup.Afreak-out, anyway,shouldberelaxed,informalandspontaneous.Thebestfreak- outyou’llevergetisatapartywithaboutahundredpeople.Afreak-out shouldn’tbesavagemobsofgeezersthrowingbottles.” Outrageous,troublemakingandriotous–youcancallTheMoveallof thesethingsandmore.Butyoucan’tcallthemphoney.Anincredibleand r freshinghonestypervadesthishard-hitting bunchofextrovertswhohaveupsetasmany managersandpromotersastheyhavefans. “Psychedelicmusicisaloadof****,”saidtheir s ngerCarlWayne,withcheerygleethisweek. “Andwegetquitenastytoanybodywhocalls uspsychedelic!” Smokebombs,H-bombs,sitars,banjars,riots andrebellionshaveallplayedapartinmaking TheMovethemosttalkedaboutgroupin months.Theyhavechoppedupstages,wrecked carsandassaultedtelevisionsets.Theyhave beenwarned,barredandsuppressed.Among theguestswhohavewitnessedtheir performanceshavebeensectionsofthe MetropolitanpoliceforceandLondonfire brigade,whowatchedfascinatedandmade copiousnotesassmokeandfirebillowed aroundthem. Butthereisnononsensefromthegroup aboutreadinganydeep,“mystical significance”intotheiractivitiesonstage. Farfromindulgingin“mindexpansion”, theyaresimplymakinganartformof gimmickry.ButasCarlexplains,whiletheyare busymakingviolentvisualimpactonthe nation,theybackuptheircombustionand mayhemwithagreatdealofworthwhilemusic. CarlwassleepingoffarecordingsessionwhenI wokehimathisBirminghamhome. “Thesessionwasgreat,”herevealed.“We weredoingournextA-sidewrittenbyourleadguitaristRoyWood.It’s called“ICanHearTheGrassGrow”.Ourphotographerthoughtupthe title.HejustthinksuptitlesandRoygoesout,writes,andcomesback withgreatsongs.We’rehappyaboutthechartpositionofourcurrent single,“NightOfFear”,butwe’renotenthusiasticaboutthenumber.It’s serveditspurpose,Isuppose.I’minstructedtosayit’sallaboutLSD,but totellyouthetruth,Ihaven’tabloodycluewhatit’sallabout! “We’remuchmoreenthusiasticaboutthenextone.It’scompletelunacy –akindofRussianinstrumentalwithBeatleharmonies.Royiswriting somegreatstuff.” HowlonghasittakenTheMovetoworkouttheirincrediblestageact? “We’vebeenworkingonitfromthewordgo.It’sayearthismonthsince Leadinglightsof“the freak-outbrigade”: The Movewiththeirviolent “happenings”andThePink Floyd(SydBarrett,inset), whofavour “interstellar” audio-visualexperiments REX, GETTY “I’ve chopped up about 15 stages so far. We enjoy being outrageous” 1967 JANUARY–MARCH re bu m “P si “A u an T m c b t p p p “I’ h d
- 17. CARLWAYNEis thesingerand tellychopper extraordinaire withTheMove. Theaxe-wielding Carlisaborn leaderandalthoughthegroupare acloselyknitlot,Carlusuallyends upaspokesman.He’satoughnut, nottobemessedaboutwith.Carl isalsotheoriginalpessimist.He’s alwayssaying,“Ifthenextrecord getsintothechart–if!”Herealises thefansaremoreintelligentthan manyparentscredit,andhissense ofresponsibilityresultsinan immaculatedresserwhowon’t gooutofthedooruntilhe’s washed,shavedanddressed tothehilt.Wayneisavaluable cornerstonetoTheMoveandhis determinationtogetoncome throughinhisperformance.He’s gothislifesortedout,he’sgota direction,andheknowsexactly wherehe’sheading.Carlhas alotofideasonvocalharmonies –avaluableassettoalineup containingfoursingers.Anastute, shrewdpersonwho’sbeenaround alongwhileandhadtodealwitha lotof“third-divisionbusinessmen inpop”.WaynewillbecomeThe Move’sidolalongthelinesof Proby,thesingerheadmiresmost. CHRISKEFFORD Bassguitarist “Ace”Kefford’s hang-upismoney. Hewantsalot.If youtrytoshort- changehimfor acuppa,you’reinserioustrouble! Aceisquiteanaggressiveyoung man,butoncehetrustsyouand likesyou–you’reafriendforlife. Chrisisveryconsciousofhisdress andappearance,andalways insistsininterviewsthathishair isn’tdyed.NothingisworsetoAce thantobeskint.Ifheis,youcan soontellbythelookonhisface. Basically,moneydriveshimonand hisdeterminationtoberichhas madehimaveryhard-working bassguitarist,whoknowsthatto makemoneyhe’sgottobebetter thanalltheothersinhisfield. AnythingAceconsidersasa musicalchallengeissoondealt with.Hegoeshome,broodsoverit andthencompletelysussesitout andgetsitundercontrol.Hehas noillusions,andlikeCarl,has sufferedfromthe“thirddivision” promotersandmanagers.Now he’sinLondonwherethe promotersandmanagersarefirst division,sothey’rehandledwith justalittlelessscepticism. TREVOR BURTONThe youngestMover at18,Trevhails fromavery hardpartof Birmingham– andifsuchathingexistsas“white soul”thenTrev’sgotquitealot ofit.Hewenttodramaschool andhasbeenactingsincehewas 12,doingtelevisionandtheatre work.At15,Trevorwasalready earning£50aweekandwent througharidiculous“full-scale looningscene”atthisearlyage. Nowhe’slevelledoff. Trevor,however,isstilllearning andwatching,butheknowshow tohandleasituationandinvariably makestherightmove.Hehasa certaineleganceandhe’sanatural dancer–whichprobablystems fromthedramaschool.Trev’s verycoolandplaysunobtrusive rhythmguitar.Hehasanexcellent techniqueandisverysympathetic toRoy’sleadguitar.Healways knowswhatRoyisgoingtoplay andhegetsrightintherebehind him,addingtheverynecessary dynamicstoTheMove’smusic. ROYWOODisn’t justapastyface. He’sthecreative mindinTheMove –themusicianand songwriter responsiblefor “NightOfFear”and“ICanHear TheGrassGrow”,whichisbeing tippedfortheNumber1spot whenit’sreleased.Royisan introvert.Roy’smindisalways somewhereelse,thinkingallthe time.Youcouldputhiminagig wagonanddriveallthewayto AustriaandRoywouldsithappily intheback,thinking.Ifhecould behavehisownwayhe’dgrowhis hairdowntohisnose,withtwo eye-holes,andwatchtheworld throughitall.Roy’sablimper. Everythingheseesisregistering inhismind;hetakesitallin–blimp, blimp,blimp.Roycontinually experimentswithinstruments andsounds.Hehasaboutfive differentinstrumentsthatall work,andreallymakeoriginal sounds.Hestartedsongwritingat 15,butgotsentupsomuchbyhis schoolmates,hedecideditwasa bitofadream.Hisenthusiasmwas knockedoutofhim.Afterthree monthswithTheMove,hestarted againandnowwritesatleastone numberaweek,knowinghehasto keepupaconsistentoutput.Many ofthesongshewriteshetearsup unlessthey’rebetterthanthelast songhewrote.Woodisquietand cool.He’sneverbeenknownto shoutatanybody,evenwhenhis carwassmashedupbyafriend; hesteppedoutofitandsaid,“That wasprettyuncool.” BEVBEVANBev isnotasintrovert, asRoy.Basically, he’seasily pleasedand satisfiedandwill probablyendup withachainofrecordshops.Bevis abusinessman.Hebrokehiswrists whenhewasabout13playingwith adanceband,whichhasresulted inoneofthestrangesttechniques you’reeverlikelytosee. Becauseofthisaccident, Bevholdshisdrumstickssortof comicallythroughhisfist.Usually afteranhourplaying,hishands starttosplitandbleedashekeeps cuttingthemagainstthecymbals anddrums.Bevisprobablyoneof thebestandsteadiestdrummers tohavecomeoutoftheMidlands foralongtime.He’splayedalmost everythingandreadsmusic.Heis welloversixfeetandhas enormousshoulders. Ifanyonehasagoathimhe usuallyswallowsit–becausehe knowsthatifhestartedfighting he’dprobablykilltheopposition. Bevisaquiet,genialman–almost aStBernardtype. NickJones HISTORY OF ROCK 1967 | 17 THE MOVE REX Trev knows what Roy is going to play and gets right in behind him westarted,andaswe’vegoneon,we’veadaptedandchangedthings.We haveconcentratedonthevisualapproach.Goodmusicisgreatbypeople whocanreallyplay–groupslikeArtwoods,Zombies,andAlanBownSet. Theyaretremendousgroups,butgoodastheyare,wefeeltheydon’thave anyimageatall.Forexample,thekidsgofortheimagegroupslikeThe KinksandTroggs.” Whohasthemostideasinthegroup?“Well,it’saconglomerationofideas andourmanagerTonySecundaisagreatinfluenceonus.He’sbeeninthe businessalongtimeandisveryexperienced.Weliketodothingsthatare anoutrage.Wedon’twanttotoetheline.Ifyoudosomethingoutrageous thenyoucapturethepublic’simagination.Weliketobefirst.Westarted outwearinggangsterclothes,andtheneveryonewaswearingthem.Then wewentontositars,whichIadmitwaswhenRaviShankarwasthemode. Wechangedassoonaseverybodyelsewasdoingthesamething. “Alotofgroupssaytous,‘Oh,yousmashupTVsets–whatsillyboys.’But sowhat?Itcreatesanimpression.Everywherewegopeoplesay,‘Oh,are yougoingtosmashupaTVsettonight?’” WhenitcomestotheclimaxofTheMove’sshow–whodoesthefinal, existentialactoftelly-bashing?“I’mthechiefexecutioner,”admittedCarl withquietpride.“I’vechoppedupabout15stagessofar.Weenjoybeing outrageousandcausingtrouble.Thethingwe’dmostliketodoiscausea riot.Butwekeepchanging.We’regoingtodropleadguitarandhavetwo bassguitars.We’llhavethreeofusinfrontsingingaTamlaMotownstyle, whileRoywillbeonhisownplayingabout12differentinstruments. Actually,we’regoingtobeknownasanelectricalband.We’requitenasty ifanybodycallsuspsychedelic.Itshouldbeveryentertaining.” Whogetsthebiggestkickoutofauto-destruction–theaudienceorthe group?“Theaudience.Atoneplaceweplayed,whenwesmashedupaTV setandabitofthestage,theaudiencejoinedin,andattheRoundhouse whenwewreckedacar,therewasalmostabloodyriot.Freak-outsarea bitofajoke,aren’tthey?Ienjoyitall,buttheothergroupswhohavetoplay themhaveahardtime.” WhoareTheMove’sfavouritegroups?“Inawaywearecomparedwith TheWho.Weadmirethemandtheyareoneofthemostadvancedwriting groupsinthecountry.” TheMoveandThePinkFloydaretwooftoday’sgroups.Youmayfind theirattitudesfrighteningorrefreshing–funorphoney.Butbythunder –it’srhythmical! ChrisWelchandNickJones Introducing The Move... MM FEBRUARY 4 Thumbnail sketches of a tough nut, a money lover, a teenage actor, “a blimper” and a born businessman
- 18. 18 | HISTORY OF ROCK 1965 18 | HISTORY OF ROCK 1967 —NMEJANUARY21— T HEMOVE’SCARLWayneleaned forwardinthehard-backedchair, lashinghisleatherovercoatwith itsblack-thongedbelt.Youdon’tmeet violencelikethateverydayinanNME interviewand–Ihavetoconfess!–I twitched.“It’sourlifeambition,”hesaid slowlyandmenacingly,“tostartariot. Peopleloveviolence.TheyWANT violence.Inouractwewreckcarsand stickanaxethroughTVsets.Thekidsgo wild.Withinminutesthey’rerightinthere withus…..WRECKING,SMASHING, breakingthingsup. “TheotherdaywedidashowatChalk Farmandwehiredtwostripperstostripoff whileweplayed.Darlin’birdstheywere…lovely.Theretheywere–the twoof’emstrippingrightdowntotheG-strings–andnoneofthekids wastakingablindbitofnotice.Everybodywastoobusywreckingup thecar.Itwascrazy;wild.Themanagercomesbackstageandhesays, ‘Whatarewegonnado,whatarewegonnado?They’retearingtheplace upoutthere!’” Nooffence,Iventuredtimidly,asCarlagainlashedoutwiththeleather thongtoemphasisehispoint,butwhateverhappenedtomusic? “Yeah,well,”saidhe,hisfacecreasedintoanamiablegrin,“youknow howitis. “Yousee,thesedaysyou’vegottobesovisual.You’vegottohaveavisual act,andthelooksofthegroupmeansomuch.I’mnotsayingyou’vegotto behandsome–you’vejustgottohavetherightgear,andpresentyourself therightway.That’swhywe’rebigonallthis’30sgear,thedouble- breastedjacketsandallthat.Ithinkwestartedthis’30strend.Thereare alotofpeoplearoundtryingtocopyus,buttheygetitallwrong.Yousee, it’sallamatterofthetailoring.Girlsdon’twanttoseeblokesinthosedirty greatwidebaggypants.Theywantsexappeal.Sowhatyoudois,youtake the’30sinfluenceandyouadaptittotoday’sstyle.Youmakethetrousers tighter,forastart. “Anotherthingaboutbeingvisual,whenweaxeuptheTVsetwe’rekind ofhittingoutatantisocialthings.TVisantisocial,that’swhyweattackit. WealsoattackotherevilthingslikeIanSmithandapartheid.Thecar? Well,that’sasocialevil,isn’tit?Don’tcalluspsychedelic.TheMovehas beentaggedpsychedelic,butwe’renotandhateit.Alotofgroupsare callingthemselvesthat,butwhentheworddies,they’lldie.We’renot psychedelic,”hesaidgrittily;“we’reshowmen.” SittingintheroomwasbassguitaristChrisKefford,ofthepalefaceand theice-blondhair.“‘NightOfFear’isn’treallyus,”volunteeredChris. “Thatonewasjustabreakthroughinthecharts. “Waittillyouhearournextsingle,‘ICanHearTheGrassGrow’.That’s us.Afantastictitle,isn’tit?OurleadguitaristRoyWoodwroteit.We’vegot aphotographer,BobbyDavidson,andhesaystoRoy,‘Here’s acrazytitle.Betyacan’twriteasongtofitit.’” “There’scompletelunacyinthelyrics,butit’sahard, drivingsoundwithalotofmicrolinesandmagneticthings. Itdidn’ttakeuslongtorecord,becausewetrytogointothe studiowhenanumberhitsus,andwe’vegottheinspiration. It’snogoodwaiting:ifwedon’trecorditstraightaway,the feeling’slost.” Muchasthegroovy-hippy-happeningcrowdmayhave takentoTheMove,there’snothingultra-coolaboutthe groupitself.MembersCarl,Chris,TrevorBurton,BevBevan andRoycomefromBirmingham,andtheytellmetheir greatestpleasureis“togetbackhome”.AccordingtoCarl: “Youcankeepyourin-crowdandyourhangers-on.Wecan’t standphoneysatanyprice.” Inspiteoftheironstageviolence,they’repleasant,amiable guyswithatouchinglygenuinefeelingofexcitementabout thechartsuccessof“NightOfFear”.Aswetalked,everyonce inawhileCarlorChriswouldthrowinarequestlike:“Please thankallyourNMEreadersforbuyingour record–really.We’reknockedout.Wekeep wantingtojumpintheair,it’sallsofantastic. AndcouldyouthankTheEasybeatsfor sayingwhatagreatgrouptheythinkweare. No-onehaseversaidanythingsofantastic aboutusbefore.JustyoutellTheEasybeats, wethinkthey’rethegreatesttoo.” AlanSmith —MELODYMAKERFEBRUARY4— T HEMOVE’SSOMEWHAT unorthodoxentryintothepop world,withtheaidofsensationalism hrough“auto-destruction”,laidthemopen oralargedoseofleg-pulling,disrespectand plainsarcasm. “Isitmusic?”inquiredtheheadlinesbarely isiblethroughsmokescreens,splintered elevisionsetsandmangledeffigiesofAdolf Hitler.Well,thegoodoldBritishrecordbuying publicseemedtothinkso,and“NightOfFear” shotintotheTop10.But,asissooftenthecase,itwilltakemorethanahit recordbeforeTheMovegettherecognitiontheydeserve. Lastweekanotherblowwasstruck.ThistimeitwasTopRankwhoflatly refusedtoallowTheMoveintheirballroomsfortheWalkerBrothers tour.“Notunlesstheycooltheiractdown,”cametheultimatum.“No,” repliedTheMove,“ifwecan’tbeallowedtochopupourownprops,then wewon’tdothetour.” NowwhydoTheMovegolookingfortrouble?Isthisexplosive gimmickryjustasmokescreentocoverupmusicaldeficiency?Arethey goingtobeone-hitwonders?Isthereatotallackofideas?Dotheyhave nopersonality? Idon’tthinkso.Lookatthefactsandyou’llfindfiveBirminghamlads withawealthoftalent,alotofshrewdness,foresight,andallthe“vital ingredients”thatwilleventuallymakethemtopdogs. AstheirmanagerTonySecundasorightlysays:“TheMove’sexplosion ontothescenewasverynecessary.Thisisagroupwhoareprogressing veryrapidly.Theyhavealotoftalentandtheonlywaywecouldmake peoplerealisetheyweren’taninsipidgroupwastoexplode.Nowpeople willcometoseeTheMoveandwilllistentotheirmusic.Musically,The Movewillsurvive;musically,theyaregoingforward;musically,theyare oneofthethingsofthefuture.It’sthemusicthatcounts.” SecundaparallelsallthistotheCassisusClayincident,whenhe couldn’tgetafightwithSonnyListon.ClaywentroundtoListon’s houseandrippedupthefrontlawn,thenhesaid:“Comeouthere,you bigbear,I’mgoingtowhipyou.”It’stheonlywayClaycouldgetanybody totakenotice. Therefore,theonlywayTheMovecouldgetpeopletositupandtake noticewastomakesureeverybodyheardaboutthem–andthegoggle- boxchoppingdidthetrick. “It’sjustalimitedidea,”saysSecunda.“Whenit’sbeenexhausted,we’ll dropit.Youdon’tseriouslythinkwe’regoingtospendtherestofourlives choppingupTVsets,doyou?” 1967 JANUARY–MARCH A s N a w th fo p vi te H pu BARRY DAVIDSON SoundandFührer: CarlWaynecuts loosewiththeaxeat atypicalMoveshow
- 20. » KEYSTONE PICTURES (USA)/EYEVINE 20 | HISTORY OF ROCK 1967 1967 JANUARY–MARCH —MELODYMAKERFEBRUARY18— D UKEELLINGTONISamusicianwhocomposes tirelesslyinhisownwayandinhisowntime–which meansaccordingtothecircumstanceshefinds himselfin,andoftenlateintothenight.Frommy observations,stretchingover19yearswithlarge intervalsbetweenvisits,ofcourse,Ishouldsayhe worksmosthappilyatapianoinhishotelsuitewithoneormore occasionaltalkingpartners.Inmyexperience,themostprolonged spellshavetakenplaceintheearly-morninghours,butintimatessay thehourdoesn’tmatter “Dukewritesallthetime,”MercerEllington[hisson,ajazztrumpeter andcomposer]toldme,“andheisparticularlyproductiverightnow onthistour.He’sworkingonanewsuiteatthismomentandhe’sjust calledforHerbieJones,soIknowhe’sfinishedanotherpartofit.” HerbieJones,trumpetandflugelhornplayerwiththebandfor somethree-and-a-halfyearsandEllington’scopyist,saysthatDuke workswellunderpressure.“Mostofthisnewsuitehasbeenwritten duringthepresentEuropeantour.Oneortwothingsmayhavebeen composedbeforewelefttheStates,butnothinghadevenbeen rehearsedandthethingsyou’veheardwereallfirstperformedon thetour.” Isaiditmustbedifficulttocompose,arrangeandpreparealarge- scaleworkontheroadbetweenconcertswhichmightbeathousand kilometresapart.“Ifyouthinkthat,youdon’tknowDuke,”saidHerbie. “It’snoproblemtohim.Itdoesn’tmatterwhereheisorwhattimeitis; there’snospecialtimeanditdoesnotmatterwhatconversationthereis goingon.Whenhefeelslikewritinghejustgetsonwithit.You’dbe surprisedwhereandwhen;evenbetweenperformances,inthedressing roomwithnopiano.Sometimesthere’snomanuscriptpaper,butthat doesn’tstophim.” IcalledEllingtonduringhis“free”dayandfoundhim,at4pm, be-towelledbutbusy,presidingamiablyoveracoupleofroom-loads ofassortedreporters,photographers,BBCpersonnelandfriends. Truetoform,hehadbeencomposingduringbreaksbetweenvisits. TheBBCwasaskingEllingtonaboutaprojectedTVtalkwithAndré Previn(itdidn’tmaterialise):“Andréiswonderful,oneofmyfavourite musicians,”Dukesaidcordially.“Ofcoursehe’sdifferentfrommewith In1967,aregalbuthumbleDUKEELLINGTON visitsLondon.MELODYMAKERmeetsEllington: awittysophisticate,andasacredcomposer forwhommoneyisnoobject.Throughfriends likeJimmyJones,apictureemergesofaloyal friendandacomplex,tirelessmusician. Youknowhow upandcoming “
- 21. HISTORY OF ROCK 1967 | 21 DUKE ELLINGTON “Theysayit’simpossibleto makethesymphonyswing, andwedoit”:DukeEllington conductstheLondon PhilharmonicOrchestra, February19,1967 itiswiththe musician…”
- 23. HISTORY OF ROCK 1967 | 23 goodsingershavecomeupsince,butnoneofthesamestature.” Whilewewereonpersonalchoice,IaskedwhatJimmy’stasteswerein musictoday.“Well,”hesaid.“I’llhavetogeneralise,anddoitinblocks. Right!DukeEllington,andthewholeEllingtonfamilyinfact.That’s standard,andsoareHawkins,Carterandthegreatsofthatera.Thenmy favouritepianistisHankJones. “Afterthat,JohnGillespie,ofcourse,andBird.Iheardthemon52nd Streetbeforetheybecamepopularandfellinlovewiththemthen,and someoftheideasrubbedoff,ofcourse.Dizzygoesonandon,likeDuke Ellington.He’llalwaysbethere.Sotheyarethebigguns.JJJohnsonisa biggun,too. “Now,onthehorizon,IlikeKennyBarron,withDizzy,andHerbie HancockandCedarWalton.Hank,I’vesaid,isbeautifulandsoisPhineas Newborn.DidyouknowPhineasplayedsaxandtrumpetandseveral morehorns?IheardhimsitinwithBasie’sband,youknow,sitinfirstwith thesaxsection,thenthetrumpets.WhatIthinkaboutjazz,though,is thatthelinesofhistoryoverlapreally,onestylebeingakintoanotherand theolderthingsconstantlyreappearinginnewforms.Likethestride pianothat’sactuallycomingbacktoday.Youknowtheoldragtime pianistandcomposerEubieBlake?Well,heandIareprettyclosefriends. Nowthisguytalksaboutmusicianswhowereactivein1885,andhelikes PhineasNewborntoo.There’salegend.” MaxJones —MELODYMAKERJUNE10— I THADCOME.Despitethedoctor’sreassurances,despitethe wishfulthinkingofDukeEllingtonandBilly’sinnumerable friends,weallknewit.ProbablyBillyhimselfknewit.Deathcame toStrayhornat4.30inthemorningonMay31,inaNewYorkhospital, afteravaliantbattleagainstcancer.“WhatcanIsay?”saidthevoiceof adrained,wearyDukeEllingtonoverthetelephonefromReno.“What cananyonesayordo?Straysisatpeacenow.” ThecontributiontoAmericanmusicofthewitty,smilinglittlemanwe calledSwee’Peacanneverbemeasured.Infact,hedidnotwantit measured.Itwascharacteristicofhimthatthroughhis28yearswiththe Ellingtonbandhenevercaredtwocentsabouttheapportionmentof credit.Whowrotethistuneorarrangedthatchart?DukeorStraysor both?Theanswerwasalwaysaninsouciantevasion.Historywillnever knowexactlywhatwasthemeasureofhisgiftsbeyondthegenerally acceptedfactthatDukeEllingtonandBillyStrayhorn,individuallyor collectively,havebroughtmoremusicofgeniustothejazzofthelast30 yearsthananyotherartistorteamofartists. ThereweremanyironiestoBilly’scareer.Oneisheneverwantedtobe anarranger.WhenhewenttoseeDuke,latein1938ataPittsburgh theatre,hethoughtofhimselfasalyricwriter. Onesongheplayedtoillustratehistalents was“LushLife”,aworkofincrediblemelodic, harmonicqualities,asongwithlyrical sophisticationintheNoelCowardmanner, writtenbyablackmanwhosemother’s grandmother’sgrandmotherhadbeenGeneral RobertELee’scookintheCivilWarperiod; whosefather’sgrandparentsalsohadbeen slaves;andwhohimself,fromtheageof14 untilhewas22,financedhisowneducation byworkingasasoda-jerkandodd-jobboyin aPittsburghdrugstore. Asecondironywasthat“LushLife”wasthe onegreatStrayhorntuneEllingtonnever recorded. Billyhadstudiedharmonyatschool,pianoprivately.Ongraduating fromhighschoolheplayedGrieg’sAMinorConcertowiththeschool orchestra.Thenjazzbegantointriguehim,chieflythroughtheworkof suchlocalyoungstersasErrollGarner. ThreemonthsafterthefirstmeetingwithDuke,BillywenttoNew York,inFebruaryof1939.Anotherofhissongs,“SomethingToLiveFor”, impressedthemaestro,whohimselfarrangeditforthebandand recordedit.Billywasdrawnswiftlyintotheband’smusicalandsocial orbit;heandMercerEllingtonweresoonfastfriends. ThenDukeandotherssuggestedBillytryhishandatmakingasmall- bandarrangementforaJohnnyHodgesdate.Afteraseriesofcombo sessions,uponDuke’sreturnfromEuropeacoupleofmonthslater,he graduatedtowritingforthefullband. SomehowhelearnedthedeepsecretofEllington’smagicwithvoicings, developedothersofhisown,andfoundwithDukeamusicaland personalaffinity.By1941hewasinhisfirstgoldendays,with“TakeThe ATrain”,theRavel-inspired“ChelseaBridge”andcountlessothers. Fromthemid-1940shecollaboratedwithDukeontheband’slonger concertworks,ThePerfumeSuite,SuchSweetThunderandADrumIs AWoman. Afewyearsagohemadearareseriesofpersonalappearances,touring Europeasfeaturedpianistwiththeband;nowandthenhecommittedto recordshisairy,glittering,adroitpianostyle.In1963hesupervisedthe “SecondEllingtonband”thatplayedDuke’srevueMyPeopleinChicago. Heworkedcasually,forpleasureandneverwithmaterialprofitinmind. Hisideaoflivingwasbeingaroundgood friends,atabaroraconcertorinsomeone’s housebesidearecordplayerorsurroundedbya pileofgoodbooks.Hewasanintellectual withoutsnobbery,ahedonistwithoutself- indulgence,afriendwithoutenemies. Then,inthesummerof1965,apersistent sorethroatsenthimtoDrArthurLogan, Duke’sperennialfriendanddoctorthrough thedecades.Fromthenuntiltheenditwas afightagainsttime. Hewaswellenoughforawhiletogoto Europe,wherehewasreunitedwithhis oldfriend,pianistAaronBridgers,inParis, acoupleofmonthsago,thoughdownto75 pounds(five-and-a-halfstone),hewasable togotoPalmSprings,California,tospendawhilewithLenaHorneat theHaytonhome. For25yearsLenaandBillyhadbeencloserthanmostbrothersand sisters,mutualadmirerswhosharedaloveforthebestthingsinlife. BillyStrayhornisgone,but“DayDream”and“PassionFlower”and “JohnnyComeLately”and“Raincheck”andahundredothersliveonas monumentstothemostunderratedgeniusinthehistoryofjazz. Dukegavehimallthecreditthatwasduehim,butDukewasagiantin whoseshadowStrayswasinevitableobscured.Thepublichardlyknew him:hescarcelyeverwonanypolls.Heleavesmourningfriendsand admirersallovertheworld,menandwomenwhoduringhistravelswith thebandwerebeguiledbyhiswit,amazedbyhistalent,andconstantly stimulatedbyhiscompany. LeonardFeather • “We like to have our dreams. We like climbing mountains” “Hot and cool” The Maker laps up a Duke and Ella show in London T HE OLD FIRM, Duke Ellington’s Orchestra and Ella Fitzgerald, were cooking nicely at London’s Hammersmith Odeon last Sunday. The band solo spots were all worthwhile in the first half, with Harry Carney slurping away beautifully on “Chromatic Love Affair”. It’s still fascinating to listen to the non- stop note and watch him breathing at the same time. Gonsalves wriggled his way through “Beirut” with suitable facial contortions and shoulder movements worthy of Mr Clay. What a contrast to the beautifully rounded sound-shapes he pours out. CatAndersonwasrock-likeon“Salome”,withhighnotesfightingto getawayfromhim.AndCootieWilliamsgrowledandgrinnedgroovily through“TheShepherd”. Thebandhadoneofitstighternights,withEllingtonmasterlyatthe piano.AndHodges,LawrenceBrownandJimmyHamiltonreeledoff theirlickshotandcool. Ella,abouttoforgeoutwithherowntrioonaseriesofdates, decidedtohaveaballinthesecondhalf.Shelaughed,larkedabout andsanglikeadreamdespitearoughedgetohervoice.Amongher besteffortswere“Don’tBeThatWay”,“Let’sDoIt”,“SunnySideOf TheStreet”,“TheManILove”and“MackTheKnife”. SamWoodyardplayedwayaboveaverageinElla’strioandher nonsenseduetwithhimondrumsoundswasmarvellous.Pianist JimmyJonesisthesupremeaccompanist.Inall,asyoumayhave guessed,quiteanight!JackHutton w in London __ FEBRUARY18 __ MELODYMAKER LIVE!
- 24. “Verylikelyshowmanship keptTheWhoinbusiness”: PeteTownshendand bandmatesinLondon,1967 24 | HISTORY OF ROCK 1967 1967 JANUARY–MARCH
- 25. “Wehadtobe morepleasant topeople” AfractionallylessargumentativeWHOmeetsthepress atthestartof1967.Theirinfluenceisbeingfeltonthe likesofTheMove,andaTVseriesisplanned.It’sleftto PeteTownshendtowagewaron“thedrips”andexplain theband’snewsingle,“PicturesOfLily”.Futureplans? “I’mworkingonanopera,”hesays… HISTORY OF ROCK 1967 | 25 THE WHO CHRIS WALTER/PHOTOFEATURES.COM
- 27. HISTORY OF ROCK 1967 | 27 includedWilsonPickett,MitchRyderandTheCream)wherethey contrivedtodestroyeverythingonstagetothetunesof“My Generation”and“ICan’tExplain”.Nowthatsomeofthedustand debrishavesettled,ItalkedtobombardierPeteTownshendlast Thursday,whoissuedafullreportonthedamageandexclusively revealedtotheNMEnewsoftheirnextmissile,“PicturesOfLily”,to belaunchednextFriday(21st). “Weworkedhardon‘propaganda’forthefirstthreedaysandIhad twostockquoteswhicheveryonewrotedown,”saidPete.“Theywere ‘wewanttoleaveawound’and‘wewon’tletourmusicstandintheway ofourvisualact’.Atthepressreception,Iwalkedaroundinanelectric jacketwithflashinglightbulbs,whichprovedtobesomethingofan anticlimaxbecauseagirlappearedonTVrecentlywithadressonthe sameprinciple.ReporterskeptaskingmewhereIhadgotmycopy fromandIsaid,‘It’spsychedelicanditcost£200andit’ssupposed toblowyermind!’ “WeweretohavedoneanEdSullivanTVshow,butthenewsreaders wereoutonstrikeandasartistswewereexpectedtosupporttheiraction –sonoshow.OnceinthetheatrefortheMurrayTheKshowyouare virtuallytrappedforthedayandtheshowgoesoncontinuouslywith artistsappearingoneaftertheotheronaconveyorbeltsystem. “Originallyweweresupposedtodofournumbers,butwecomplained andsaiditwasimpossibletoputtheactoverwithonlyfournumbers,so theycutittotwo!Someonehadtocuttheiractbecausetheshowwas runningover,sowevolunteered. “MurrayTheK’swifewasontheprogramme.Sheappearedabout10 timesinafashionspotwithteenyboppergirlmodels–‘JackieTheKand herfabulousfashionshow’. “Themostpresentableofthemodelswasagirlcalled‘JoyBang’,who tookalikingtoKeithwhichIthinkwasmutualuntilshesaid,‘Youmust meetmyhusbandPaulBang!’Wereallyworkedthedestructionbitto afineartinourspot.IdevelopedagreatthingwhereIhitmyselfonthe headwithmyguitar,whichhadabsolutelynovisualimpactbutmademe seestarsandIthought,‘That’snice.’AtonetimeInoticedKeiththrowing hisbigbassdrumatmewiththespikeprotrudingandRogerhurlingthe stand-micatmefromanotherdirection. “Imademyselfverythinandthemicshatteredtopiecesinfrontof mewhilethespikefromthedrumrippedmyshirtdowntheback. Thestagehandgottiredofsweepinguptheequipmentandwenton strike.Mostofthethingswebrokehadtoberepairedbyusafterwards forthenexthouse–IdiscoveredFenderguitarsareverystrongand cheapoutintheUS! “Wesharedadressingroomwithagroupcalledthe‘HardlyMoving Players’,whodidsatiricalsketchesandwerenicepeople.BelowusThe CreamandtheBluesMagoosplayedwhiningguitarsallafternoonuntil weretaliatedforaboutthreehoursbygoingthroughtheentireShadows repertoire.Occasionallywewentoutsidetobetornapartandsign autographs,whichwasn’tsobadbecausethekidsgiveitbacktoyouby stormingthestageduringtheact.TheonlyclubIlikedwasonecalledThe Scene,whereamancalledTinyTimplaysukuleleandsings‘He’sGotThe WholeWorldInHisHands’andwhenanyoneapplaudshewhoopslikea RedIndian.I’mtryingtogethimsignedupwithourrecordingcompany!” Afewwordsonthenewsingle. “Isubmittedthreesongsand‘PicturesOfLily’wasthemostobvioushit. It’sallaboutaboywhocan’tsleepatnight,sohisdadgiveshimsomedirty picturestolookat.Thenhefallsinlovewiththegirlinthepictures,which istoobadbecausesheisdead.”Followthat! KeithAltham —MELODYMAKERAPRIL29— T HERESEEMSTObethreedistinctphasesinthelifeofapop group.Eachisimportant,andmainlytheyarecontrolledby you–thepublic,theconsumer,theaudience,thefan.Stage oneistheinitialimpactofthenewgroup.Forbigimpactyouneed originalityandthekindofpowerthatattractspeople’sattention, putsyouheadandshouldersabovetheothergroups. Stagetwoissuccess.Agroup’sfirsteverhitrecord.Thestrainof stardom,hardwork,travelling,touring,television,recording.They needpropermanagement;suddenlythegroupisfloatinginacloud ofidolisation,highfinance,andcompleteinvolvementinthegroup. Ittakesalotofgutstostayatthetop. Stagethreemustbeacceptance.Ifthegrouphasn’twitheredawayon thehard,drytrail,iftheirprogressionhasbeencompleteandpure,then acceptanceisontheway.Theyaregivenfreedom,individuality,andas apopgrouptheyattainoneofthehighesthonours–theymoveintoa classoftheirown. Melodramatic?Yes,butit’sthetruth.LookatTheBeatles,TheRolling Stones.Aftertheiroriginalimpactcamethefirstreallybighitrecord, “PleasePleaseMe”and“NotFadeAway”respectively.Andatthispoint thehardgrindtotheverytopbegins. THE WHO CHRIS MORPHET/REDFERNS Townshendbackstage inearlyApril’67asThe Who’syear-longtour movesontoGermany
- 28. 28 | HISTORY OF ROCK 1965 28 | HISTORY OF ROCK 1967 TheWho’sfirstUSshows, playingtwoorthreebrief setsadayatNYC’s RKO RadioTheatrebetween March25andApril2,1967 “We like each other. We’ve learnt how to get on with each other” 1967 JANUARY–MARCH GETTY “ “ “W W W lik h Thegroupmustdevelop.Theirsoundmust beinstantlyrecognisableandthebestofits kind.Theideamustbeexciting,new,typical, stylish,professional,andeachmemberofthe groupmustcontributefreely,unselfishly,and recognisehispart,hisinvaluablepart,within theexistenceofhisgroup. WiththereleaselastFridayofanewsingleby TheWho,“PicturesOfLily”,theirpositionin thestructureofthepopmusicindustrytakes anotherupwardleap.Now’sthetimetorealise thatTheWhoaregraduallybecomingoneof Britain’sgreatpopproducts.Theyhavejust completedtheirfirstevertourinAmerica,and drawingontheirwealthofexperienceonthe Britishpopsceneoverthepastthreeyears,they subsequently“wentdownabomb”intheStates –andlookcertaintobecomeanotherbigBritish exporttotheStates–alongwithTheBeatles, StonesandHerman’sHermits. LastweektheMMcorneredTheWho’s mainspokesman,theindestructiblePete Townshend,freshfromthegroup’sinspiring andwellexecutedUStripandguitar-hurling Germanvisit.Townshend’sshrewd,well- balancedandflowingcommentsareindicative ofTheWho’sall-roundperception,unity, freedomandsubsequently,theirmoveintoaclassoftheirown. HowdoesPetefeelaboutTheWhohereandnowin1967? “Well,ImustsayI’vebeenpleasedwiththereviewsof‘PicturesOfLily’ andIthinkeverybodyhasbeenmostkindsayingthatwe’rebeginning tomoveintoaclassofourown.Ican’tsayI’veparticularlyfeltthisin BritainandIcanonlylookatthefactstodrawconclusionsfrom.I’m veryinterestedinthefactthatTheWhoarenowoneofthehighest-paid groupsinEngland,exceptforTheRollingStoneswhentheyoccasionally play,andIthinkthisisgood.Alsoeverymemberofthegroupis beginningtocomeintohisown,we’rehavingnointernalsetbacks,and we’vestartedtobreakintotheAmericanscene. “TheAmericantourwaslikeitwasinLondonwhenwefirststarted togetreallybig.It’slikestartingagainallover.Wedidthreedaysof interviewsandpromotionbeforeweplayedandIthinkIwasdoing about20or30interviewsperday–andeachonehadtobealittlebit different.Ontopofthatourpressagentkept introducinganotherjournalistandwhispering, ‘NowPete,thisoneisveryimportant’,sothat eachinterviewwasevenmoreimportantthan thelast.Apartfromthattherewereaboutthree guyswhojustsatinourroomsallday,listening toeverywordwesaid–sowehadtokeepallour interviewmaterialvariedsotheydidn’tthink weweremoronsorsomething. “Thesoundwasn’tthatgoodinAmerica andwehadtoleanheavilyonthevisual impactofouract.Butthenasyouknow,we neverletoursoundgetinthewayofourvisual act.Ofcourseyouhavetobeverycarefulinthe States,becausetheypickyouuponthesmallest things.LiketheJohnLennon-Christianfaithbit. Imean,Ifyou’dsplashedthosequotesallover theMM’sfrontpageyou’dgetletters,sure,but thewholeEnglishcommunitywouldn’tgoup inarms–butinAmerica…!ButAmericais importantandIthinkwehandledit professionallyandconvincingly. “Imean,whenwephoneduparadiostation interviewandsaid,‘It’sgreattobebackonyour station,’wereallymeantitbecausewe’vebeen tryingtogetbackonUSradioforages–and we’vebeentryingtoplayandbeinAmerica forages–sowemeantit.” RevertingtoTheWho’sBritishsituation,what changeshaveseriouslyaffectedthemasoneof thecountry’stopgroups? “Themostimportantandsignificantthing thathasaffectedusisthatbasicallywealllike andcanseesomethingineachother.Weareall partofTheWhonow.We’velearnthowtoget onwitheachother,we’veforgottenimmature feelings–like‘Who’sgettingallthelimelight?’ andsillythingslikethat. “Weareallinfluencedandweopenly admitit.Iwasinfluencedby‘Satisfaction’ andby‘TheLastTime’probablymorethan someofTheBeatlesrecords–butI’mfreeto admitit.I’mpartofthepopflow.Andthere willalwaysbenewgroupstoreplacetheold groups–Idon’tknowwherethey’llcome from,buttheywillcome.I’vegivenuppointing thefingeratothergroupsbecausetheyhave beeninfluencedbyTheWho,becauseIknow Iwasinfluenced,andthateveryoneis,andthat weareallpartofonebigthing. “Wecameupwithideas,freshideaslikethe pop-artclothes.ButImeanwecouldn’texploit pop-artclothes,wecouldn’tstartmarketing UnionJackjackets.Someoneelsedid, somebodyelsemademoneyoutofourideas, butitdoesn’tmatter.Wemightinspiresome people,justlikeothersinspireus;it’sjusta matterofbeingabletogiveandtakeanddigit. “IfKeithcutshishandnow,IworryandsodoesRogerandsodoesJohn, becauseweareallpartofonegroupanditaffectsus.Andthiswayweare abletoenjoyandgetimmensepleasureoutofwhatwedoandtheway wedoit.” WhataboutTheWho’snextLP? “Wellwelearntsomuchabouteachotheronthelastalbum,the nextoneisgoingtobeanabsoluteknockouttomake.Everyoneofus iswriting,andthereshouldbesomestuff.Weareenjoyingourselves despiteoneortwolunaticscenesinGermany,buteventhenwehave gotenoughunityasagroupnow–todiscusstheproblems,make resolutions,andgeteverythingsortedout. “I’mworkingonanoperaatthemomentandwe’reallflyingaboutin ourowndirectionsandmeetingatthetop.JohnEntwistleiswriting someverygoodunexpectedstuffanditgivesusanotherdirectionand anotherdimension.”NickJones •
- 29. HISTORY OF ROCK 1967 | 29 THE WHO CHRISTMASCARDSIhatethem. Idon’tmindmine,butIhate anybodyelse’s.I’vethoughtfor agesthatChristmasdecorations havestilltobeexploited.They couldbereallyfantastic–with coloursandthings.Nobodyhas doneanythingveryfaroutyet, havethey?Iwasthinkingof puttingChristmaslightsinthat rubberplantoverthere.That’sit. AChristmasrubberplant! “GOODVIBRATIONS” Thefirst timeIhearditwasontheradioin Sweden.Myreactionwas:“Oh, it’scleverlymadebitsoftapeall stucktogether.”Mindyou,it’s quiteagoodwayofputting togetherarecordtoday.Idon’t thinkmanypeoplerealisethata lotofthoughtgoesintothiskind ofrecord.It’snotjustacleverbit ofknob-turningandediting–it canbeextremelycreativealso. ContrarytowhatI’vesaidinthe newspapers,Ithink“Good Vibrations”justaboutremains apoprecord.Ihaveverydefinite viewsastowhatispopandwhatis soundexperimentwhichIcan’t gointonow,butIthinkthey shouldbekeptseparate.Thisis basicallyhowI’mworkingatthe moment.Asideascometomind, werecordthemandthenpiece thewholethingtogetherlater. AUTO-DESTRUCTION People probablythinkthatauto- destructionhasgotverylittleto dowithpop,butinawayTheWho havebeenauto-destructive.We haveusedideasthathaveliterally destroyedourselves–especially intheeconomicsense.We’vegot tothestagewhenweendthe nightbydestroyingeverything– whichisexpensive.Ithinkinpop, though,it’sgoodbecauseithas bigimpact,andpersonallywefind itagreatlaugh.I’veoftenfeltlike writingtothoselittledrips,those littlepeoplewhoarenowhere, whothinktheycantellmewhat Ioughttodo.Idon’tmeanother musicians,butthedrips.They shouldcomeuphereandIshould teachthemathingortwoabout anykindofmusic.Ismashguitars becauseIlikethem.Iusually smashaguitarwhenit’satitsbest. THEMOVE Ohdear.I’venever actuallyseenthem.I’velikedwhat I’veheardaboutthemandwhat theydo.Ithinkthey’vegotthe sortoffollowingthatweusedto haveinoldMarqueeClubdays. Andthat’sthekindoffansthat theydeserve–thebest.Faithful. Ofcoursetheyusealotofthis auto-destructioninpop.No,it’s notsadistic.WhatIdoisn’t sadistic.It’saggression.Ithink aggressionhasaplaceinsociety today–whereassadismand masochismhasn’t. PSYCHEDELICPOPIhaven’treally heardit.Iunderstandpsychedelic popassomethingthatpeopleare supposedtolistentoorlookat, andthereforebenefitfromwhen they’reonatrip.Idon’tthinkthat anyofthepsychedelicgroupsare actuallydoinganythinglikethis. Orisitsupposedtobesomething thatsimulatesbeingonatrip? Ifso,howevermanylights, electronicsoranything,it’s somethingthatjustcan’t bedone.Basically–what ismostimportantis,isit entertaining?Ifitis, goodluckto’em. THEBEATLES The onlyBeatleI’veever suspectedofhaving anythingincommon withwasPaul McCartney.Ithink Keithfindsaparallel withJohnLennon,for somereason.Mineisbasically withPaulMcCartney.Ilikeallthe thingshesays,andallthesongs hewrites.I’mabitdisappointed they’renotstillmakingrecords. Iftheyare,thenIwishthey’d hurryup.Theyarebasicallymy mainsourceofinspiration–and everyoneelse’sforthatmatter. Ithink“EleanorRigby”wasavery importantmusicalmoveforward. Itcertainlyinspiredmetowrite andlistentothingsinthatvein. PeoplehavecriticisedThe Beatlesforspendingalongtime ontheiralbums,whichIthinkis aridiculousthingtosay.Our firstalbumwasrushedandit wasbad.Onoursecondwespent alotoftimeandit’sgood.Why don’tpeoplerealisethatthe moretimeyouspend,thebetter thealbum’sgoingtobe? OLDAGE Ihaven’tgotanythingto say.Iquitelikeoldpeople.Atthe momentI’mthinkingaboutbeing young.Oldagedoesn’tscareme, ifthat’s what you mean.Nothingaboutlifescares me.Marriage,havingkids,it doesn’tworryme. THECREAM Therearetwogroups atthemomentwhichIlikevery much–TheCreamandTheJimi HendrixExperience.Inaway, they’reabitalikeinthatthey bothhavefantasticguitarists anddrummers.They’realso alikeinthattheybothhave tremendousrecordsoutatthe moment,andtheyarebothlaying downsomegreatstuff–what morecananyonewant? FRUSTRATION Don’tsuffertoo much.Musically,sexually,or socially.IsupposeI’vegota normalamountoffrustration. ItcomesoutwhenIdrink. SHOWMANSHIP Greatbelieverin it.Fantasticallyimportant.Ithink thatverylikelyshowmanship keptTheWhoinbusiness.Ithink itheldustogetherwhenwe weregoingthroughadodgy stage.Idon’tthinkwe’re professional.I’mnotsayingwe behaveprofessionally,butIsay thatwe’reshowmen.WhenThe Whoneededsomething,they gotit–showmanship. DONOVAN Ah!Isaidsomenasty thingsaboutDonovanwhichI’d liketoretract–Idon’tusuallydo that,youknow–butImethimthe otherdayandhewasthesameas ever.He’salwaysbeen,basically, aniceguy.Ithinkheknows somethingaboutlifethatIdon’t know–butI’mhopingtocatchup! CLOTHES AtthemomentI’mgoing forverycolourfulclothes.Iused todresssoberlybutI’vefound thatcolourhasbecomemore importantinmylifethanitever wasbefore.IhopeIdon’thaveto explainmyself.IdoubtifDave Dee,Dozy,Beaky,Mick&Tich wearcolourfulclothesforthe samereason. CHARLIEPARKER Fantastic.One exampleofwhataloadofcrapitis sayingthatdrugsdimthemind. OK,theykilledhimintheend,but lookatthefantasticthingshedid whilehewasalive.OK,hewas fantasticbefore,butIthinkdrugs broughtoutinhimsomething, thatlittleextrainhim,thathas madehimgodowninhistory. SECURITY Ineedit,unfortunately. IneedittoworkandIneedittobe happy.I’mlikemostpeople,Iwork tobesecure.Ineveram,soIhave togoonworking. “Nothing about life scares me...” MM JANUARY 14 Pete Townshend submits to one of the Maker’s scattershot “Think-Ins”. Donovan:“Heknows somethingaboutlife thatIdon’tknow” GETTY