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The History Of Rock 1969

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The History Of Rock

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PLUS! lee perry | blind faith | creedence | beefheart | nina simone starring... the rolling stones “It’sgoingtoblowyourmind!” Crosby, stills & nash simon & garfunkel the beatles led Zeppelin frank Zappa david bowie the who bob dylan amonthlytrip throughmusic’s goldenyears thisissue:1969
A word much in use this year is “heavy”. It might apply to theweightofyourtakeontheblues,aswithFleetwoodMac orLedZeppelin.ItmightmeantheoriginalityofJethroTull orKingCrimson.Itmightequallyapplytoanindividual–to Eric Clapton, for example, The Beatles are the saints of the 1960s,andGeorgeHarrisonanespecially“heavyperson”. Thisyear,heavypeopleflocktogether.ClaptonandSteveWinwoodjoinupin BlindFaith.SteveMarriottandPeteFramptonmeetinHumblePie.Crosby,Stills and Nash admit a new member, Neil Young. Supergroups, or more informal supersessions,serveasmusicalsummitmeetingsforthosewhoarereluctantto havetheirworktieddownbythenowantiquatednotionofthe“group”. Trouble of one kind or another this year awaits the leading examples of this classic formation. Our cover stars The Rolling Stones this year part company with founder member Brian Jones. The Beatles, too, are changing – how, John Lennonwonders,canthegrouphopetocontainthreecontributingwriters? The Beatles diversification has become problematic. While 1968 began with theirretreatwithaspiritualadvisor,theMaharishi,thisyearbeginswiththeir appointment of a heavyweight financial advisor, the American businessman Allen Klein. Their spiritual goals have been supplanted by the desire to resolve someintractablefiscalproblems. Making sense of it all, (even providing a sounding board for increasingly media-aware stars), were the writers of the New Musical Express and Melody Maker. This is the world of The History Of Rock, a monthly magazine that reaps the benefits of their extraordinary journalism for the reader decades later, one year at a time. In the pages of this fifth issue, dedicated to 1969, you will find verbatim articles from frontline staffers, compiled into long and illuminating reads.Missedone?Youcanfindouthowtorectifythatonpage144. What will still surprise the modern reader 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. At this stage, though, representatives from New Musical Express and Melody Makerarewhereitmatters.MutilatingplasticdollswithJohnLennon.Meeting a rail-thin David Bowie, hearing his views about skinheads. Preparing for the HydeParkconcertwithMickJagger. Jointhemthere.AsMicksays:“It’llblowyourmind.” W elcome to1969 HISTORY OF ROCK 1969 | 3 1969 month by month
1969 month by month 6News TheBeatlesgetanewmember, AllenKlein.Wemeetsongwriter RandyNewmanandthegroup Yes.Anewmenace–“newmods” –areprofiled. 12BobDylan Theman’sNashvillesound andhisworkwithJohnnyCash explainedbymusiciansand producerBobJohnston. 16DustySpringfield Theinsidetrackonher newrecordDustyInMemphis anditsfollow-up,recordedwith Gamble&Huff. 20Singles PeterSarstedtreviews thesingles,andthedebutLed Zeppelinalbumisreviewed. 22TheKinks RayDaviesdefendshis “PlasticMan”singleandtalks aboutdownsizingfromhis countrypiletoaterracedhouse. 26NinaSimone Thecompellingpianist andsingerbringsherdevastating presencetoEngland. 30BlindFaith EricClaptonjoinsforces withSteveWinwood–butforan uncertainlengthoftime.Howwill hecommittoagroup,wonders Clapton,whenhecan’teven committoahairstyle? 36FleetwoodMac PeterGreenandband returnfromeneventful Americantour,andenjoythe successof“Albatross”. 40SmallFaces/HumblePie SteveMarriottandRonnie Lanepartways,butasMarriott putsit,“twogoodthings”will comeoftheSmallFacessplit. HisisHumblePie. 45Letters PeteTownshendleapsto thedefenceofRayDavies,Spike Milliganonhis“plasticguru”and othercorrespondence. 46News Simon&Garfunkelwin aGrammyfor“TheBoxer”,while wemeetJethroTullandguitarist JohnFahey.MickJaggerheads toAustraliatoplayiron-helmeted villainNedKelly. 52Fairport Convention Thefolk-rockband turntragedyinto triumphwitha coupleofclassic albums.Howlong canthebandstay together,though? 60FrankZappa and CaptainBeefheart FrankcomestoLondonfor aninflammatorytripwiththe Mothers,andthenafterwards inthecompanyofhisnew signing,CaptainBeefheart. 64TheWho PeteTownshenddevelops, explainsandlauncheshislong- talked-aboutrockopera,Tommy. “Someofthesongsarebloody hard,”commentsRogerDaltrey. 70Singles KeithMoonreviewsthe newwaxings(“CanIhavethat one?”).Therearenewalbumsby DrJohnandGeorgeHarrison. 72TheBeatles Ringocharmsonhisfilm set,whileJohnLennonenthuses aboutBeatlecreativity.“Wecould putoutadoublealbumamonth…” 80JanisJoplin Thesingerarrivesin Londoninafrazzledstate,butputs inanexplosiveperformancewith herKozmicBluesBandandgets theAlbertHalldancing.“Ain’tthis allsosilly?” 84Creedence ClearwaterRevival JohnFogertyphonesinfromthe USA,whereheimagineshismusic takingplace“InLouisiana,in 1807…beforecomputers.” 88RollingStones BrianJoneshasleftThe RollingStones.Nonetheless,the bandpreparetoplayHydePark, withanewguitarist,MickTaylor. 94News BrianJonesisdead. MarianneFaithfullisrecovering inanAustralianhospital.An interviewwithAllenKlein:“Iam ruthless,”theStones/Beatles managerconfesses. 98LedZeppelin JimmyPageandbandtake onAmerica,andtriumphat CarnegieHall. 104RollingStones KeithRichardsand CharlieWattslookbackonHyde Parkandforwardtotherelease oftheirnewalbum.“Abetterplay,” pondersCharlie. 110DylaninBritain Acoupbyyoung promotersontheIsleOfWight bringsBobDylantotheUK mainlandforthefirsttime since1966.A“super-session”? “Great,”saysBob.“Great…” 116Singles MickTaylorreviewsthe singles.Meanwhile,thereare REx FEATURES Contents sergegainsbourg andJaneBirkin– page118 4 | HISTORY OF ROCK 1968
Time Inc. (UK) Ltd, 8th Floor, Blue Fin Building, 110 Southwark St, London SE1 0SU | Editor John Mulvey, whose favourite song from 1969 is A Sailor’s Life by Fairport Convention dEputy Editor John Robinson Can’t Find My Way Home by Blind Faith art Editor Lora Findlay Time And Love by Laura Nyro production Editor Mike Johnson Wild Eyed Boy From Freecloud by David Bowie art dirEctor Marc Jones Everybody’s Talkin’ by Harry Nilsson dEsignEr Gary Payne You Can’t Always Get What You Want by The Rolling Stones picturE Editor Kimberly Kriete Girl From The North Country by Bob Dylan covEr photo Alan Messer at Rex Features www.badcocksgallery.com thanks to Helen Spivak 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 newalbumsfromFairport Convention,Crosby,Stills&Nash and…TheBeatles. 118News TheBBCwon’tbudgeon “JeT’Aime”,andwegetatripinside thewallsofSanQuentinprisonin thecompanyofJohnnyCash. 122Crosby,Stills, Nash&Young andTheHollies Theharmonisingtriogainanew member,NeilYoung.IntheUK, the“HeAin’tHeavy”hitmakers can’tstoptalkingabouttheir formercolleague,GrahamNash. 128DavidBowie Avoyageinto outerspacewiththe“Space Oddity”hitmaker.Arts labs.Strongopinions. There’smoretothissinger thanbeinggood-looking, heexplains. 132Singles JimmyPagereviewsselections fromreleasesnewandold. Meanwhile,EricClapton introducesDelaney&Bonnie, whileareviewofthenewJohn LennonandYokoOnoalbum causesamusementtotheartists. 134RollingStones Inthewakeofshowsin America,reportedtohavebeen chaotic,thebandreturnstotheUK toplaylivedates.MickJaggerisnot amusedbythecrowd’sreaction. 138TheBeatles Thebandapproachestheend oftheirlongandwinding road.Aretheydrifting apartorsimplyfourpeopletoo talentedtoremaininoneplace? “Dotheybuyitbecauseit’sworth it,”wondersaself-questioning JohnLennon. 145Letters JohnandYokorespond totheMelodyMakerreviewoftheir mostrecentalbum.Andfarewell, FairportConvention… ledZeppelin– pages98and132 CHRIS WALTERS HISTORY OF ROCK 1969 | 5
6 | HISTORY OF ROCK 1969 1969 fleetwoodmac, dustyspringfield, bobdylanandmore January–March photoshot
April28,1969:AllenKlein takesquestionsfrom reporterswithJohnand YokoattheAppleoffices onSavileRow,London R ollingStoneSbuSineSSmanagerAllenKleinistotake overthebusinessaffairsofApple,TheBeatles’company. InastatementtoMMonMonday,aspokesmansaid:“The BeatleshaveaskedMrAllenKleinofNewYorktolookintotheir affairsandMrKleinhasaccepted.” ThismeansthatKlein,themanwhohassteeredTheRolling Stonestointernationalsuccess,isthesecretbusinessmanthat TheBeatleswanttostreamlinetheirorganisationandputitonan economicfooting.Twoweeksago,JohnLennonsaidthatunless theystoppedlosingmoney,Applewouldgooutofbusiness. ApplepressofficerDerekTaylortoldMMonMondaythatThe Beatleshadrecorded160hoursoffilmandsound. “Thiswillbeediteddowntoseveralitems,whichwillinclude adocumentaryandtheirnextalbumreleases,”hesaid.They stillhavemorerecordingtodo,headded,describingthemusic theyhavewrittenas“verytight,togetherandfantastic–even betterthantheirlastdoubleLP.” HISTORY OF ROCK 1969 | 7 “The Beatles asked… Mr Klein accepted” mmfeb8rollingstonesmanagerallenKlein takesonanewclient…thebeatles.
P assingmytimeintheLondontraffic onmywaytoseeAmericanhitwriter RandyNewmanonFriday,Igotto thinkingthatthereisnopopularimageofwhat thesongwritershouldbelikeorlooklikeas thereis,say,ofthepoet,popstar,journalist,etc. Songwriters,itreasons,mustbeapretty facelesscompanyofpeople–orelsethey needabetterpublicrelationsservice.Ifall songwritersarelikethereluctant,retiring MrNewmanthenIamnotsurprised.Randy agreedwithmyobservation,andIgotthe feelingthatifhehadhiswayhewouldremain totallyanonymous. Heisinfactachubby26-year-oldnativeof LosAngeleswholooksolder,wearsheavy spectaclesandaneatmoustacheandisa reluctanttravellerwhohasmetonlyoneofthe manystarshehaswrittenhitsfor.Attention makeshimfeeluncomfortableandhereacts withdisparagingfranknessandmodesty abouthisworkandwithstatementslike: “Idon’treallyhavemuchambition.Ihave neverdoneanythingonmyowninitiative. Someonehasalwayshadtoholdaguntomy head.Inaword,I’mboring.” Asdepreciativeasheisofhiswork,Iwas told–notbyMrModestyhimself–thatthe firstthingthelateBrianEpsteinalwaysdid wheninNewYorkwastovisitRandy’s publishersandaskwhatnewsongshehad in.BrianravedoverRandy’swork–andsodo TheBeatlestoday. Thatworkincludeshits forCillaBlack,Dusty,Pet Clarke,TheAnimals,Gene PitneyandAlanPrice.He wroteAlan’sNo2hit“Simon SmithAndHisAmazing DancingBear”andMrPrice, whomhesawinaLondon restaurantonthisvisit,isthe onlyoneofthestarshehas writtenforthathe’smet. “Idon’tseekitout.Ihavenevertried tomeetanyone,”hesays.“Imadeahalf- heartedattempttomeetPaulMcCartney, butIdidn’tfollowitthrough.Idon’twant tobecomeaBeatle-maniac.Yes,Iwould havelikedtomeethim,butIdon’twant topush.” Paul,infact,phonedRandyinLos Angelestoofferhimhiscongratulations onhisnewLP,LoveStory,releasedbyPye thismonth. “IthinkIwouldhavetriedtoseeAlan Price,though,anyway,”saidRandy.“He hassaidsomeverynicethingsaboutme inthepapers.” Hisvisitherelastweekwasmainlyfor pleasure,andRandyadmittedthathewas feelingabitlonelysincehiswifeRoswitha –theyhaveoneson–returnedhomeafew daysearlier.“Iamlostwithouther,”he said,“Shelooksafterme.Makemesound jolly,”heaskedandsmiled. OK.ThejollyMrNewman’sstorymakes apleasantchangefromtheusualuphill- struggletales.Infact,everythingabout himistheoppositetowhatyou’dexpect. Hestartedwritingwhenhewasathigh schoolandgotajobwritingsongsat16. Sincethen,hehasalwaysbeenunder contracttosomebodyoranother.He regretsinawaythathedidn’thavethe traditionalshowbizstruggle.Hedoesn’t enjoyhiswork,andworksonlywhenhehas “gotsolazyhefeelsguiltyaboutit”. “Itisasufferingforme,”hesays.“It’s gettingtothepointwhereImaythinkof gettingintopoolcleaningorsomething. Imeetpeoplewhoarejollyandlovetheir work.Buttomeitisstillunpleasant,”he said–withjollity. Hefeelsheismissingsomeofhis earlyenthusiasmandispatientlywaiting forittoreturn.“I’vealwaysbeen moderatelywelloff,”hesays.“I’venever hadtheenjoymentofworkinginabank andmakingit.WhichispossiblywhyIdon’t havetheenthusiasmtoday.Ihaven’tgotthat age-oldcompulsiontowriteoranythinglike that.Allthatthingaboutmusicbeinginthe bloodisrubbish.” Hedepreciatesmostpopularmusicbut admiresTheBeatles,RayCharlesandBob Dylan.HeseesHendrixandCream-type musicasthetrendofthefuture. “Iwouldhavelikedtoseeithappenwithan orchestra–thenIheardHendrix,whocould makemorenoisethana hundredmen.Hecouldfill aroomwithoneguitar.It hadtobethehardestrock everwritten,andIknewit wouldbeenormous.” Butheseesnopartin thetrendforhim.“Ihave writtenalittlelikeit,butitis synthetictomyearbecause Iamnotaguitarplayer.” Irosetoleave,expressed myhopethathisenthusiasm returnedandwishedMr Newmanwell–thejolly MrNewman,thatis. NickLogan ÒI meet people who are jolly and love their work. But to me it is still unpleasantÓ “idon’treallyhave muchambition”: Randynewman,who hasbeenwriting songsprofessionally sincetheageof16 “Thatthing aboutmusic beinginthe bloodisrubbish” NMEJan21RandyNewman,songwriterforAlan Price,Cillaandmore,introduceshimselfintheUK. 1969 January–March getty
getty HISTORY OF ROCK 1969 | 9 A majorrowblewupthisweekbetweenBeeGeeRobinGibband thegroup’smanager,RobertStigwood,overhisdecisiontoputout “FirstOfMay”coupledwith“Lamplight”asthegroup’snewsingle, tobereleasedtomorrow(Friday). RobintoldMM:“‘Lamplight’isthestrongestthingwe’veeverwritten andshouldhavebeenthesingle.If‘FirstOfMay’goesoutitshouldhave adifferentB-side. “Ifeelverystronglyaboutthewholething.‘Lamplight’shouldcomeoff thealbumandnotbetheB-side.Iwillgoevenfurtherandtakemysongs offthealbumifMrStigwooddoesn’twanttoseeeyetoeye. “Ithink‘Lamplight’wouldbeNo1forweeks,‘FirstOfMay’mightmake aNo10.I’veneverbeenwrongonsingles.Ifeltdubiousabout‘Love Somebody’and‘Jumbo’[bothchosenbyRobertStigwood].” RobertStigwoodtoldtheMMonMonday:“We’veneverhadaBeeGee singlethateverymemberofthegrouphasbeenhappyabout.It’svery difficultforagroupforeverymembertosharethesameopinion;it’s alwayslefttometomakethefinaldecision.Webelieveinputtingoutthe strongestpossiblesingle.” “I feel very strongly about the whole thing” MMFeb15BeeGeeRobinGibbvsmanagement. T heRollingstoneshavestillnot decidedwhetherornottoundertake aworldwideconcerttourinthespring –despiteconstantreportsofdateshavingbeen setfortheminAmericaandEurope.Latest developmentsincludeanannouncementinthe USmagazineVarietythattheStoneswillopenan AmericantouronMarch21–andastatementissued byA&MRecordsinHollywoodclaimingthatoneof theirattractions,theFlyingBurritoBros,willtour EuropewiththeStonesinmid-March.Butaspokesman fortheStonestoldtheNME:“Atthisstage,nothingissignedor evendecided–andnostepscanbetakenuntilBrianJonesreturnsfrom Ceylon.TheconfusionregardingtheFlyingBurritosprobablystems fromthefactthatoneofthem,ex-ByrdGrahamParsons,isagood friendofKeithRichard’sandKeithmayproducethegroups’nextLP.” “Nostepscanbe takenuntilBrian Jonesreturns” NMEFeb8WilltheStonestourin1969? Robingibbonstage withtheBeegees atthelondon Palladiumin1969
T hisisthetimeoftheyearwhenpop journalistsstartsurveyingthescene forgroupsorsingleslikelytomakean impressioninthecomingyear.Onesuch groupwhoareshapinguptodojustthisare Yes,afairlynewfive-piecegroup.Although thegroupitselfisnew,themembersare experiencedgroupmusicians. JonAnderson,leadsinger,waswiththeGun andagroupcalledtheSleep-In,ChrisSquire wasformerlybassistwithTheSyn.Drummer BillBroomfield[sic]workedwithSavoyBrown. GuitaristPeter Banksisalsoan ex-Syn-nerand TonyKaye,organ, aformerWinston’s Fumbssideman. Yesarealready gettinggood exposure,including appearancesatthe RoyalAlbertHall, acharityconcert andtherecent Creamfarewell show–anddates atmajorLondon venuessuchasthe Marqueeand Blaises.Oneof theirfirstbreaks wasatBlaises, theLondon discotheque.They weredraggedout oftheirbedsjustround thecornerfromtheclub inSouthKensingtonto deputiseforSly&The FamilyStone. “Wedidanhour’sspot atBlaises,”recallsJon Anderson.“Therewere alotofpeoplewaitingto hearSly.Weplayedand gotagoodreception.” Amongthepeoplethey impressedwastheclub’s major-domo,RoyFlynn,who hassincebecometheir manager.Thegroupfirst gottogetherinJulyand beganbyplayingmainlypop numbersinout-of-London gigstoseethereactionto thegroup.“ChrisandI decidedthatwewouldbe poppybutnotdoingTop10 stuff.Althoughwewere playingpop-typenumbers,wetriedtodo themdifferently,”saysJon. “Westartedoffona5thDimensionkick,” addsChris.Althoughtheywerepop-oriented thegroupbecameinvolvedinarrangements, withparticularreferencetovocalwork.“Now wearewritingourownmaterialandplayingit ratherthanotherpeople’s,”explainsJon. “We’lldootherpeople’snumbersbutusing ourapproach.We’vebeenwatchingpeople likeTheNice.Theydothatkindofthingwell. Nowthegroupistogetheragainafterthe changes,we’vestarted doingnewthings.” SaysChris,aboutthe group’sharmony-style vocals,“Thiswasthe originalconceptionofthe group.Yougetgroups withpowerfulbackingand badvocalsorgoodvocals andfaultybacking.We wantedsomething betweenthetwo–good vocalswellbacked.” AsyetYeshaveno recordingplansandare moreinterestedin establishingthemselves asagoodperforminggroup. “Wedon’twantany aggravationwiththatkindof thingyet.RoyFlynnisdoing agoodjoblookingafterthat sideofthings,”saysJon.“It’s nicetoknowpeopleare thinkingaboutyou.JohnGeeandJackBarrie [hostatpop-scenedrinkingclubLaChasse] havealsohelpedusalot.Johnhasbeenkind enoughtogiveusresidencyattheMarquee. “Butahellofalotreliesonbeingintheright placeattherighttime.Andhavingtheright peopleinthegroup.Weareallfriendsandwe areconcernedwithcreatingonafriendly basis.Youcanhaveagroupofgoodmusicians, butiftheydon’tgetonyoucan’tcreate anything.Butthemainthingistothinkonthe linesofentertainingthepublic.” “We’ll do other people’s numbers but using our approach. The Nice do that well” 1969 January–March Yesin1969:(l–r)Peter Banks,tonyKaye,Jon Anderson,BillBruford andChrissquire rex features “Alotreliesonbeingintheright placeattherighttime” MMJanuary4Introducing…Yes, offering“goodvocals,wellbacked”.
W hatisamod?Amodhasnoroots, traditionorculture,unliketheother majortribesmenlooseinthejungle ofBritishteenagesociety–therockers. Themodsarenotinterestedinpreserving rock’n’roll,worshippingidolsorriding, doctoring,feedingandlovingmotorcycles. Modsareapathetic,tothepointoftotal ignorance,ofrock’n’roll.Theyidolisenobody, andiftheywanttotravelanywheretheygoby bus,scooterorearlymodelsoftheFordZephyr. Theyhavenoburningidealismlikethehippies, rockersorfribblers.Thehippiesyearnforthe future,rockersforthepastandthefribblers merelyseekajollytimeinthepresent. Modsaredividedintotwocamps–the aggressiveandthenon-aggressive.The formertaketheleadincommittingactsof unwarrantedviolence,whilethelatterare merelythoseyouthswhoapproveoftheirdress fashionandtasteinmusicanddrugs. Itisacuriousthingthatwheneverajudge, newspaperleaderwriter,headmasterorother pillarsofourBewilderedSocietywantstocast stonesinanattempttokeep seething,frighteningand mysteriousyouthatbay, theyinstantlystartburbling aboutLONG-HAIREDlouts/ yobs/delinquents/hippies/ students,etc. Yetanybodywhohas toventureonthestreets outsidethesafetyofaRolls- Roycewillinstinctivelyknowtheyhave nothingtofearfromthelong-hairedyouth,who merelywantstoturnoninpeacetohisfavourite bandandchick.Thesightofcroppedheadsand thesoundofheavybootsenteringthemidnight Wimpybarordancehallistherealcausefor sinkingfeelingsinthepitofthestomach. Theharshclamourofclipped,oath-ridden speech,themaniacal,humourlesslaughter, theblack,staringeyesseekingavictim, shouldbeworryingourLordProtectors morethantheharmlesshippyorearthyrocker. ButtheLordProtector,withthestrengthof FleetStreet,theHouseOfCommonsandlaw courtsaroundthemareawareonlyofthe activitiesoftheliterateandeloquentmembers ofteenagesociety. Thesullengreyhordesofmodsare outsidetheirconsciousness,despite thewarcloudsthatloomoverthemods’ lebensrauminsouthandeastLondon. Notallmodsarenecessarilyviolentin wordanddeed,buttheuniformgives manyyoungstersanopportunityto channeltheiraggressionsand frustrationsandobtaintheeverelusive personalidentity.Youhavetobea Grammarschoolchuck-outandhave theabilitytoreadheavypaperbacksto beahippy.Youhavetolikecider,trad, MartyFeldmanandcandy-striped jacketstobeafribbler.Youonlyneedapair ofbigbootstobeamod. “Howelsedoesonerecognisethesemods?” wailseriouslyworriedjudgesandleader writers.Theinstantlyrecognisableuniform ofthemodisbleachedjeanswithredbraces, andheavyredbootswithsteeltoecaps. Othermodspreferbluemohairsuits,and areoftenreferredtoas“suits”.They areusuallythemoredangerous breed.Particularly frighteningaresuitswho sporthorn-rimmedspectacles, becausethesegiveacuriously falseimpressionofintelligence. Close-croppedhairisobligatory. Thisgivesthewearerclearervision for“nutting”people–theartofhitting otherswithone’scranium.Languageis highlyrestricted.Althoughcartoon beatniksaresupposedtoutter“man”and littleelse,reallifemodsutter“f—k”and littleelse.Favouritedrugsarepillsandbrown ale.Suitsdrinkexcessivequantitiesofvodka orwhisky.Cannabisis notoriousforitspacific effects–howcanonego aroundbeingviolentfeeling groovy?Musicaltastesare strictlyskaandsoul.Even soulisregardedasalittle passénow,andbluebeat, reggae,rocksteadyandska arethekindofbeatsbestto beseenclompingbootsto. Themodsare“doingtheirthing”inakind ofhelplesslurchtowardsfindinganidentityin asocietywheretheapprovedalternativesare marryingaHirePurchaseagreementand settlingdowntoalifeofparalysisinfrontof televisionsets.Yetstrangely,themodsare morelikelytosettledown thananyothertribes, becausetheydon’t reallybelievein anything,including beingamod.Perhapsthat’s whysocietyprefersthemtothelong- hairedthinkers.Ob-la-di,ob-la-da– lifegoeson! ChrisWelch Close-cropped hair is obligatory 1969 ➤RollingStones guitaristBrian Jones’appeal againstaconviction onadrugscharge wasdismissedon Monday.Thethree judgesinthe AppealCourtsaid therewereno groundsfor interferingwiththe verdict.Joneshad beenfined£50for possessing cannabisresinat thisflatintheKing’s Road,Chelsealast May.Counselfor BrianJonessaid thejurymighthave beenprejudiced byJones’“bizarre appearance.” MMJaN18 ➤ThePinkFloyd playasoloconcert attheRoyalFestival HallonApril14and willbeintroducing theirAzimuth Co-ordinator, apieceofapparatus thatprojectssound fromanyandevery partofthevenue. OnFebruary21they flytoBordeaux, Francetotake partinaconcert withRolandKirk. MMFEB15 ➤GuitaristJohnny McLaughlinflew toAmericaon Saturdaytorecord anLPwithMiles Davis’drummer TonyWilliams. DrummerJon Hiseman–with whomMcLaughlin isfeaturedonanew albumwithJack BruceandDick Heckstall-Smith– saysWilliamsasked McLaughlintogo totheStatesafter receivingrave reportsfrom Americanmusicians whoheardhimin Germanyrecently. MMFEB8 January–March MMFeb8alookatthenextgeneration ofmods,steel-toecappedbootsandall. HISTORY OF ROCK 1969 | 11 Reggae and ska are the kind of beats to be seen clomping boots to
» “Heasksabout theweather… thenhe’ll fixthe session” InLondon,producer BOBJOHNSTONlifts thelidonhiswork withBOBDYLAN andJOHNNYCASH, anduncoversthe professionalism attheheartofthe Nashvillesound. “OntheWestCoast, everythingis planned.InNashville, it’simprovising.” —MELODYMAKERMARCH15— “I tisgoingtowipethewholeworldout,it’s incredible,”saidBobJohnston,producerofthelatest BobDylanalbum,whichwascompletedinnashville recently.DescribingJohnstonastheproducerisnot, asfarasheisconcerned,correct.Hesumsuphisjob quitesimply.“iturnthedamnmachineon–he makesthemusic,”hesaidinLondonlastweek. Aboutthesessionhesays,“idon’tknowwhetheritwasaweekorayear. iwenttonashville,cutanalbum.it’sfinishedanditwillbereleased.i can’ttellifit’sdifferentfromthelast.they’reallnewsongs.ican’tsay whatthey’relike.they’rejustDylan.” Bobwouldn’tbedrawnaboutthebackingsusedonthealbum.“i’d rathernotsay,”wasallhewouldallow.AsregardstheLPtitlehesaid, “idon’tknowifhehasatitleyetornot.Hehasfullchargeofit,complete control.i’mjustthere.ReallyallyoushouldsayisDylanwentin,didan albumandit’sgoingtobereleased.it’sagasbeingthere.idon’tthink aboutthevoice–thesongsaresogreat.theonlythingis,igettosee » 1969 January–March 12 | HISTORY OF ROCK 1969 Getty
HISTORY OF ROCK 1969 | 13 BobDylanin1969, developingthestylehe hadexploredonJohn WesleyHardingand going“fullcountry” withNashvilleSkyline
14 | HISTORY OF ROCK 1965 14 | HISTORY OF ROCK 1969 1969 January–March aliveperformancewhichalotofpeoplewouldpay millionsofdollarstosee.” Texas-bornJohnstonmaysoundabitaggressive.In fact,he’sfriendly,enjoyshisworkverymuch,andis happytobeworkingwithnotonlyBobDylanbutLeonard Cohen,JohnnyCashandMartyRobbinsaswell.“Dylan, CohenandCashhavegotthefreedomtogoinanddotheirthing. They’vegottheirmusicandtheirmusicians.Idon’tthinkIreallyput thingstogether.Ihaveputrecordstogetherinthepast,butthesepeople havetobeallowedtogoinanddowhattheywanttodo.” AnindirectconnectionwithBobDylanhasbroughtBobJohnstonover toLondon.HeistorecordGeorgieFame,andtwoDylansongsareonthe cards.“They’reacoupleofoldDylansongs.I’drathernotsaywhatthe titlesareastherecordwillbereleasedquitesoonandsomebodymay jumponthem.Theyarealreadyonalbums,butI’veothermaterial besidesDylan.ButIthinkallwe’regoingtodoaretheDylansongs.” BobcameoverattheinstigationofChesMillican,EpicRecords’newly arrivedLondonrepresentative.“Heaskedmetocomeacrossand producetherecord.It’llbeforBritishandAmericanmarkets.Werelease itassoonaswegetit.Idon’tliketowaitonrecordsbecausethemarket changessomuch–unlessit’scertainpeoplewithacertainstyle.” ThesecondLeonardCohenalbumisdueoutsoon.SaidBob,“It’sgreat. It’sallsongs,buthissongsarepoetry.It’salittlesimplerthanthelastone.” BobrecordedtheJohnnyCashFolsomPrisonalbum,reckonedoneof thebest“live”albumsevermade.HedecidedthatCash’sideawasagood oneandjustwentaheadandarrangedthedetailsfortakingarecording unitintoFolsomPrison.Cashhassincefollowedthisbest-sellingalbum withhisHolyLandLP,butthereisanotherprisonalbumonthestocks. “IcutJohnnyatSanQuentinPrison.Allthesongsaredifferentfromthe Folsomalbum.SanQuentinisamaximum-securityprison.It’swhere theyhavethegaschamber.” Unlikealotofproducers,BobJohnstonisn’tafinger-clickingwowee- we-must-get-it-together-mantype.Heismodestabouthisrecording achievements.Hismainconcernisthattheartistgetswhathewantsand howhewantsitwhenitcomestocuttinganalbum. It’srefreshingtomeetsomeonewhotakesthisattitudeinastudio.And obviously,ashisgrowinglistofalbumcreditsprove,hismethodsget results.Goodones,too. TonyWilson ÑNMEMARCH29Ñ P reparetohaveyourmindsblownandyoursensestickled bythecomingtogetherononealbumoftwooftheworld’s greatestmusicaltalents–BobDylanandJohnnyCash.It’san opensecretthattheyhaverecordedtogether,butit’snotsowellknown justhowitcametopass. InpursuitofknowledgeIwenttotheLondonHiltontomeetmygood friendChesMillican,theheadofEpicRecordsoverhere,and,more importantly,Dylan’srecordingmanager,BobJohnston.Johnstonisnot verytall,wellbuilt,beardedandobviouslyTexan.Hismanneriseasy,his languagecolourfulandhisattitudesconfirmed.Heshowedamarked reluctancetodiscussDylan,sayingbywayofexplanation,“Hehasbeen misquotedsooften,andsohaveI,thatI’dratherpeopletalktohim.Ifhe hasanythingtosay,he’llsayit.He’snotonlyagoodfriend,butIhave threesonstofeed.”Whichseemedreasonableenough. Herelaxedalittle,however,induecourseandtoldme,“Therecord companycallsmeupandsays,‘WhencanwehaveaDylanrecord?’And Ijusttellthemthatwhenhe’sready,he’llgointothestudioanddoone.He ringsmeandasksmeabouttheweather,andItellhimabouttheboatand allthatgarbage,andhesays‘solong’andthat’sit.Thenhecallsmeand tellsmehewantstorecordandfixthesession.” ItjustsohappenedthatwhenDylandecidedto cutanalbum,BobhadfixedtodoaJohnnyCash session.SoheslylyarrangedforDylan’storun fromtwo-fiveandCash’sfromsix-nine.Cash arrivedearly,walkedintoDylan’sstudioand joinedintheproceedings.Theendresult,Ihave itonthehighestauthority,issomethingthathas tobeheardtobebelieved. TheDylanalbumtookthreedaystocomplete andwordofCash’sinvolvementbegan spreadingalmostimmediately.Johnstonis playingitcool,though,anddenyingall, preferringtowaituntiltheDJsputtheneedleonthe firstgroove.Thenwillcometheexplosion. Dylan,Johnstonsays,iseasytoworkwith.Heknows whathewants,whenhewantsitandhowhewantsit.In thestudio,heisallsettogoandthere’snomessin’.Oneof thetracksonthenewalbumwaswritteninthecarbetweenthe motelandthestudio.IwasplayedBurlIves’newalbum,which Johnstonhasproduced.Itcontainsamovingversionof“TheTimesThey AreA-Changin’”.Again,theDylanconnection. DylancropsupagaininJohnston’spurposeinvisitingLondon,whichis torecordGeorgieFame.HecameoverattheinvitationofChes.Aswe walkedthroughtheMayfairbackstreetsforlunch,Bobexplained,not withoutatouchoflaughter,“ChescalledmeandsaidwouldIliketo recordGeorgieFameandIsaid‘sure’.ItoldCBSI’dgivehimaTop10 record,andthengivehimoneintheStates.TheysaidwouldIliketoput thatonpaper,andIsaidIwould.I’vegotacoupleofDylan’ssongsforhim andwe’llmakethefinalchoicefromthreeIhaveinmind.” JackBrucehasbeenonsomesessionswithGeorgieanditistobehoped thatyoungFamewillgethishitwithsomethingbetterthantheawfully contrived“…Bonnie&Clyde”gimmick. Ches,whoresemblesapopgypsy,wholikesclubbing,whoisaseasy- goingastheGermanrailwaysystemandwhoclaimsIrishancestry, thoughheisasAmericanasthewestsideofGrosvenorSquare,replied, “Becausehe’sthebestrecordproducer,”whenIaskedwhyheselectedBob fortheFamejob.Perhapsthisisborneoutbyalookatthepeoplehehas recorded.ApartfromDylanandCash–andsurelythatisrecommendation initself–hehandlesMartyRobbins,Flatt&Scruggs,Canada’spoet laureate,LeonardCohen,and,untilrecently,Simon&Garfunkel. Hedroppedthelatterduobecause“theycantake300hoursonasingle, andalthoughI’mnotdenyingtheirtalent,Ihaveneitherthetimenorthe inclinationtospendthatlongononerecord”. WetalkedofchaingangsandtheterriblejusticeekedoutbySouthern authorities(somethingthatbothBobandCheshavepainful,iffunny, memoriesof)andgotroundtoCash’sprisonrecordings.TheFolsom Prisonalbumhasbeencertifiedasagolddiscandsalesareinexcessof 900,000,whichisgoingsome.CashandJohnstonhaditinmindatthe timetodoasimilarthinginSanQuentinandBobtoldmeaboutit. “Theyarebothmaximum-securityprisonsandSanQuentinhasthe gaschamber,”hepointedoutwithoutneglectinghisturkey.“Johnny wroteasongaboutSanQuentinandhetoldmehe’dsingitlastbecauseof theeffectit’dhave.IsaidthatwasOK,thenwecouldhightailitoutof there.Whenitcametotheshow,hesangitsecondandIthoughtthere wasgoingtobeariot.Someofthoseguysarereallytoughandtheywere yellin’andhollerin’sothattheguardshadarealtoughjobquietingthem down.Iwasreadytorun.” Johnnyhadbeensentasongbyaprisonertherethreeyearsbeforeandhe askedthewardenifhewasstillin.Helookedattherecords,buttheguyhad beenreleasedonparole.ThatsameafternoonthatJohnnyarrived,not thatmorningorthatevening,theprisonerwasreadmittedforparole violationandhewassittinginthefrontrowattheconcert.Howaboutthat? Whichiswhatalotofpeoplearegoingtobesaying,thoughinfar strongerterms,inafewweeks’timewhentheDylan-Cashalbumis releaseduponanunsuspectingpublic. RichardGreen ÑMELODYMAKERAPRIL5Ñ N ashvillehasformanyyearsbeenthecentreforrecording themanyartistsofthebigcountrymusicindustryinAmerica. Therecordingsideofthebusinessissuchthatitcommandsits ownalbumandsingleschartsandoftenanumberofthesesinglesand albumsmakethenationalpopcharts.But morerecentlytheNashvillestudioshavebeen invadedbyartistsfromoutsidethecountry field–BobDylanandLeonardCohenamong them.Dylanfinishedanalbumthererecently andlaiddowntrackswithJohnnyCash. CBSproducerBobJohnstoncametoLondon someweeksagotorecordGeorgieFame.He producedtheDylanalbumandrecordsJohnny Cash,MartyRobbinsandFlatt&Scruggs. “ThebasicthingabouttheNashvillestudios beingsogreat,”saysJohnston,“liesintwo factors–thestudiosthemselves,andthe “We went in and did most things in one or two takes”
HISTORY OF ROCK 1969 | 15 engineersandmusicians.Notonlyarethemusiciansgoodbuttheytakea prideintheirwork.Thereisnosuchthingaswatchingtheclockdown there.Inothercities,whenit’stimetostop,theydo.TheNashville musicianshavegotsomuchprideintheirwork,that’swhatmakesit. “Ithinkit’ssoeasyrecordingthere.Sometimesyoucandosessionsin threehours.Anotherofthereasonsisthatthegroups,likeFlatt&Scruggs, havebeenplayingtogetherforyears.Nashvillehasbecomethesecond- largestrecordingcentreintheworld–thatspeaksforitself.” That’stheproducer’sside.JoeButler,bassguitaristandsingerwithThe Hillsiders,theLiverpoolcountrybandwhichhasthedistinctionofbeing thefirstBritishcountrymusictorecordinNashville–inAugust,1967– putsthemusicians’side.“Onebigdifferencewenoticedwasthatwhen werecordinEngland,thebackingtracksareputdownfirst,thenthe vocaltracksareadded.Thenthefinalreductionisdoneafewdayslater. InNashville,theydoitallatonceandthereductionisdoneatthesame timesoyoucanhearhowit’sgoingandthenthebest‘take’ischosen.” InNashville,TheHillsidersrecordedforRCAVictorunderthe supervisionofChetAtkins,guitaristextraordinaryandoneofthe company’schiefproducers.“Overtheretheengineersworkmuchcloser withtheproducer.WehadChetAtkinsproduceusandtheengineerJim Malloy.HeandAtkinsworkedasateam.Theytalkedaboutthe arrangementsandlistenedtothem,butoverhererecordingseemsvery mechanical.Thereitwaslikedoingaperformance.Whenyouplayed, everyonewasinvolvedandtherewasaveryrelaxedatmosphere.Basically, theyhavethesameequipmentasBritishstudios–butalotmoreofit.” TheengineersthemselvesrevealtheNashvillesecret.SelbyCoffen, whohastakenhundredsofsessionsforColumbia,says,“It’salittlelike bakingacake.Nottoomuchflour,nottoomuchsugar–justtheright ingredientstocomeoutwithatastefulproduct.” JimMalloy,whoproducedTheHillsiders’sessions,adds,“Thereisno differenceintheNashvillebalance,justinthesound.OntheWestCoast, everythingispre-planned.InNashville,it’snearlyallheadarrangements orimprovisingonprearrangements.” TheuniqueNashvilleSoundismakingitselfheardintheAmerican musicindustry–andnotjustinthecountrymusicworld. —MELODYMAKERAUGUST2— E verwonderedwhatitisliketoworkonaBobDylan recordingsession?Well,theansweris“ahellofalotoffun”, accordingtoCharlieDaniels,whoworkedonthesessionsthat producedBobDylan’slatestalbum,NashvilleSkyline.“I’veneverhad somuchfun,itwasjustaball,”headded. BorninNorthCarolinasome30yearsago,CharliewasinLondonlast weekforaworkingholiday,playingontracksbeinglaiddownbyEpic recordingartistPhilamoreLincoln.Aswellasbeingaworkingmusician, Charliealsoproducessessions.HehascutalbumswithThe Youngbloods,ex-YoungbloodJerryCorbettandacoupleofgroups nobody’sheardof.CurrentlyheisworkingforSincereProductions,an organisationrunbyDylan’sproducer,BobJohnston,whichishowhe cametobeinvolvedontheNashvilleSkylinerecordingdates. “Tobeperfectlyhonest,BobJohnstonjustthoughtI’dfitinwithwhatever Dylanwasdoing,”saidCharlie,whenIaskedhimaboutthesessions.“Bob wasverynicetome.He’soneofthebiggesttalentsintheworldanditwasan honourtoworkwithhim.I’dsayitwasthehighspotofmymusicalcareer.” WasCharliesurprisedtofindthatthesessionswereonthingsthatwere basicallylovesongswritteninacountrymusicstyle?“Icouldn’tsayIwas. IwassoamazedjusttobeplayingonaDylansessionthatIdidn’tworry whatitwasgoingtobe.”OfthealbumCharliesaidhewas“tickledtodeath withit.Iloveit.Ididn’tplayontheJohnnyCashtrack;Iwasn’ttherewhen theydidit.IplayedDobroguitaron“NashvilleSkylineRag”.Thisisthefirst everinstrumentalonaDylanalbum,asortofcountryblowingsession.” Charliementionedthateveryonewasknockedoutwiththeacoustic guitarsolo,flat-pickedintheDocWatsonmanner,playedbyNorman Blake.CharliealsopaidtributetoregularDylansession-manCharlie McCoy.“He’safantastictalentforhavingaroundthestudio.Hejusthasto hearthingsandhecanwritethemdown,nothing’stoofastforhim.Ifyou haveanydoubts,youcanjustwalkacrossandhavealookathischart.And heplaysjustabouteveryinstrument.” ThesessionstookplaceinColumbia’sStudioA,inanewsectionoftheir Nashvillestudios.“Werecorded,Ithink,inthreesessions,”recalled Charlie.“Theyhadalotofsessionsbookedthattheydidn’tuse.” Wasthereaverystrongsecurityplacedonthestudioduringthe recordings?“Well,theyhadarent-a-copoutsidethedoorallthetime,but therewerenoproblems.PeoplewereawarethatBobwasintown,of course.Theyputupa‘ClosedSession’signonthedoor.Nobodytriedto gatecrash;peoplewererealniceaboutitandrespectedthesituation.” Abouttheactualsessions,Charliesaid,“Everythingcametogether beautifully.We’ddosomucheachdayandthendosomemorethenext. ButIthinkBobcouldhavebeenwritingallthetime.Withmostofthe things,afterthey’dgotthebalancewejustwentstraightinanddidthem inoneortwotakes.” • ProducerBobJohnston (right),jugglingdaily recordingsessionswith bothBobDylan(Nashville Skyline)andJohnnyCash (Hello,I’mJohnnyCash)in Nashville,February1969
April11,1969: DustySpringfield, photographedbythe EveningStandard 16 | HISTORY OF ROCK 1969 1969 January–March
getty HISTORY OF ROCK 1969 | 17 DUSTYSPRINGFIELD spendsmuchof1969 intheUSA.First, recordingthe magnificentDustyIn MemphiswithJerry Wexler.Thenlaterin Philadelphia,working withGamble&Huff. Thepaceofher schedulenever threatenstorattle her,though.“Ijust satarounddrinking tea,”shesays. —NMEJANUARY11— D ustyspringfieldhasatendencytobite yourheadoffatthedropofanundesired question–trueorfalse?Ihadhearditwas true,butaftertwomeetingswiththeNME- voted“World’sTopSinger”,bothunderfar fromidealconditions,Isayitisfalse. Somedegreeofill-humourcouldhavebeenexpectedwhen IspokewithMissSpringfieldonFriday.Itwasherfirstpress interviewforamonth.Asyoumayrecall,thepoorgirlhasbeen takingratherabatteringfromfateoflate,withaninjurednose gatheredonChristmasDaytoaddtotheblackeyesheacquired whilefallingfromahostileTennesseetreeawhileback. Addtothatthefactsthathersuperb“SonOfAPreacherMan” wasthennotdoingallthatwasexpectedofit;herhousein Kensingtonwasstillnotreadytoreceiveitseagerowner;andher accidenthadputpaidtoawell-deservedholidayintheBahamas. Shewouldhavehadgoodreasontofeelthatlifewasn’tgivingher herfairshareofbreaks. But,throughalltheunpleasantnessfatehasconspiredto muster,Dustyisstillabletomanageasmile.Sheismore bewilderedthanangrythat“PreacherMan”,whichmany considerherbestrecordingtodate,seemstohavebecome boggeddowninthemiddleregionsoftheNMEChartintothe No12position.“Thisreallychokesme,”shesaidthen,“because Iknowsalesarehigh,alotmorethanothertuneswhichhavegot higher.PerhapsitistheChristmasboom.Itwentinquicklybut seemstobemakingnoprogress. “UsuallyIjustmakearecordandhope.Infact,Iamusually veryscepticalaboutthechances,buteveryonewassobowled » Ò America seemsto fitmeÓ
18 | HISTORY OF ROCK 1965 18 | HISTORY OF ROCK 1969 overbythesoundof“PreacherMan”.Theykepttelling mehowgoodtheythoughtitwasandIthinkthey convincedme.” DoesDustythinkitisherbesttodate?“Iampleased withsomeaspectsandinsomerespectsitis;I’mnot sure,though.Iliketheoverallsound.Butitisvery difficulttosayit’smybestbecauseitsoundsdifferent everytimeIhearit.” “PreacherMan”wasoneoftheearliestsidesDustycut duringherweekofrecordingwithAtlanticinMemphis andshebelievesshewasstillinhibitedwhenshemadeit. Sowhatthelast,least-inhibitedtracksarelikereally stretchestheimagination!“Thesessionswerealltaken veryeasily,”sherecalled.“Theyusedtotakesixhoursto getarhythmtrackright.JerryWexler,TomDowdandArif Mardinrecordasateamandtheyworksowelltogether. Jerryoverseaseverythingandhasanincrediblyaccurate earforallthatishappeningandTomDowdisjusta geniuswiththecontrolknobs.Iwasveryinhibitedat first,butthethingisthattheyspendsuchalongtimeon therhythmtracksthatyougettimetounwind. “Iwenttosomesessionsanddidn’thavetosinganote! Ijustsatarounddrinkingteaandtalkingandgettingto knowpeople.Itgivesyoutimetogetintoasession.At someplaces,yougoin,takeoffyourcoatandtheyexpect youtoopenoutjustlikethat.” WouldshedescribeJerryWexlerasademanding producer?“Heisnotatemperamentalproducerinany way,”shereplied.“Hedoesn’tappeartobedemanding. Butaseverythingheproducesisofaprettyhigh standardheknowsthathehasthatstandardtokeepup, andinthatwayIsupposeheisdemanding.Butheisvery patientandthoughtful;hedoesn’tmessaround.Hehas beensteepedinhisowntraditionsofmusicforsolong.” RecordingwiththeAtlanticoutfitwasoneofDusty’s life-longambitions.Whatnewhorizonsdoesthatleave forhertoconquer? “There’salotmoregroundtobecoveredintheStatesandeverywhere. IhavefelttrappedintheStatesbymyoldlabel,butthatisnoreflectionon mylabelhere.IwaschokedbytheoldlabelthereandIfeelalotsafernow. Eveniftherecordsdon’tsellmillions–and‘PreacherMan’isTop20inthe States–iftheyjustgoonsellinglikethatitwillbefantastic.ButAtlantic arenotgoingtokeepmewithintheconfinesofasoulsinger.Theywant metosingindifferentlanguages.Theyarenotfools;theyknowtheir market.Theyarenotgoingtopushmeintoanything.” Dustyadmitsthatsheappeartobeaccident-proneatthemoment. “TherewasthatbusinessinMemphiswhichnobodyseemstobelieve,” shesaid.“Wehadjustfinishedwhatwasaprettyarduoussessionand IdidsomethingIhaveneverdonesinceIwasachild.Iclimbedthistree andjustwentupandupandthebrancheswereslipperyfromashower. Ifellandendedupwithblackeyesandacuthead.” Acaseoflosingtoomanyofherinhibitions,Isuggested.Herlatest misadventurehappenedwhenshespentChristmasDayathermother’s home.TheyhadjustfinishedtheirbigmealandDustywasoutinthepaved gardenfetchingmorewine.Twooftheguests,singerJohnRowlesand EchoesbassplayerDougieReece,were“larkingabout”;theycamerushing outandinadvertentlyknockedDustydowna3ft6indropontoconcrete. “Iwouldn’thavemindedbutIwasn’tdoinganything,”sheprotested. RequiredtostayinBritainfordoctor’streatment,Dustyhasdecidedto devotethemonthtotidyingupvariousjobsshewouldhavehadtorush throughhadshetakenherBahamasholiday.Oneistomoveintothe houseshehasboughtinKensington. “ItwasironicthatIhavewaitedsolongforthisso-and-sohouseand nowIwillonlyhaveacoupleofweeksinitbeforeIhavetogoawayfor threemonths!”shemused.Asonewhohaslongbeenrecognisedasa staunchpropagandistforsoul,doesDustyholdthepopularviewthatthe bestofthesouloutputhasgoneandwhatisbeingproducednowis mainlymanufacturedandsamey? “No,Idon’tthinkso,”shereplied.“Itwentthroughabatteringduring psychedelia,butnowitisreallystrong.ItisofinteresttoseeMotown musicians,peoplelikeArthurConley,doing‘Ob-La-Di’andWilson Pickettdoing‘HeyJude’.Andsomeofthemusiciansareadmiringthe Cream.It’sgreattoseethiskindofintegrationofideas;thingsaremoving bothwaysnow.” TheChambersBrotherswerementionedasanexampleof“psychedelia mixedwithsoul”,andDustysuggestedJimiHendrixasanothergood example.“Motownissamey,”shecontinued,“butitstillproducessome beautifulsounds.Buttheyseemtobedoingalrightinthecharttome, anditreallypleasesmetoseesomeonelikeStevieWonderwithahit, MarvinandTammi’sisanothergoodone.Idon’tparticularlylikeWilson Pickett,but‘HeyJude’isagoodrecord.” Justbeforewefinished,Dustybroughtupthesubjectoftheimportance ofhitstoher.“Alothangsonthem,”shesaidsuddenly.“I’dhatetodothat cornyroutineaboutpeoplesayingyoudon’tneedhitsbecauseyouare established.Ilovehavingrecordsinthecharts.Ifitstopped,Iwould acceptitandIcoulddowithoutthemfromthepointofviewofwork.But IwanttogoonhavinghitsaslongasIcan.” NickLogan —NMEFEBRUARY1— R ightorwrong,itstilllingers–theimageofmostrecord companychiefsasBigMeninBigOfficeswithBigCigars… businessmenwhoputthemoneyfirstandthegoodsounds next.Recently,however,anewbreedofrecordexecutivehasbeen makingitselfknownonthechartscene–involved,thinkingand creativepeoplelikePaulMcCartney,HerbAlpertandthemanwho nowrecordsDustySpringfield intheUSaswellasAretha Franklin:JerryWexler. Jerryisoneofthetopmenat Atlantic,themanwhobrought Arethaoutofthedoldrums,and themanwhopersonallyproduced 1969 January–March photoshot Dustyonthe smallscreen in 1969:“Thebest ofAmericanTV ismuchbetter thanBritain’s”
HISTORY OF ROCK 1969 | 19 Dusty’ssoulfullystirring“SonOfAPreacherMan”.Hefeelsproudandhe haseveryreasontodoso.Ispoketohimonaslightlyerratictelephone linetoFreeportintheBahamasrecently,andhetoldmethatrecording withDustywasoneofthegreatestpleasuresofhiscareer. “Sheknowssomuchofthetechnicalsideofrecording,”saidJerry, “butnotattheexpenseofthesoul.AndDustyreallycaressomuchin recording‘SonOfAPreacherMan’andtheothertracksonher forthcomingAtlanticLP.Sheputinalotofhardworkandmadeatleast fourtripsbetweenMemphisandNewYorkandback.” AccordingtoJerry,notallofthenumbershe’swaxedwithDustyarein the“PreacherMan”mould.Headded:“Thereareagoodmanymore characteristicsofherrepertoire,andforhernextsinglewearealso thinkingofanuptempo,veryhard-drivingrock’n’rollthing.Headded thatoneofthesongsthey’drecordedtogetherwaseither“BreakfastIn Bed”or“BeautifulInBed”(Isaidthelinewasbad!),butwhateverthetitle itstillsoundedinteresting. JerryfirmlybelievesthatBritishpophasfoundapermanentplaceinthe UScharts.Hespeakswithgreatsatisfactionofhislabel’sassociationwith CreamintheUSandplacesgreatfaithinLedZeppelin(risenfromthe ashesofTheYardbirds)andinScotland’sCartoon.“Weareluckyinthat somanyofourartistsarecontributory,”headds,explaining,“However greattheirtalent,someartistsdonotcontributetoasessionapartfrom theperformance.ButwhatDustyandArethahaveincommonisthat bothofthemarefullofideasandinterestinwhat’sgoingon,andthey reallymakethewholethingcomealive.Remember,producersdon’t reallymakerecordsgreat…it’stheartist. “AnotherbighitwehadwasWilsonPickett’s‘HeyJude’.Wilsontookabit ofconvincingheshoulddoit,butboy…oncehegotintoittherewasno holdinghimback.Itwasaparticularlygreatkicktofinditgointothe Britishcharts,butinsomewaysexpectedbecauseAtlantichavealways hadaverywelcomeresponsefromtheBritishpublic.Ithinkforalong timewewerekindofahipcult,butthatthepublicisnowgenerally comingtoacceptourartists.” TogiveyousomeideaofthegoodcompanyinwhichDustyfinds herselfsincesigningwithAtlantic,it’sworthareminderthatin1968the companyenjoyedthegreatestyearinitshistory.Saleswentupby85per centoverthepreviousyear,andduring1968itearnednolessthan23 GoldRecords–morethananyotherlabelbefore. “OursecretweaponismypartnerandrecordingassociateTomDowd,” saysJerry.“Butthen,withstarslikeDustyandArethaandWilson,we’ve gotsomebiggunstobackhimup!” AlanSmith —NMEOCTOBER4— “P uttingyouthroughtoMissMaryO’Briennow, London.”Iheardamischievousgiggleinthebackground, whichfornineo’clockinthemorningandthousandsof milesaway,soundedveryfulloflife. “Hi,Dusty,howareyou?”Igreeted.“IhopeIhaven’tgotyououtofbed.” “Youdid,”shelaughed,“butI’mgladyoudid. I’vegottoleaveforPhiladelphiathisafternoon forCaliforniaorNewYork,andIwon’tknow whichforafewhours.I’vegottomeetaman aboutadog.No,I’vegotsomebusinesstalks withamanandhe’sneverinoneplaceformore thanadayortwo.” Ithendecidedtosothehonourablethingand tellDustyhersingle“AmITheSameGirl”had enteredtheNMEChartthisweek.“What!”she yelledacrosstheAtlantic.Itoldheragain.“Oh, that’sgreat,”shesquealed,“you’veputmein agoodmoodfortherestoftheday.AndI’mextra thrilledbecauseit’ssomethingdifferentforme. Ooh,I’msopleased.” Iaskedherifshehadbeenatallapprehensiveas twoorthreeweekshavegonebywithouttherecord makingmuchimpression.“No,notreally;infactthis isquitespeedyforme.Ialwaysseemtotakeagesto climbupthecharts,butIworrylikemadanyway wheneverIhavearecordout.” DustyleftLondonforPhiladelphiatwoweeksago tocutanalbumofsongsbyKennyGambleandLeon Huff.Howwastherecordinggoing?“Going?”she replied.“It’sgone,itwasfantastic.Ionlyspenttwodaysputtingonthe vocals,butI’vebeenverybusyallthetimesinceIarrivedhearingthe songs,learningthewords–youknowthetroubleIhavedoingthat–and listeningtothemusiciansdoingthetracking.Therhythmsectionisthe bestI’veworkedwith,theyreallyaresomethingelse.Theyworkasaunit, verytight.Andtheyplaysoloud,whichIlike.Thethingis,thereareso manymusiciansinAmerica,onlythebestsurviveandthehavetobevery, verygood.ThefellowsI’vebeenworkingwithwereallex-roadmusicians whohavedecidedtosettledownandsticktostudiowork. “ThedrummerhastouredwithMarvinGayefortwoyears,and somebodyelsehasonlyjuststoppedworkingwithStevieWonder.And thesongsKennyandLeonhavecomeupwith…toomuch.Theywritea sortofmelodicR&B,butit’sverymuchtheirownstyle.Ihopethealbum willbereleasedinBritainbeforeChristmas,andeverybodyseemsto thinkthereareatleasttwopotentialsinglesonit.” “Soyouhaven’thadtoomuchtimeforseeingthesights?”Iasked. “Ihaven’thadanytimeatall,”Dustysighed.“I’vewalkedthe50yards frommyhoteltothestudiosinthemorningandthe50yardsbackagain intheevening.Ibadlywantedtocatch5thDimension,whowereintown lastweek,butIdidn’tmakeit.TherearequitealotofthingsImeanttodo whileIwashere,butIcamewiththeideaofworkinghard,andthat’swhat I’vedone. “I’vebeenbymyselfalotofthetime,intentionally,sotherewouldbe nothingatalltodistractme.Homesick?Well,Idogetabitmorbidwhen I’mlefttomyowndevices,butI’vereallybeentoobusytothinkaboutit.” Apartfromherbusinesstalks,DustyhasthreeTVshowsandaholidayto undertakebeforeshereturnstoBritainonNovember8. “Theholidaywasmeanttobethreeweeks,butit’sbeenslowlywhittled downto11days,”Dustysaidinmockannoyance,“…andthat’snotlong enough,folks.I’llprobablygotoPuertoRicotoseesomepeopleIknow, orperhapsI’llgotoCalifornia,evenifIhavetogotoNewYork.Iknow hundredsofpeopleontheWestCoastnow,andthenthesparkswill reallyfly. “Ihatelazingaboutonthebeachonholiday,itseemssuchawaste,but Isupposeit’sataskthat’sgottobedone.Igetbrownveryslowly,andIhave totakemytimeaboutitorIfrizzleup.” IaskedDustyifsheeverweariedofthepaceatwhichAmericansseem todoeverything.“Ihaven’tbeenpushedatall,”sheanswered,“butif anybodytried,I’dtellthemtoslowdown.Theydoworkveryfast,but everythingissowellregulatedandarrangedthattherearevirtuallyno hassles.Icouldn’tspendalifetimeworkinglivehere–thatwouldageme veryquickly. “TheAmericantelevisionIfindbetterthanathome,onthewhole, mainlybecausethereissuchachoice.Alotofitisbad–juvenile,and somestationsdocateralldaylongforthelowestcommondenominator, butthebestofAmericanTVisbetterthanBritain’s.Theirbigvariety showsarebrilliant,andIdon’tthinkwehavehopeincatchingthemup, buttheydon’thaveSpikeMilligan,sotheycanneverquitehopeto improveonourcomedy.WhileTheFlyingNunisononechannel,youcan switchoverandseeTheWorldOfWilliamBlake onanother,andtheireducationalstationsare verygood.” “There’ssomethingaboutAmericawhich seemstofitme.Thingslikewakingupinthe middleofthenightandknowingyoucanwalk roundtheblockandbuyfoodinasupermarket. That’sit,justbeingabletodothingswhenyou feellikeit.” WhenDustycomesbacktoBritain,thefirst thingshe’lldoistakeoffforGermany! “Onlyforafewdays,”sheaddedhastily,“then I’llbebacktoappearonaTomJonesTVshow, andthenI’llbedoingatwo-weekspotatthe GoldenGarterClubnearManchester.I’m lookingforwardtothat,becauseIdon’tgetmany chancestoappearinthatpartofthecountry.” Withthat,IleftDustytogetdressed,findout whichpartofthecountryshewouldbeinafew hourslater,andjumpaboutwithgleeoveryet anotherchartentry. “Takecare,”Isaid. “Thanksforwakingmeup,”shereplied GordonCoxhill • dusty springfield “The rhythm section is the best I’ve worked with… very tight”
SINGLES CliffRichard GoodTimes(BetterTimes) COLUMBIA (Laughter)Fantasticlyrics. CliffRichard,isit?Inever thoughtitwasatfirst.Ijust managedtogetacluefromhis voice.Idon’tlikehisvoice.It seemstheyhavebroughthim acommercialsongtodo,and he’ssaid“I’lldoit”andithas putCliffRichardrightinthe soup.Ididn’tlikethelyricsor thearrangement. PeterCookTheLonelinessOf TheLongPlayingRecord PRIVATEEYE It’sPeterCook,isn’tit?Hedid averygoodimitationofJohn PeelonCilla’sTVshow.Idon’t mindsatireonpop,butIthink theBonzosdoitbest.They seemverymuchdownonthe middleclass–thepeoplethey call“normals.”ButIthinkthey tendtogoabitfarinputting everybodydown.They’reliable tostopalotofpeople–like poets–fromdoinganything. Theyattackeverythingvery hard.ButIlike PeterCook– he’sverygood. SimonDupree &TheBig Sound BrokenHearted Pirates PARLOPHONE Well,myfirst reactionisit’s writtenby someonewho mustwrite hundredsofsongslikethis. It’sjusttooobvious.Youknow exactlywhat’scomingnext. Thewholethingisacliche–one clicheafteranother.Ifthat’s theirideaofthepopbusiness goodlucktothem,butit’s nottheideaofwhatapop singleshouldbe.Ican imaginethemsaying, “You’vegottohavesome seagullsinthere,boy, andfadeinthesea.”Ifind italittlefey. BeeGeesFirstOfMay POLYDOR BeeGees–beautiful.There seemstobeaBeeGees revivalgoingon.Ilikethat verymuch.Thisshouldbuild upthelegendevenmore. Ithinkthat’sBarryGibbsinging. He’sabettersingerthanRobin andhe’sthenicestlookingone. Thatguyhasgottobeoneofthe bestsingersinpop.That’sa lovelytuneaswell.Theyalways writegoodmaterialandthat shouldbridgethegapbetween “Massachusetts”andnow. WorldOfOz Willows’HarpDERAM Isthatwhatit’scalled– “Willows”?Harp?Icouldn’t begintotellyouwhoitis.Iquite likethewords–toseeyour maker’sfaceisagoodidea.It’s refinedrubbish,really.I’mnot crazyaboutthesonganditwon’t beahit,inmyhumbleopinion. MaxBygraves You’reMyEverythingPYE It’sgottobeEngelbert.Oh whata…No,thisisnotEngelbert, it’sMaxBygraves.CouldIhear thefirstcoupleofbarsagain? JustwhatIsuspected–they wouldneverallowadrummer tocomeinearlylikethaton anEngelbertrecord.This soundslikeahittome.Itwould bebeautifulifthiswasdone bytheBonzos–justslightly imperfect.Itwouldbegreatif theydidabigswitchanddidthis kindofstuffseriously. AndyForray LetTheSunShineIn FONTANA It’sfromHair,theAmericancast. Isawtheshowthreetimes.I reallylikeit,buthisisarather watered-downversion.Itdoesn’t 20 | HISTORY OF ROCK 1965 getty PeterSarstedt:Peter Cookis“verygood” andMarianneFaithfull sounds“feeble” 1969 SINGLES REVIEW “Oh what? It’s Max Bygraves!” 1969 January–March MMFeb22“WhereDoYouGoTo(MyLovely)”singer PeterSarstedtreviewsthesinglessightunseen.
HISTORY OF ROCK 1969 | 21 ALBUMS LedZeppelinLedZeppelinI ATLANTIC JimmyPagetriumphs!Whilelonghailedasone oftheBritishguitar-slingingheroes,hehasbeen arathermysticalfiguretoBritishfans,having spentsuchalongtimeeitherinrecording studiosworkingasananonymoussessionman, orinAmericawiththelate,lamentedYardbirds. Now,withhisowngroup,thelegendcomesto life,andhisworkonguitar,acoustic,electric, andpedalsteelvarietiescanbestudied.Heproves tobetechnical,tasteful,turbulentandtorrid. Hisbandisimaginativeandexciting.RobertPlant isanewsingerofstature,andJohnPaulJones (bass,organ)andJohnBonham(drums,tympani) aremorethanadequate. Theirmaterialdoesnotrelyonobviousbluesriffs, althoughwhentheydoplaythem,theyavoidthe emaciatedfeeblenessofmostso-calledBritish bluesbands.ProductionbyJimmyandGlynJohns isexcellent.ThisZeppelinisreallyinagasnewbag! MMMARCH29 BeeGeesOdessa POLYDOR “It’sgoingtobesadalbum,butlistentothewords,” BarryGibbwarnedusrecently.Indeedthemood oftheirmonumentalwork–it’sadoublealbum–is basicallyoneofdespairanddesolation.Thestrings surgeovertheGibbbrothers’melodies,whichare oftenverygoodindeed.Twoofthetracksarehits already,“FirstOfMay”and“Lamplight”,which giveagoodindicationofthequalityoftherestof theset.Theyhaveasenseofthedramaticandlike todrawonlargesubjects–disastersorworld- shakingevents.Therearetitleslike“SevenSeas Symphony”,“WithAllNations(International Anthem)”and“TheBritishOpera”.Notallthe tunesareslow-paced.Thereisthesprightly“Never SayNeverAgain”andarrangerBillShepherdmust becongratulated onhiswidescreen- typemusicalscores whichcopewith alltheBeeGees moods.Thecover matchesthe generalairoflush extravagance.It isprobablythe moststrikingand tastefulproduced, inredvelvet.The BeeGeescanbe proudoftheir achievement;it movespopforward alongatotallydifferenttrack fromthebasic“underground” experimentsandisequally worthwhile. MMMARCH15 BeachBoys20/20CAPITOL Bestfromthegroupinalongwhile,ifstillnotup tothepioneerstandardsofPetSounds,thatepic oflongagoandfaraway.Whiletheyhavenot sunkbackintothedepthsof“SmileySmile”,the brillianceofPetremainsunbeatable.Atleastthey havereturnedtogoodmelodiesandpopsimplicity withaminimumoffreakingout,apolicyshownto bevalidbythesuccessoftwoofthetracksas singles,“DoItAgain”and“ICanHearMusic”. Therestofthemusicispatchyandgenerally attractive.ThemysterioustitlereferstoThe BeachBoys’20thalbumreleaseandahuman’s normalvision.Theinsidecoverisaneyetestcard. MMMARCH29 CreamGoodbye POLYDOR Goodbye,Eric,JackandGinger.Hello,Clapton BruceandBaker!SotheCreamhavegone.Butthey werealwaystherebefore:GingerandJackroaring withGrahamBond,EricbeingbeautifulwithMr Mayall.Sotheyweretogetherforawhileandnow theyareapart.Butsomethingelsewillhappen.For manytheyrepresentfiveyearsofBritishmusic historyandmore.Theyalsorepresentthefuture. HerearesomesuperbbonustrackstoWheelsOf Fire.ThreewererecordedliveinAmerica–“I’mSo Glad”,“Politician”and“SittingOnTopOfThe World”–while “Badge”,“DoingThat ScrapyardThing”and “WhatABringdown” arestudiojobs.On these,Jackplaysbass, piano,organand vocalsandproducer FelixPappalardisitsin onbassormellotron. Sadly,Gingerdoesnot playanysolos,butEric andJackareontop form.Incidentally, notecarefullytheAlan Aldridgecover–it’s marvellous!MMMARCH1 seemright.IprefertheEnglish castversion.Thisdoesn’tcome acrosstome.Thebestsong fromtheshowis“Aquarius” byVinceEdwards.Thisseems abitlethargic,andIcan’tseeit asahit. MarianneFaithfull SomethingBetterDECCA Soundslikethemusiciansare slowlywalkingoutofthestudio onebyone.Thedrummersounds reallyuninterestedinthispiece. Dearme–thankyouverymuch. It’sgoingtofadeout,isn’tit? Well,I’venoideawhosheis,but she’sEnglish–gottobe.It’sa terribleproductionforastart. Ifyou’regoingtoproduce arecord,you’vegottodoit properly.It’sobviouslyher firstrecord,andhervoiceis abitfeeble.Icouldn’treally understandwhatthesongwas about.Didshewriteitherself?Is itYokoOno?Whoisit?Oh,no! Perry&Kingsley TheSaversVANGUARD IknewtheChipmunkswoulddo aninstrumentaloneday.It’s definitelyChipmunkmusic.It’s notreallymusicatallandIdon’t likeittoomuchasIcomefrom theparanoidgeneration.There isaplaceforthisinclassical music,butI’malwayssuspicious ofmusicwithoutinstruments. Thisisveryfunnybutitwillnever taketheplaceofsteam-radio. SupposingtheMoogsynthesizer tooktheplaceofpopstarsand startedmakingpersonal appearancesalloverthecountry andgettinginonBlindDate.This isjustanexercise.Itcan’tmean anythingatall. DaveClarkFive TheMulberryTree COLUMBIA AtfirstIthoughtitwasZoot Moneyhavingalaugh.Now Irealiseit’sserious.IsitZoot Money?Italsosoundsabitlike TheLoveAffair.DaveClark! MikeSmithsinging?Well,you can’tgetmetolikethat.It’sso –ohmyGod.Idon’tlikeitand itcan’tbeahit. 1969 ALBUMS REVIEW singles & albums
1969 January–March 22 | HISTORY OF ROCK 1969 RayDaviesinÕ69: ÒTherearenÕtmany realhits.Thecharts justhavetobefilled upeachweekÓ
“Whatwould Iwantwitha Rolls-Royce? I’dratherride ahorse” Manyfeelthenew Kinkssingle“Plastic Man”goestoofarin beratingthelittle guy.RayDavies explainshisthinking (“nobodylikes truth”)andtalks aboutdownsizingto aterracedhouse. “Therewon’tbe enoughroomforthe billiardtable,”he says.“Nevermind.” —MeLODyMaKeRJaNUaRy25— “W hentheydecidedtoreleasemynew single,ilookedatthechartandnearly died,”saiddavedavies.hegiggledintohis pintandwenton:“therewastheScaffold atno1,donaldPeersanddesO’connor. ithought,‘howcanyoufollowthat?’ thewholepopworldseemstohavegonemad.”daverefusedacigarette, announcingthathehadgivenupsmoking,andtalkedaboutthesingle. “isupposeyou’dcallitasortofslowcountrything.i’vealwayslikedcountry music,particularlyhankWilliams.‘holdMyhand’seemedthenaturalnext stepafter‘Lincolncounty’.i’malsoworkingonanalbum.i’vegottodoafew moretracks,butitwillprobablybereleasedinFebruary,dependingonhowthe singlegoes.i’vewrittensevensongsforitandRayhasdoneacouplehewants metodoandwhichilike.” What,iwondered,weretheKinksdoing?davegaveupgivingupsmoking andtookacigarette.“WearedoingsomesongsfortheeleanorBrontV shows.ithinkit’saseriesofsixshowsandRayiswritingasongaweekwhich wewillbeplaying.” BrotherRayisbusysongwriting.hedidthethemeforthefilmofTillDeath UsDoPartandistodothemusicforanothermajormovie,TheVirginSoldiers. davehashissolosingles.iwonderedhowdrummerMickAvoryandbassist PeteQuaifeweremakingout. “theyhaveaninterestinourcompanythathasaccumulatedmoneyover theyears,”saiddave.“idon’tthinkMickandPetemindbeinginthe background.Actually,Petehasstartedwritingnow.he’sbeenchattingtoa fewgroupsabouthissongsand,whoknows,1969mightbetheBigyearOf PeteQuaife.”isaidithoughttheKinks’VillageGreenPreservationSociety HISTORY OF ROCK 1969 | 23 Rex featuRes È the kinks
24 | HISTORY OF ROCK 1965 24 | HISTORY OF ROCK 1969 albumwasthebestthingtheyhavedone,andDaveagreed.“Ithinkthe reasonitcameoutsowellwasthatweweren’ttakingthemickeyforonce,” hesaid.“Itmaynotsoundlikeit,butwemeantallofitandnoneofitis meantasasend-up.Originallywewantedtoreleaseadoublealbumfor thepriceofone,buttheywouldn’tletus.WealsowantedtoreleaseanEP, butthecompanydidn’twanttoknow.Idon’tunderstandwhyEPsarenot supposedtosellthesedays.Iwouldhavethoughttheyweregoodvaluefor money.TheycertainlysellalotofthemontheContinent.” Davewas,surprisinglyperhaps,enthusiasticaboutTheKinks’recent cabaretdebutattheFiesta,Stockton.“IadmitIwasapprehensivebefore wedidit,”hetoldme.“Butwereallyenjoyedit.Everybodyattheclubwas great.Ittookabitofgettingusedto,butnow,ifIhadtoworksoloin England,I’dliketodocabaret.Therearenoneofthebighang-upsyouget onconcerts…badsoundandpeoplerushingaboutinapanic.Atthe moment,though,I’vegotTVdatesinGermanyandHolland.Imayalso dosomestageworkinGermany.I’mnotsureaboutabackinggroupyet. Ishallhavetolookaroundforatrioorsomething.” —MELODYMAKERAPRIL12— P lasticflowers,plasticteeth,plasticfood,cupsand saucers–plusplasticsmiles–maynothavebeentheonly thoughtsinthemindofRayDavieswhenhewroteThe Kinks’latestsingle,“PlasticMan”. Butastherecordindicates–andaconversationemphasisesthe point–Rayhassomeprettydeeplyheldviewsontheaccoutrements ofmodernlife.Askhimtobemorespecificabouthisrecorded outburst,andhemerelysmilesenigmaticallyandsays,“It’slikethe DanishwaitresssaidinaMuswellHillcafe:‘Justlookaroundyou.’” Rayhimselflookedaroundattheinstantdecorofthecafewherehe wastakingacupofteaandatoastedcheesesandwich–whichcamein aplasticenvelope.Alsodonetoaniceshadeofbrown. Youthrowthataway,Isaidwithmasterlysuperfluity.“Itseemsapity,” saidRaywithamysterioussmile.Heexpandedonthenew“PlasticMan” single:“Thisrecordhasoutgrownwhatapoprecordcanbe.Thisrecord hasmoreloveforpeople.Sometimesyouloveapersonsomuch.Buthe’s gothimselfinahole,andtheonlythingyoucandoistokickhimtogethim outofit.Peoplehavehadagoatmeforusingthewordplastic,butit’sthe onlywordyoucanpossiblyuse.Youcouldn’tcallamanapatheticman.” AndhowdoesRaycategoriseplasticpeople? “A),”hesays–givingmeasuredconsiderationtotheterm–“they’re phoneypeople.Peoplewhoalwayssucceedinsayingtherightthings. Theygivetherightbuzzattherighttime.Youjustcan’tgetanything genuineoutofthem.Andb),they’reproductsof1968and’69.They’ve beenconditionedtothings.They’vegotcommitmentstomeetlikeheavy mortgages,forinstance.Butiftheytakeadrinktheyhavegottobecareful nottobearrested.Otherwisethey’dlosetheirjobs.Andtheycan’tafford todothat.‘PlasticMan’notonlysummarisesmyfeelings.A)–it’smy feelingsandb)–it’sthegroup.AandBequalX–TheKinks.” “Whatisimportantisthatit’sthefirst‘group’recordthathasbeenmade foralongtime.ItcertainlyexpressesmybrotherDave’sfeelings.Butit’sa partofeachoneofus.Somebodytoldmeofftheotherdaybecausethesong didnothaveahangingline,likebuildingupfor16barsandthengoinginto acatchphrase.Butthewholethingisacatchphrase.Certainpeopledislike itbecausetheygetcertaintruthsaboutthemselves.Nobodylikestruth. ButIadmitthetruth.It’sprobablynotthegreatestsongI’vewrittenandnot thegreatestsongI’lleverwrite.Butit’stheonlysongIcouldhavewrittenat thistime.EventhoughIhateditwhenIfirstheardtheacetate! “ButIthinkitcouldbeahit.Itdoesbotherme ifIdon’thaveahit.ButonlybecauseIfeelI’ve madesomethingwrong.ButthenIlistenagain, rememberwhyIdidit–andIthenknowI’mnot wrong.Thosesamepeoplewhorun‘PlasticMan’ downaregoingtoplayitsometime.Thenthey’ll getsomethingoutofittheydidnotrealisebefore. “Theonlythingthatupsetsmeisthatpeople maythinktwiceaboutanythingelseIdo.Asong doesn’thavetobeahit,butit’sgottohavean impact.Thewayrecordsalesaregoingnow, therearen’tmanyrealhits.Thechartsjusthave tobefilledupeachweek.There’sgottobeaNo1 andclimbers.Iunderstandthatcertainrecords calledhitsaresellingverylowfigures.” Forasuccessfulsongwriterwhoselatestcommissionsincludeanopera forGranadaTVplussongsforafilmversionofTheVirginSoldiers,Rayis singularlydetachedfromthetrappingsoffame.Infact,he’splanningto sellhislargehouseatElstreetomoveintoaterracedorsemi-detached house.“Sotherewon’tbeenoughroomforthetabletennisandbilliard table.Nevermind,”saysRayphilosophically. Moreimportanttohim,itseems,isanunpretentiousenvironment.He shakeshisheadsomewhatsorrowfullyaboutthoseprofessionalanti- establishmentfigureswho,atthefirsttouchofKingMidas,rushoutto buyaRolls-Royce.“WhatwouldIwantwithaRolls-Royce?”asksRay. “Itdoesonlyabout12milestothegallon.Anyway,drivingfrightensme todeath.I’dratherrideahorse.” Andforapopstar–andRaywouldprobablyloathethetermifyouusedit tohisface–heisdistinctlycontemptuousaboutRadioOne.“Itterrifies me,”hesays.“It’sconditioningpeople.Itmakesthemlistentoonething. There’snocompetition.IlistentoRadioFourorAnyQuestions.I’dmuch ratherlistentothat.ThepeopleonRadioOnebecomelittletingods.” Hemighthavesaidplasticgods.Buthedidn’t. LaurieHenshaw —NMEAPRIL26— R ayDaviesisastoryteller.Iamsurethatifhehadbeenborn about200yearsagohewouldhavebeenseenwanderingabout playingamandolin,entertainingthepeasantswithhismusical tales.AllTheKinks’hitshaveonethingincommon–apartfrombeing straightpoprecords,theytellastory.Noneoftheold“moon”and “June”or“walk”and“talk”forRay;therehastobeadefinitetheme. “Ithinkalotofpeopleareannoyedaboutthis,”confessedRay’sbrother Dave.“Iknowalotofpeopleinthebusiness don’tlikeit.Theysay,‘WhatrighthaveThe Kinksgottomakesocialcomment?’ “Butthethingis,we’renot.Raywriteshow hefeelsatthetime.Whateverhe’sthinking aboutatthatperiodcomesoutinhiswriting. ‘PlasticMan’isn’tknockinganyone;it’sreally somethinginallofus,we’reallabitplasticat times.Youcangointoapuballdressedup andbehaveflashtoimpresspeople,thenyou gobacktoyourwifeandkidsinfrontofthetelly –it’sallhypocritical.” DavebroughtthenewKink,22-year-oldJohn Dalton,alongtomeetme.Withthemalsowas MickAvory.RaywasinAmericaproducing 1969 January–March “It terrifies me. The people on Radio One become little tin gods” getty May1,1969:JohnDalton (left),whoplayedbass forTheKinkswhen PeteQuaifewasbadly injuredinacarcrashin 1966,joinsRayandDave DaviesandMickAvory asafull-timemember
HISTORY OF ROCK 1969 | 25 somenewTurtlesrecords.JohnhasplayedwithTheKinksbefore,sohe knowstheirmusic;infacthereplacedPeteQuaifeforafewweekswhen Petehadanaccidentacoupleofyearsago. “I’vebeenplayinginlittlegroupssince,”Johntoldme.“Idon’tfeelany differentbeingwithTheKinksasI’veplayedwiththembefore.” Pete’sdeparturefromthegroupwasnotexactlyexpectedandMick toldmewhy.“Hesaidaboutthreemonthsagothathewasgoingtoleave, butIdidn’ttakeanynotice.ThefirsttimeIfoundouthehadleftwaswhen Ireaditinyourpaperandsawthatpictureofhimwithhisnewgroup.” Soifanyone’sthinkingofleavingtheirgroup,tellusfirstandwe’llletthe groupknowaboutitthenextFriday! Rightnow,TheKinksareworkingonanalbumwhichisgoingtobe asortofpopopera.“Idon’tknowwhyit’sbeingcalledanopera,”Dave commented.“It’snotthesortofthingmostpeopleknowasanopera;it’s anLPthattellsastory.AblokewrotethestoryandRay’sbeenwritingthe music.We’redoingitforGranada.” Dave,whowasbehavingunusuallyquietlyforonewhoselooning habitsareknownthelengthandbreadthofeveryalehouseintheland, hasapersonalthingaboutcountry&westernmusic.Hislastsolosingle, “LincolnCounty”,meantalottohim,andheevenwentsofarasto threatennevertomakeanotherifthatonedidn’ttakeoff.Itdidn’t,and Iaskedhimifhewouldkeeptothethreat. “No,I’mdoinganalbumnowofmyownsongswiththerestofThe Kinksplayingonit,”herevealed.“Ihavetowritesongsandmostofthem arecountry&westerntypes.Idon’twriteanythinglikeRayandhe doesn’twriteanythinglikeme.Thoughwe’rebrothers,we’renotallthat alike;I’dliketobemorelikehimandhe’dliketobemorelikeme.Wesee eachother’sfaults,thenlookatourselvesandthink,‘IwishIcoulddo whathedoes.’” Nowthat“PlasticMan”hasmadethehitparade,TheKinksareallsetto startappearinginthepressagain.ItisanoddthingaboutTheKinksthat theyhardlyevergetamentionunlesstheyhaveahitontheirhands. “Wedoworkalot,butnevergetanymentionsuntilsomethinglikePete leavinghappens,”confirmedMick.“We’veneverbotheredaboutgetting apublicistuntilnow,soIsupposehe’llstartinventingallsortsofthings foryoutowriteabout.” Atthatverymomentinwalkedthesaidpublicistandeveryonekept schtum.Henoticedtheobvioussilence,butbeforehecouldsayanything alargepintwaspressedintohisever-receptivepalm. “Comeon,”Davesaidtome,“haveanotherdrink.”Thenheadded: “Ireallyhopethisrecordgetsinyourcharts.” Well,youseewhatbuyingadrinkformedoesforyou,Dave! RichardGreen —MELODYMAKERMAY3— A tHree-letterworDHasledtoabanonTheKinks performingtheirnewchartsingle,“PlasticMan”,onTop OfThePops.AttheriskofcorruptingamillionMM readers,Icanrevealthatthewordis“bum”,whichappearsina lineofthelyric–“Plasticlegsthatgorightuptohisplasticbum”. “WedidanAmpexforTopOfThePopsandtheyhavedecidednot touseit,”saidanembitteredRayDaviesthisweek.“Theylistenedto thewordsandwhenIreachedthatwordtheyshiftedthecameraoff me.It’sallverychildishandI’msureeverybodywhowatchesTopOf ThePopsalreadyknowswhatabumis.Theyevenaskedmetosing ‘thumb’instead.Itwasallsoridiculousandveryupsetting.What makesitsoabsurdisthatwediditonDeeTimeandtherecordis gettingplayedonRadioOnewithoutanycomplaints.” —MELODYMAKERSEPTEMBER27— A contemptfortHeestablishment-conditioned peopleof1969hasemergedalltooclearlyinthesongs ofRayDaviesandTheKinks.Ithasearnedthema reputationasintolerantmockersofthelittleman.“PlasticMan” attackedphoneypeopleandnow“Shangri-La”isdevotedtolife insuburbia.ButitlooksasifRay’sobsessionisdrawingtoanend withthereleaseoftheirlatestsingleandnewalbum,Arthur. BassplayerJohnDalton,whoreplacedPeteQuaifewhenheleft TheKinks,explained,“Ithinkit’ssomethingRay’shadabeeinhis bonnetaboutforaboutacoupleofyears,butnowthealbum’s finishedRaywillprobablygoontosomethingelse.”Peoplemay thinkthatwithourpopoperaArthurwe’vecopiedTheWhoas they’vedoneasimilartypeofalbum,butRaystartedwritingityearsago. We’vebeenrecordingitforages. “Shangri-La”isoneofthetracksfromthealbum.Thereare12tracksin allandthealbumtellsthestoryofamiddle-agedmannamedArthur whosesondecidedtogotoAmerica.ThismakesArthurrealisewhathe’s achievedinlife,thathe’sstilllivinginthepastinsomeways.Herealises whathe’sbeenmissingallhislife.Therearealotofgoodtracksonthe albumandthey’dallmakesingles.Raycouldn’treallymakeuphismind whichtrackweshoulduseasthesingle.” John,whohadhisowngroupMarkFourbeforefinallyjoiningThe Kinks,willbemakinghisfirsttriptotheStatesnextmonthwhenThe Kinksstartatwo-monthtourofacountrywheretheyareregardedin atotallydifferentlightthaninBritain.“We’reregardedasasortof ‘underground’groupintheStates.Ourlastalbum,VillageGreen PreservationSociety,isabig‘in’recordwiththehippies.We’llbeplaying alltypesofplaces,fromthecollegestoalltheprogressivegigslikethe FillmoreEastandWest.It’sacompletecoast-to-coasttour.Obviously someplacesarebiggerthanothers,butweintendtousebrassandstrings onthistrip.We’llbeusingalotofmaterialfromArthur,sowe’llneedthe brass.Itshouldbegreatworkingwiththatbigsoundbehindusanditwill bedifferenttolookatandhear.” WhenintheStatesJohnhopes“todothewholetouristbitasI’veheard somuchaboutitfromtheotherboys”andtomeettwoofhisbiggestidols, ElvisPresleyandJerryLewis.“ItseemstomethatTomJoneshasbrought onthisreturnbyElvis.IthinkperhapsElvisisabitjealousandafraidthat TomJoneswilltakeoverhiscrown.” Elvisapart,Johnbelievesthat thecurrentreturntorockbyalot ofgroupshascomeaboutbecause ofalackoforiginalmaterial. “Peoplehaverunoutofideasof theirownandtherearesoveryfew goodsongwritersaroundthese days,sothey’vehadtorevertback totheoldstuff.Alotofpeoplewho areplayingtheoldstuffarethe so-calledsupergroups– somethingIwouldn’tcallthem. Asindividualstheymightbe verygood,buttheytendtoclash onstageandyouendupwithone persontryingtodominatethe group.” RoystonEldridge • the kinks •
NINASIMONEarrives inEuropeas“thehigh priestessofsoul”, her’NuffSaid!album alreadyaclassic.Her messageislove,but Simonerepresentsfar more.“FirstofallI’ma colouredwoman,”she says.“Colouredartists don’thavetotakeback seatsanymore.” » GETTY 26 | HISTORY OF ROCK 1969 1969 January–March —NMEFEBRUARY8— S hesitstherestraight-backedinherchair,proudanddignified, asimpressiveafigureinpersonassheisonstage.Bearingno signsoftheseveraltiringhoursshehasjustspentontheplane, shehandlesherinterviewerswithdexterityandwit,turningback onthequestionerthatwhichshedoesnotwishtoanswerwith firmnesstemperedbycharm–allroundsheisamostimpressive lady,theonecalledNinaSimone. NinacametoEnglandinDecember.Andsincethenwhathadalwaysbeenalarge devotedfollowingfromtheseshoreshasmushroomedintoasuddensurgeofpop interest,withtheresultthat,lastweek,MissSimonefoundherselfintheposition ofhavingtwoNMETop30hitsafterwaitingmorethanadecadetomakeherBritish chartbreakthrough. “ToLoveSomebody”leaptanamazing15places–thehighestjumpoftheweek –while“Ain’t’GotNo”wasstillhoveringinthelowerregionsofthechartafter reachingNo4.And,ontopofthat,thePhilipsdouble-sidedre-releaseofNina’s superbearlynumbers“IPutASpellOnYou”/“Don’tLetMeBeMisunderstood”is alsosellingwell. Therearesomeneattwistsofironyin“ToLoveSomebody”,whichis,ofcourse, aBeeGeesoriginalfromthepensofBarry,MauriceandRobinGibb.Oneliesin thefactthatthenumberwasastilllargelyunexplainedflopinBritainforthe BeeGeesthemselves,andcomingasitdid,sandwichedbetweentheirinitialhit “NewYorkMiningDisaster”andtheirNo1“Massachusetts”,itmighthaveproved afatalsetback. “Wedidhaveahitwithitelsewhere,”saidBarryGibbthisweek,“butnotin England,becauseIthinktheyjustdidn’twantthosekindsofsongsatthetime.” Paradoxically,“…Somebody’”hassincebecomeoneofthemostrecordedofallthe Gibbcompositions,andaccordingtoBarry,Nina’shitisonlyoneof200other versions.AsecondtouchofironyarisesfromthefactthatBarry,RobinandMaurice “WhenIdie, Iwanttohave leftsome markofmy own”
“Popularity doesn’tmean thatmuchtome. Nordoesmoney. Musicismylife”: NinaSimone, October30,1969 HISTORY OF ROCK 1969 | 27
28 | HISTORY OF ROCK 1965 28 | HISTORY OF ROCK 1969 M ostartistsgoonstageandprojectthemselvestothe audience.NinaSimoneisoneofararerbreedwhomakes theaudiencecometoher.Sheworkswithacertain detachmentanddelivershersongsdeadpan,althoughasthe eveningprogressessheallowsherselftheoccasionalsmileand getsupfromherpianoandexecutessomeshufflingdance movesacrossthestage. HerconcertatLondon’sRoyalFestivalHalllastSaturdaywas, tosaytheleast,successful.Tomany,sheappearstobesome speciesofBlackGoddess.Severalyoungwhitefanssucceeded ingettingonstage andsittingatherfeet, transfixed,towards theendofhershow. Backedbyorgan,guitar, bassguitaranddrums– herusualgroup–Nina workedthroughavaried, oftenmovingandalways entertainingprogramme. Herchoiceofmaterialis interesting;shedrawson contemporaryfolk(“Turn! Turn!Turn!”,writtenbyPeteSeeger,Dylan’s“TheTimesThey AreA-Changin’”and“IShallBeReleased”),blues(“Tossing AndTurning”)andsoul-slantedthingslikeherarrangementof poetPaulLawrenceDunbar’s“Compensation”and“ToLove Somebody”,whichwasanothergoodarrangementonwhich shewasjoinedbyDorisWilliamsandGinaRothschild. Theovationshereceivedwaswelldeserved.NinaSimoneis agreatartistand,asthemoodofheractsuggests,makesno compromises.Ifyoumissedherethistime,makethePalladium onApril9.NinaSimoneisoneofthemostexcitingperformers onanystageanywhere. TonyWilson A certain detachment MM March 29 Nina Simone draws on blues, contemporary folk and soul during a moving, entertaining performance in London. Several young fans succeeded in getting on stage and sitting at her feet havemadeasmuchoutofthesongfromroyaltiesoffthecoverversionsas theywouldhavedoneiftheBeeGeesthemselveshadgotittoNo1! “Ninaseemstohavealotofinterestinoursongs,”saysBarry.“Andthis reallyknocksmeoutbecauseitreallyisanhonour.Shehasbeenastarfor solonganditistremendous.” Flipof“…Somebody”isalsoaBeeGeessong,“ICan’tSeeNobody”,and thegroup’s“PleaseReadMe”and“TheMorning”compositionsare amongthetracksonNina’snewRCAalbum’NuffSaid. TheLPwasrecordedlivebeforeacapacityaudienceattheWestbury MusicFair,LongIsland,lastsummer,just48hoursaftertheassassination ofDrMartinLutherKing,andoneofthehighlightsisthesongwrittenthe samedaybyGeneTaylor,Nina’sbassplayer,titled“Why?(TheKingOf LoveIsDead)”. AlsoonthealbumisaliveversionofNina’shitfromHair–“Ain’tGotNo –IGotLife”,anewtreatmentoftheearthy“GinHouseBlues”and“The BacklashBlues”,anumberespeciallywrittenforNinabyLangston Hughes,oneofAmerica’sgreatestpoets,justafewmonthsbeforehis death.Ontheretooisafreshstylingof“ILovesYouPorgy”,thesongthat gaveNinaherfirstUSNo1overadecadeago. Agedabout35–thoughsheturnsasidequestionsonherage–Nina wasbornEuniceWaymoninTryon,NorthCarolina,thesixthofeight children.Bythetimeshewasseven,shehadtaughtherselftoplayboth pianoandorganandrecalls,“BythatageIhadacquiredadeepand intensedevotiontosound.” Butatanearlyagehermusicalcareerwasalmoststrangledatbirth throughherfamily’slowlyfinancialstatusandsavedonlybyalocal musicteacherwhorealisedthechild’spotentialandofferedtotrainher alongclassicallinesatnocharge. Bythishelp,theyoungNinawasabletoattendhighschoolinAsheville, NorthCarolina,andtocontinuehermusicaltrainingforayearandahalf attheJuilliardSchoolOfMusic.Whenherfamilylatermovedto Philadelphiashebecameanaccompanistforvocalstudentsandgave privatepianolessonstofinanceherownstudieswithVladimirSokoloff attheCurtisInstituteOfMusic. At19,shewentjobhuntingandwasofferedworkinanAtlanticCity nightclubonthestipulationthatshesangaswellasplayedpiano.“Iwas stunned,”sherecalls.“Inallmyconcentrationonthepiano,Ihadn’t paidanyattentiontomyvoice.”Shebegansingingspiritualsandthe audienceslappeditup. Ninahadlittledifficultyfindingworkafterthatandinthelate’50s. “ILovesYouPorgy”putherontheroadtointernationalstardomandto howweknowhertoday–asoneofthefinestblues/soulsingersinthe world. NickLogan —MELODYMAKERApRiL19— N inaSimone,theartiSt,istheHighPriestessOfSoul,the bluessingerandthejazzpianist.NinaSimone,theperson,is compelling,formidable,andtotallyinvolvedinlifeandliving. ShewasinLondonlastweekreachingamuchwideraudiencethan usual–thankstoasongfromHairandonefromtheBeeGees–but worryingbecauseherlatestsingle,“Revolution”,isnotbeingplayed. “I’msensitiveaboutallmyrecords,butI’mconcernedbecausethisone isn’tselling.I’dlikethefanstofindoutwhyit’snotbeingplayed,Iwantto knowwhattheythink. “‘Revolution’meanswhat’sgoingonintheworld.Ifyoulistentothe lyricsofthesongyouwillsee,thoughitdoesmentiontheracialproblem, therearenumerousothers–theyoungagainsttheold,theblackagainst thewhite,thepooragainsttherich,andthenewbreedagainsttheold establishment.Ithinktheyoungpeoplewouldlikeitespecially. “Itrytosaythroughmymusicwhatthousandsofpeoplethinkandfeel butaren’tabletosay.I’mjustamedium.Millionsofpeoplegothroughthe sameemotionsintheirownlives.Themusicthatyouputoutshouldbe veryclosetowhatyoufeel.I’mveryhappythatI’vehadthehits–it’s thrilling,abonus,it’sthesupremecompliment–butI’mnotgoingto changewhatIdoandputoutsomethingthatdoesn’tpleaseme.Iliketo pleasethepublic,butnotatmyownexpense. “Iwanttosingthebestmusicinlife–thebestthatIcanfind.Yes,the messageismoreimportanttome,butIdon’tthinkitcanbeseparated fromthemusic.Forme,themessageismoreimportant.Themessage L-O-V-E.Love,babyandcare–peopledon’tcareaboutoneanother.” ThestateoftheBritishchartsinterestedNina,especiallythecurrent upsurgeofenthusiasmforTamla-Motown. 1969 January–March ROYALfEStivALhALL LONDON MARch22 LIVE!
HISTORY OF ROCK 1969 | 29 getty “Colouredartistsareleadingthetrendofmusicin thepopchartandthisiswhatshouldbe.Itshould havehappenedyearsbefore.Therearemany reasons–wecouldtalkalldayaboutit–buttheworld isgettingsmaller.Colouredartistsareacceptedin waystheycouldneverhavebeenbefore–theydon’t havetotakebackseatsanymore.Themediumisvery bignow–there’sTV,radioandtravel.Firstofall,Iregardmyselfas acolouredwomanwhoisverysensitiveaboutthisthing.” “Ialwayswanttoreflectmypeople.Youngpeople,blackorwhite, comesecond.Iamaspokeswomanforyoungpeople,butfirstofall I’macolouredwoman.ThethingImostwanttodoistakeayearoff, orhoweverlongittakes,anddoanawfullotofreflectingaboutlife andmusic. “Youhavetoseewhatyou’vedoneandyouhavetotaketimetodothat. WhenIdieIwanttohaveleftsomeparticularmarkofmyown.I’m carvingmyownlittlenicheinthisworldnow.”RoystonEldridge —NMEApRiL19— S heSpeakStheverbalequivalentofbigblackcapitalletters. “Iamcarvingmyownlittlenicheinthisworldofcraziness.Iam intomyownthing.Man,whenIdieIwanttoleavesomekindof markthatismyown.” NinaSimonespeakinginherfascinatingmusicalvoicethatlifts imploringlyintoneattheendofeachsentence.Itgiveseverythingshe saysanextratouchofdramaandimportance. Butthenmostofwhatshesaysisimportant–she doesn’thavemuchtimefortrivia. Shesitsregally,dramatically,dressedingold- brownsilkblouseanddark-brownsilktrousers, astripedheadscarfwornEgyptian-stylerising upandawayfromthebackofherneck.She’sin Londonwithhusbandanddaughteronherway backtoNewYorkafterextensiveconcertsin Europe.Atherhotelshe’smeetingthepress. “Itrytosaysomethingthroughmymusic– whatlotsofpeoplethinkbutarenotabletodo orsaythemselves,”sheissaying.“That’sall. Iamjustamedium.Millionsofpeoplecanhave someidentificationwithwhatIsingbecause theyhavecomeacrossthesethingsthemselves. That’sall.” Chairsaredrawnnearertowardshercorner.She’s askedifshewantsadrink.Shesmiles,thinks.“No, I’mtryingtogetawayfromallthatcrap.”She’s boughtanicedcokeinstead. Theflashbulbspop.“Smile”asksacameraman.Nina’sreplyistopush forwardherproudchinandholdanimpressiveseriouspose. “Smile…SayCheese”comestherepeatedrequest.Thereisahalf- heartedattempttocomply,quicklyabandoned.“No,”sherepliesinstead, laughingwhiletryingtomaintaintheseriouspose. Afterthesuccessesof“Ain’tGotNo”and“ToLoveSomebody”,Nina’s “Revolution”singleistakingalongtimetogetofftheground.She expressesconcernaboutitandoverthefactthatithasn’tbeengetting muchairplayonRadioOne.“Anybodyherefromthemusicpapers?”she asks.“I’dlikemyfanstofindoutwhyitisn’tsellingandwhattheythink aboutit.” ItcanhardlybesaidthatNina’swholecareerdependsonthesuccess of“Revolution”,butsheappearstoshowdeepconcernaboutit. “Itbothersmebecauseoftherecordcompany,thepromotionpeople, becauseofmyhusband.Becausetheyareworried–butnotme.Musicis mylife.ItgivesmeakindoffreedomtowriteandsingwhatIlike.Imust havethatfreedom.If‘Revolution’doesnotsellthenwewillgoonto somethingelse,period.We’regoingtodo‘Turn!Turn!Turn!’asasingle. IdiditonTheDavidFrostShowandwehadafantasticresponsetoit. Ihopetheylikethat.” Whatdoes“revolution”meantoher? “Itmeanswhatisgoingonallovertheworld.If youlistentothelyricsyouwillseethatalthough itdoesincludetheracialproblemitdoes includealltherevoltsandrebellionsgoingon allovertheworld…blackagainstwhite…poor againstrich…youngagainstold…newbreed againsttheestablishment,andyoucangoon andonandon.Ibelievedthatyoungpeople wouldlikeit.Ibelievethatthemusic IputoutshouldbeasclosetowhatIfeelas possible.Thathasalwaysbeentheguideline. “IamveryhappythatIhadthehits,very thrilledaboutthem.ButreallyIjustcannot changeanddosomethingthatwilljustpleasethem. Iwanttopleasethem.ButreallyIcannotchangeand singwhatIdon’tbelievein.Popularitydoesn’tmean thatmuchtome.Nordoesmoney.Musicismylife.” Musically,Nina’sachievementsarelegion.Personally, thereisalong,longwaytogo.Sheexplainedone ambitionshe’dliketofulfil:“Iwanttotakeayearoffto haveanawfullotofreflectionaboutmylifeandmy music.IreallyfeltaglowinsidewhenIheardaboutthis manwhotookoff12years.Hisnamewas[pianist] VladimirHorowitz–hestayedawayfromaconcerthall for12yearsandhecamebacklastyear.Butheknew whathewasdoingandallIwantisayearormaybetwo,” shesays,withasmile.“Youhavetogoawayandseewhat youhavedone,andthatiswhatlivingisallabout.Youhaveto keepredirectingyourownlife.” ShespeaksofAmsterdamasacityofyoungpeople,acityshe admires,andoftheconcertsheplayedtherewhensomany youngpeopleattended.Doessheregardherselfasa“freedom fighter”foryouth? “FirstofallIregardmyselfasacolouredwomanwhoisvery sensitiveaboutthethingsIdoandthethingsIsay.Ialways wanttorepresentmypeople.Youngpeople,blackandwhite, comesecond.Myfirstidentificationisasacolouredwoman.” She’saskedonwhichsheputsthemostimportance–the messageorthemusic? “Tomethemessageismoreimportant,thoughIthinkit cannotbeseparatedfromtheaudience.” Whatthen,inanutshell,isthemessage? “L-O-V-E,”shespellsout.“Loveandcare.Peopledon’tcare enoughabouteachother.” ’Nuffsaid. NickLogan • NINA SIMONE “The music that you put out should be very close to what you feel” March1969:simone appearsonMichèle arnaud’sQuatreTemps onFrenchtelevision
BlindFaithinJune1969: (l–r)RicGrech,Eric Clapton,GingerBaker andSteveWinwood outsideOlympic StudiosinBarnes, South-WestLondon 30 | HISTORY OF ROCK 1969 1969 January–March
ÒItÕs very hopeful, very excitingÓ ERICCLAPTONstartstheyearonthe cuspofforminganewsupergroup –BLINDFAITH.Thereisagreat performanceinHydePark,but atroubledAmericantourtests Clapton’scommitmenttotheproject. “Egoswereflyingupanddown,”he says.“Idon’tthinkthegroupisgoing tostaytogetherverylong…” —NMEFEBRUARY1— E ricclaptonhasemergedfromself- imposedexileandisthisweekattempting tobookstudiotimeforhimselfandstevie Winwood.theformercreamguitaristandthe ex-trafficstar,whohavelongbeenadmirersof eachother’swork,decidedoverayearagothat theywouldrecordtogetherattheearliestopportunity.since thecreamcametoanend,Erichasbeeninhidingathisnew countryhousenearGuildford,avoidingpeopleandpublicity andponderinghisfuture. “itendtoregardthewholebusinessofcominguptotownasa nightmare,”saidEricwhenhemadeoneofhisrareexcursions intothebigcityonthursdaytotalkabouthisfuturewithstevie, hisfriendshipwithGeorgeharrisonandwhyhethinksevenhis mostfaithfulfanswillgiveupfollowinghimsoonerorlater. » HISTORY OF ROCK 1969 | 31 Getty
32 | HISTORY OF ROCK 1965 32 | HISTORY OF ROCK 1969 1969 January–March IwaitedforhimatmanagerRobertStigwood’sMayfairoffices.Ericwas late.“He’sjustarrivedandfindinghimwayupthroughtheoffices,”said publicistRobinTurner.Aquarterofanhourormorepassed.“Hemust havegotlostbetweenhereandthefrontdoor,”Robinapologised. EventuallyMrClaptonarrived,withagrinonhisfaceandlooking healthyandhappyandresplendentinablackvelvetjacketandpinkvelvet trouserswithturn-ups. “You’relookingwell,”hesaid,sittinghimselfdownandaskingifabacon sandwichcouldbefoundwhileheproceededtotellmewhathehadbeen doinginhisSurreyhideoutsincetheCreamsplit. “Iamaprofessionallistener,”heconfessed.“Ilikelisteningtorecordsas muchasplaying.Thatisprobablywhatmyproblemis.OnceagainIhave gottolisteningtobluesandoldrock’n’rollrecords,includingaBuddy HollyGreatestHitsLPIhavebought.ButIthinkitisnowtimeIdid something.I’mtryingtobookrecordingsessionsfornextweek,soI’ll haveadeadlinethenandI’llhavetodosomething. “Anyonewhowantstoturnup,”wasEric’sreplywhenIaskedwhohe’d beworkingwith.Couldhebemorespecific?“Well,Stevie,obviously.But Idon’tknowwhetherI’llbedoinganalbumofmine,oranalbumofmine andStevie,orjustStevie’salbum.Itwilljusthavetosortitselfout,because Ican’tbebotheredmakingthosekindsof decisionsbeforehand. “Steviecamedownandstayedatthehousefor fourdaysjustdaysafterChristmas.Wedidn’t talkmuchbutweplayedalotandthatIsuppose wasourversionoftalking.Butit’sveryhopeful, veryexciting.He’sfrighteninglygood.Infactthe onlythingthatholdsmebackisthatheisso dynamicthatyoucouldprobablyendupjust accompanyinghim!I’vegottoworkoutinmy mindwhetherIwanttodothatortoexpress somethingonmyown.” Doesitmeanthattheywillbeformingagroup together,Iasked?“Itprobablywillbe,”he replied,“butIdon’twanttocommitmyselfso stronglythatIcan’tbackout.” Whatthenarethechances?“Oh75to25,”saidEricwithanenigmatic smile.Thenafterapauseadded,“Verygoodchances,actually.There’s no-oneelse.TheonlythingisthatifIdoarecordwithStevieorforma groupwithhimIamkindastuckforarhythmsection,andmyimmediate reactionwouldbetocallupJackandGingerbecausetheyaretheonlytwo thatIamfamiliarwith.ButIdon’tknowhowSteviewouldfeelaboutthat. HemightwanttocallupJimCapaldi,ChrisWood,etc.Soit’saproblem. “Iftherewasagroupitwouldprobablybeonlytemporarybutthetime mightbealotlongerthanotherpeoplewouldcalltemporary.Wemight driftaroundforayearorsooracoupleofyears.AndasJackhassaid,there issomechancethatCreamwillallbebacktogetherinninemonths.I’d quiteliketodoitallagainwithanothermember.WithStevie–yeah.Say someonesaidgettogetherattheendofthisyearafterIhavehadallmy littlediversions,thenImightdoit–butnotasatrio.” ApartfromEric’sassociationswithStevie,anotherheavyinfluence onhimoflatehascomefromhisfriendshipwithGeorgeHarrison.“He influencesmealot,”saidEric,“inwhathesaysaboutthingsandabout music.Butthereisnochancethatwewouldgetinvolvedinagroup, becausehehasthebestgroupintheworldonhishands.Andhewouldbe afooltocheckoutofthat.ButIwillstillbeseeinghim,becauseheturns youon.Heisafantasticperson;averyheavyman.” WetalkedaboutTonyPalmer’sBBCOmnibustributetotheCream andhowdifferentEricseemednowfromthefilminterviewsinthe programme.“Therehaveobviouslybeensomegreatchanges.When thoseinterviewsweredonewehadjustcheckedintoSanFranciscoto playtheFillmoreandwewereveryegotisticalabouteverything.Wewere justGod’sgifttotheworld,butthatdidn’tlastlong.Idon’tfeelso‘dogeat dog’anymore.IfeltverymuchasifIwasinacompetition. “Iwasveryawareofpeopletalkingaboutthis‘fastestguitaralive’bit. Butthereisnonecessitytogointothatnow;Iamnowquitepreparedto gointoastudioandmakeanythingthatsoundsgoodtome–andbe satisfiedwithit.I’mnotworriedaboutitsappealtootherpeopleorlike howitstandsupagainstthelatestguitaristtocomeup.Iamnotsohung upnowonbeingasuccess.Butthereisnosuchthingasabestguitarist. BecauseifIhadalickthatwasbetterthanBeck’sthenBeckwouldhave alickthatwasbetterthanmine,andHendrixisbetterthanallofus anyway,”helaughed. ThestrangethingaboutthelegendaryMrClaptonisthatwhilemuch isheardofClaptonthemusicianandguitarist,littleiseverheardof Claptontheman.Thisisusuallythecasewithlegendarycharacters,as Ericundoubtedlyis,andderivesfromhiswishtoavoidapersonalitycult –asituationhenotonlyintendstocontinuebuttointensify. “IfIaminanewspaperitisalwaysaboutmyguitarplaying,”agreed Eric.“Ithasalwaysbeenthatway.Idon’thaveapersonalityappeallike, sayaBeeGee.It’salsobecauseI’msofickle,Isuppose.ImeanIcan’ttie myselfdowntoeverlookingthesame.” Icanvouchforthat.OnOmnibus,Eric’shairwaswavyandhehada moustache.ThelasttimeIsawhim,inDecemberattheStones’RockAnd RollCircus,hehadnomoustacheandlongstraighthair.OnThursdayhe hadchangedyetagain.Nowthemoustacheisback,hishairisshorterat thesidesandhehasacquiredafringe. “IrememberoncewhenIwaswithJohnMayallIusedtowearmilitary jackets,”herecalled.“Iplayedatoneplaceandthewholecrowdwas wearingmilitaryuniforms.AndIcameonwearingaclownoutfitor somethingstrangeandtherewerehundredsofbrought-downpeople everywhere.ButIavoidtryingtogetapersonalitycult.Iexpectthisyear toreallydropoutofitcompletely,publicity-wise,press-wise. “Ijustdon’tthinkyoucankeepthepublic interestedinsomeonewhoisnottakingthe stepstointerestthem.Iamnowvirtuallyin apositionwhereIhavenothingtosayto anybody.Whatmyplansare,whatIeatfor breakfastandallthat.Evenmymostfaithful fans,whoevertheymaybe,areboundtogive upsoonerorlater. “No,I’mnotdeliberatelytryingtolosethem, Iamjustbeingmyself,butIdon’tthinkthat willinterestthemforlong.Imean–justabloke. There’snothingforthemtogethungupon.” TheymanagetogethunguponLennon, McCartney,etc,as“justblokes”,Isuggested. “Theyarenot‘justblokes’,”protestedEric. “Theyare…Well,I’mhunguponHarrison, Lennon,McCartneyandRingobecausetheyarethesaintsofthe20th century.”AlotofpeoplewouldputEricinthesameclass. “No,Ijustdon’tseethat,”hecontinued.“Ican’tseehowjustbeinga guitaristisenough.”Butaverygoodguitarist.“Notevenagoodguitarist. ButifIwasasongwriterandIhadthingstosaythatpeoplecouldfollow… “Icanonlyreallyappealtootherguitarists.Therecan’tbetoomany chicks,orpopmusicfanseither.” Whatdidyoueatforbreakfast? “Porridge,”saidEricandsmiled. NickLogan —MELODYMAKERAUGUST16— T herewasonceastandardpresspicturecaptionforlady showbusinesscelebritieswhichran:“Alwayshappiestwhen amongherflowers.”GingerBakerhasareputationasa hellraiser,whichhedoesnotparticularlyenjoyandisnotparticularly accurate.Withangularfeaturesandwildredhair,heseemsafearsome figureashenightlywhipsupexcitementwithdrumsolosonriot-torn rostrumsacrossAmerica. Heisknowntogetintooccasionalscrapeswithpolicemenandhasbeen seenatthecentreofoddscenesinthemorerockingkindofnightclub. ButGingerBakerathome,whenhegetsthechance,isamanofpeace, dedicatedtoensuringhistropicalfishreceiveabalanceddietandaclean environment.Hehasworkedlongandhardforrecognitionandfinancial rewardandevennowherarelyhastimetorelaxwiththesimplepleasures oflifeinadetachedHarrowvillawithwifeandchildren. However,GingermanagedtotakeafewdaysofffromBlindFaith’s hectictourofAmericalastweekandwhenIcalledathishomehewas busyinghimselfdrawingplansforaproposedhigh-speedcruiserwhile hisfamilywatchedunmovedatthedesperateattemptsofRowan& Martin’sLaugh-Intoraiseachuckle,incolour. Injustoverayearintheircomfortableandspacioushouse,Ginger hasorderedthetransformationofhisgardenfromaheapofwetclayto apleasantpieceofgreenerywithattractivefishpondwithfountains, whichhebuilthimselfwiththeaidofroadmanager,MickTurner. Andinside,Gingerhastwolargetanksstockedwithanintriguingarray offishydelightsofvarioushues.Iarrivedatfeedingtimeandwasshown » “I expect this year to really drop out of it completely, publicity-wise”
HISTORY OF ROCK 1969 | 33 Getty I twas,ifwearetobelievetheLondon EveningNews,droppingthebiggestbooby ofthemall,the“Creamfarewellconcert”. Thatsuchapowerfulnewspapershouldbeso ignorantofthefactsisfrightening,butgladly notallthepresscoveragewasasill-informed asthepooroldout-of-touchNews. ButthesadderaspectofthissideoftheBlind Faithconcertwasthatintheiramazementat 120,000youngstersmeetingwithout incident,thenationalpressmissedthe opportunitytorealisethatpopisnolongerthe preserveoftheteenybopperandthatthese “mods,rockersandhippies”,astheEvening Standardcalledthem,hadcomenottoscream atsomehope-swivellingdemagogue,butinan orderlywaytolistentoadultthinkingpop music,aboutwhichtherewasnotaword. Sowhatofthemusicthatcausedallthefuss butwentvirtuallyignoredinthecoverage? Whatwewerewitnessingwasnotthegodsat playbutaveryfinerockgroup.Andifwe thoughtoftheminthatwayandnotas superhumanbeingsthentheyweregoodand becomingbrilliantwitheverynewphrase.It was1pmwhenIarrived,alongwithacavalryof colourfulyoungpeoplewhohadpouredoutof theUndergroundatMarbleArch,andalready thecrowdwasoverflowingthenatural amphitheatreknownasthecockpit. Musically,thepeacefulmoodofthe afternoonwassetbyTheThirdEarBandand theirIndian-influencedalchemy,providedby tabla,clarinet,celloandviolin.Theexcellent EdgarBroughtonBandfollowed,andkeptup thehighstandard,withtheirBeefheart-like bluesypop.AbigroarwentupforRichie Havensashetookthestageandlaunchedinto “HighFlyingBird”andanactofburning intensitydeliveredfromtheheart. “Freedom”wasanemotionalcloserandat theendofitRichiecameoffthestageatthe back,withhisfacescrewedupwithpassion, stillstrumminghisguitarforseveralseconds aftertheactwasover.Itwas awonderfulfeelingof masscommunicationthat wasfillingtheparkwith sweetnessanditrubbedoff onDonovan,whoborrowed Richie’sguitarandaskedifhe couldsingasongortwo. Hesanghellotothemfirst, andtheywarmedtohim, andthengavethemfour numberswhichtheyloved. Hepicked“Colours” asafinalethey’dallknowandbrokeoff midwaytoamusetheaudiencewiththe popularprostitutionofhisownlyrics…“Yellow isthecolourofmytruelove’steeth.”Etc. SotoBlindFaith,whosenon-appearance wascausingapprehensionuntilalmostexactly toscheduletheirfacesappearedinthethrong attherearoftheenclosure.ItwasStevie’s apparentmusicaldominationofEricand Gingerthatseemedtodisappointsomeof thecrowd.Oneveryoneoftheninenumbers itwasSteviewhotookthevocals,leavinghis unmistakeableimpressionofthemusical outflow.Butisthatreallysuchabadthing? Stevie’stalentisgrowingtofrightening proportions, thoseaching vocalsthattug atthemindare reachingnew dimensions,and withEricandRick’sguitarsandGinger’s drumshecouldhavenofinercanvasonwhich tocreate. Andif,asitseemslikely,EricandGinger wouldratherbeledthanbeleaders,perhaps theyfeelsomedominantforceisnecessaryto stoptheirtalentsproducingself-indulgence. I,forone,foundnocauseforcomplaint. Itisdifficulttochronicle thenumbersasmosttitles wentunannounced,but thosethatwereincluded Stevie’sbluesnumber“I’d RatherSeeYouSleepingIn TheGround”,his“MeansTo AnEnd”andtheStones’ “UnderMyThumb”.Itwas whenGingerannounced, half-joking,half-serious, thatthiswasjusttheirfirst rehearsalthatIbegantowonderifwewere expectingtoomuchandbegantoseekanew basisforappraisal. AnditwaswhenGingerataboutthatpoint turnedonaflashofbrilliantdrummingtoget thecrowdonitsfeetthatthewholesettook anightfromthegoodtotheexcellent.Stevie camebackpoweringaway;RickGrech, bendingoverhisguitarinthatpeculiarbass player’scrouchingstance,wasmakingitclear thathewasn’toutofhisdepthinsuchexalted company;whileEricwasplayingwithsubtlety andcontrolledelegance. Earliertherehadbeenacertainamountof drivelacking,butStevie’skeyboardstorming andGinger’sferociousdrummingwere pushinguptheleveleveryminuteandfrom thatpointIbegantonotedowneverynumber astheirbestsofar. PerhapsSteviesummeditupforallofthem whenhesang,“Ihavefinallyfoundaplaceto livelikeIneverhadbefore.” NickLogan Subtlety and controlled elegance NMEJune14BlindFaithmaketheirlive debutonabalmyeveninginLondon. Ginger announced – half-joking, half-serious – that this was their first rehearsal withClapton concernedabouttheir stagereadiness,Blind faithliveuptotheir nameinfrontofan audienceof120,000 hYDEpARK LONDON JUNE7 LIVE!
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