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The History Of Rock 1970
- 1. amonthlytripthroughmusic’s goldenyearsthisissue:1970 PLUS! nico | viv stanshall | zeppelin | soft machine | who | stones starring... black sabbath “I’mnottryingtosaywe’reangels” pink floyd derek & the dominos leonard cohen joni mitchell sandy denny elton john csny free
- 3. A new decade brings re-evaluation for the stars of the 1960s. It says much about their qualities that they knew when moods were changing and their influence might be changing with them. Pete Townshend this year is humble. Mick Jagger wants to keep on the move. Paul McCartney, meanwhile,breaksupTheBeatles. JimiHendrixprefaceshisperformanceatthesummer’sIsleOfWightfestival with a Melody Maker interview. In it he states that one musical era “started by TheBeatles”isover,andthatheisworkingonnewmusicthatwillplayapartin thecomingera.“JimiHendrixwillbethere,”hesays. As much as it is about endings, though, 1970 has some startling new beginnings. The spectacular rise of our cover stars Black Sabbath is one such. The massive impact made by Free another. Both bands take blues purism and rewireit–alongthewayfindingcompletelynewaudiences. Making sense of the changing times were the writers of the New Musical Express and Melody Maker. This is the world of The History Of Rock, a monthly magazine which reaps the benefits of their extraordinary journalism for the readerdecadeslater,oneyearatatime.Inthepagesofthissixthissue,dedicated to 1970, you will find verbatim articles from frontline staffers, compiled into longandilluminatingreads.Missedone?Youcanfindouthowtorectifythaton page144. 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. Sadly, Jimi Hendrix didn’t make it much further into the new decade. Otherwise, representatives fromNew Musical Express and Melody Maker are where it matters. Tea with Leonard Cohen. Tomato sandwiches with Mick Jagger.UndercanvasattheIsleOfWight. Jointhemthere.There’sanewdaydawning. W elcome to1970 HISTORY OF ROCK 1970 | 3 1970 month by month
- 5. Time Inc. (UK) Ltd, 8th Floor, Blue Fin Building, 110 Southwark St, London SE1 0SU | Editor John Mulvey, whose favourite song from 1970 is Move On Up by Curtis Mayfield dEputy Editor John Robinson Fairies Wear Boots by Black Sabbath art Editor Lora Findlay Diamond Day by Vashti Bunyan production Editor Mike Johnson Oh I Wept by Free art dirEctor Marc Jones Patches by Clarence Carter dEsignEr Becky Redman Sugar Magnolia by The Grateful Dead picturE Editor Kimberly Kriete Winterlude by Bob Dylan covEr photo Chris Walter thanks to Helen Spivak MarkEting Charlotte Treadaway suBscriptions Sonja Zeven puBlishing dirEctor Ed Beale covErs printEd By Polestar Wheatons tExt printEd By Polestar Chantry | www.uncut.co.uk 106BlackSabbath Thebandenjoytheir successes,post-“Paranoid”.MM goesontheroadforachaotic one-nighterinNewcastle. 112TheFaces Charming,talentedand generallypissed…Introducing theotherbandtorisefromthe SmallFaces. 118TheRollingStones MickJaggerreflectsonthe demiseofTheBeatles,whathe doesinbed,andtheimportance ofperforminglive.“Musicians shouldliveoutofsuitcases,”he advises,“notcountryhouses.” 124DerekAnd TheDominos EricClaptonenjoys apseudonymousrebirthas Derek,whilebandmatesBobby WhitlockandDuaneAllman explaintheirinvolvement. 128News RIPJimiHendrixandJanisJoplin. TonyBlackburnvsJohnPeel.The RollingStoneshavenoplansto liveabroad. 132JethroTull Anin-depthinterviewwith theopaque,difficult-to-like IanAnderson. 136Albums JimmyPagetalksusthrough LedZeppelinIII. 138TheWho PeteTownshendconfesses toawealthofmusicalandpersonal insecuritiesinthissearching “manandmusic”interview. 145Letters JohnPeelasHousewives’ Choice.RememberingJimi Hendrix.And,whilewe’reatit, whatdoesPaulMcCartneythink he’splayingat? ledZeppelin– pages34and136 CHRIS WaLTER HISTORY OF ROCK 1970 | 5
- 6. “I can’t see it as permanent” H ypehasbeenkindlydefinedbyawise friendasbeing90percenthyperboleand 10percenthypocrisy.Withthatclearlyin mind,whowouldeverthinkofgivingthetitle totheirowngroup? DavidBowiewouldandhas,partlyasaprotest againstthepretentiousnessandinsincerityin somequartersofthemusicbusiness.Explained Davidlastweekoverthealmostoverwhelming dinofalunchtimealehouse: “Ideliberatelychosethenameinfavourof somethingthatsoundedperhapsheavybecause nownoonecansaythey’rebeingconned. Especiallynowadays,there’salotofnarrow- mindednessamonggroups,oratleastbehindthe organiserswhoclaimtobepresentingfreemusic forfreepeople,butIdon’tseehowtheycan becausethey’resohypocriticalineverything else.IsupposeyoucouldsayIchoseHype deliberatelywithtongueincheek.” David’slastrecordwastheultra-dramatic “SpaceOddity”,whichwasagoodreflectionof theextenttowhichhisimaginationwillstretch. Insomewaystheconceptionofthesongwasso simple(dealingwiththedisastrous shortcomingsofanastronaut)thatyouwonder whyithadn’tbeendonebefore.Itismorethan probablethatfiveorsixyearsago“SpaceOddity” wouldhavebeengivenanicyreceptionandeven bannedasbeingsick.Thediscwasinfactbanned intheStates.“Iwaspleasedthattherecordwasa success,butgettingahitwasn’tsoveryimportant andIhonestlycan’tseewhyitwassopopular.” Thelaststatementcouldonlybeputdownto modestyandDavidisaverymodestcharacter. Hehasrefusedtoallowhimselftheeasywayout ofbecomingbittertowardsthebusiness.“Space Oddity”atlastbroughthimdeservedrecognition afterseveralattemptsatgettingahit,butnowthe chartsholdlittleattentionforhim. Whatthendoesthefutureholdforhisnew releasewithHype,“PrettyStar”? MMMarch28DavidBowiebegins togetintocharacter(s). 6 | HISTORY OF ROCK 1970 rex features » 1970 nico,softMachine, BlacksaBBath,csny, leDzeppelinanDMore JANUARY – MARCH
- 7. HISTORY OF ROCK 1970 | 7 March11,1970:theHype –(l–r)DavidBowie,Tony Visconti,JohnCambridge andMickRonson(out ofshot)–appearatthe AtomicSunriseFestival atLondon’sRoundhouse
- 8. M agicinmusic.Isitabighypeoris theresomethingintheancientartthat anumberofgroupsareutilisingboth onstageandonrecord?BlackWidoware aLeicester-basedbandformedlastsummer fromtheremnantsoffiveMidlandsgroups. Theydevelopedtheirindividualinterestin witchcraftintoagroupstageactthatinvolves sacrificialanddemon-raisingscenes. Factorfiction,isthereanelementofthe unknowninwhatmanythink,not surprisingly,isjustanotherpopgroup gimmick?CliveBox,drummerwith BlackWidow,gavehisviews: “Personally,I’vebeen interestedinwitchcraftfor aboutthreeyears.When westartedasBlack Widowwewerelooking aroundforastageact andIsuggestedthat witchcraftwouldbea basisofatremendous act,whichiswhatwe haveperfectedtoday. “Theactincludesa seductionconjurationand sacrificialceremony. Everythingisauthentic andweattempttoraise LadyAstaroth,whois playedbyayounggirl.Lady Astarothisnotademon; she’sagoddesswithalotof demonsunderhercontrol. “Whenwestarteddoing thiswehadquiteafewphonecallsfrom witcheswhowereagainstwhatweweredoing. Therearetwoclassesofwitches–hereditary andgardenarian.Itisthegardenarianwitches whohavetelephonedus,becausetheybelieve thattheceremoniesshouldnotbeheldin publicastheyfeelyouaregivingawaysecrets. “SincethenwehavehadhelpfromAlex Saunders,theleadingauthorityinEuropeon witchcraft.Heisahereditarywitchandwas worriedincasesomethingdidhappeninour act.Wegettheaudienceinvolvedinouract andwithallthoseminds,there’ssomuch powerthatsomethingcouldmaterialise, andMrSaundershasadviseduswhattodo ifLadyAstarothdid.Apparentlyshecould possessthegirlwhoportraysheronstage. “Idon’treallythinkthere’sanythingtofear, butMrSaundersismakingusatalismanto offerusprotection.We’vebeenabitworried recentlyastherehavebeenoneortwothings thathavebeenabitunusual.Therearelittle thingslikeallthewindowsintheflatbeing openandwefoundtwoofthethreebolts holdingthesteeringboxinthevanwere snapped,andyetthevanischecked everymonthandthey’reso robust.Canyouimagine travellinghundredsofmiles onthemotorwaywithonly oneboltholdingthe steeringbox? “Onanotheroccasion Iwasdrivingwithmy girlfriendonaroadIuse twoorthreetimesaweek nearmyhomeandwewent roundaright-handbend andthesteeringsuddenly lockedandIendedup intheditch.Icalledthe AAandaskedthemto checkthesteeringand theycouldfindnothing wrong.We’vehadalotof threatstotheofficeand it’sabitworrying.” Musically,thegroup– ZootTaylor(organ),Clive Box(drums),JimGannon(guitar),KipTrevor (vocals),GeoffGriffiths(bass)andCliveJones (saxandflute)–listentoalotofpeopleand incorporatedifferentfeelsintowhattheyplay, whichisbasicallytheworkofJimGannon. “Theseductionsceneisbasedonthebossa nova,forinstance,theconjurationsceneis veryheavyandtheseductionisreallyarock number,”continuedBox. Devils,demons,evilspiritsandwitchcraft apart,itisonmusicthatBlackWidowhaveto bejudged.Itneedsalotof“magic”toconvince thecynicalpublic… RoystonEldridge “With so much audience mind- power, something could materialise” MMMARCH28Introducing…Midlands-baseddabblersinthe occultBlackWidow.“Wehadquiteafewcallsfromwitches.” “Ithinkalotofpeopleareexpectinganother ‘SpaceOddity’,”saidDavid,“and‘PrettyStar’ isnothinglikeit.I’msurethisiswhytheBBC aren’tpluggingit.Everyonewantedanother songwiththesamefeelas‘SpaceOddity’,butas I’ddoneitIdidn’tseethepointofdoingitagain. ThesongserveditspurposebutIhopeI’mnot goingtobeexpectedtowriteandrecordawhole lotofstuffthatissoobviousas‘SpaceOddity’.” Iremarkedthatithadtakensometimefor “SpaceOddity”tostartmakinganimpression onthecharts–astatementwhichhadDavid noddingvigorously.“Yes,”heagreed,“ittook aboutthreeorfourmonthstocatchonandthe releasehadbeenheldbackaboutthreemonths beforethat.TheonlyreasonIcanthinkofisthat therecordcompanywerewaitingtocashinon theAmericanmoonlanding.Itwasbannedin theStatesbecausetheythoughtitwasinbad tasteandevenmightupsetsomepeople.” ThisissomethingwhichDavidstoicallymakes noapologiesfor.“Allmysongsareverypersonal andIcombinethiswithanexaggerationsothe meaningisclearlybroughthometothelistener. Alotofmycompositionsareverymuchfantasy tales.IlikeMarcBolan’ssongsverymuch becauseIthinkheobviouslyfeelsthesameway.” Theconversationthenswungoncemore totheintriguingHype.“I’mveryhappywith theband,”saysDavid.“IhaveTonyVisconti, whohasplayedbassonnearlyallmyrecords, JohnCambridge,whousedtobewithJunior’s Eyes,andMickRonsononguitarandIplay 12-stringguitar. “Althoughwe’re allhappywiththe set-up,Ican’tseeit becomingareally permanentthing. IwanttoretainHype andmyselfastwo separateworking unitswherebywe canretainourown identities. “Thegigswe’ve donesofarhave gonebetterthanIexpected.Weplayedthe Roundhouserecentlyanditwasgreat.The Roundhouseaudiencesseemtobesomething apartfromtheusualblaséLondonaudiences. “We’vehadthesecostumesmadebyvarious girlfriendswhichmakeuslooklikeDrStrange ortheIncredibleHulk.Iwasabitapprehensive aboutwearingthemattheRoundhousegig becauseIdidn’tknowhowtheaudiencewould react.Iftheythinkit’sahugeput-onthewhole thingwillbackfire,buttheyseemedtoaccept it,whichwasnice. “ThebestaudiencesIknowofareupnorth, wheretheyreallyappreciateyou.InLondon theaudiencesareveryawarethattheyare livingintheplacewhereit’sallsupposedtobe happening,soinevitablytheyhavethiscool attitudethey’lltryandsellyouanythingfroma pairoftrouserstoyourowncar.” RaymondTelford “We’ve had these costumes made by various girlfriends” “The act includes a seduction conjuration” Withtheaidofaglamorous assistant,BlackWidow frontmanKiptrevorgets downtosummoningthe spiritof demon-wrangling goddessladyastaroth 1970 January–March
- 9. HISTORY OF ROCK 1970 | 9 J amesPaulmccartneyishome andbabyandLindaandballadand rock’n’rollravers,andFairIslesweaters anddadandbrotherandtheFridaytrainto LimeStreet.JohnLennonisYokoandpeace andPlasticfantastic;XandSex;andbangthe gongforrightandwrong.ThenewBeatles single,“LetItBe”,isreleasedwithinthenext fortnight,andinthelightofthesedifferences itwouldhavebeenapersonalpleasureto reportanimminent“Come Together”betweenthe worldsofoldFairIsle McCartneyandPlastic Lennonfantastic! Sadly,nosuchluck.The voidbetweenthemseems aswideasever.Andaclose lookatthelabelcreditfor John’sownnewsingle, “InstantKarma”,seemstobeevidencethat eventheLennon-McCartneysongwriting partnershipmaynowbeabouttobedropped. Thepublishinglineplaysitstraight: “Composed:Lennon”.Thenew“LetItBe” singledoescarryaLennon-McCartneycredit, butinrealityit’soneofthosebeautifuland exclusivelyMcCartneysongsinwhichhe developsthesoft,tightpainofanumberlike “Yesterday”or“FoolOnTheHill”.After George’s“Something”solo,anotherthought isthatwemaybeonarunofsoloBeatletracks releasedassingles.Johnnext,maybe.Then aRingoswingalong? Tomymindthesaddestpartofthewhole stateofBeatlesmusicatthemomentisthatall ofitisbeingwritteninisolation.Ofcourseit’s good,andagreatdealofitisbrilliant.Butthink ofthepossibilityandthepotentialofthese talentsiftheywerecombinedtoday,bothin compositionandsound,andthefactthatthey arenotworkingtogethercomessomewhere neartopopmusictragedy. AsforPaul,whostillpreferstoexpresshis mindexclusivelyinhismusic,it’sdifficultto pinpointthemomentwhenhelostinterestin Apple,plusLennon’speacecrusade,and begantowonderifTheBeatlesstillexisted anymore.Atthesametime,ittakeslittle imaginationtounderstandtheeasewithwhich hedecidedto“switchoff”sometimelastyear. Therewereproblemsandargumentsasa resultoftheNorthernSongstakeoverbid; furtherdisagreements,aboutotherbusiness affairs;andageneralairofsournessoverthere atApple’sSavileRowHQ. Havingturnedoffthe charm,however,Inow suspectthatPaulwouldfind itsomethingofapersonal discomforttobegin interviewsagain,evenifhe wantedto.It’sabittricky whenyou’vekickedthe habit.Untilsuchtimeashe choosestojumpintothelimelightagain, though,Paul’sfirm-mindedwifeLindaseems tohavetakenoverasakindofbarrierbetween himandtherestoftheworld. CallerstotheirStJohn’sWoodhouseeither meetLindaoramemberofthestaff,andPaul is“notavailable”,or“out”,or“busy”.Students ofastrologymaywellrecogniseatypical GeminireactioninthisMcCartneymystique… outwardandsociableatoneminute;ahermit thenext;goodfriendlyguyoneminute; distantguythenext. Personally,Icanonlywishhimpeaceand quietforaslongashewants,followingthose yearsofBeatlemaniaandBeingNice.Irespect hisabilityasamusician,andprovidinghe regularlycomesupwiththegoods–forhis ownsakeasmuchasanyoneelse’s–thenlet’s makeitacaseofLetItBe,LetItBe.AsRingo putsit:“Paul’sfine.MaureenandIwentoverto dinnerwithhimlastweekandwehadagood time.He’swritingsongsandhe’sdoingthings. He’shappy.He’sjustfedupdoinginterviews, that’sall.Idon’tthinkhe’dcareifheneverdid anotherinterviewinallhislife.” AlanSmith NMEFEB21Whereis“thehermitofStJohn’sWood”? J ohnandYokoLennonareplanning amassivePeaceFestivaltobestagedat Toronto’sMosportParkinCanadafor threedaysfromJuly3.Johnishopingto secureTheBeatles,theRollingStones,Bob DylanandElvisPresleyfortheevent–and heenvisagesallthesesuperstarsonstage togethertoclimaxthreedaysofmusic, poetryandpeacepropaganda. Amongthosewhohavealreadyagreedto takepart–accordingtoLennon–areLed Zeppelin,JethroTull,TheWho,Eric Clapton,KingCrimson,JoeCocker,The BandandPeterSellers.Askedhow confidenthewasofsecuringTheBeatles fortheevent,Johnsaid,“Ican’tspeakforall TheBeatles,butIshalltryandhustlethem out–maybeI’llgetoneortwooftheothers.” TheLennonshavealreadyhadameeting withCanadianprimeministerPierre TrudeauandhealthministerJohnMunro, bothofwhomapproveplansforthefestival. SaidJohn,“WechoseCanadainpreference toanyothercountrybecauseithastheright politicalclimate.”Headdedthathewould likealsototakethefestivaltoMoscow. DickGregoryhasacceptedaninvitation tobepartoftheLennons’peacecouncil, whichwilladministeraPeaceFund.One quarterofthegrossproceedsfromthe festivalwillgotothePeaceFund.Lennon alsoannouncedanetworkofpeaceradio stations,whichwillbroadcasthispeace jinglesandaregularreportbytheLennons onpeace–andalready35Canadian stationshavejoinedthemovement. JohnandYokoaretopurchase70acresof landinisolatedHanherredinNorthern Denmark.Theyplantolivethereforseveral monthseveryyearincontemplation. “I shall try and hustle them out” NMEJAN10JohnLennonplans apeacefestivalfeaturingThe Beatles,Stones,DylanandElvis. getty (2) “Paul’sfine” Paulandlindamccartney withsheepdogmarthaon theirremotefarmnear campbeltownontheKintyre peninsula,early1970 February11,1970: Johnandyoko backstageatTop OfThePops Paul’s wife Linda seems to have taken over as a kind of barrier HISTORY OF ROCK 1970 | 9
- 11. HISTORY OF ROCK 1970 | 11 A lmostcertainlyseveralyearstoo latetocashinonthefantasticbuild-up andsuperlativesthatwerebeingheaped ontheWestCoastrockgroupbackin1966 and’67,Lovehasbeenandgone.Butwhen thebossisArthurLee,singerandguitarist, andonlyoncepreviouslyhashebeenknown totakeLoveoutsideathree-mileradiusof LosAngeles,Iguesswe’reprettyluckyto havehadthemhereatall. ArthurLee,26,fromMemphis,isavery strangeguy,invitingrumourandmythin abundance.Heissaidtobetheonlyblack singerevertohavewatchedMickJaggerin actiontolearnsomething.Hesackshisband withalarmingregularity,somuchsothatheis theonlyremainingmemberofthegroup whichrecordedtheirfirstLP,Love. Hailedasitwas,evenLeewashardputtocall thealbumanobjectlessoninoriginality: “Jaggeropenedmyeyesalot,”hefreelyadmits. “ThefirsttimeIeversawtheRollingStones wasonTheRedSkeltonShowinAmerica.Itwas that‘I’mnotgoingtoletthislotscrewmeup’ attitudethatcameonsostrong,Irealisedthat youcouldalways…youshouldalwaysdoyour ownthing. “Atthattime,evenTheBeatleswerewearing suits,andtheyalllookedalike,butnotJagger. He’sonlysingingrhythmandblues,buthe’s doingitinhisownway.It’shisinterpretation, andthat’swhatI’mtryingtodo.Thesongmay bethesame,butthesingingisdifferent.It’slike thecandleandthelightbulb.Yougetthesame outcome,butone’sgotelectricity.” IfJaggerinfluencedLeestage-wise,itwas TheByrdswhogavehimamusicaldirection. “BeforeIsawTheByrdsataplacecalledCiro’s, theyreallyrippedmeout.Theirmusicwasn’t rhythmandblueslikeeverybodyelsewas playing,itreallygottotheheart.Theywere singingtheirownmaterial, anditwaslikethesongs Iwaswritingmyself.So again,IfiguredthatIcould domyownthingandget accepted.That’swhatwent intoLove,thefirstalbum. Medoingmyownthingfor thefirsttime.” Previously,Lee,who rebelledagainstthe accordionatgrammar school,hadtakenupthe organinabidtobeanother BookerT.Hewentthrough groupswithsuchunlikely namesasArthurLee&The LAGs,TheVIPsandThe AmericanFour.Itwasin thelattergroupthatyetanothernamehada profoundinfluenceonArthur.“Ihadwritten atuneforthislittlechick,andIwantedsome realfunkyguitaronit,likeCurtisMayfieldgot on‘PeopleGetReady’.Anyway,Iheardthere wasthiscatplayingwithLittleRichard,andhe reallyknockedmeout.Yeah,JimiHendrix.He wasthefirstblackguyIhadeverseenwithlong hair…reallyfreakedout.Rightthereandthen, Iwentoutandgotmyselfalongwig.Thatwas sometrip. “Hendrixsureimpressedme,playingguitar withhislefthand.Hewaswearingasuitandtie, butthathair,man,wow.Ijusthadtogetawig.” HewashardlyMrOriginalityinthosedays, butArthurgraduallypulledhimselfroundand soonLovewereplayingandrecordingonly theirownmaterial.Forawhiletheywere knownasTheGrassRoots,butheforgotto registerthename,andwhenanothergroup showedupusingthesametag,Arthur renamedhisgroupLove, andfromthenuntilnow, thenameandtheleaderis justaboutallthathasn’t changed. “WhatcouldIdoifmy managerrangmeupand said,‘Hey,yourgroupjust walkedoutonyou?’People getuptightfordifferent reasons,butusually becausetheyweren’t makinganybread. Anyway,thatwasjustafter thelatestalbum,OutHere, andIfiguredthat particulartriphadgoneas farasitcouldhavedone, andIwasn’thappy. “I’vebeenalteringthegrouplookingforthe soundIwanted,andsometimesthey’veletme. NowI’vegotFrankFayadonbass,George SuranovichondrumsandrecentlyGary Rowlesonlead.Idon’tknowaboutadding moremembersatthemoment,butifthemusic needsachangeoflineup,I’lldoitatanytime. I’mawarenow,perhapsforthefirsttime,ofthe direction,andIlookbackontheearlytimes andseethatmostofitwasnecessaryforusto bewherewearenow.” WithsomanyAmericanbandsdoingsowell inBritainjustastheJethrosandMacsand ZeppelinaremassiveStateside–Arthur wonderswhyLovehaven’tachievedtoomuch asyet.OneansweristhatBritishmusicfans liketoseeaswellashear.“Itwasmainlymy fault,”heexplained,“thatwehaven’ttravelled untilnow.Iwasalwaysafraidofdoingthe wrongthing,andblowingthewholescene.We weretooloose,fartooloose,butthingsare tighternow.” Then,ofcourse,thereisthequestionof cancelledtoursandonlyintermittentrecord releases:“That’stieduptogether.Werecorded thealbumsatregularintervals,andnormally theywouldhavebeenissuedatregular intervals,buttwicealbumswereheldupto coincidewithtourswhichneverhappened.” Orthere’stheoldclicheaboutthemusic beingtoofaraheadofitstime,tooheavyforthe massmarket,andIguessLoveisoneofthevery fewgroupsofwhomthiscouldwellbetrue. “AllIwantisagoodtime,”saidArthurin conclusion.“It’sallgottenabitintellectual, andalotofpeoplewhoshouldseedon’tsee thatallwearedoingisourownthing,just beingfree.WhatIhopeisthattheymightsee mehavingagoodtime,andtheydecidetohave agoodtimetoo.That’sall.” GordonCoxhill “Jagger opened my eyes a lot” NMEMarCH21arthurLeereturns toleadanew,“tighter”Love. “It was mainly my fault that we haven’t travelled until now” getty march1970:Arthur LeeinaLondonhotel roomasLoveplay13 datesduringtheir firsttouroftheuK
- 12. “It’snot easyto dothis” Butwhenshe arrivesinLondon, JONIMITCHELLwows everyoneshemeets. Easydefinition(as folksinger,celebrity girlfriend)is somethingsheseeks toelude.Hersongs andperformancedo justthatwithease. “Iwantmymusicto getmoreinvolved andsophisticated,” shesays. getty 12 | HISTORY OF ROCK 1970 —MELODYMAKERJANUARY10— C anadianfolksingerJoniMitchellthisweek deniedrumoursthatshewouldberetiringafter herroyalfestivalHallconcertonJanuary17.But Joni,whocanscarcelybedescribedasafolksinger anymoreandhasnocurrentconnectionswith Canadaeither,willbeagooddealmorewithdrawn inthefuture. sheflewtolondonfromlosangeleslastweek,andataWarner reprisereceptionshetoldMM,“it’struei’vepostponedallbookings indefinitely,butthat’sjusttocatchmybreath.ireallyneedtoget somenewmaterialtogether,andialsowanttolearntoplaymore instruments,andfindtimetodosomepainting.” soJoni,farfromtakingthingseasy,isgoingtohavehertimecutout inthenextfewmonths.shemadeitquiteapparentthatsheisgoing throughatransitionalstageinhercareer,expressingherselfthrough awiderrangeofmedia,butatthesametimedelvingdeeperintoher owndistinctivemusicalbag. “i’vegotahardcoreoffanswhofollowmearoundfromoneconcert toanother,andit’sforthemifeelioughttoproducesomenewsongs. icomefromsaskatoon,Canadaoriginally,andi’llprobablymoveback there,butatthispointinmylifeiwouldratherliveinlosangelesasit’s rightinthemiddleofchange,andthereforefarmorestimulating.There arealotofartistsinlaatthemoment,andtheexchangebetween artistsistremendous.” Jonitookatripbacktoherprevioustwovisitstoengland.Thefirstshe remembersspecificallyasherfirsttasteofenglishfolkclubs,andthe secondforherappearanceatthefestivalofContemporarysongin september1968,withalstewart,JacksonCfrankandTheJohnstons.it wasthisconcertthatreallyestablishedherasamajorartistinBritain, andsheisstillmorethanenthusiasticaboutthatconcert.“i’dsurelike tomeetTheJohnstonsagainwhilei’mhere,”sheadded. Butsongslike“ChelseaMorning”,“Marcie”and“Bothsidesnow”, whichactedasherspringboard,havenowmadewayforslightlymore » 1970 January–March
- 15. HISTORY OF ROCK 1970 | 15 MM JAN 24 Joni is captivating at the modernist concert hall beside the Thames. “Her voice soaring and plummeting over that open- tuned guitar” Stillinthesamelowkey, shemovesintothelyricsof “Woodstock”andtheline aboutthe“bombersinthe skyturningintobutterflies abovethenation”,whichis tremendousimagery,and then“Willy”:“Heismychild, heismyfather/Iwouldbehis ladyallmylife”. Noothercontemporary songwritercouldcompose lyricstheequalofthesein tendernessandinnocence, asweetcombination.Sheplucksatacoupleoftunesonadulcimer, whichshehasonlybeenplayingsinceFebruary,andthenpicksup herguitartosing“BigYellowTaxi”,whichgetsgreatapplause,of course,asdoes“Clouds”.Shefaltersabitonit,andcannotquite reachthepitchattimes,butitisthefinalnumberandshehasmade itthroughalright. Shortpausewhileshestandstimidlyinthecentreofthestage, lookingvulnerableanddreamy,thenfade-out. Cuttothedressingroom,andatypicaldressingroomscene, withafewfriends,oneortwopress,alotofrecordcompany representatives,andtheusualwell-knownvisitor.Inappearance, sheseemsrathersevereinanattractivesortofwaywithherfine blondehairscrapedbackfromhertannedface,whichhaslarge bonesaroundthecheeksandforehead,andawide,generous mouth.It’sapleasant,openfacethatsitsontopofabodywhose seemingfragilityinspiresafeelingofinstinctiveprotectiveness. JoniMitchellisnotherrealname.AtFortMcCloudinAlberta,Canada, sheisknownasRobertaJoanAnderson,butin1965shegotmarriedto oneChuckMitchell,amarriagedissolvedabout12monthslater.Herfirst album,SongToASeagull,reflectsthesadnessofthismaritalsplit,and indeed,themotionsthathaveinspiredmanyofhersongsarealways tangible,beatinglikeveinsnearthesurfaceofherwork. “Willy”,forinstance,referstoherassociationwithGrahamNash,now ended,whiletheimpetusforwriting“ForFree”camefromaclarinettist shesawplayingonaLondonstreet–“Nobodystoppedtohearhim,though heplayedsosweetandhigh”,onelinegoeswistfully. “Thereisacertainamountofmylifeinallmysongs,”shetoldmesoftly. “Theyarehonestandpersonal,andbasedontruth,butIexercisea writer’slicencetochangedetails.Honestyisimportanttome.IfIhave anypersonalphilosophyitisthatIlikethetruth.Iliketobestraightwith peopleandthemwithme.Butitisnoteasytodothisallthetime, especiallyinthisbusinesswherethereissomuchfalsity.” Herfirstalbumwasnotreleaseduntillate1968,butshehadbeen singingforfiveyearstheninclubsandbars,whilehernamewas attractingpublicattentionthroughotherartists’interpretationsof hersongs:JudyCollins’versionof‘BothSidesNow’isprobablythe bestexample. Morerecently,too,Crosby,Stills,Nash&Youngcuttheirinterpretation ofherlovely,floatingsong“Woodstock”,whippingitupintheprocess intosomethingfierceandpounding,farremovedfromtheoriginal intoneandexecution. “Ilikedtheirperformancetoo,initsway,”shesaid.“Theywereseeing Woodstockfromthepointofviewoftheperformers,whilemyversionis concernedwiththespiritofthefestival.Ineverdidactuallygetto Woodstockitself,yousee,becausethetrafficjamstothesitewerenine mileslong,soIsatinmyNewYorkhotelroomandsawitontelevision.” Ifanyonehashelpedher,though,inpopularisingherworkithasbeen thecowboyrock’n’rollsingerTomRush,whoshesaidhadgothertoleave Michigan,whereshewasdoingtheroundoffolkclubs,andsecuringher agigattheGaslightinNewYork.Thiswasnotatotalsuccess,butRushput outaversionofher“UrgeForGoing”afterithadbeenturneddownby JudyCollins,andthisbecameafavouriteontheclubcircuits,opening doorsforherinconsequence. “Yes,hewasthefirsttohelp.Untilheplayedthatand‘CircleGame’ nobodyreallywantedtoknow;theywouldtimemewhenIwentonasan openingact,soyoucanseethatIhavehadtoworkmywayup.Ithasall beenverygradual.Tomhelpedmeaswellinthatperiod,becauseIwas unsureaboutmywritinganddidn’tthinkitwasverygood.Buttherehave beenalotofpeoplewhohavebeengoodtome.” MichaelWatts • ROYALFESTivALHALL LONDON JANUARY17 LIVE! The walls were shaking J onIMItchellMustloveEnglandtothesameextentthat EnglandlovesJoniMitchell.Thisfactwasimplicitthroughout thewholeofhertwo-hourconcertattheFestivalHallon Saturday.Thewallswerestillshaking10minutesafterJonihad takenhersecondencore.Suchwasthegreedandexpectation, thathardlyapersonhadleft thehallwhenshefinally returnedforafarewell acknowledgement,andthe audienceroseenmasse. Withgreatwarmthand presence,theCanadian songstressappearedfor thefirstsetinalongred dress,hervoicesoaring andplummetingover thataggressiveand characteristicallyopen- tunedguitar.Afterthree numbersJonimovedtothe pianoandcapturedthe audiencecompletelybythe natureof“HePlayedReal GoodForFree”,arecent composition,whichreflects herenvironmentalchange. Sheclosedawell-balanced firsthalfrepertoirewiththe famous“BothSidesNow”. NextJoniappearedinblueandembarkedonamuchlonger setwhichincluded“Galleries”,“Marcie”and“MichaelFrom Mountains”,andwitheachsongshedrewtheaudiencefurtherinto her.AnoutstandingRichardFarina-stylerocknumber,“They PavedParadiseAndPutUpAParkingLot”,andthenextCrosby, Stills,Nash&Youngsingle,“Woodstock”,prefacedthefinale, whichwasaneventinitself–DinoValente’sgreatsongabout brotherhood. JeremyGilbert JONI MITCHELL
- 16. » 16 | HISTORY OF ROCK 1970 1970 January–March
- 17. getty HISTORY OF ROCK 1970 | 17 —MELODYMAKERFEBRUARY14— R obertWyattisthememberoftheSoftMachineyou’remost likelytobewatchingwhileyoulistentotheirmusic.Tousle- hairedandathleticbehindhisdrumkit,hehasthekindofnatural showmanshipwhichdoesnotcompromisethequalityofthe musiche’sapartof. ReviewingtheirrecentFairfieldHallconcert,Icommentedthatit seemedparadoxicalthat,whilethegroupareprogressingrapidly,theaudienceis stillmanagingtocatchupwiththem. “Perhapsthere’sanelementofflatteryinvolved,”saysRobert,“inthatweexpect themtofollowanythingwefeelwewanttodo.Butwecanneverreallygaugefor ourselveswhattheaudienceisfeeling,becausewedon’tstopforapplause. “Nowthateventhebreakinthemiddlehasgone,we’llplayforaminimumofone- and-a-halfhoursandcomestraightoff.Soweonlyfeelanysortofreactionwhen we’rechangingafterwards.Oursortofprogressionisthekindinwhichthe musiciansimproveastheyplay,gainingmorecontrolovertheirinstrumentsand pacingthemselvesbetter.Thisissomethingthateveryonehastolearn,andthat’s what’shappeningtous. “Ineverknowwhatpeoplethinkofus.It’squitesatisfying.Wecancomeoffstage andMike’llbequitedepressed,whileI’mturningcartwheels.We’renotan intellectualgroup–ifwewere,wewouldn’tgetanywhere.Wedon’teventalkabout itanymore,anditjusthappensinasubconscioussortofway.BecauseMikeis musicallyhighlyeducateddoesn’tmeanwearen’tintuitive. “Wedon’tspendenoughtimeinrehearsalsforMike,andwespendtoomuchtime thereforme,becauseIcanonlydiscoverthingsintheactofplayingthepiece,ina performingsituation.It’slikepaintinginaway.Somepaintersdosketchesfirst,but oftenthewholethingistheworkitself.Iusetimelikeapainter,puttinglayerson;the firstsetstartsoutcasually,andthenIbuilditupasIgetintoit.It’sreallyveryelastic. “Thebasicthingistofindtherightpeopletoworkwith,andafterthatyoucommit yourselftoworkingroundwhateverthey’redoing.IfIthoughttherewasanybody playingsomethingreallyfantastic,I’dwanttoworkwiththem–andformethat’s Mike,Hugh,EltonandLyn. “Hugh’sbassplayingisthemostinterestingnewthingforme.He’sdoingthingsto thebassthatI’vealwayswantedpeopletodoatthislevel.Whenhesoloshemight playhighandfast,buthealwayskeepsthekindofweightandauthoritythatthebass shouldhave.Whenheracesuptothetophedoesn’tleaveagapatthebottom.” Aboutaudiences,Robertcomments:“I’vealwaysfoundBritishaudiencestobethe leastidealisticofall.TheFrenchandtheDutchkidsreallywantsomethingelseto » That’slifeintheSOFTMACHINE,onatightrope betweensongsandimprovisation.Theengaging, freeformRobertWyattandcircumspect, classicallytrainedMikeRatledgediscussrecent engagementsatRonnieScott’sandtheProms. SoftMachineoutside theAlbertHallbefore theirPromsappearance there,August12,1970: (l–r)MikeRatledge, HughHopper,Robert WyattandEltonDean “It’svery elastic” soft machine
- 18. 18 | HISTORY OF ROCK 1965 18 | HISTORY OF ROCK 1970 listento,andtheydon’twanttofeelthey’rebeinghyped.Thewhole atmosphereinBritain,whenyou’redashingupanddowntheM1,is different.Forinstance,ifthePAgoeswrong,there’slessurgencytogetit fixed.MaybethisisbecauseBritainishome,andwedon’tfeelthesenseof occasionthatwegetabroad.That’sprobablyourownfault,becausesome groupsareveryconscientiousabouteverygig. “TheuniversityaudiencesandthemilitantLefthavelittletodowith whatI’vegottosay.InWestBerlin…peopleaskuswhyoursongsaren’t morepoliticallycommitted,andwhywechargeentrancefees,and ‘Whosesideareyouonanyway?’Thebestaudiencesareprimarily interestedinthemusic.” Robert’ssingingisaninterestingfeatureofthegroup,andaboutthisside ofhisperformancehesays,“I’mcompletelyachildofthepopscene.When itcomestodrawinginspirationforoneofMike’stimesignatures,Igoand listentoSlyorJamesBrown.That’smorepoppythanmostpoppeople listento.Thevoicecamefromaneedforaparticularsound.Ican’tpitch accuratelylowbecauseofthenatureoftheinstruments,soIsinghigh.It’s alsobettertokeeptotallyblankandlettheclearnotecomethrough. “It’salsoaslightlysocialthing,inthatit’stheclosestIcangettotalking totheaudience.Ihaven’tgotLyn’sthingaboutthevoicebeingthesource ofallsound,andittookalongtimetofigureouthowtouseit.Singing songswasobviouslyoutwiththisband,andSyd[Barrett]hasbeenabig influence.It’sanunaffectedthing,juststraightwordsreally. “ButwhatIwassayingaboutthepopthing:iftherehasbeenanygrafting ontoourmusic,popmusicwasthelastthingtobegraftedon.Nevertheless inwayswe’recompletelyopposedtowhathappensinjazz,wherepeople extendthemselvesallthetime.Weallfeelthepressuretothedrums.It clearstheoverallconsciousoftheeditingaspectofperformance.” AmongthechangeswhichRobertismakinginhisplayingistheuseof snaredrumwiththesnaresoff,makingthedrumintoathirdtom-tom pitchedhigherthantheothers. “I’vebeendoingthatandplayingnearertherimofthedrum,togeta ringingsound.Thischangesthewholenatureofthekit,andremovesthe cymbalsfromtheirusualrelationshiptothedrums.Itclearstheoverall soundandmakesamorespace,becausethesoundwithcymbalsand snaregoingwiththeotherinstrumentscanbeverymuddy.” Robert’stechniquefascinatedmethefirsttimeIsawhim.Heplaysnot somuchlikeaconventionalkitdrummer,butmorelikeatimpanist,with thatfluidmovementaroundthedrumswhich comesfromthearmsratherthanthewrists. “Ilearnedfromajazzdrummer,whotaught metoplaywithmyelbowsin,usingmywrists likePhillyJoeJones.ButIneverreallymastered it,andanywayyoucan’tgetthevolumeor intensitythatway,soIratherletitgoandstarted usingmyforearmsmore. “I’mseriouslyconsideringtakingthesnare drumawayfromthecentreofthekitandputting itmoretooneside,sothatIcangetawayfromthe BuddyRichthinganduseitmoreforaccents. “ThekitIusewasgiventomebyMitch [Mitchell],whohaditcustom-builtintheStates outofmaplewood.WhenIsitdownbehindit,it’s likebeinginalittleroom,it’sverycomfortable.If jazzdrumminghashadanyinfluenceonme,it’sbeenteachingmewhat nottodo–althoughIhopethatdoesn’tsoundarrogant.Somedrummers haveallthisjazztrainingandjustdoitallwrong.Forme,it’sreallyall downtoJamesBrown’srhythm section.” RichardWilliams —MELODYMAKERJUNE6— T heSoftMachineare probablytheonlynon-jazz groupinBritainwhocould commandaweekinthehallowed precinctsofRonnieScott’sFrith StreetemporiuminLondon.In greatmeasurethat’satributetothe waythey’vesynthesisedelements frommanydiversemusicalsources, graftingthemontotheirownwell- definedpersonalitiestoforman organicandreadilyidentifiablestyle.MikeRatledgeistheirorganist, arathersaturninemanwhowears1965McGuinnshadesandhovers overhistwinkeyboards,producingsoundswhichhavethesuddenness andintensityoflightning.TheweekatScott’swasobviouslyanunusual andinstructiveexperienceforthem.Afterall,howmanyoftheir contemporariesgetthechancetositdownandplayinoneplaceforsix nights,withalltheopportunityfordetailedexplorationthatitimplies? “Itwasusefulmainlyforthatreason,”saysMike.“Thewayitstretched ourrepertoirewasverychallenging,andwehadtopushourselves,into areasoffreedomwherewewouldn’tnormallyneedtogo.Wehadto improvisemorethanweusuallydo,becausewedidn’thaveenough material.Inthatsenseitcertainlytaughtussomething.” Intermsofaudiencereaction,theweekwasnotasuccess.Ronnie’s regularpatronswereunsympathetic,andfewoftheSofts’fanscould affordthenecessarilyhighprices.“Ithinkwelefttheaudiencespretty muchaswefoundthem,exceptforthosewhocamespecificallytohear us,andtheywerespreadoutovertheweek.Ican’tseethatithadmuch valueasfarasexposuretoadifferentaudiencegoes.” ThegrouphavenowplayedthreeLondonconcerts–twoattheFairfield HallsandoneattheQueenElizabethHallwithinacomparativelyshort spaceoftime.Mikesaysthatthiswaspurelycoincidence,andcomments, “Myidealistoplayasetofrepertoiretwice,inthesameplace,andthen comebacklaterwithnewmaterial.That’swhywe’rerestingatthe moment:it’sinordertowritesomenewstuff,andIthinkwe’llbeplaying inLondonagainsoon.” MikeandbassistHughHopperwriteroughlyanequalamountofthe repertoire.DrummerRobertWyattcomposedearlyintheband’slife,and wroteseveralofthetracksontheirsecondProbealbum(VolumeTwo), butnowit’sfairlydividedbetweenMikeandHugh.Ratledgedoesn’tfind iteasytotalkaboutthedifferenceintheirwriting. “Ourdifferentbackgroundsdon’tcomeover.There’sasmuch differencebetweentwoofmypiecesasthereisbetweenoneofmineand oneofHugh’s.Hughtendstowriteatheme,haveablowingsectioninthe middle,andthenreturntothethemeattheend…butthenI’vewritten thingslikethattoo. “Itendtowritethingswithagivenconcept.I’mverylazyanddon’thave muchconfidence,soIneedsomething–likeaprogressionoratime signature–togettocompose.Theseconceptualelementsarereally somethingIusetoconmyselfintobelievingin whatI’mwriting.I’mveryinterestedinunusual timesignatures,butatthemomentI’mwriting apiecein6/4,whichisn’texactlyfarout.Butin termsofageneraldirectionmymusicis headingformorecomplexstructures. “Oursetsareanamalgamationofdifferent tunesbydifferentpeople,andwhenyoustring themtogetherintoa45-minuteentitythere’s boundtobeasomewhatadhocqualityabout thearrangement.Youtrytomakethe transitionsasorganicaspossible,butit’snot thetotalpieceofmusicthatI’dlikeittobeatthe moment.Thesuddenswitchesthatpeople criticisearen’tinsideeachpiece,theycome whenwegofromonepieceintoanother.” Unorthodoxtimesignaturesarebecomingmorecommonplace,partly becauseyoungmusiciansaregrowinguparoundthemandthuscan “feel”themmuchmoreeasilythantheirelders,towhomplaying7/4was likegoingtothemoon. “I’vebeenawareofthemsinceIstartedwriting,”saysMike,“andIguess itwaswithMessaien[the20th-centuryclassicalcomposer]thatIfirst cameupagainstthem,althoughofcoursethey’vebeenusedthroughout musicalhistoryinso-calledprimitivemusicaswellasso-calledclassical music.ButMessaienwasthefirstpersonI’dcomeacrosswho’dobviously spentalotoftimegettingintoit.” MikeusesaLowreyorgan,incontrasttothealmostubiquitoususeof theHammond,butitwasn’toriginallyavoluntarydecision.“Iboughtit whenwehadn’tgotthemoneyforaHammond,andIgottoknowwhatI coulddowithit.It’sworkedoutwellbecausethemajorityoforganistsuse Hammonds,sotheLowrey’scharacteristicsstandoutabit.Isuppose thatalargenumberofmystylisticidiosyncrasiesareduetotheinherent peculiaritiesoftheLowrey.” Forthefuture,theSoftsplantoremainasaquartet,withaltoistElton Dean,butmayaddothermusiciansforselectedperformances.One “I don’t think we’re a bridge- building band. We’re very narrow,really” 1970 January–March
- 19. getty HISTORY OF ROCK 1970 | 19 innovationwillcertainlybetheuseof pre-recordedtapes. “Thetapeswillmeandifficultieslike keepingthepitchcontentthroughouttheelectronicfluctuations,but theywon’tbetieddowntoanythingveryspecificandthemusicianswill befairlyfreeontopofit.Itwon’tbelikelayingdownspecificdrumor pianotracks–it’llbeloopsandthingslikethat.” Thegroup’snewalbum,Third,willbeoutsoonafteryoureadthis,and MikeisverypleasedwiththespeedandcarewithwhichCBShave handledit. “Myfeelingsaboutthemusiconitchangeconstantly.Ilikeditwhile weweremakingit,ofcourse,butlisteningtoitnowI’mawareofthe mistakes,whileassumingadisproportionateimportance.Noneofus canbeobjectiveaboutitnow,butIthinkthateachofouralbumshas beenbetterthanthelast,althoughnoneisasgoodasitshouldhave been.” RichardWilliams —MELODYMAKERSEPTEMBER5— I t’SnotlongsinceRobertWyattannouncedthathewas vacatingthedrumstoolwithSoftMachineinordertopursue acareerwithKevinAyers’bandandvariousotherfriends. “Ishouldknowbetterbynow,”saidRobertlastweek,shakinghishead halfinsorrowandhalfinhappiness.“IsaythesethingsandIreallymean thematthetime,butaweeklaterI’mfeelingsomethingelseentirely.In allfairnesstotheSofts,they’restillauditioningdrummers,whichis somethingIsuggestedbecauseIthoughttheymightfindsomething betterthanme,someonewhocanreadmusicforonething.Notreading ismything…primitivemusic,y’know. “ButIreallyintendedtoleavetheband,andIsupposeIhadtoget outsidetofindorwhatIreallywanted.Wehadafewfightsinsidethe band,butit’sallbacktogethernow,andIdon’twantanythingtobreak thatveryfinebalancewe’veregained.” TheSofts’recentHenryWoodPromenadeConcertattheAlbertHall createdcontroversyamongthecritics,whoseemedtobeexpecting somethingthegroupwereneverpreparedtogive.Robertlooksbackonit withverymixedfeelings. “Thewholebusinessofsurfacingforacoupleofhoursinthat environmentwastobeheardbypeoplewhonormallywouldn’tlistento usinournormalcontext–anditwasunnatural. “Ienjoyedpartsofit,andtheaudiencewascertainlythebiggestwe’ve everhadinBritain.Itwasaveryniceevening,sociallyspeaking,andit wasgoodthattheaudienceseemedtoenjoytheTerryRileyandTim Sousterpiecesjustasmuchasourstuff. “Weplayedalright,Isuppose,andEltonparticularlyrose abovethecircumstancestoplaysomeexcellentsolos.Interms oftheoccasion,I’dsaythatallmusicgrowsupinacertain environment,andoursisloadsofpeoplelyingaroundgetting stoned,andwespendthefirsthalf-hoursortingoutthesound balancesothattheeveninggraduallyopensout. “AttheAlbertHall,ofcourse,thatwasn’tpossible.There wasalsothewholethingofplayingtoadeadline.Itwas frustratinghavingtofinishatexactlyfourminutesbefore 12o’clock,becauseifyourunoverthattheengineerswillpull outtheplugs.” HowdidRobertviewthemotivesoftheBBCpeoplewhoput theSoftsontheProms?“Idon’thonestlythinktheBBChadtoo muchsayinit.ItwasdowntoTimSouster,whomanagedtoget intothesortofpositionofrespectwherehewasallowedto presenthisownevening,andashewasinterestedinourmusic heaskedustobepartofit.Idon’tsupposethepowers-that-be attheBBCknewwhattheyweregettingatall. “Ohdear,Ireallydon’twanttosoundsourandbitteraboutit atall.WhatI’msayingisthatwe’vedonealotofgigsandthe Promsdoesn’tstandoutasoneoftheimportantones. “ButIcanalsoseethatitseemstohavebeenimportantin termsofpublicreaction…Forastart,thelittleoldladiesround ourwayusedtothinkthatwewerealoadofnasty,dirtyhairies, butnowtheyallsay‘Goodmorning,Robert’verynicely. “Intheend,though,Ican’thonestlysaythatIfeelit’s important.Bridge-buildingisn’tsomethingthatyoucando consciously,ithappensbyaccident,butit’snicethatpeople canlistentoandlikesomethingthattheywouldn’tnormally comeacross.AnywayIdon’tconsiderthatwe’reabridge- buildingband.We’reverynarrowreally,pursuingonetrain ofthought.Elton’swritingshouldmakeitalittledifferent–but then,ohwell,everythingseemstogothroughthesausagemillandcome outsoundingliketheSoftMachine.” NowthatRobertissafelybackinsidethegroup,doeshestillharbour desirestogetintootherareas?“Well,onethingI’mdoingrightnowis playingwithmyownquartet,whichhasElton,MarkCharigoncornet, andNevilleWhiteheadonstringbass. “We’vealreadyrecordedalong,freeversionofGilEvans’LasVegas Tango’formyownalbumonCBS,andit’sreallyatotallyfreething. Maybewe’llgetintodoingourownversionsofSoftMachinenumbers– thatwouldbenice,gettinganotherangleonthemwithaflowingstring basslineinsteadofthefuzzbassguitar.WiththisbandI’mtryingtoget somespacebackintomymusic.Arrangements,freedom,andallthose differentprocedurescanmakesatisfyingmusic,whichisveryhardto define,buttheactualeffectisacertainkindofdensity. “IadmirethesenseofspaceyougetfromMilesSmilesortheMiroslav Vitousalbum;thedensityofrockbandscanbeverycrudeand unrewarding.Somanythingsarehappeninginthequartet;I’m constantlyplayingthingsthatI’vealwayswantedtoplaybutneverbeen ableto,andthat’saresultofthemorefluidsituation.” TheexperimentofworkingwithAyersandtheWholeWorldwasnot asuccess,althoughRobertstillhasgreatadmirationfortheband. “IdidtwoorthreethingswiththeminEngland,includingtheHyde Park‘free’concertandaweekinHolland.Itriedit,butIhavethis tendencytochangemymindcompletelyabouteverything.Istillthink it’soneofthemostamazingbandsintheworld…Ohdear,I’munhappy aboutthisinterview–I’msayingallthethingsImean. “Kevin’sbanddoestendtobealittleramshackleinitsapproach,and perhapsI’vebeenspoiltbybeingpartofacomparativelyslick organisationforquitealongtime.IreallydigDavidBedford,though.” Robert’sownalbum,whichisnearingthemixingstage,is“hours ofcompletelyfreethingsinvariouscombinations,withallthe unfashionablesoundtricksthatZappadiscardedfiveyearsagoand whichI’mtoyingwithrightnow.HughwantstogettheSoftMachineinto thestudiostorecordverysoon,andoneofthebestaspectsofthebandat themomentisthewayElton’sgotsoinvolvedinthemusic. “He’sevengettingustodothingsthatwestoppedtryingtodotoeach otheryearsago,likegettingmetoreadparts.Theotherscompletely acceptthatI’llneverdoit,butEltonkeepspluggingaway.It’sreallynice toseeMikeandHughstrugglingwithsomeoneelse’scompositionsfor achange,insteadofgrinningevillywhileItryandstrugglethrough theirs.” RichardWilliams • RobertWyattin 1970:“Thedensity ofrockbandscan beverycrudeand unrewarding” soft machine
- 20. “Webuild it,and polishit likea jewel” Films.Music.“The movement”.CROSBY, STILLS,NASH&YOUNG talk(andtalk)agood game,butambitionis attheheartoftheir group.Whatthey achievetogetheris onething;whatthey achieveontheirown isimportantalso. SaysNeilYoungof hissolomusic:“It boostsmyegotothe requireddimension.” 20 | HISTORY OF ROCK 1970 1970 January–March
- 21. CSNY’sthree-night standattheFillmore East,NewYorkCityin June1970:(l–r)Graham Nash,DavidCrosby,Neil YoungandStephenStills HISTORY OF ROCK 1970 | 21 getty
- 22. 22 | HISTORY OF ROCK 1965 mirrorpix C rosby,stills,Nash,Young andOldgavealengthyandoften enjoyableconcertatLondon’s RoyalAlbertHalllastweek.“The Old”wastheage-oldproblemof untutoredmusicianshavingto devotemuchtimetotuningtheir instrumentsonstage. ButwhileNeilYoungemergedas anexceptionaltalentwithsuperb compositionsandtheonlyvoiceof distinction,andDallasTaylorrocked upastormondrums,thetwo-hour showoftenvergeddangerouslyinto therealmsoftedium. DaveCrosbybrightenedthe intermissionsbetweennumbers withdryanddrollremarks,butthe silencewhichoftenprevailedwasso intenseIcoulddistinctlyhearaman scratchthestubbleonhischinandat onepointIdozedoff,havingspent ahecticnightbeforedigging RolandKirk,nowinaseason atRonnieScott’sClub. Thefirsthalfwasdevoted togentleacousticmusic, whichwasagreeable enough,andeachmember hadachancetotakeasolo spotorworkwiththe partnerofhischoice. Openingwith“Suite:Judy BlueEyes”,theymovedonto“Triad” byDaveCrosbyand“OurHouse”by ouroldmateGrahamNashonpiano. SteveStills’pianosoloreceivedan ovation,althoughhehaddifficulty keepingtimeandseemedrestricted toapproximatelythreechords.After thisbring-down,theelectrification oftherhythmsectionwasawelcome relief,andDallasTaylorleapingabout ondrumsbrightenedproceedings considerably.Undoubtedly,Neil Young’shauntedlonesomevoice, withjusttherightamountofvibrato onthe“TheLoner”and“DownBy TheRiver”,wasthehighspot. WhileCSN&Ydidnotdeserve thecriticalpastingtheyreceivedin somequarters,theycouldimprove themselvesbybeingalittleless self-indulgent,andknowingwhen tostop. ChrisWelch Lengthy and often enjoyable MM JAN 17 CSNY rock, perhaps too gently. 22 | HISTORY OF ROCK 1970 —NMEJANUARY10— H adIIntervIewedanyofTheHolliesthisyear, GrahamNashwantedtoknow?“Yes,TonyHicks.” “Howdidyougeton?”“Quitewell,Ithought:Iliked him.”“Youshould,they’renicepeople.”Hesaidhe’d beentoseeTonythedaybefore.“Itwasabitstrange atfirst,likewalkingonthinice,butoncewerealised wewerethesametwoNorthernladswhocamedownfromStockport everythingwasOK.” Ayearsinceitwasnotsomuchformedasdriftedtogetherabovea ChineselaundryinLondon’sMoscowRoad,theCrosby,Stills,Nash& Younggroup–nowswollentosixwithbassistGregReevesanddrummer DallasTaylor–isbackinthetownofitsbirth.Tuesdaysawtheirfirst,and only,Britishconcertbeforeasell-outaudienceattheAlbertHall.They’d loggedupthreedaysinLondonwhenIsawthemonFridayandwere encampedinfiveflatsaboveashopnearSouthKensington tube. I’drecognisedDaveCrosbyinthestreetoutside–coulditbeanyonebut himbehindthatsoperfectlytrimmedmoustachethatlookslikeaprop fromajokeWestern?–andheledmeuptoalivingroomalla-buzzwith activity.SteveStills,thefair-hairedex-BuffaloSpringfield,whosebirthday wasthefollowingday,Saturday,satonthefloorproclaiming:“England isthemostadvanced,culturedcountryintheworld–yetit’ssofarbehind it’sfrightening.” SaidGrahamNash,takingaplaceonthesettee,“Everylevelofmylifeat themomentisverygoodandsatisfying.Themusicallevel,thefinancial level–whichisimportanttoallowmetopursuethemusic–andtheprivate leveltoo.” ThedapperMrCrosbyexpressedadesirefortheladyjournalistpresent ratherthanme,andGrahamandIlefttheseated,talkinggroupforthe quieterendoftheroom.Ihadn’tmetGrahambefore,butIwasstruckby thedifferencebetweentheoneIrememberedfromtelevisionimagesand photographsduringHolliesdays.HewasmuchslighterthanIexpected; hisfacemoregauntandhishairlighter,possiblyduetothesunofhisnew Californianhome.“DoImissEngland?Yes,agreatdeal.Thereisa beautifulatmosphereinEngland;Ihavegotabitparanoidaboutthe policeinLosAngeles.Heretheyarewonderful;Iwasupsetaboutthe twothatgotshotinGlasgow.” LivinginAmerica,hesays,hasmadehimmoreawareofthe socialillsoftheworld.“TheStatesseemstobeafocalpointfor whatisgoingdown.Thesituationisrightoutonthestreetsthere. Iusedtobereallynaiveaboutthatsortofthing.Iwasn’tusedto watchingeverypassingpolicecarwonderingiftheyweregoing tostopme;orhavingthethreatofpolicepullingyououtofyour bed.Allthatshockedme;itstraightenedmeout.” Butalthoughit’sshakenhishead,Americahasfailedto penetrateNash’sNorthernaccentnor,accordingtoDallasTaylor whenhecameovertojoinus,hisEnglishsenseofhumour.“Hehas certainlybroughtsomehumourintotheband,”offeredDallas. “Thelighterpartsofthealbumareallhis.Thereisnotmuch humourgoingdownintheStatesamongAmericansthesedays.” Thehumourstrainaside,Grahamalsofillsaroleasthegroup’s diplomat–valuablecarry-overfromhisdaysasaHollie.Says DaveCrosby,“Grahamisprobablythecoolestofallofusandhe’s dapperanddebonairandextremelyintelligent…andhefights forusverywell.Heisabletodealwithanyleveluptoand includingroyalty–whichhehasdone.” “Mymusicaltraining,”saysGraham“isfromadifferent heritagefromtheothers.Theeffectistogivethegroupamuch widerscopeinwhichtowork.Whenwedidthealbumtheothers hadneverworkedwithanEnglishmanbefore.Irecordina differentwaytothem,buttheywerewillingtolistenandwatch andIwaswillingtodothesameforthem.Thereisagreat opennesswithinthegroup.” GregReevesandNeilYoung,atall,talentedCanadianwith straightblackhairandfeaturesthatsuggestRedIndianblood, arerecentadditionstothegroupsincethefirstalbum.“Why? Becausewehadalotofelectricmusicwewantedtoplayonstage. Sowefoundtwomorebrothers,”saidGraham. FurthertalkonthoselineswascurtailedbyDave Crosby’sattention-snatchingimitationofaUScop, illustratingapointhewasmaking.“Dave’sreally rappinghardtoday,”saidGrahamtoNeil,astheir partnerslippedintotheguiseofanoldlady launchingatiradeagainstlonghair.“Dave’sgotthis thingaboutTheBeatlesatthemoment,”Graham continued.“HereallywantstoseeTheBeatles performingliveagain,soateveryopportunityhe reallylaysintothemandsayswhatalousygroup theyare,hopingitwillpressurethemintoplaying again.”Hegotuptotakeaphonecall,callingback enthusiastically,“Hey,wemightbedoingagigin Manchester.Wouldn’tthatbegreat?” I’dhadtheimpressionthatCSNandYhadbeen workingprettysolidlyintheStatessincetheir formation,butIwasassuredthiswasn’tsoandin factthey’ddoneonly15orsogigsinall. “Itisn’tnecessary,”explainedGrahamonhis return,“becauseitisimpossibleforeverybodytosee us–that’swhywemakealbums.” GrahamNash meetsJoniMitchell atlondonairport, December1969 ROYALALbERthALL LONDON JANUARY6 LIVE! 1970 January–March
- 23. HISTORY OF ROCK 1970 | 23 getty Todatetheirrecordingscoreisjusttheone album,butwhentheyleftLAtheywerewithin fourdaysofcompletingtheirsecond.TitleisDéjà Vu,whichroughlymeansafeelingofhaving beensomewhereordonesomethingbefore. —MELODYMAKERJANUARY10— T opangaCanyon,Sw7…AsStephen StillsandNeilYoungbreakupinfits ofgleeafterplayingsome“telepathic bluegrassmusic”onacoupleofguitars inasumptuousflathighabovethe concretebuttesandasphaltscrublandof Knightsbridge.Crosby,Stills,Nash,Youngand Taylorareintown,withReevesTheBass,havingmissedthreeplanes fromAmerica,expectedatanymoment.They’rehappytotalk,happy tositaroundandplay,justliketheydointheirCaliforniahomes. DaveCrosby:moustachioedandhilarious,persuadingYoungtoteach himthesecretartofeatingaboiledeggwithasliveroftoast.Ex-Byrd. SteveStills:asonoftheSouthineverywayexcepthismind,blond-haired, clear-blue-eyed,soft-speaking,creatorofsongsfrom“Bluebird”to “HelplesslyHoping”andbeyond.Ex-Buffalo Springfield.GrahamNash:thin,beardedand energetic;contentedandfreeatlasttowrite “Pre-RoadDowns”and“LadyOfTheIsland”, Ex-Hollies.NeilYoung:genius.Abrokenvoice nowfindingthetruepath,whichisworking withCSN&YandalsowithCrazyHorse.Two statements:“TheLoner”and“CowgirlInThe Sand”.Alsoex-Springfield. GregReeves(theabsent)andDallasTaylor: therhythmsection,andadamngoodoneit hastobetoworkwiththisband,Reevesis ex-Motown;Taylorisabeautifulopenpersonin awildWesternshirt.Posingforaphotograph, Crosbycallsahaltbecause“we’reasix-man bandandGregain’thereyet”.That’showclose theyare.ListeningtoStevepickingonhis guitarandNeilhammeringcountry/gospel cadencesonthepiano,youcanseethat,for them,playingmusiciswhereit’sat.It’sfunall thewayinsunnyTopangaCanyon,evenwhen it’salmostsnowingoutsideinKnightsbridge. NeilYoung’s“NowadaysClancyCan’tEven Sing”wasfarandawaythestandoutofthe otherwiseundistinguishedfirstalbumfrom thelateBuffaloSpringfield,andthrough “BrokenArrow”to“TheOldLaughingLady”, onehaswatchedthegrowthofavery individualtalent. Young,aCanadianwhosefatherisoneofhis country’smostrespectedpoliticalcolumnists, wasamemberoftheSpringfields,thatmost underratedofgroupswhichbrokeupmainly becauseoftheunhealthyatmosphereof competitionwhichexistedwithintheband. WhileSteveStillsjoinedGrahamNashand DavidCrosby,Neil wentdeeperinto hisownmusic, producingtwo albumsunderhis ownnamefor Warner/Reprise beforebecomingthe fourthpartofCrosby, Stills,Nash&Young. “Ineededthattime in-betweentogetmy bearings,togetmy headintheright place,”hetoldme. “WhentheSpringfieldsbrokeupIfeltIcouldn’t workinagroupcontext–andIcertainlynever realisedI’dbeinagroupwithSteveagain,even thoughIguessedthatwe’dprobablybeplaying togethersometime. “NowIthinkI’vereachedjustabouttheperfect state.I’mpartofthegroup,whichIreallydig, andIcanalsoexpressmyselfasanindividual throughmyownthings.AndIneedverybadlyto makemyownmusic,partlybecauseitboosts myegototherequireddimension.” Neil’sfirstsoloalbumwasalmostcompletely ruinedbymoderntechnology.Thepressing plantattherecordcompanymanaged,in somemysteriousway,topresstherecordso thatthevocalswerealmostcompletelylostinthecomplextexturesof thebackings. “I’veremixeditanditsbeingremasteredandreissuedsothatpeople willbeabletohearitproperly,”hesaid.“AndI’mworkingoutsome sortofdealwiththerecordcompanysothatthepeoplewhoboughtit originallywillbeabletotakeitintoarecordshopandexchangeitfor anewcopy. » “I have got a bit paranoid about the police in Los Angeles” “Whati’mdoingnowis whatiwantedforthe hollies”:Nashbeing interviewedinlondon, october28,1970 CSNY
- 24. 24 | HISTORY OF ROCK 1965 24 | HISTORY OF ROCK 1970 “Mostcertainly.IttookmeandJack Nitzscheamonthtoputdownthe tracksfor‘OldLaughingLady’.Iwritein spasms–Ididmostofthesongsforthe secondalbuminonemonth,andafter somethinglikethatIwon’twrite anythingforweeksandweeks,maybe. “Wedidalotofworkonthefirstalbum –everythingwasoverdubbedtogetthat breadthofsound.ButreallyIliketo recordnaturally,I’dratherputthevoice downatthesametimeasthebackingtracks.” NeiliscurrentlyworkingwithCrazyHorse,agroupformerlycalledThe Rockets,withwhomhemadehissecondalbum,EverybodyKnowsThisIs Nowhere,andheisintheprocessofcompletinganotheralbumwiththem whichwill,hesays,containelementsofbothpreviousrecords.Afterthis week’sconcerthefliesbacktotheStatestoworkonthescoresfortwo movies,TheLandlordandStrawberry Statement,bothapparentlyproductsof Hollywood’snew“lowbudget”thinking. Neilplanstorecordatleastoneofthescores onhisnew16-trackrecordingunit,whichis currentlybeinginstalledinhisTopanga Canyonhome. Hisfinalwords:“Listen,ifyou’reever aroundLA,comearoundandhearhowthatfirst album’sREALLYsupposedtosound.It’llknock youout.” I’mcertainthatNeilYoungwillcontinue toknockmoreandmorepeopleoutwithhis uniquesongsofdespairandalienation–and, onceineverywhile,happiness. —MELODYMAKERJANUARY10— “D on’tbuildmeupintoapopstar.I’mnodifferentfrom youoranybodyelse.It’sjustthat,becauseI’mamusician, Icanputmusictopeople’sthoughts.” StephenStills,talkingabouthispositioninsociety.Likemanyofhis generationgrowingupinsidetheterroroftheGreatAmericanDream gonebroke,Stillstalksmusicandpolitico-sociologywithequalease.To him,theyareindivisible. “Butmusicisnotthebe-allandend-all,”hesays.“It’safulcrumaround whichthemovementexists,becauseitsetspeople’sheadstomusicand perhapssometimessaysthingsthattheyfeelinsidebutcan’tarticulate. It’sveryscaryintheStatesatthemoment.Didyoureadthatthecops bustedintoacoupleofhousesinChicagoandLosAngelesafewdaysago andmoweddowntheBlackPanthers?Wow… “That’swhyIwanttostayinEnglandforawhile.It’smore…civilised, plusthereareafewpeopleIwanttoplaywith.Istoodupinfrontofalot ofpeopleduringtheVietnamMoratoriumin SanFranciscorecentlyandreadapoem.Soif there’salist,I’monit.” Canheseetheseedsofanalternativeculture emerginginAmerica? “Yeah,it’sgoingthroughitsbirth-pains.The youngpeoplehavegottofindanewwaytolive, andthey’regettingtherebecausehistoryshows thatnorevolutionthathascomefromthe peoplehaseverfailed,evenifit’shadtotake acoupleofgenerationstogetthrough.Right fromthetimeofAlexanderTheGreat,that’s beenafact.Ofcourse,peopleareinvarying stagesofpreparingforit.Theleaders…well, we’renotgettingquiteashighthesedays.” “Music is a fulcrum around which the movement exists” getty 1970 January–March
- 25. HISTORY OF ROCK 1970 | 25 ThissituationwillbereflectedinCrosby, Stills,Nash&Young’sfirstmovie,afull feature-lengthpicturetobecalledWooden Ships,andbasedlooselyonthewordsof thatsongfromtheirfirstalbum. “We’regettingTheodoreSturgeonto writethescreenplay;he’sascience-fiction writerandI’mprettysurethatit’ssuitable forhim.Thatshouldbereadyprettysoon.” Briefly,thestorycentresroundthe survivorsofanuclearholocaust,whomeet upwithaSouthAmericantribe(Ithink) andsailoffinwoodenshipsinsearchofan uncontaminatedareawheretheycan begintobuildanewcivilisation.Stevesays thatthey’retryingtogetStanleyKubrick(of 2001fame)todirectthefilm. “Itwon’tbeanArthurCClarkescreenplay, soitwon’thavethesamecoldfeelingas 2001–IhopeitwillbemorelikeKubrick’s earlierfilms,withthecharacterslaidoutso well.It’sgottobedoneproperly.Ifit’stoo seriousyoublowit,andifit’stoofunnyyou blowit.You’vegottostrikeabalance.” PerhapsweinBritaindon’trealisejust howbigCSNYareinAmerica.They’ve alreadydone25concertsincitieswhich includeChicago(twice),Houston,New York,Dallas,LosAngeles,SaltLakeCity andSanFrancisco. “We’veaveraged14,000peoplea concert,”saysSteve.“Someofthe concertshavebeenintheopenair, infootballparks,butwe’renot doinganymoreofthose.Yougetso manypeoplethereit’sridiculous. Thatessentialintimatefeelingis lostinafootballpark,andwe’re goingtoconcentrateonplaying hallswithacapacitybetween 10,000–14,000.” Possiblyalargepercentageoftheirsuccesscanbeascribedto thevarietytheyprojectthroughouttheirconcerts,withfour suchdiversetalentstocallon.“Weplayfortwohours,thefirst houracousticandthesecondhalfwithelectronicequipment. Justaspeoplethinkthey’relisteningtoafolkconcert,wepluginand WHAM!We’rearockband!” WhenIputforwardmypettheory,thatcountry-rockhasn’tbrokenbig overherebecausebasicallycountrymusicisaparticularlyAmerican form,Stevereplied,“Well,itallgoesbacktoElizabethanmusicandso forth.Itmaynothavebeenthisyear’smusic,butnextyear.Anyway, Icouldn’trestrictmyselftocountrymusic,justasIcouldn’trestrict myselftotheblues.Iwanttobeabletocoveritall,toplayitall,and Idon’tseewhyIshouldn’t.” —MELODYMAKERFEBRUARY28— G enius,saystheoldadage,isaninfinitecapacityfortaking pains.Ifthat’sso,thenStephenStillsmustbeprettyclosetoit. BecauseSteveisaverypainstakingguy,muchmoresothan thegeneralrunofpopmusicians,wholiketogetitdownontapeand getoffhome.“Thisapproachisthebasisofalotofsuccess,”hetoldme inhisLondonhoteltheotherday. “Therearepeople,liketheMemphisbandsandtheNashvillebands, whojustdoitbecausetheyknowitallinfront.They’repasttheneedto workitalloutindetail.Butforme,it’sverydifferent,andit’samatterof veryhardwork.LiketheguywithCreedenceClearwater,forexample– theirrecordssoundjustlikethey’vecutitquickandsplit,buthespends hourscuttingtinybitsoutof16-tracktapewherethedrummer’sbeen dragging,becauseheknowsthatit’sthebeatthatsellshisrecords. “That’showSgtPepperwasmade,andIliketotakealotoftimetomake suresomething’sjustright.I’vegotmoreofacapacityforthatthan anybodyelseinourband,andsometimesIstaybehindworkingonthe mixesaslongastheengineer’llstaywithme.OurnewalbumDéjàVu tookweekstorecord,inSanFranciscoandLosAngeles.InSanFrancisco I’dgetupatfiveintheafternoon,havebreakfast,gotothestudiosand staytheretillnoonthenextday,andthengohomeandcollapse.That wentonforthreeweeks. “SometimesIhavetoworktopersuadetheotherguystodothattoo.On oneofDave’ssongsfromthenewalbum,Imadehimplayitoverandover againuntilhewasdroppingasleepoverhisguitar–thenheplayeditin time,andthatwasit…finishedasfarastheplayingwent. “Neil’ssongs,too,don’tsoundthesameasthestuffhe’sdoneonhis own.Iworkedhardatthose,becausealthoughthatalbumwithCrazy Horsewasgroovy,youcantellitwascutquickly,withnottoomuchtime takenoverthesweetening. “Wemanagedtocutthefirstalbumfairlyquickly,though,inabout amonth,becauseitwasstillanewexperiencethenandeverybody wasamenabletosuggestionsanddidn’tmindworkinghardatit.But somethinglike‘Suite:JudyBlueEyes’stilltookalotoftime,becausewe didallthepartsseparatelyandtherewasalotofsplicingandoverdubbing. Ispentmanyhoursontheguitarpartof‘MarrakeshExpress’findingthe rightharmoniestogoalongwiththeleadlineontheguitar.” StillsisinEnglandatthemomentbecausethegrouparehavingashort breakaftersixmonthsoftouring.Duringthisbreaktheyarealldueto recordsoloalbums,andStillshasfounditimpossibletogetstudiotimein theStates.“I’vebeenlookingaroundhere,andifIcangetsometimein Island’snewstudiosI’llcutitthere.Thesituationwithtimeinthestudios isreallyridiculous–alltheplacesIwanttoworkintheStatesarebooked upthroughthesummer,likeWallyHeider’s.He’sgotsomesortofdeal nowwithBonesHowe,andBonesgetsmostofthetimeatHeider’s.This album’llonlytakemeamonth,becauseI’vebeenjugglingtheideas aroundforsometime. “MaybeI’llonlyneedadrummer,and doalltheotherpartsmyself,butIknow thatifIdoneedsomebodyelse,thereare alotofheavypeoplearoundhere–like Eric,who’llbebacksoon.” There’salsoachancethatStevemight useRingoStarrondrums,toreturnthe favourthatStevehasdonehiminthepast weekbyplayingonRingo’smostrecent session.“Thatwasagas.Therewas Ringo,me,GeorgeHarrisonandKlaus » • “IneverrealisedI’dbein agroupwithSteveagain”: NeilYoungandStephen StillsduringtheCSNY interviewinLondon, October28,1970 csny
- 26. 26 | HISTORY OF ROCK 1965 26 | HISTORY OF ROCK 1970 [Voorman],plusGeorgeMartin.GeorgesaidthesessionwasforRingo’s ‘surprisesingle’,andIguessthatcouldberight.Ringocameinwiththis littletune–thatis,hesatdownandplayedeightbarsandsaid,‘That’sit.’ Soweallmadesuggestions,likehowaboutaddingabridgehere,and playingthislittleintro,andthislittletag,anditcamealongverynicely. “IcouldseewhyGeorgeMartinhasbeensoimportanttoTheBeatles– particularlyintheformofthesongs,inthemoresophisticatedelements. Ithoughthewastremendous,andI’dlovetohavehimdoingmyown album,butIguessI’lluseBillHalverson,becausehe’ssorelaxedandhe doesn’tmindmetakingmytime.Icansaytohim, ‘Look,canyouswitchtrack15totrack7,mixintracks 9and12,andputtheguitarthroughtheboard,’and hedoesn’tturnahair.Hejustdoesit. “Togetbacktothesession,though,Isuggestedthis thingwhereweshoulduseamajor7thchordandit soundedstrangeatfirstandtheotherguyscouldn’t hearit–butMartincould,andhemadeanother suggestionwhichmadeitworkperfectly.Iguesshe’s hadalotofeffectonthem,particularlyPaul.Istarted listeningtothematthetimeofBeatlesForSale–that’sstillwhereI’mat, incidentally,andsoiseverybodyelse–andmaybeatthattimetheywere attheirbiggestandmostisolated,andthusattheirclosest.Somanytimes Johnwouldcomeinwithsomeintuitiveideaforasong,andPauland GeorgeMartinwouldkickitaround,andthefinishedproductwould comeoutreallyneat. “Thewholesceneisgettingalotlooser.Inalittlewhilethere’llbemaybe 15guyswhocanallplaytogetherinanycombination,whichisareal antidotetostaleness.It’snotjustaquestionofthesameoldfaces;it’lljust bealotfreerandlesscompetitiveness,because whethersomebody’sbetterthansomebodyelse doesn’tcountforanythinganymore. Competitivenessiswhatkillsmusic.” Crosby,Stills,Nash,Young,TaylorandReeves’ recentAlbertHallconcertcameinforsomeofthe mostmixedcriticismeverreceivedbyarock concert,withnotwocriticsseeminglyabletoagree. Stillsconfirmedtheimpressionthattheband,too, hadmixedfeelings. Itisunusual:the hostofTVshow ThisIsTomJones sings“LongTime Gone”withCSNY, September1969 rex features 1970 January–March
- 27. HISTORY OF ROCK 1970 | 27 “Thatwasthefirsttimewe’ve everreallybeenaffectedby nerves,”hesaid.“We’veplayed toaudienceswho’vebeen muchmoreunfriendlyatthe outset,butthey’vegivenus astandingovationafterthe firstnumber. “AttheAlbertHallwe feltsomehowasifwewere ontrial,asifthey’dcometo judgeusratherthantoenjoyour music.Thepeopleinfrontwere friendly,andthepeopleabove werefriendly,butallaroundtheboxeswerefull–ofbands. “There’snowhereelseinEnglandI’dratherplaythanthere,butpeople doseemtogotoaconcertattheAlbertHallinasetframeofmind.Oh, Ican’tintellectualiseaboutthat.IonlyknowwhatIfeelaboutit.Wegot criticisedforspendingalongtimetuningup,whichispartlyjustified becauseIliketotuneupwhileI’mplayingalittle bitofmusic,sothatitdoesn’tsoundunpleasant. ButwhenNeilgetsnervousheplaysveryhard andputshisguitaroutoftuneandthenhasto tuneitbackagain.” RichardWilliams —NMEMAKERNOVEMBER7— I tisanautumnafternoonandthereis thesmellofnewpaintandtheairishot anddryintheelegantspaceoftheChelsea apartmentblockwhereMrGrahamNash hastakenroomsduringhiscurrentvisitto thiscountry.Hepeppershisconversation withtheperennialclichesofpop–“good vibrations”,“groovy,man”–andfromtimeto timetheroundnessofhisSalfordaccentisnomatchforthe Americanisationofhisdialogue. Oneknowsfromhiswords,andmusic,however,thatbehindNash’s over-jivedposeandprosethereisarealhumanbeingwaitingtogetout. AndthemanwhogaveusCrosby,Stills,Nash&Younghastobeworth listeningto.Withoneexception,thisishisfirstreturntoEnglandintwo years…andthefactisthatherevelsinthechangesthemonthshave broughthim. Listentohimtalkaboutthepersonhe’sbecomesincethosefrustrated dayswithTheHollies;thedirectionhe’sheaded;andthethingsthat makehismusictick… “IworkbestinAmericabecauseI’msurroundedbypeoplewhoinspire me,man.They’rethepeoplewithwhomIwannamakemusic.David, DavidCrosby,hasjustgonebacktoNewYorkonsomebusiness.Wewere approachedtodoatourtogether,andmaybewewill.Untilthen–well,I’ll juststayhereinEnglandtillIfeellikemovingon,Iguess. “Anincredibleamounthashappenedtomeintwoyears,man. Decemberthe8th,1968,IplayedwithTheHollies,andDecemberthe 10thIwasrehearsin’withDavidandStephen. “I’mnotwhereIwanttobeinlife,no.I’mneverexactlywhereIwantto be;I’mjustgettingcloser.Onlyforamatterofhourscanyouexperience totalhappiness–andthenitgoesaway,andyou’reonabummeragain. “WhatIamdoingnowiswhatIwantedforTheHollies.This,now,is exactlywhatIwaslookingfor.AndIjustcan’tbelievehoweasyitistowork withthepeopleI’mwith.Therearejustnodoorswiththem,man.Yougo inthestudioandeveryonewilllistentowhateveryoneelsehasgottosay, andweallbuildit,andholditdown,andpolishitlikeajewel. “WithTheHolliesIjustcameacrosstoomanypsychologicaldoors. Theyprobablywon’tevenunderstandwhatI’msaying,butIfeltvery restricted.Ireallydid,man–althoughthewaywemaderecordswas prettyloose.ButIjustfeltrestricted.It’snotthatitcamedowntopeoplein theend.ItwasjustthepreconceptionsTheHollieshadbeenconditioned to…theirabilitytotakealookatthemselves.” ImentionedtheCrosby,Stills,Nash&Youngappearanceontherecent TomJonesTVshow,andsaidtherewerethosewhothoughttheir involvementsomewhat,er,unexpected. Laughter.“Areyoukiddin’?TheopportunitytoplayuptoTomJones– howcouldanybodymissthat?Ithoughtitwasthefunniestthingsince Kelloggs.Ilovedit,man.Imean,thatshowwassof––––––jivethatit’s incredible.Man,wef––––––jumpedatthechance.Inanotherrespect itwasreallygroovy,though,becauseIhaveatapeoftheshowmixed thewayIwouldhavedoneit.Itellyousomething,though–thatshow wastwoyearsold;itwasthefirstTVwedid;andwestoppeddoing televisionasadirectresult. “Howmuchofmytimeisspentdoingnothing?AsmuchasIcan get,man–becausewhenI’mdoingnothing,I’mre-energisingand devotingtimetomyself,givingmyselfthesameenergythatIputinto otherpeople.” Hesitsbackonthesettee,theeyesofhislived-infaceclosedfora moment,andIaskedhimaboutconceit.Itellhimthatatonetimethere werethosewhothoughthisegoover-dominant.Weretheywrong? “Er,well,myegowaslargerthen.Sohow’sthatforanegostatement? Phew!ThefactisthatIsuddenlydiscoveredIwaswritingtheonlymusic thatwasturningmeon.IguessIjustfeltIwaswritingmorerealsongs, andnotcontrivedsongs.ThemusicthatIfeltinmyheadwasn’treally gettingontothetapeandIwasreallyp–––––offbecauseIknewthe abilityofTheHolliescoulddoit.Butthesameenergywasn’tgoinginthat Iwasputtingin.Ifithadbeen,wecouldhave hadtapesthatwerefivetimesasgood. “Asfarasegogoes,though,everyartistneeds it.It’sthethingthatwantstomakehisartbetter. Therearedifferentlevelsofego,anyway–mine istheonethatwantsmetoimprovemyself.” Iaskedhimhowhefeltaboutthecurrent Crosby,Stills&Nashbootlegalbum,Wooden Nickel.“I’mobviouslyconcerned.It’sbad s–––they’reputtingout.Iftheywereputting decents–––outthenIwouldn’tworrytoo much.It’sallnegative,becausethey’remaking moneyfornothingandthey’llgetwhat’s comingsoonerorlater. “Forsomethingrecordedoutofone microphoneinfrontofoneofthePA speakers…forthattohavemynameoninfuriatesme.That’swhyI’m angry.Andwe’relosingalotofmoney,too,y’know.Andthatconcerns metoacertainextent.” WetalkedaboutApple:“Theoriginalconcept,tohelppeople,that wasafineidea.It’sworking,too,inthatinasensetherearenowmillions ofApplesworkingallovertheplace.Forinstance,thereareartistic friendsofminewhoseartIrespectandwhoIamhelping.WhenIgot toNewYorkrecentlyIcalledmyoffice–andtheysaidthatsomeoneon PaulMcCartney’sbehalfhadcalled,soIcalledhimandIspoketoLinda for10minutes.NotPaul–justMrsMcCartney! “IthinkthatwhathappenedwithPaulMcCartneyiswhathappens withmostcreators.Theytryandhelpworldwide,andthenfindthat’s impossibleandthattheyhavetogotheotherway,justtosortthemselves out.Mostofusarelikethat.Yousortyourselfout,andthenyourfootstarts tappingagain.Ifinditincrediblyeasytolove–incredibly. “Ilovepeople.Ilovethings.Thatsuityou’rewearingnowisdoing incrediblethingsforme,doing wonderfulthingsformyeyes.Asfaras lovingtheladiesgoes,Ican’tspend timewithladieswhodon’tmakeme feelgood.AndwhenIcommitmyselfto spendingtimewithoneparticularlady, she’sgottobereallyspecial.” Crosby,Stills,Nash&Young’snext albumwillbeadoubleliveone,Four WayStreet,saysNash,andthenaseries ofsoloalbumswillfollow.“Formy own,”hetellsme,“Ihavefivebasic tracks.Wouldyouliketohearthem?” IsayIwould,andontherecordplayer heplaysfivebeautifulsongs,allwith anairofmelancholyentwinedwith quieteroticism.NashTheMan remains,still,alittlebumptious aroundtheedges. Butinsidehismindtherearesensitive imagesandafine,consistenttalent. Andthat’swhatmatters. AlanSmith • “At the Albert Hall we felt somehow as if we were on trial” csny
- 28. 28 | HISTORY OF ROCK 1970 SINGLES CannedHeat Let’sWorkTogether LIBERTY It’sgotsomequiteniceslide guitaronit.Itremindsmeabitof Leadbelly.Iknowit’sCanned HeatbecauseIsawthelabel whenweweretryingtomend therecordplayer–butIadmit Iwouldn’thavesusseditout.I quitelikethis–infact,Ilikethis sortofbluesrecord–although Ifeelthatmostofithasbeen donebetterbefore.ImeanI don’tthinkthissaysitanybetter thatitwassaid30yearsago.It hasanoptimisticlyric. TheRascals HoldOn ATLANTIC WellInever!WhenIlistento thingslikethatanddon’tknow whotheyare,Istarttowonderif theyareblackorwhiteorgrey. There’stheoldRayCharles piano,orpianette,inthereand thedrumsatthefrontinthe modernmode.Ihavenever seenDelaney&BonniebutI imaginethisisratherhowthey sound.It’snotreallythekindof thingI’minterestedin. FlamingYouth GuideMe,OrionFONTANA Goodlord!Whata laugh!Ithinkthatsums thatup,withoutwishing tobeglib.Forastart, Ididn’tlikethe harmoniesonthevocals.It’s allabitsunshine-is-golden-ish forme.Ican’tbelievethelyrics werewrittenseriously,there mustbeabitoftongue-in- cheekgoingon.It’svery contrived.Tobefair,Isuppose itwasasincereattempttoaim somethingatanimaginedpublic stateofmindwhichdoesn’tin factexist.Allthatpastoralstuff gleanedfromthingsthathave comeoutoverthepastfiveyears andstucktogether! NewYorkRock&RollEnsemble I’mTooBusy’ FROmThEPOLYdOR ALBumFlattering Foe Isthisat theright speed? Well,er, well,er, well,er… Theynearly gotthebass linefromThe Righteous Brothers’“Lovin’ Feelin’”rightatthebeginning. Thenitsoundedlikean understudyforJimiHendrix comingthroughaSelmerLittle Giant.Withallthatalliteration, thelyricsoundslikesomething PeteTownshendmighthave written–whenhewasfour.It’s veryweedy. TheArtMovement ForAsLongAsYouNeedMe COLumBIA I’venoideawhoitisbutitcould beanyoneoffivemilliongroups. It’stheoldconceptionoftaking anArtist,withacapitalA,anda Song,withacapitalS,writtenby Pop,withacapitalP,Song Writers,withacapitalSandW, andaTune,withacapitalT,and mixthemalltogether.Andwhat doyouget?Aloadofrubbish. Thatistheotherpathofpop music.Thatreallyistheother sidefromalltheperformerswho arestaggeringaboutmaking soundstheythinkaregood, makingsoundsforreasons.This 1970 SINGLES REVIEW “Is it at the right speed?” MMJAN10PinkFloyd’sRogerWatersreviewsthesingles. getty 1970 January–March
- 29. HISTORY OF ROCK 1970 | 29 ALBUMS RobinGibbRobin’sReignPOLYdOR ThisisthefirstalbumfromRobinsinceheleftthe nowdefunctBeeGees.Hecomposedall11tracks, producedthewholelotandtookthechoir’spartas well.Hewritesexcellent,interestingsongsspoilt onlyformebyhisratherforcedvocalstylewhich tendstomakesomeofhissongssoundcontrived andsimilar.Butheundoubtedlyhastalent,andfor Gibbfansthisalbumwillnotbeadisappointment. Itincludeshissinglehit“SavedByTheBell”. RoystonEldridge,MMJan17 KevinAyersJoyOfAToyhARVEST Joy,beautyandmysteryaboundinthisalbumby theformerSoftMachineguitarist.Hissongsare simplebutfascinating,withthewarm,hazyand sometimessinisterfeelofsongshalf-remembered fromdistantchildhood.Thearrangements, featuringtheSoftMachineonsometracks, capturethespiritofthethingperfectly–subtle, mysterious,richlytexturedanddelicatelyfunky. Therereallyhasn’tbeenanLPquitelikeit.Harvest deservepraiseforallowingMrAyerstodohis thing;he’scomeupwithagem. AlanLewis,MMJan17 DavidAcklesSubwayToTheCountryELEKTRA Asecondbeautifulalbumbysinger/writer/pianist DavidAckles,composerof“RoadToCairo”.Hisis adistinctivevoiceinanovercrowdedfield,warm andmaturebuttouchedwiththesadnessand occasionalbitternessofalonerwhohasspent yearsontheroad.Heavoidsthefacile philosophisingandobscureimageryofmanyofhis contemporaries.ProductionisuptoElektra’s usualhighstandard,butsomesuperfluousstring andwoodwindarrangementsintrudeonsome tracks. AlanLewis,MMJan17 MilesDavisInASilentWayCOLumBIA SomethingnewagainfromMilesandinitsown gentle,low-key,lyricalgenreit’sabsolutely perfect.Anydoubtsraisedbyalookatthelineup canbedispelledatonce;electricpianos,guitarand organdovetailintoslabsofbeautifuland constantlychangingsound.Thediscipline displayedallroundisquiteremarkable.Essentially, theshiftingtexturesarewhatthisrecordisall about,buttherearemanyindividualgems glitteringintheretoo.Milesisathismost restrained,yetconveyscompleteauthoritywith everynoteplacedinexactlytherightplaceand lastingexactlythe rightlengthoftime. Shorterissuperbon soprano–utterly individualinbothtone andapproach…You neverheardsuchpure soundfromasoprano before.McLaughlinis alsomagnificent,sayingmore inonebentnotethana thousandotherguitaristscan sayinafinger-bustingrun. Zawinulcontributesadelightful themeanduses theorganmostintelligently tofilloutagainstthe electricpianosand guitar.TonyWilliamsis unbelievablysubtle,while DaveHollandkeepshis headupinthemostexalted companyinjazz.Abeautiful record. BobDawbarn,MMJan31 LauraNyroNewYork TendaberryCOLumBIA LauraNyroisamemberof thatselectbandoffemale singerswhocandonothing butexpresstheirown truths.That,perhaps,is partofthereasonwhyshe isnotyetasuperstar; becauseshehidesbehind nomasks,erectsno barriersbetweenherself andthemusic,shecaneasilyfrightenoffthetimid listener.Invariably,onehasthefeelingwhen listeningtoherthatshesingsbecauseshehasto, becauseshemustexpressherowninnermost fearsandlusts.Sheneverappearstobesinging foranyonebutherself,andherwordsaredrawn out,thevowelsdistortedandtheconsonants slurred.Butitdoesn’tmatter,becausethe emotionsareunmistakeablyclear.Hersongsare immediatelyidentifiable:theircontoursareher own,andbehindthehappiestisalonging,bitter- sweetqualitywhichreeksofdesperation.She constantlyunsettlesthelistenerwithabrupthalts, tempochanges,andhighheldnoteswhichgrateon thebrain.LikeBillieHoliday,LauraNyrolooksinto herownsoul–throughaglass,darkly.Thevision,if notlovely,isatleastunique. RichardWilliams,MMJan31 RodStewartAnOldRaincoatWon’t EverLetYouDownVERTIGO Rod“TheMod”Stewartcommandsalotofrespect amongpoppeopleforhisunusualbluesvoice,and thisalbumdoeshimfulljustice.Hehasgathered abunchofwell-knownmusicianstoaccompany himoneightsongs,fiveofwhicharehisown compositions.HisversionoftheStones’“Street FightingMan”isarealrocker,withSmallFaceIan McLagan(piano)andguitaristsMartinPughand RonnieWood(anotherFace)ingreatform.The treatmentthesongisgivenhighlightsRod’svocal power.MikeD’Abo’ssplendidsong“Handbags AndGladrags”hasbeenalteredtosuitRod’sstyle anditiswithoutthefrenzyofChrisFarlow’shit,but withalotofemotionandsomenicewoodwinds. “Cindy’sLament”isoneofRod’sownnumbersand mainlyaninstrumental;it’sforcefulandincludes gooddrumworkbyMickyWaller.EwanMcColl’s “DirtyOldTown” isagoodblues numberthat Rodhandlesvery welltoroundoffa veryworthyalbum whichdeserves todowell. Richard Green,NMEFeb21 seemstobereasonless.It’snot reallyworthtalkingabout. KennyClarke-FrancyBoland BigBand Solarisation FROmThEPOLYdORLPFaces Thatsecondsectionsounded veryEllington-ish,thoughthe restdidn’t.Idolikethatsortof musicthough,Idon’tknowwhat Icansayaboutit.It’sthekindof thingthatifwehearditonthe wayuptheM1itwouldgetusall miming,ifyouknowwhatImean. SydBarrett Terrapin FROmThEhARVESTLPtheMadcap laughs,PARTOFwhIChwAS PROduCEdBYROGER (Laughs)ThisisatrackIdidn’t producebecauseitdidn’tneed anythingdoingtoit.Thissong makeseverythingelseyouhave playedmelookcompletelysick andsilly.Ithinkthisisvery beautiful.Don’ttakeitoff,I’m goingtolistentoitalltheway through.Ithinkthisisagreat song.Infact,allthesongsonthis albumaregreat.No,someof themonitaregreat–incapital letters–andallofthemaregood. Sydisagenius. BlackSabbath EvilWoman FONTANA Thereyougo!Well,well,well!I’m speechless–wellalmost.It’sgot thatkindofDragnet,PeterGunn, andAmericandetectiveseries beginning.Youkeepthinkingit’s goingtostart.Youthinkthatfor thefirstminute,butthen,ifyou arereallyperceptive,yourealise itisn’tgoingtostartandthat’s allthereis. 1970 ALBUMS REVIEW sIngles & albums
- 30. PeterGreen increasinglylooks morelikehebelongs intheBible,not FLEETWOODMAC. Whiletheband returnsfroma profitableAmerican tour,theguitarist planstogiveaway hismoney.“Iknow whatit’slikeon£5 aweek,”hesays. getty 30 | HISTORY OF ROCK 1970 —NMEFEBRUARY28— “Y oudon’tthinkit’stoo expensive,doyou?”askedPeter Greenearnestlyashereversedhis £700whiteJaguaroutofacarpark inRichmondpark.“Ifyoulook around,mostoftheothercars here…thatoneandeventhatone…wouldcostmorethan £700,andMickandJohn’scostalotmorethanthat.” Lookingeverydaymorelikeacharacteroutofthemassive boundBiblethatsitsonashelfinthemiddleofhisextensive stereocollection,theheavilyhairyFleetwoodMacleaderis homeafterthegroup’sthree-monthstretchinAmerica wantingtogivehismoneyaway.Notallofit,butallthathe feelsisinexcessofhisshare.Hispassingobsessionwiththe priceofhiscar–hewouldhavelikedanACCobrabutthat wouldhavecostatleasttwiceasmuch–comesfromattitudes thathavegrowntofruitionduringhisspellintheStates. Peterwantstohelp–financially–thestarvingandthosethat failtogetagoodeducationandopportunities,andhadbeen explainingearlier,“MyparentsandIhavegotourhouse.I’ve gotmycar,whichisn’treallyexpensive,and,andI’mhappy withthat.I’vealsogotmystereoandmostoftherecordsI want.Allinallit’saverygoodhelping,ifyoulookatitinterms ofeachperson’sshare,soIamsatisfiedwithwhatI’vegot.And therearesomanypeoplewhohaven’tgotanythingatall,Ifeel theleastIcandoisgiveawaymyexcess.” “NotthatIhavemillionsandmillions,buttherearegoingto besomebigchunkscomingincomparedtowhattheaverage manearns.Ihaven’thadanyofmysongwritingmoneyyet » “Iama religious nutcase” 1970 January–March
- 31. “IfeeltheleastIcandois giveawaymyexcess”: FleetwoodMac’sPeter GreenonstageinBarnet, NorthLondonin1970 HISTORY OF ROCK 1970 | 31
- 32. 32 | HISTORY OF ROCK 1965 getty andthere’sallthattogive.Thenthere’smyshareoftheadvancefrom RepriseRecords,£18,000.That’smoneytogive.I’vehadtheseideasfora longtime;nowI’mgoingtoactonthem.Theremustbenostarvation.Just becausesomebodyisbornontheothersideoftheworldthatisnoreason whytheyshouldbestarvingforit. “Iamnotgoingintopovertywiththem,althoughIdidthinkofdoing that.Itwouldperhapshavemademefeelbetter.Thiswaythemore moneyIearnthemoreIcangiveaway.Doingthatiseasy–maybeoneday Iwillputmyselftoworkaswell–butatthemomentIthinkthatbygoing roundandplayingtoandmeetingpeopleIcandomuchinthatway. “Whatotherpeopledowiththeirmoneyisnoneofmybusiness,but Iknowwhatitisliketoearn£5aweekandhaveagoodlaughandtoearn £500.Icanbejustashappy…likewhenIwasabutcherearningafivera week.Idofeelguiltyaboutsquanderingmoneyonmyself,butIamnow goingtobecareful.Ihavefeltthatalot…evenwhenIeatsometimes.The veryleastIcandoisgiveawaythatmoneyIdon’tneed,andanyonewho thinksmoneyisgoingtomakethemhappyissowrong. “Iwouldlovetogoyachting.Ilovecars.IwouldliketobuyanACCobra, butthethingisthatbeforeIdothatIwouldliketoknowthateveryoneis gettingtheirbowlfulofriceeveryday.” Peteralsohopestodocharityshowswiththegroup–“Thatwouldbe better,becausethenIwon’thavetotouchthemoney”–andthefirstis aFleetwoodMacperformanceattheLondonLyceumonApril12inaid ofJewisholdpeople.Therewillofcoursebescepticswhoquestionthe reasonsbehindhisbenevolence,buttheygetatypicalGreenretort:“It’s mybusinesswhatIdo.Anyonewho’sscepticalcangoandget…!” We’ddrivenoutfromPeter’sNewMaldenhomewithJane,thegroup’s fanclubsecretary,andweresittingnexttothewindowinsometerribly, terriblyEnglishtearoomswatchingthesquirrelshoparoundthepark.It wasafarcryfromtheHolidayInn,turnpike,airportandhamburgertrail thathadbeenthegroup’slotforthepastthreemonths “What’sJohnLennonbeendoingwhilewe’vebeenaway?”askedPeter, and,afterhe’dbeenregaledwithup-to-dateLennonisms,professeda deepadmirationfortheBeatle’sworkforpeace. “Ireallyenjoyedthetour,”hesaidlater.“OurAmericanagentwhobooks lotsofBritishbandslikeJethroTull,TenYearsAfter,etc,saidthatinterms ofagroupleapingupwardsinstatusitwasoneofthemostsuccessfulhe’d beenassociatedwith.Wefeltwe’dmadeanimportantfoothold.Ofcourse therewerelotsofupsanddownsandtimeswhenwegotundereach other’sfeet,butthefeelingontheplanecominghomewassogoodthatif we’dbeenaskedtoturnaroundandgobackagainIthinkweallwould.” Likemostofourgroupvisitors,hefindstheAmericansituation depressingbutseesthegoodsideeveninareasliketheDeepSouthif thereisatleastone“nice”persontomeet. “Insomeplacesitisjustatalkativetaxidriver,likethefellowin MarylandwhoknewEngland.Butwedidmakealotofnewfriendsthere.” WasthereanythinginrumoursofDannyKirwanplanningtoleavethe group?“Iwouldsayno,butobviouslyyou’dhavetoaskDannythat, becauseI’vewalkedoffstagebeforethinkingI’vehadenough.And obviouslytherearegoingtobetimeslikethatwithallgroupsontour. I’dsaythat,likethelasttimewecamebackfromAmerica,thebandis closerthanithaseverbeenandDannyandIarenowworkingand playingtogether,whichwehaven’tdonebefore.” PeterwentontodisclosethatDannyandheareplanninganalbum togetherbasedroundtheirtwoleadguitarsandthatheistorecordasolo albumforreleaseatChristmas:“OneofthesongsonitIwroteinChicago whenitwassnowing…it’sasortofpoemsettomusic…andI’dlikeittobe heardinthatsortofatmosphere.” Thegrouphasalsobroughtbacktapesofthreeshowstheydidatthe BostonTeaParty,andthesewillbeeditedforalivealbum“whenweget thetime.We’vegotabout20newnumbersaswellandweshouldreally berecordingnow.Butwe’vegotsomuchtouringtodo.” Contrarytoreports,“TheGreen Manalishi”hasnotbeenchosenastheir nextsingle.Itis,saysPeter,justonefrom abatchoftracksthey’llrecordandthen pickfrom.Wegotbackontoourearlier subjectandthroughthatontotheneed foropportunity,Peter’speaceofmind andskinheads.“Icomefromthatkindof background[fromBethnalGreeninEast London]andIknowtheskinheadfeeling FleetwoodMacphotographed inLosAngelesin1969:(l–r) JohnMcVie,DannyKirwan, MickFleetwood,PeterGreen andJeremySpencer 32 | HISTORY OF ROCK 1970 1970 January–March
- 33. HISTORY OF ROCK 1970 | 33 oftryingtoproveyourselfbecause youhavenothingelse.Youjustwant tobesomeone.NowIfeelmyselftobe moreorlesssomeone,Icanlookatit frombothsides. “IhadthefeelingsIhavenow whenIwasakidintheEastEnd,but Icouldn’twalkuptopeoplethere andbefriendlybecausetheywould beatyourbrainsout.Ithinkoflifeas alongpipeyou’relookinginto.When you’rebornthepipeisopenandthe insidesmooth.Thingslikeabad familyfoundation,povertyandlack ofopportunitystarttocorrodethe insideuntilitbeginstocloseup. “Icamefromaworking-classhome andhadagoodfamilybackground, butthingsaroundmestartedtorust thepipeup.That’swhathappensfor lotsofpeople.Formeithasnow openeduptolikeitwaswhenIwas alittlekid.Ifeelagreatbrotherliness towardspeopleandI’mnotashamed tofeelit.” —NMEAPRIL11— P eterGreenhadjustgotup;comingdowntomeetmeinthe musicroomofhisSurreyhome,stretching,smilingabundantly andsingingthe“sympathyandunderstanding”versefrom “Aquarius”beforesittingdownamongstthemountingbric-a-brac, records,letters,books,amplifiersandbirdcagestotellmewhyheis leavingFleetwoodMac. “Therearemanyreasons:themainthingbeingthatIfeelitistimefor achange.Iwanttochangemywholelifereally,becauseIdon’twantto beatallapartoftheconditionedworldandasmuchaspossibleIam gettingoutofit.IamalwaysconcernedwithwhatisrightwithGod andwhatGodwouldhavemedo…thatisthemostimportantthing tome…thatdominateseverythoughtinmyhead.Idon’tfeelIwantto beapartofFleetwoodMacanymore…nolongerfrustrated,freetodo whatIlike.” HismotherbroughtteaandPetercontinued,“Asyouknow,thereis awholebigmovementgoingonlikearevolution.Iwanttobeapartof that,sothatwhateverIdo–whetherIform anothergroupornot–Ineedtobewithpeople whofeelexactlythesameasIdo:thatis,they don’tworryaboutsecurityintermsofmoney. Wewillbedoingalotoffreeconcertsaslongas theyarenotbeingpromotedforprivategain. “Iwanttoget100percentintomusic.Iwant todolotsofjammingwithdifferentgroups andmusicians.IwanttodoallIcantobring peopletoGodandpeace…fulltime,notjust nowandagain.Iwanttobecompletelyfreeto dowhatIlike.” Hehad,hesaid,beenthinkingofleavingfor sometimeandhadbrokenthenewstotherest ofthebandinMunichafewweeksago. “Iwascutdown,”hewenton,“bybeingathird ofthegroup’sfrontline.Thatwasquitefunwhenitstarted,butafter awhileIfeltIcouldn’tgetintoanythingbecauseafteracoupleof numbersIwouldhavetostepbacktolettheothershavetheirchance. TheyweredisturbedwhenItoldthemandshookupabit. “ThethingaboutFleetwoodMacwasthatpeoplemaythinkIwasthe mainpersoninthegroupbecausethesinglesweremysongs,buton stageallofushavealwaysbeenonlypartsofthegroup.InGermany, forinstance,Jeremyhasalwaysbeentheonethey’vecentredon. Therestofthe bandwilldefinitely carryonas FleetwoodMac,put inmanagerClifford Davis,whohadjoinedus, althoughithadn’tbeendecided whethertotakeonareplacement. TheywouldtakearestafterPeter’s lastdatewiththemonMay25to decidewhichwaytogo,andhe thoughtitlikelytherewouldbe anewguitarist. IaskedPeterwhyhecan’t dowhathewantswithinthe frameworkofFleetwoodMac. “IcouldtrybutIknowitwouldn’t workout…Iwanttodomyown thingsanddothematlength. Iwanttodothemwithpeople whothinklikeme,whowantto beintoitfulltime.Iknowthey wouldbewillingtoplaythem,but thekindofmusicIwantdemands thatitisapersonalthingfelt withineveryone’sheartandnot justapieceofmusictobeplayed. Ithastobe100percent. “Yousee,Iamnothappywiththe waymylifeisbeingrun.Thereis norest.Notimetodoanything,to developmycharacter.ItislikeIamanine-to-fiveworker,butitisworse becauseatleasttheygeteveningsoff.Alwayspoundingawayonstage, Idon’thaveanytimetobeme. “It’snotenoughjusttobesuccessful…Ithasbecomeabusiness,and Idon’twanttobeapartofabusiness.Ineverdidadeliberatehitrecord… Icansaythat…Inevergotintoittothatextent. “Iwantoutofthecut-and-driedbusinessangle…thefeelingthatit’s goodifweandthepromotermakeagoodscrewandgodownwellatthe sametime…Idon’twanttobeapartofthat.Iwantittobeagoodfree thingforpeople…justtoplaymusicandgiveittopeople. “InotherwordsIamareligiousnutcase,”helaughed. Iputitbacktohimthatalthoughhemightbelaughing,isn’tthatwhat agreatmanypeoplewouldthink…thatheisacrank? “Itwillbefunnyiftheydo,”hereplied.“Butonlythebusinesspeople will,becausetheythinkanyonewhodoesn’twanttoberichisanutcase. IamnomorereligiousthantheaverageChristian.” Apartfromjammingandplaying,Peter’splansincludefirstlyrecording asoloalbumthat’slikelytoendupadoubleset.Hethinksitwouldbe niceiftherecordcompanyagreeforhimto waivehisroyaltiessoitcanbesoldascheaply aspossible. “Idon’twantanymoney,”hesays,echoing hisfeelingsfromthelastinterviewwedid whenheannouncedhisintentionofgivinghis excessearningstocharities.“Justenoughto buytapes,equipment,keepthehouseandhave foodtoeat.” Hesayshewantstomakehismusicforthe “peacefulyoung”…“thoseforwhomlistening tomusicislikeareligion…buttoothersaswell whowanttolisten.” Hefeelshisleavingwillbringmoreoutof Jeremyandsays,“Ihavebecomethespeaker fortheband,butJerryusedtodothat.AsIfound myfeetandconfidence,Jerryhassunkback.Inmyopinionheisagenius, butbecausetherearethreeofusatthefronthecannotgetfullyintoit.He isthefunniestpersonIhaveevermet–he’sincredible–andhealsohasso muchtooffermusically.” Andfinally:“Yousee,it’sbeenagreatthingformetobebroughtupin theEastEndwithalltheviolencethereandtomanagetolivethroughthat kindofupbringingandfindGodandpeoplewhothinkthesameway. IwanttogivethatfeelingtoasmanypeopleasIcan…” NickLogan • • “It’s become a business, and I don’t want to be part of a business” fleetwood mac