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.. got the album, I 1d sent me money off to Virgin Recorda before the album was released, ani the postman delivered it one sunny June morning, leaving me the rest of the afternoon to marvel at this bit of shiny plastic. I.TBI REVIEW Now the fir at thing ~u ' 11 notice about the album is the startling and authentic Everyone has their favo\U''i te music. Such gems as "Meet On cover. The front sleeve guitarist. Mine is Richard The Ledge" , "Sloth", "Crazy Man features Ric~ clad in a sort Thompson . There is no one else Michael", and "Now Be Thankful". of black leotard, his face I'd rather hear; the exquisite The latter three were co- written covered by a mask with bulbous delicacy ahd distinctive tones with a-ce fiddler, Dave Swarbrick. red eyes. This is all set of a Thompson guitar solo are Suffice to say that the ~ainet the backdrop of a one of life' s finer moments . collectiv~ contribution made by ~pically English ancestral Richard is a+so British, and Fairport Convention to British hal:. along with John Martyn, Roy rock mt:.Sic was peerless. GreS; The adverts for the . Ha.rper and Kevin Ayers , he stuff, Definitelv one of the alb m depicted Richard swanning represents the very cr~me de finest bands ever to emerge around the open fields of la creme of British contemporar~ from our windy and rain bleached merry England with said song. Richard Thompson's music isle. leotard and a pair of base has been a joy to those who've ball boots. (In fact one been careful and fortunate Now , I don' t want to produce reams of waffle lady I know has made a wall enoll8h to listen. Right from display from the adverts for the haunting chorus of the now concerning the Fairporta , the album) . claseoic "Meet On The Ledge" to because their history belongs the uncluttered and teeming to another article, and I All these photographs guitarplay on "Hokey Pokey" . think it unfair to Richard , if were taken at a large estate Hopefully this article will let this pi~ce ignores hie music somewhere near Cambridge, us all know a little more about after Fairport. So let' s which was owned by a some Richard and hie music. So read move on. what eccentric gentleman. on. After hie departure from The back cover shows Richard Thompson was born Fairport, in January 1971 , Richard standing by an old in London some twenty six years Richard played on a whole host Glasgow tram, in London ' s ago. Hie father was Scottish of sessions for various Victoria and Albert Museum. and Richard grew up around people (details later) , gigged It also contains one of hie Archway and Highgate. After sporadically with the Albion funny little stories. leaving school he was apprenticei Country Band , played a mini Finally there is an extract to a graphic design firm with tour of Noroh Devon with on the Fly r eprinted from a particular jntereet in staili Shirley Collins, backed Sandy Ambrose Bierce's excellent glass window design. This Denny at numerous concerts, book "The Enlarged Devils lasted about six months . and appeared on "The Bunch" Dictionary" • You can get it Richard ' s increasing musical and "Morrie On" albums . on Penguin, I think. involvement with a group of Then in June of 1972 , I ' ve described the friends had led to the formatior. Island released "Hen.ry the cover to you, because it is of the Ethnic Shuffle Orchestra. Human Fly". This was to be somehow indicative of the This soon developed into the Richard's first true solo music contained inside. now hallowed constitution known outing •on wax since leaving Inventive, unusual, and very as Fairport Convention. One, the Fairports. There n:ro English. I ' m also a sucker Simon Nicol lived in a house twelve songs on the album for c~ere , too. Come to called Fairport, in North and their originality and think of it, there aren't London ' s Mus well Hill, and HO quirkishnees is both that many record covers which the name suggests, friends used refreshing nnd stimulating. say a lot about the music to gather tijere. Side one contuino six soneo - inside. Two covers which do The Fairporte were a pll.rt "Roll Over Vaughn Willin.me"/ though, spring quickly to of the heady summer of 1967 . "Nobody' a Weddirv:r,"/"Poor mind . Remember the first They first gigged around Spring Ditchinp; Boy"/" Shu.ky Nu.ncy" I album by Little Feat, and. of that year, but come the "Angol Took My Racehorse Away" "Solid Air" by John Martyn. summer of kaftans and cowbello, /"Wheoly Down". Yoah, if you' re going to and Fairport regularly appeared Likewioe aido two hnve sleeves for albums, then at the U.F.O. and Middle Earth cont aina siX songs - "New St. it' s worth putting out some clubs. Richard was a founder George", /"Painted J,adies" I thing decent, None of yer, member alongside Judy Dyble, "Cold Feet"/"Mary and Joseph"/ ' File under Geriatric, for Tyger Hutchings, Simon Nicol, "Old Changing Way"/"Twieted". Popular' shit. and Martin Lamble. Ian Matthews It is an essential album Right, Before attempting was to join in November of that to own , even tho~ Richard to describe the songs, I year. himse-lf has expressed mis think it is worth mentioning givings about the actual the musicians on the album. Now anyone who has but a :performance of the songs. "The scant knowledge of British rock record is an attempt. · It has music, should know that for the a traditional feel, but it' s span of five albums, Richard was contemporary music. It 1 a guitarist and songwriter for the not there yet, It' s about Fairporte. If you don't know half-way there to me having that, then your education is a good time". sadly incomplete. To rectify Nevertheless, twelve the situation, I suggest you Thompson songs are worth far purchase all five Fairport more than the un.ending glut albums. Namely "Fairport of paperback troubadours Convention", (POLYDOR}, "What periodically unleashe~ by We "Did Gn Our Holidays" , record companies in the quest "Unhalfbricking", "Liege and for a 'new' Dylan. Lief", and "Full House" all on It is an elpee which has Island recorda. brought me immense pleasure Richard was with Fairport and one which br:i.nge a emile from early 196'7 until the to my face every time it January of 1971. He contributed appears on our turntable. I many fine songs to the Fairport' s remember clearly the time I eig Texi's ci~ re ~ a Aroot old pig They are John Kirkpatrick when the album wn.c JIJY uom choices. 0 accordion, Timi Donald - rele>1.5 d it baffled and is the comic elc~er.t percussion, vocals, Pat wrpris "J the music prof;s. out and thi. la or~y t hea Donaldson - bass, vocals, The "Melody Mal:er" called 1 t , by tho eheer brill'• • co:: f Sandy Denny - VOCalS and an album of "half- ideas". 1he tracks. 1 c· ' t c· •ri"l·o piano on one track ' Painted Only one paper seemed to :fOU enough to b y ti J.3 lbw • Laq.ies ' , Linda Peters , now like the music. That papor Well, lefor~ rovin Richard ' s good lady, vocals, was the well-intentioned I ' d l1ko to co ~ent o David Snell - harp, Sue "Fapto" which hus now gone couple of people ,r! o pluy o •• Draheim - fiddle, Barry to ground. Their reviewer the album, c::d :ho ft!lturc Dransfield - fiddle, Jeff said this about "Ee~cy" - quite largely 1n i{ chard 1 Cole - trombone, John Defereri "Wow, words fail -;.e, J... 1dst music . Timi Donald d - tenor sax, Clay Toyant - the piles of LPs one hears , John KirkpatricK. Ttt l ,
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[did tfir,y jdtn nn1Jn (/J'Rnl) Smitity /11tn ...- Mite ltJtJI1 (Jfi:IWJ/ HiJ:l /ttJ'611t ~~ Hit£/tenn (~J ~ Ph«hf,u - Hil:lA !PI MlltrYJn (Tmiltr) Feor-jJfm auf (lrltmi) jump ~~rtm !Pn --JtTfm Kilflaltic.t {7hlikf) roms tJI1-1JJe ~t~nch (MIWkiJ l!olt fJfl -'lht 8Hnch Osk:m:V s~ fmil--~ ftWY (c&J No t/JJu-Shir1tg CdHtnr (/lrgllf~H) ftrll! casi,YII-)-- fllirp»t.fJh1HJU-ifn {litnndJ :·~ ,I ~------~~1 Wood - backing vocal, Trevor Lucas- backing voal and the C. w. s·, (Manchester) Silver Band . All the songs are cra£te< with great diligence and finesse; skilfully finished with the same precision of' ' say, a carpenter or bl.ack Z.TBB IHTBIVIBI smith. Melodical.ly each song is very etroog and compact. This gives the One sunny afternoon I went to RT : Both, I think, I wanted record a simplicity and visit Richard and Linda at it, no let' s say I knew it coherence sadly l.acking in their Hampstead fl.at. It' s was going to be, because that much ofltoday' s music. This situated in a quiet and l.eafl was the style I was writing in record is certainly no ashtray. road away from 1he bustle and and I wanted to r e-enforce In consequence the album clamour of the main streets. that through the way it went assumes an elusive and yet I was made very welcome and m the record. I think the pointed quality of timeless had: a l.ovely a£ternoon. In etyle of it was very clear in ness. between cheese and mushrooms , my mind and what actually The themes of the songs a brief appearance from Mimi, came out was a bit different centre principall.y around and playing records (Stan from what I thought, but it despair, loneliness, .sadness Freberg, Ian and Sylvia, Waylon was still very English. I and depression. Yet at the Jennings, Bulgarian peasants), don' t think it was a very same time one isn' t wiped to Richard and I chatted about a successful record, ~n terms ihe wall in a mire of bleak number of things. What of the finished result. I ' d ness. follows is a transcript of our like to do it again. The level of ~uscianship conversation. ::-._ L: That ' d be good, Some of remains at a high throughout . the songs, for example in the Richard ' s guitarwork is "Angel Took My Racehorse delivered with t he ease and Away" , what is the Lanark fl. ow of an eagle in flight, Silver Bell. Timi Donald is a treat on RT: A race. The ol dest horse drums. John Kirkpatrick ( ' eam race in the country, hel.d at of him before?) is definitely Lanark. It is still r un the Johann Crayf! of the every year. That song accordion, Simon is there on Liquoric~: When you ~et~ started from that l.ine. I d.tl.cimer, and I think Linda' s Fairport, you gigged quite just thought it was such a singing deserves a special lot with Linda. good name, the Lanark Silver mention. Just listen to her Richard Thompson: Yeah. With Bell sounded so nice. vocals on "Withered and Died" , Linda we actual.ly played a L: The "New St. George" and "Down Where The Drunkards great amount of folk clubs - "Mary and Joseph" seem to Roll" , "The Little Beggar In fact I worked a lot harder have a religious touch to Girl." and "The Great VaJ.erio". than I ' ve worked for a long them. They encompass a whole land time . RT: In a funny sort of was, scape of emotions, ranging L: You pJ.ssed with Shirley yes. There is so much from pathos to cocky arrogance. Collins on a mini- tour of religion as a moral approach Lovely singing, a bal.m for North Devon. I don' t mean puritan~cal or bruised ears. RT: Oh, yes, that was a o.nything like that but as To pick out individual little diversion. It was ve~v certain moralistic express songs is perhaps uncharitable. pleasant, it' s a funny thing, ions which I might not be but personally I really like it just hapfened, it was one capable of but perhaps are "When I Get ~o the Border", o f Hutching s strange ideas. still worth expressing any "Has He Got A Friend For Me" , Shirley had these gigs out way , "The Great Valerio" and t he standing, they book up a L: About some of the :. title track long time ahead, she sort of people on t h e album, Timi stopped working and she had Donald plays r eally wel l , · Yes, a bloody good album, lbou t three of these~ a little RT : Oh, he plays with Bl ue, We certainly needed it. tour left ov er. So we got a "' .. ' ,. mv fFJ.VR drummer. (You' ve only to look through little band together. Th.e:re L: John Kirkpatr~cK , the new releasee Dack in was me and Tyger, John Kirk RT: John Kirkpatr ick is, I your local record store to see patrick and Royston who was think, the most remarkabl.e some of the prospective as~ our roadie, he sang a bit as musician who I ' ve ever seen trays) • For me, "Bright · well. work on a record. He Lights", ranks alongside L: I remellber seeing you play always plays the right thi.n& Kevin Ayers ' "Whatevershe with Sandy Denny at the he •s so fast in the studio. brings we sing". Roy Harper 1 s Octagon Theatre, Bolton, on a He ' d put a lot of classical "Sto:rmcock" , and any of John Spinners Show. musicians to shame the way Martyn' a l.ast four albums, as RT : Oh yeah (l.aughter). he can sight read and pick the beet ever album by an That was another strange things up and the knowledge English solo artist. thing, that ' s two of the he ' s got of his instrument Since the rel.ease of strangest things I can think is incredible. "Bright Lights" , Richard and of. (Laughter all round) . L: David Snell, who played Linda have recorded and Sandy was a bit frightened to harp on "Old Changil:l,ll: Was" • released another album, "Hokey oo it on her own alXi she What about him. Pokey" . (You should find this wanted a bit of moral support, RT: Yeah, I 1 d really like particular gem prattled upon so I just went &long with her. to use the harp again. elsewhere in this scurrilous We did , I think, "Bl.ac;k:water I haven' t got round to it neg) . Richard nearly played a Side" and the house base yet. It 1 s one of my gig at Dingwall.e with Linda player joined in, 'Which was favourite instruments. Ronetadt, p.na. there have been quite good. I ' ve got very L: Incidentally did you isolated outbreaks of Thompson mixed feelings about the play the whistle on "Shaky gigs throughout the country Spinners. Nancy" . However, by the time you read L: Yeah, Could we talk a RT : (laugh) Yes. this, Richard and Linda should bit now about "Henry the Human L: After that, you began be part way through their first Fly". When you made the recore to play with Linda as a headline tour, supported by did you consciously think it duo, when I saw you, you Hedgehog Pie. Let ' s hope we was going to be a very English seemed to really enjoy see you there. Baseball boots r ecord or did it just turn that. Would you like to optional, out that way. do tb.Rt again sometime . lJ.QUOR.lC£. ~ 8 t get~ re.vs I neea Mire~~ RT : Yes. ~'his is one of the things we might hu.vc to go back to, pcrho.p> .iuz t doing conc~rts na the t1•o of us. It means 1-10 wouJ.dn ' t have to 1 RT: Vaguely I can ' t remember slow track and put in a fast the B:u-rj 'LI'tyn Jazz B 1 . .raJ18C. I ex~ctly what it was . one,but we didn ' t really have RT : Ye-ll, ww ttd I: l ' ve ~~tit on tape and it' 5 one at \.he time. Those were the Salv~n.~on Arm.v ori£: '"""1.' good . the best songs we had to put In fact I wanted .l ~; .nlvation RT : You have to give things on a record at that time. Army on all of tt .. G , bllt <..ney titles and sometimes the titles I mean if we were concen.trat- wouJ.dn • t do it or e: • h1 '.c or are the meanings. Sometimes I ing on making a balanced moral grounds. So .·e started start with the title, it' ll record, then we would ' nt have with the Barry r~rtyn band 'l.lld sound really nice and it' s often done that I don' t think. they started to 'New Orleans' it a good way to start a song. L: On the album John Kirkpat- and it sounded so nice that we I think the title of a song is rick plays some amazing stuff just left it on. On the "Bright important. The title of a song especially on "When I Get Tc Lights" one we went up to or the title or the name of The Border" . Manchester to put some Silver anything is important I think. RT : Yeah, that was a part Band players on it, who were L: Do you feel that you can specially written for him. really fine musicians. express most of the things you'd ThE whole bit at the end is L: A lot of brass bands arc like to say in songs or is it just an overture for the rest worth listening to. just one specific outlet. of the record, everybody on RT: I love them. RT : It changes a lot. It is the the record plays a little bit. L: Besses 0 ' Th Barn, are good only outlet I 've got if I need :,: What did you think of hav~ you heard them. one. I think my attitude to "I Want To See The Bright RT : I 've heard of them, and seer. songs is changing a l ot. It used Lights" o.s a single. their albums in the rack at to be the ' soul in t orment RT : Yes , I suppose it was the H. M.V. syndrome', pouring all my troub onJy pj" --:le on tbc re,.o · • L: Would you ever like to les into song or joys. But I Jol:irg ~rt, whev~ yajre dvuflt ~ ~mf!ic IJO!X>RJCE ~£ 9 thir~ I'd like to do something Crystal Palace Bowl; the "Garden more ~1i th songs from now on. Party" affairs) • Also aoout the Something stronger and more for effect of vibration. Sound is people. I've only started to do very interesting. The fact that it of late. I don ' t know a lot the birds sing at dawn and sun of songs I don ' t even think set; the two times that the about. They just sort of come grass grows and trees grow. and you write them down on a bit It 's interesting. Sound is of paper. A lot of them don ' t amazing stuff, it' s almost a seem to have any reason. They dangerous thing, the effect of are just there, they just coma. certain rock music, it' s not L: That is in fact the song' s just the thing about your ears. reason isn't it. I think the whole physical RT : I think so, yeah. I think effect is devastating. That' s that people can tune themselves just a vory physical music, to a certain extent like a radio very loud music; very loud rock receiver. I really don' t think music is only physical, it people write songs anyway ,- do loses emotion. Very strong anything or write music . I think get a different sort of emotion emotional music can have a very that songs are just up there to the music. devastating effect as ·.~t ll. anywa:y . Whatever you believe or L: Could we talk a bit about L: Do you find that you can think. I think if you tune some of the records you pla:yed play certain moods of music yourself, if you open yourself on. Gary Farr' s "Strange Fruit" to the time of the day. to a certain influence a song is one of my favourites. RT : Yeah , this is the whole will come . I don ' t believe that RT : Oh yeah, that was very good , Hindu science of musi~ , accord anyone writes a song. A aong is yeah great, great. With Ian ing to the time of the day. given to someone. Whiteman and Roger Powell. It Morning ragas, evening ragas L: So in fact we just put labels really rocks along that one. and also for the seasons of the like this is a song, on things L: You pla:yed on one track yea:r. I think that the Hindus which happen. "Flowers Of The Forest" for have got a very interesting RT: Yes, it' s a thing that comes . Mike Heron ' s L. P. "Smiling Men science of music, very closely There are a lot of different ways With Bad Reputations" . aligned to their religion. to tune yourself. Also if you ' re RT : I put that on afterwards. There are other places in the born with a certain ability in a That was overdubbed. world where they have got a certain direction, you can have L: On the whole do you enjoy very advanced sort of music a head start. You can have a doing sessions. that can affect everyor.e who head start over other people, it' e RT : Sometimes, it depends who listens to it in the same way ~ like some people have the ability it' s for; I mean I enjoy doing very strongly. to be a car mechanic or something. sessions for Mike Heron and L: Where would you put your It's e thing that some people people like that. own music. can understand machines better L : I think I can recall that RT : Nowhere at all. I mean in than others • I 've never found it you've contributed to John terms of actual music we easy. It' s something I worked at. Cale' s record "Fear". lal.ow nothing at all. I think I 'm not sure whether it' s a good RT : Yes it' s a track cnlled it is accidental if we do thing or not, that I did. I ' m "Scooba Girl". I won't profess something which affects people not a natural songwriter. to have understood it at the in a way . I'm sure a lot of the L: You see songwriting more as a time. At the time, I thought it time thut we affect people the craft than a gift. was crazy, because there were wrong way . Sometimes we might RT : Yes it is a craft more than so many guitar pla:yere in the have the same effect as the a gift. Obviously it is a gift. studio, I wondered what every soundtrack of a Hammer film, But if you work at it the right one was gonna do. I heard the which is something we don ' t way , then the gift comes. The mix down there and it sounded want to do. gift is there for anyone who really good, very nice indeed. L: You ' d obviously like people wants it but you have to work at I really like it. I was slightly to get 'good ' things from your it to ho~e yourself in a certain thrown by his method of record music. way , as with any~hing at all. ing, overdubbing bass and drums , RT : I 'd like people to get Anything you want, you have to things like that, a bit risky. something from the music. change something in yourself to L: What about the Waterson' s I think music is a very strong get nearer to what you want. I record "Bright Phoebus" . thing. It can heal people, hope that makes sense. RT : A great record. Do you like soothe them, it can arouse L: Some people see the music that one. people, make them angry, make purely as a business; where do L: Very much . people happy, do anything. you see yourself on that scale. RT : I think the songs are terr It's really strong stuff. RT: Music as a business. I see ific. The best songs written Heap strong medicine. music as a living, if that is lately. L: How do you feel about being the same as business. I see it L: Overall, do you see yourself on the road, then. It' s gener as the job I do; it is a very then as creating English rock lly thoU8}lt of as being important aspect. As a job it music. unhealthy. has to be fulfilled in a certail RT : Well, I don' t really know. RT : A lot of ~ne ~ime , it can way and arrangements have to be L: Or does it just evolve like be. It depends on how you eat made in a certain wa:y, and there that. and how you sleep and a lot of is a lot of energy that must be RT: I used to think that, but the time how you travel. But expended in just the mechanics now it just turns out however there are ways round it. A lot of travelling and performing; it turns out. of the things on the road can preparation as well. A lot of L: It' s just how you express make up for the disadvantages, the writing I do is a prepara yourself at that time. can keep you going. The things tion for appearing and making RT : I ' m not anxious to pla:y you see and the things you do . recorda. English music anymore , I ' m not I'ts nice to travel. L: Coming back to Sour Grapes; anxious to pla:y American music. L: Do you musically have any do you enjoy working as a band. I mean I 'm happy to play what direct influences, or is it RT : It is enjoyment of a certain ever comes out. I ' d like to find everything that's going on. sort to.work acoustically; out more about music really, RT: Musically, I suppose it is playing a lot of electric guitar that's the next thing. I mean everything. I try to write the is fun, very enjoyable. With a you were aayi.Ig about Crystal truth whatever that is. band there is an amazing amount Palace where the fish died. I ' d L: Well, it ' s been interesting, of just sheer, physical energy like to find out about things just one last question, who is that's very exciting. Whereas like that. (During the conver going to win the League Title. acoustically the energy is a sation earlier, I ' d mentioned RT: Oh er •••••••• stoke. bit different; you ' re much clos to Richard that fish were found er to the audience and you can dead after concerts At the MALCOLM. DQUOR!CE. PM>£ 10 WO. 1call ~ 1\'e ~ mins 1o feed my ~rat ~ All albums are redueed (as alwa~s)
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\ ~ ~ ! ) C~u\CK51EP st."l.rr·t.r:ri (HILL\ CH AR LES \ ___ ,., ~ c%· f1j ~ And.. corn\.~ soot 1} not to t£. rn·15se.d_ : [L.-) fiSH R1s I NG- sla..~rl.~ STEVE HILLP\GrE. Mt\IC.H\NG- HE~D AND FEET sto.Yr\."'3 KEVIN Co~NE. Ku.TH IS STRANG-ER \HAN R\CHRRD skrl.nj RoBE.RI VJ RTT 7 It' s a rare delight and a real pleasure these days , to stumble upon an album by a s :i,nger or band whose music you' ve never IIKAPPENHALL heard before. Such was the case with Bryn Haworth and his first album "Let The Days Go By".My IIKIIUI:HU BRYN first knowledge of Bryn came Gallagher & Lyle/ Slim Chance a veritabl e classic in the time through Feely' s singles column school. His mandol in playi ng is honoured t radition of say, "Bl ess in Zounds(or the Benwell Adver beautif ul,by the way. There' s The Weather" or "Unhalfbricking". tiser) . In reviewing a song a simple sort of ricky- t i cky You ~robably think t hat ' s untr ue call ed "Grappenhall Rag" , Our rhythm and some fine bass work but ~t isn' t.What is t rue i s the John had this to say: · - in fact, the bass often seems to fact that "Let The Days Go By" "In the May issue of "Let be the lead instr ument . 1o1as 1 nt released, it mor e t han it Rock", in 1!he "Your Top Ten" It ' s an inf ectious noise , likely escaped. Such was t he feature, there ' s a letter from summery ,uncomplicated and natur impact it made on rel ease. Jeremy Comer of Upminster,Essex. al. Island have scored again, The al bum contains eleven No .8 in Jeremy' s Top Ten i s "Ho Bryn sounds happy and there ' s t;racks, and was made between ld On" by Sharon Tandy on Atlan another nice single on the mark September 1973 and March 1974 ic and Jeremy reckons it' s great et! Could you ask for more?". at various locations in England mainly ' cos of the guitar play and the Stat es. • ing. He asks readers for their Then at a gig in steely Side one opens wit h suggestions as to whom the guit Sheffield,Richard Thompson men "Grappenhall Rag" . This was a arist might be. Well Jeremy, ! tioned the album to me , saying single,but unfortunately it reckon it' s Bryn Hawort h. it was a goodie and well worth didn' t dent the shit-filled Back then,about 1967 ,Bryn listening to. So fiXed with cur linings of our loathsome charts. was with a band called Fl eur De iosity and interest, ! went Folks wer e too busy gobbling up Lys who made a handful .of singl straight out and bought the Osmond ditties for Christ mas. es of their own. (If ~Y .reader album on the following Tuesday. It is very much a Lancashire has any of these or indeed, (Hey , ! had to get my copy from song,laced with a North of Sharon Tandy' s "Hold On" ,and that hotbed of rock n ' roll, England feel,which permeates isn' t that keen on them,I ' d be Boots,and have you noticed their quite a number of t he tracks. grateful if they' d let me know . ) sensitive efforts at filing Bryn plays some bouncy Gibson It' s been years since I hea records) . mandolin and mandocello. And rd anything of Bryn Haworth so I I took it home , sat and there is some fine bass from was genuinel y pl eased when this 6azed at the very fine cover Gordon Haskell. It' s a definit e sL~le arrived on the Louis Qui {It ' s got some lc ·ely shades of up song with Br yn praisi ng his nze escritoire. Since 1967 Bryn blue on it. A Liquorice Stick lady,the 1ord,and l ife. has obviously undergone a spiri Award to Island for Yet Another Good stuff. Incidentally, tual transformation, for the Tasty Cover) ,and put the album Grappenhall is a litt le village message here is "Love your woma on. An hour later, a broad smile not far from Warrington ,which n , lov~ your life,love the Lord , had settled with a look of per is part of the East Lancashire and you 1 11 be alright". manence upon my f'nce. Very nlce, hinterland. Get your map out Bryn plays mandolin rather I thought. Thut was about 2-3 and have a look. A bit of trivi~ than guitar and the overall sou months ugo und 1 1 ~ ~~ill playing for you. nd of the record Places it in t.hR •• T.o+ +no TicnrA o,, 'R" II ""' ''n.r T+ i a The next track is "All I Wnnt" and features Terry Stann rd on drums ,Gordon Haskell again on bass,Pete Wingfield on piano and Mel Collins on alto sax. Bryn himself plays floating harmonica and 1 2- string & elec tric guitars. The whol e song moves along in fine style and is good for singing along to. We then move onto "I Won 1 t Lie (This Time)". This was t he flip side of the single, and in my opinion was good enough t o have been the A- side. It' s a strident and incisive song. Propelled i n great fashion by Mel Collins, who plays some biggles type saxophone . (God knows what t hat is) . Rabbit on Hammond ,Alan Spenner on bass,and Bruce Rowlands on drums, provi de a tight and raunchy rhythm section, Now, at this point, I ' d advise you to crank up your stereos,because the next three tracks are very good indeed . "Ee I Love You Lass" comes first and there ' s a definite Northern touch to this one too. It' s very inf ectious and you will doubtless be humming this one after the first hearing. Then we ' re into "Miss Swiss",which is one of me favourites on the whole album. Bryn sings it beautifully. His voice is expressive and emotive, exuding a really nice feel and warmth,which is accentuated by his mandocello and 12- string. The whol e thing wafts eff ort le ssly along, and Bruce Rowland is grand on dru,ms and rola- bola. A very,very, f ine song. Finally we have the title JJ.QUOR.!CE. PA6E 12. 'a»..ee
There we aro. A amnshi1~ record that' ll givP you n lot; of pleasure. You ' ll doubtlcon be amazed by the cxctllonoo of Bryn' s guitarwork. (Already young ladies in Arch·-1ay and Tufnell Park lll'e mur~:~uring Bryn' e name) and hie instrumen tal versatility. He plays oomo musical devices I'd never even heard of. Namely the mandocello and harpolek. It' s also a personal record made by someone who obviously cares and this really shows. It exudes too ,an optimistic and positive approach and you can' t help but be impressed by it. Last ly,the cover,it has a rather portly looking English gentleman on the back sleeve, (could i t be Frame at 50 , answers on a postcard please) and below him Bryn thar..ks a whole gaggle of people(he even mentions Lancashire) ending w1 th "and here ' s to everybody in t he whole world,love". A nice sentiment, too. ) ~red 'to Q¥eefl, ·lt says~ uY ()"dj{jV\ fue U.S.Metires · ·• ''· 1::: t.hen , the first issue David Bowie ' s prospect~ve ·· ;, •;,o!ice nnd along with it, British dater.--- "no f olks I "' J'nst of my colullll"s . As you ·.vull shuh nat be paintin' ·•• .1 hwl'l f!•lessed from the title masself black fuh dis here tour" t.. •:r: rjn the top of this pa8e , don ' t worry Bowie lovers, I 1 ,:.11 u:::ually be ta.king about certainly do like the lad, but ·• J~rr:r_.t .v~riety (or non variety) it' s just that he ' s been puzz 'Jf thirvs.- ::'irst of ~ll , lots of ling me lately • • ••••• •• • But I~'JIJd rou .. ~c . H.tv ing follnd your back to the Stones (told you) , '·"":/ to this prJ8e (at this point I ' m going to reiterate certain ir• time you >till not yet have warnings about the J .Marks book l~~nt to turn immediately tt "Miek Ja8ger" . Unfortunately I thic page as soon as you buy bought it and it' s a load of your Liquorice-- it' ll grow on pseud crap, the pictures are the you ) you will undoubtedly have only good thing in it-- and yr-" I"•ssed through .va:::-ious articles can look at these in the comfort on v~ious wizards of English of your local bookshop. rr.uoic . One English musician in European Cup-- then I ' ll tell Traffic now , not ~uch is pr.rtic~:lar1 - Richard Thompson yo.;. ). ••ill have been lovingly happening here at Lhe moment . presented to you in this issue. But back to the ~tones (and thut They seem to be a".ving their I dcn ' t apologize for bringing 1·10n ' t be t he last time you' ll custom~ry lay- off after a tou1 , him up here again, as I am intent read these v.ords) ~1hat the hell so I reckon it' ll be ~ lengthy on prr;.ising the "Fly" and his are they dc i ng ? period before they start mov·i,;,· lovely lady wife on their Well, this week I was excited to o.g·1in . I ' ll try and find out fJl' ~.sterpiece of a n~w elpee. hear that they ~ay be setting up next time, but the ne':ls 1·:ill For the past few days I have ~ series of gigs at ¥~dison prob'lhly he "tour ·md elpee .•••• •·een glutting myself on' vast Square Garden sometime in the sorn&tiffie in the f>ture" ,keep :JJrrounts of "Hokey Pokey" early ~vmmer , could this be tr.a? hr. pinr tho rll . /u;yhol·: , if you (dictionary definition-"cheap I certainly hope so , beca~sE if h·.ven' 1, :;ct f .md yo 1r 1·:· .y l'O u1d ice- cream" for the uninitiated) the lads do get o.t there on the Tr·lffie (the! •.. r.ere r.,.ve :; o , 'illd although I must refrain old boards (3.nd dragon) ll8nir., ueen ? ·, , t'1 1 it' s a: :Jt•t t!:.. e f:::-om writing pages about the then it 11ill certainly portend yo .. len • ~· l' e·n·s to this :.crt 3Uid record (for it is reviewed ·;ell for " nri tish tour in thf' excellc1. • t' · ~-l. tish i•ar.ds . praised, and zcclnimed elsewhere auturr~ , and a~ this co ld · ell ..:ih ll I 1 £>~o· .:·.e·.d •·:-JL:iJ4- ~this issue) , ! must say that be "the l::1st ti c" I 10 la 1' r :· t".-:·..~rds? --- H· ~-~· , wam: to oit"S it. A 1 '11~--: , esreci :11:: tnis elpee is by far tPe rest ...... f"o" - elpee of the year so f r , and I says "tioe :ait f .. ... -e~ , ·-'lc ~~~ · t see mfJcy better neu and althour· it' J" .·t:c:. reing relea~ed . This ~lpee .s the:; can' !. o on n ll about people , ~eeling , and And ~;hilst I' cart--so pecple _f you have ...,to!le~ t ct .... t eeling, if you have hourt (and con ·cct· J3o about £2. 30 or h·tever) t.:J.Y ;;ocll 1 ovt and buy it- r r• :I.e of ick ~light is guarantee -live for thi .. our first taste of - • ewr: d :l:ain. ither. 1'h 1 ' .J_ ' f flash J.t r "Hokey Pokey" isn' t the !pee c n r>nt . >nly superb alburr to be put in Rottera ·· • !lllt this month. Also ,1ust nory Gall£<~ I l , - • E _' . -t· released is Mike Heron ' s new think he ' d p · J d r 1 · ..u· L · , clpee "Mike Heron ' s Reputation" Stone..; (to bt'. h 1 e t , I . 11 1.d i•.r---tl.c.: 1 Jo •. ·rn excellent disc indeed,und 3urprised to s<:e he ' d 1 h:/ l 1 they ' re fed;, 1":: 1' 1wll worth inveotignting. the elpee, bui. 1:e ' 11 , ee) . 'I d ~. x inch i ·cils. It ' s a pity, but. I reckon that There ' s alcio Jeff 3cck--cvcn 1 .;till tho -11 , t ' d :.e cre·.t 1 d. . like Heron iSll' t quite getting likely I think. Of Rohct·t Jol.n.. if I· n D"ry •·&"'.r.J:•e '" n~tioa·~l the push he deserves. His tour :>f John Entwistle' :; Q) , I don ' L 3 perstrJ.r. We co :..old evo1: r e has been poorly publicised, and even kno<~ enoueh about him to n· ck to the days of ' I wo~ldn ' t 1 don' t think much of the spl :lee ide. I ·o~as aln1 med to :>ee let r.ry da.tchter eo out ~:ith hi1·. :u-h publicity he ' s received on 3teve f.larriot "expressinp; i tc.rc t. .Cneir music is ~ peculi~ t· bl"tnd , the release of the aforesaid in rf' o·'in,s:; '< Rollin{'; Stone'' . ~fusion of rocY. and roll ~Jd elpee. In fact it was only by Hel~ file lua,give us a brtUY. , rcgeae (a!:n"st) , but it' ::; hichly chance that I happened t o find or something,make a solo elpee cntertaln~ng , originaJ and it in the local record shop- instead. Peter Framptor.--- nop en. oyablc. Try 'l!ld catch ther.• hut now that I ' ve told you .t' s I shnuld ' n~ think so again. vOOn. Non oriv,in~ity n~y be th( out,you ' ve got no excuses, so Who iti it going to be then? reason why Dr . Feelgood ~~y not try and give it a listpn. Well I put my ~oney on Ron Wo make any imp?ct on the reco1~ (still) . After all, the elpee charts. Early sixties r and b If ever I stick around will take care of itself,and ro rules here- - - and ~:hat performer; long enough to dev~lop any troubles , so they ' ll only require especially their excellent particular style, or to give a guitarist to "guest"for the g~itarist Wilko Johnson. As ~ any indication of my tastes, tour. Notice how he ' s not bee11 band they will not fail to then the next issues (and this linked with the Stones lately-- please, bllt as I say, I don' t one) will begin to show my a sure sign of something I ' d think they 'll sell any of the 1mfailing love and dedication have thought. I reckon he still nil- important vinyls. towards a variety of subjects, owes Keith Richard a favour not immediately unndJacent to after Wood ' s own solo efforts. I wonder how all this will thC' Rolling Stones (Mick the J Anyway I hope it comes out that J.ll fit in the magazine. I ' m ·:.11d the ,1nggc>ttes) , Traffic, way . Another outsider I quite glad that I dcr. ' t have the i\h•h·u·d ·md Lindo Thompson fancy is Alexis Korner-- ~ow problem of setting all the t ype. (J'l'lWvd already) and what ' s that 1voul d be amazing. Pe1·haps I hope that this column hasn' t Lhh~ - - Lv0ds United? Er sorry we could have the first ever bored you stiff,and who knows •·~:1-.:ulm , I didn ' t mean to upset Liquor i ce competit ion to deeid< what the next issue may bri ng . ~·,) .. r Souther n readers-- I will who t he n~w guitari st will be-- Was t hat al r i ght Malcolm? , •• • • '\. l:ll'l\ti.:>n thorn agai n in this f i rst prize, a f ortni ght for two 1 didn ' t mention Eddi e Waring · ·'-' .,. (t>nt _iust wait till we in the Bahamas , or its cash once did I? 1. t.lh' F .A. Cup nnd the equivalent , ~.> ticket for one o~ PAUL . I!Q.LJCRICE P.A6E 14- ~ 9<* electric ~s , 0 rroroit SAir, yru \::row I n:00 it in ll waglline this American girl called Robin For as lo ~ as I can remember , and she wanted to come to give me a chance . It wus an Bridget St. John haG been one England, so we hitched b11ck from opportunity to play i.n front of of my favourite lady singers. the south of France to London people because I hadn ' t done She ' s always seemed something and she stayed i th me for a that a lot. I ' d done gig8 at ~Sp cial to me. Ht·r records are while. And have you heard John' s college but it' s different play consistently good, and they first album ("London Conversat ing in front of people you know have a friendliness and warmth ions"), well the song "Sandy anyway . abcut them, which is sadly Grey" was written by her. Then lacking to- day. I ' ve seen she went to Bunjies on~ n q~t L: I remember seeing ~ gig in Bridget play lot~ of gigs too, and came back and onid, "I' ve Manchester once with Poely, and they' re just like watching met this fantastic guy, he ' s Family, Roy Harper, and yourself a friend play. alko , really loaded" . So we which was amazin '. So it' s a treat to feature went round and met h·~ . That ' s BS : Yeah , they had some fantas Bridget in this the first issue how it happened , . , le~ he'd tic bills in those dayb, of Liquorice. Irera, and myself come to Sheffie a ·- ~ , he 'd went up to the charming and stay with us . So whcm I w''" L: After " Ask Me No Questions" , healthy little Derbyshir e town leaving he said if I ;~·mtcd to came "Songs For The Gentle Man" . of Buxton, to meet Bridget who make a record, I should make a How did that come about with lives not far away, in the tape and send 1 to him. Also Ron Geeein. little village of Sparrowp~t . he kne~ Al St~~ r t had a BS : I met him through John in We all adjourned to a cosy revox or eomett1 u , 'l trwo fact , John r-tartyn. When I was little cafe where we sat and recoroer anyway . l c=' t rememb still at college, at this club chatted to the clinking of er. So I m.:tde • "' 1 ih1 re. in She.ffield called the Highcl innWDerable coffee cups, ;.:or a Wher I nde tht. 1. ..oo , n .y ~ho iffe. They h-·w· some very good couple of hours , and illic tly - "~ going out with, o led pp p t n there. I was on the munched th ~ c'lke 1 ' d made for rote Ro ·ho, know John T'ool. He sam.. 'It;ency flS him and we ' d get Bridget. \\ .... , . .- wn. a poet. occnoionnl gigs together, so I got to know h n. . Then I was ' .>· '~·,...... ~~ \.-'', ...... -. 0 ' . J N.' talking to J Ieel about the next album tu c.l h said I think Bridget: W .L.L you aeod a J11'0d ucer. I lived n< 1' R pl ce c 11 u liko it still as a Hnncock 'o Ch n. l'llC And like whe BS: f ' • I lovo bits of it, the '1eek bef r , hut 1' t.)und ~o feel like that. gave me twenty quid to h 1y ' !,iko U1o luol, album, I don •t guitar with. So I !•ought on like Jl rts or thnt, but it ' s with nylo~ .tringo. Then 1 w nt only my ing~ . I c uld have to vbeffield niver3ity and the sung a lpt bet. r . I like a lot gi ~ I wac in di~b wlth co~d of the ideas in J t . p ~Y guitar a bit, so I 'd sit • 1 watch her, start learning L: I think your albums have t , So I h~a three years·at developed a lo1. , there' s been ffield , .ust Jlowly learning a progression, a you i'ePl that. _ play ~a then writing as BS : Yeah, I think so. I feel ·.tell. Becau;.;c I nlwnys wrote that I definitely sing better ~ems before I played guitar now than I did on the lust t ~1 . And even before I could album. That ' s because I stand act ·U.l,y 11 ., th guitar, I ' d up no~ , and I sing much better. written s ~ . ~- d then I It ' s taken me six years to dare fitted the two chord& round the to stand up really. Because I tune if you see what I mean . didn' t think I 'd be able to ": Actual discotheques. play standing ~P because I Liquorice: Ho~ ~d you ~eet BS : Yeah , I can remember one now learnt sitting down in fact·. Jonn llartyn then, because he n Derby called Cloud 72 . He 'd And it always felt natural to got you to make a tape, didn't just say to the audience "I want hold the guitar sitting down. he. you to be Vf!ry quiet because And writing I feel, too , like BJ : I met him the year before she 's very shy" , just really there ' s a line in a new song I left Sheffield in 1967. • had nice. And they 'd really listen, I ' ve written, "I know I have to spend n term in France RJ maybe they weren ' t into what I traded innocence for sophist p•rt of my course "nd I 'd ~et was doj.np, but at least they'd icated ease". I know that I ' ve Its rom fer we 10 fim a "-Oy, '\0 get~
~ : But you could always get hold of your albums , more eo than say Beau or Mike Hart. BS : I suppose that they did get behind me a bit more , because I was actually working. But even so they were hard. to get hold of. And even this-album hasn' t been in the shops. That really annoys me . Because they say you ' re not selling records but you can ' t sell them if they' re ne-t there, especially because it' s such a fickle market. If it' s not in the shops people aren' t going to remember to buy it next week. It' s got to be there. So I 've started selling albums at gigs. L: When you left Dandelion, did you sign with M,C.A. BS: Well the guy who was managing me then, Clive Selwood, John' s partner in the record company, sort of fixed up this contract and there were bits of it that I didn' t like at all. And I decided they weren' t right for me . The music business is such a business now, you ' ve got to have someone working for you who knows how to market you, it' s horrible. It' s not enough to make nice records anymore. You 've got to have a whole campaign behind you. .·)1'~1.1.('.v.;,' ·~""if~· IT ~~ ,.... . ~ ~ L.: Remember "Oyste.r And 'The Flying Fish" with Kevin Ayers. BS : There was supposed to be an .D.Q~CE p,A6£.16 L: Do you buy a lot of wanting to run before I 've peraon I 'd like to use is Lol records to listen to at home . learnt to crawl yet. So Coxhill, I think that' d be a BS : I do , I but a lot of what I'm doing, is that I ' m really nice trio to start off records. I buy more than I going to start working things with. And I ' ve got to have an probably like because I like out with Pete Berryman, like acoustic band because I can' t to find out about things. I said rehearsing in the afford to put a band on the Often I make mistakes, but letter. And seeing how that road, thet' s because I want to know. works with him ' cos he' s very I haven ' t got the time to go sensitive, into a record shop and li~ten to a track from every album. L: He mooe a nice record with My turntable' o broke at the John James. moment but I 've junt bought BS : Right • He ' s a lovely Adam Faith 1 , U.bum bccaune I guitarist, and very much not L: In "Jumblequeen", there's wast just ~ 1 tere~ tw to see stuck in a group or into one a line "flying to Belfast" , what he was do •.,_ • Also sound , He's just very free, didyou do a gig there. Georgie Fame 1 s l 1 bun because which is what I need , I don ' t BS:. At the Queen' s University. I 've henrd two tr~cks off want someone who takes my That was great, lovely. Very that and I think it' s great. sound over. Someone who 1 s not receptive, like a lot of I know I 'm gonna li~e that. that r i gid, people refuse to go over there, I got them in ~ eo.J.e in a record shop. I love John L: That would be gocd, which is bad to me . It' s a Lennon a lot. Stevie Wonder. because people tend to put bit like saying, I can drive And John' s album, "Sunday ' s "folk" labels on you. a car but I can' t go out in Child" . I just cried when I BS : To me , I •vu never been case I get hit. You should heard that, it ' s just so just share your life, if anywhere near the folk scene they 1 re having a hard time lw ely. Also Isaac Guillory' s at all. It's junt because you should just go out and new band, Pure Chance are I ' m acoustic and quiet. And amazing. I stayed with them also when I started off it was make it a bit nicer for them. last night and they played the days of love and peace, I mean my aunt and uncle live me a tape. Incredible band. man, flower power, everything there, they 've had their was very gentle and very nice windows smashed, but they' re L: Are you going to develop and what I did fitted in very aJ.right. It' s usually if yourself with a band, not a well with that. So there was you' re involved in something set of back- up musicians. no sort of push or anything, that something happens, she BS : Before I left Chrysalis, it was just laid- back But says, probably next I ' ll go, . I ;.;anted to !JUt a band on the that meant people filled you I ' ll get blown up or somethl.ng. road but I think it's like That' s part of it all. It' s into a slot. And the other like Scotland, very few people go up there as well, which is a11 wrong , L: People who play in folk clubs do tend to get categor ised too mud:l. 1/itibgrt ~t jfobn BS : I think it's aJ.right if you' re a musician as opposed ~ng for tbe gentle man to a complete entity ~ Like it' s far harder to classify Danny Thompson, he just plays with lots of dif fer ent people so he doesn' t get in a rut. Like everyone needs labels. I don' t understand it, but they always do. L: Do you ever get pissed off to the point where you think is it worth it. BS : Oh yeah, so~etimes , it doesn' t last very long, but like I can always find a reason for it, Like 1.f it' s a badly organised gig, then it' s not down to me . When I ' m tired I 'm very sensitive to every thing, and fNery little thing in the audience I think is against me. Like when you're growing up and just getting used to being with people, and you hear someone laughing when you' re walking down the street, end you' re shy, then you think they' re laughing at me . But they're not they ' re laughing at something else, and you turn everything against you especially in a concert situation where you can' t imagine that they can be talking about anything but you, And I don'' t mean that big- headedly ' cos presumably that' s what they ' re there for to listen. ' Cos the good times are so great like last night was a great gig, I felt really, really nice. Just lovely, and of lSIJ8U88e is very, very it seems much more positive -~j\lj{ great... It 1 s like ohc never if people would just go into • •;'i uses ~he same word twice, see things a little more deeper. V: ~~- -.. what I mean, She must have • r\1~~~~ ,,' read an awful lot. · p~~~-:.- ~~~ .. L: It ' s interesting because :.~.,.,,.:::;~~. ~ ../ when Paul Kossoff did the gigs L: The "Peel and Pig" song with John Hartyn, he was on ~-~i-. 't: ~ was a nice little touch, did the front page of all the you make that up on the spare music papers- of the moment . BS : No , right exactly, he was L : Jith livinP in~· Sparrowpit , BS : Yeah, like I knew the on the front page. Paul said do you find you' re writing more week before, I was goilJ8 to all they wanted to know was than when you lived in do something. And I couldn' t "what drugs I ' d been on man" Manchester. think what , then about the and "how long I 'd been ~ut of' BS : I didn' t really live very night before it just came to my head" , as simple as that. long in ~~'lllchcster . I think me , ••••• no- it was drivilJ8 Sad , because that' s not w~t I 'w getting into writing much home , and I thought I ' ll do he wants. I never buy music more , ' Cos ~ ' ve always felt that, And I just worked it papers because they just make very unsettled in London. I out with Chick (Churchill) in you feel frustrated , ' cos you felt that I had to go out once the studio. But apparently realise the con that they are. a day. There ' s something abou· John was in tears when he They' re not telling you about the city, it ' s like a giant heard it, he was really people at all, it' s more a suction pad, it sucks you out knocked out, I didn ' t know publicity angle or whatever, of your house and you've got how good to actually do it the occasional article will to go and spend some money or on the radio ' cos it ' s so be good though, It' s not go and see someone or gd and much just for them, worth wading through it all. walk round a bit and it' s ~ ~ike Rolling Stone actually, very negative a lot of the L: It sounded good , I can .1.t s ,1 ust so expensive, I mean time. WhE>re I live here, if still remember the words now. if you' re on the road and you I ~rant to go and see someone Do you get a lot of peopl~ get three stacked up, it takes it' s because I really want to writing into·you, s~ing they you ~ month to read them, 'cos cee them. None of my close l~e this and they can identi:t;r there' s so much in them. It ' s friends actually live where •nth it. like the Su.nday newspaper , you I live, so it' s a very positive BS : I get the odd nice letter can spend hours readir~ then. thing. In London it gets a from someone sayil~.g I like bit negative. In London I what yo1 do , I think that ' s lived near Primrose Hjll "go what ' s missill8. In the old ~ : _Do you feel isolated, f'J1d watch the sun go down on days you ' d get groupn of c ·~ne back to the id€~ of 1 writers who ' d get toGether ~rou.ps of ;~iter~ ~~d sue~ . ?rimrose Hill" • It s 'l really I!S : Sometimes, not al>:ays , .:_ t ~ic little hill 'lctually. I and discuss with each other can it' s not stuffed (laughs) things in e· :h other' o writine depends on ho·: strong I feel, ith people. If you get to or painting . t ' a lik t.•hon Sometimes I feel very much oat people do reY we of record on o lil:lb in relatior to the the top and it' s not misty you r t of the b1s1n t , b t only ·~ see right across London. I suppose t{.u. t pnce prohi 1 ta it but it would be nic if in th 'llllC wny tl "t John ou can still see St Paul's J. rtyn i l'"ullY. 1 J:Jenn 1 cos ththedral. people sort of analy od th 1 a bit more, not in th h ' nothiJll to do with making destruc'tive wny thu t you 1 r mo1 y, I mcun he makes money ,; How about readiru , do you obviol.ly, hut that ' s not his read a lot of books . tauf,ht at schoo~ but a lit rc oon f l' doinc: things. ~s : I do spasmodic~ly . I more than it sounds liko oo tend to start a lot, then I ar.d so , or shE. ' f got no u1d go off because I drive myself so backing her. L: Do you feel the need to go and a lot of time is taken up ·md lalk to sot uor.e 1-1r.en you ' vc 1 : You mean more of why you writt.•u somcthinc. gettjJ1g to somewhere, and DS : Ye:.h, ,oruetimes especially getting ready t~ play, and like a record, not in the 'A' afterwards I never feel down level English sense, wh:!.ch when I 've JUSt written some enough to read if you know you get a lot of. thing I really love to just what I mean , If it' s good BS : Yeah, exactly, like there play something to someone to you' re right up there and you was one in this month ' s , no know that it' s alright, If can' t settle to anything like last month' s "Beat Instrument I 'm excited about a line, I reading. Sometimes I know al" , and I ju; t felt that he ' d really need to say I 've got that what I need is to read actualJ.y listened to the this line. I really like it. something, I started reading songs. And he said what he To know that it' s either thought was one of the threads worth going on with, or what ' s a guy called Flan O'Brien, finished is as good as you "The Third Policeman", a most through my SOIJ8S , It' s nice amazing writer. A just lovely that someone had actually feel it is, or communicates looked at everythill8 as a as much as you can. Like I 've way of writill8 . It' s like a written this song on harmonium sort of serial story, I like whole and found certain thinRs 1 Aldous Huxley a lot. and quoted certain lines to and there s one line in it ' say why he felt like tha • that I really like and it 1 s l-L?.ybe it' s a selfish thi~ but about this old lady who died L: Do you listen a lot to in the village but it' ::; not Joni Mitchell. necessarily about her, it ' s BS : I think she' s amazing too about how people grow very old I listen'a lot to her, But ' and just seem to sit there she' s not like my favourite the last few years of their singer. I suppose what it is lives, they' re just hanging --- I feel she' s fairly cold ' on yet they 're not doing as an actual person, Maybe anything, And the last verse she ' s not really, perhaps ' goes "done are the days of tea that ' s the side of her she and company , the drips and ~weds to write out. It' s like drabs of pa.i.n ," And I reall y .e ;.rhen I 'm down I need to like that ' cos like she was in :.r·ite out those times, Whereas hospital and was on a drip ~here ' s a whole lot of other right, so there ' s that sort . i.
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I' [ ~ere are countless records if you know -~.at I mean . and a little contribution from ~~ i+. ~or a start,there's the g, released every week ,all of them There is a startlir~ purity Bever: .ey . cover,a fine ar.d 1 •O::.p~.eric ~ hoping to find their way into and inte~se co~z~~ent from There we are. You really do drawing by Torn Adams . ':•.e.r there the hands of the record- buying start to f!.n::.s~ . k:d I love it. not get albums like "Sunday ' s is Chris Thomas's production. populace. Me and You. The cajori c;y of the songs Child" released very often. Kokoco's overall sound is strong, ~ Now the idea of this page is to are h~~~ persona: ~~d moving. When we do , they' re gems to warm, and flexible. Each track ~ present two or three albums They re~e'!" d:!:ec'tly to John treasure and to keep. is consistently listenable, which we think are worth buying, and his li!e. t~d as such the The Stormbringer turns Sclid Air providing a variation in style (or not buying for that matter) . disti~ation of :~rs~ hand Inside Out. Wahoo . and feeling. In a sense they will be reviews, expe'!"ience L~tc so~ . ~es for The rhythm section of Alan i but we decided against carrying a valuable en1- ex~l·e:::e.:y l>IALCOLM . Spenner and Terry Stannard a torrent of indiscriminate creative Diece o! •orL. balances finely S8ainst the & record revi ews because, The tre=~o.;.s "One J, - 'lithout "KOKOMO" (CBS 80670) . stirring horn work of Mel Collins ~- 1)most other music papers and You", "Root Love" ,en\... ~::__-:;ches" KOKOMO . and the guitars of Jim Mullen magazines have reams of revie , all. exa.:llne the positio~ o: a and Neil Hubbard. But it' s the 2) we didn ' t think it possibl• the rjali,away fro::~ Y.okomo , are one of the much voices that I like best. ~ to print a lot of reviews, ' L- ids. . vaU!lted stars of the Lor.don, pub Dyan Birch,Padcie McHugh , Frank =T! we reckon that you need to club,a.nd Ding•,,-t• s scene. They ' re Collins, and Tony o • r~ley work V)' listen quite closely to a record 11 ter:- piece b. ~. d therefore superbly together. I particularly before you can actually present their amount o:r g1gs outside of like Dyan Birch's contributio~q , tt your opinion on it,and 3)who Londo~ has been so~ewhat es,;:.eci~lly on "For• over" , a to:.,d. wants to read pages ~d 1 _-s restricted. Only the recem; i.!'.p.- .1d emotive S· n"' , "'r·:at vo.:als ~ of record reviews, :... •.,,. • ? e-.... n•·-··8hty Rhyth.t:H" tour gave the::l Yes , methinks Kcko bei."lg The following three .al .. -~ .re opportunity to plaY for nush~~ : 1 dubiou_ lof:J of a great way to start off tc._s o~.ulks in such chnrc: ~ s;x;ts as stardOI • Ard it1 S WOrth noting page, so read on. ff a:1d ~s•.l..ou: • .ich is that :!. d mate of theirs t Starr-J Eye_ And Laughinp: ,had an "SU1IDAY ' S CHILD" lisland 9296} album released last Sep• 'm~er JOHN lmTY~i . the...... w:. th very sparse public." ty. await --r:ha-: Not so Kokomo ,I ' v• seen lots of Now they don' t cowe ~· ads for the al'll ..... , so come on CBS than this. An amazing al SiC COoi.."lg it ~ould be nice if you pushed I bought cy copy on impo .•• cts seems to the, Starry Eyedz next albtua ~s coupla weeks before Christ · over--.rorked muc~ . But "Kokomo" is !'\ good and I ' d have been willing to ,e,..hortat:.or..s elpee to have around. o· .. y pay a tenner for an album like t fo.ml-..y' the:ne. British you kno•·r 't m 1\!elv(· dE'!• c: (")~ beet ice- creom in tho • Crt Moat definitely .This,th~ second :0 nlbum fron: Richard !Uld Linda is ' ' (JUflJtilOJIXJmf,ot.es!JrJf M! ~to t ~ ~ ~ of tyu. a lUHv bH a.~ t.U, I C.4! ~ 2 W'\.U. 'oQ. crlll a.rouM ~I 5-6' UJ{ \,WT)' t b.e IN{ CU/l' t Q rIU df $ <, fYlul.bt ~fl 1u.nt o.M. w\Ll ~ ~ ~cLown~~~ ~.'ah( '1(1111f6f HVt{ clQ-ad~.t1\Q ~ ~Mth~~. l.o-ndm Cl(A-,i-t 'U ~ ~ n • rtw{ p~ua-l UJn ~~~cul(Hal~~). But ~ ~. ~.f $0JYI(l btUJW rQtA{~l al f'Adt'a l wiU_ ~ ~ ~ 0vw_ hM ~~Ul (If ~~ t£ (' Y\4( (<' r {l