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NICK BOB DYLANBOB DYLAN INTERVIEWS, REVIEWS & RARE PHOTOS AND THE VOLUME 2 ISSUE 5 UK £ 5.99 & NASH STILLS CROSBY, BOOM 1964-1974

CAROLE KING CAROLE MORRISON VAN STEVENS CAT TAYLOR JAMES DVD - EREDV519

Features the classic tracks 99.9F ˚, Marlene On The Wall, When Heroes Go Down, Left Of Center, Luka, Solitude Standing, Tom's Diner and many more. 2004 Includes bonus tracks from her concert DISTRIBUTED BY at the Montreux Festival in 2000. AVAILABLE AT eagle vision A DIVISION OF EAGLE ROCK ENTERTAINMENT LIMITED www.eagle-rock.com “FESTIVAL!” ’S CLASSIC , originally released in 1967, is now on DVD for the first time. Filmed across four Newport Folk Festivals in the early sixties it combines live footage and interviews with the artists and with members of the audience. FEATURED ARTISTS INCLUDE • • DONOVAN, PETER,PAUL & MARY • , and many more.

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AVAILABLE FROM eagle vision A DIVISION OF EAGLE ROCK ENTERTAINMENT LTD www.eagle-rock.com Britain catches Dylanmania, Donovan versus Dylan, The Byrds fly in, Ramblin’ Jack Elliott reminisces, the great Protest debate, Barry McGuire heralds the ‘Eve Of Destruction’, Sonny & conquer the charts, Simon & PAGES 6-39 Garfunkel forge sound out of silence

Byrds banned in drug scandal, Dylan press deceptions and gig fracas, Simon & Garfunkel go “intellectual”, The Mamas And The Papas entertain , in “youth’s a drag” shocker, Scott McKenzie hails flower PAGES 40-53 power, The Byrds split

Dylan arrives at the Isle Of Wight a changed man, brings the poetry, Incredible String – a cool name to drop, Joni Mitchell shines, Crosby, Stills & Nash are the first supergroup and UK folk comes of age PAGES 54-77 with and Pentangle

James Taylor the new messiah, – solo genius, Neil Young joins CS&N, makes ‘Tapestry’, Dylan teams up with Harrison for ‘Bangla Desh’, Buffy Sainte-Marie sings ‘Soldier Blue’, wows PAGES 78-103 and walks it like he sings it

Don McLean bakes an ‘American Pie’, America ride a ‘Horse With No Name’, a mystery, earns his dues, RIP, Dylan stars in Billy The Kid movie, the new Bobs line up for success, Tim PAGES 104-145 Buckley talks dirty and CSN&Y play Wembley WOKE UP THIS MORNING AND I WROTE DOWN THIS SONG…

tranger things have happened but it sure seems of the sombre Espers and the extravagant punk. In working outside of industry regulated weird that, when we got about halfway through and, yes, even the soppy James Blunt. Then there’s the venues, in playing where they want, when they want compiling this volume of NME Originals, our breathlessly anticipated return after 12 years of the and being able to react in song to the immediate Sprincipal cover subject unexpectedly became sorceress herself, . circumstances around them, they are returning the the hottest musical act on the planet. These artists all qualify as folkies and, had they power to the people and bringing a and purpose to It was enough to get anyone thinking and so we did: been recording 40 years ago, there’s no doubt they music beyond just entertainment. why on earth is Bob Dylan – a man whose best, most would all have figured in this volume. But why the All of this activity, taking place right now, has its potent and meaningful works were recorded some current vogue for folk? It could be down to a number precedents in the era covered by this volume. From 40 years ago (during the time span covered by this of reasons. I’ve a hunch that the more stressed the arrival of Dylan, his stoner vision far beyond the magazine, in fact) – being suddenly lionised anew? It’s and complicated life gets, the simpler we like our comprehension of the establishment, to the sweet nothing to do with celebrating any anniversary and pleasures. When there’s an outside chance you might downhome homilies of Joni Mitchell and he’s released no fresh work which can hold a candle to get blown to bits travelling to work of a morning, offering spiritual balm while kids protesting against his greatest stuff. No, it’s all down to BBC2 screening a death metal on your iPod is hardly salve for the soul. the were being slaughtered by US troops two part documentary on Bob’s wild The pastoral musings of , on the other on American soil, there are historical and musical years and an accompanying ‘Bootleg Series’ CD which hand, provide an alternative calming headspace. parallels. And in the journey travelled by Crosby, Stills excavates some of his best known from around Then there’s the fact that, when there’s something & Nash, who started out in 1968 with the avowed that time in rawer demo or live form. And all of this, to protest against – an unjust war or a corrupt intent of doing their own thing and ended up in 1974 somehow, seems to resonate with 2005. government or, in this case, both – it helps to hear a monstrous piece of business, strung out and bored Now Bob’s a bone fide genius – this seems to the words of a song packed with indignation or playing stadiums for megabucks, there may be lessons go without saying. But everyone’s known that for encouragement loud and clear. And in the midst of the to be learned. donkey’s years. So how come ol’ Bob seems so madness, when you feel powerless to control anything Those were – and these are – confusing and right, right now? Well, for one thing, the form of let alone determine your own destiny, a little musical times. As CSN&Y sang on the refrain to music loosely described as “folk” was making a bit one-on-one with a singer can feel like ‘Déjà Vu’: we have all been here before. of a comeback anyway. Several of this year’s most ersatz therapy. Enjoy. satisfying releases have been down to maverick There’s also something more trustworthy about an talents who have chosen to work outside the regular individual than a band. The singer who sets forth his formulae for success set out by the music and retail or her own emotions and ideas in their own words to business. I’m thinking here of the warbling elfin hippy their own accompaniment just seems somehow more prince and his exuberant ‘Cripple honest than a group prancing about playing roles. And ’ LP. And the madcap Sufjan Stevens, working finally, the have--will-travel guerrilla gigging his way through a project where he’s basing an entire of and his vagabond tribe of Albion on each of the 50 American states with results idealists feels like the first genuinely revolutionary Steve Sutherland far richer than they have any right to be. I’m thinking thing to happen to the of music since Editor

4 NME ORIGINALS INTRODUCTION

NME ORIGINALS 5

1964-1965

Bob Dylan talks to Max Jones…

MM, 23 May 1964, page 12 Confi ning ne lunchtime, before his sellout “You ask if I have any diffi culty concert at the Royal Festival producing songs. You know they come Hall, I called to see Bob Dylan. up and stay in my mind sometimes OThe 23-year-old American – sometimes a long time, I just write singer, guitarist, player them out when the right time comes. and writer of songs which go a few “The words come fi rst. Then I fi t a fathoms deeper than the “Yeah, tune or just strum the chords. Really yeah, yeah” stage received me with I’m not a tune writer. The songs for me cordiality and a bottle of Beaujolais. are very confi ning, or something. I’m ( )) It was incongruous, in view of the not writing that many songs. BOB DYLAN 23 WRITES blistering social criticism in many of “I’ve written a lot of things with no his songs, to meet him in the genteel structure, written them only because surroundings of a hotel in . I like to sing them. ‘A Hard Rain’s SONGS STARS LIKE Particularly as he was dressed in A-Gonna Fall’… I wrote the words of jeans and boots and leather jacket. it on a piece of paper. But there was no NME, 8 May 1964, page 4 It was in his blue jeans, wrinkled shirt He was aware of the incongruity. tune that really fi t to it, so I just sort of hat have , Marlene and boots that he turned up at the We discussed it, and and play chords without a tune. Dietrich, Peter, Paul & Mary in recording studio to make his first album. song writing, plays, books and the “But all this comes under the W ? Answer: Bob Dylan. “To look like that, he must be a British folk scene. heading of a defi nition and I don’t care They have all recorded his songs. genius,” said surprised disc executives. This is some of what he had to say… to defi ne what I do. Other people seem Dylan is 23 and has composed a lot They were more surprised at the big sales to have a hard time doing that.” of . His most famous piece is of the album, simply called ‘Bob Dylan’. “I don’t know anything about the folk ‘Blowin’ In The Wind’, which indicates the Bob arrives next week for a Royal scene here, nothing at all. I went to one Survive kind of material he likes to write. Festival Hall concert on May 17. of the clubs when I was in London in “Writing, yes I do like writing. That’s He plays guitar and harmonica (at the Dylan was born in Duluth, Minnesota. 1962 but didn’t stop long. I know some mainly what I do, is just writing… you same time), as well as singing. He ran away to Chicago when he was ten of your writers and actors. Who in know, it keeps me awake. I’ve written a His attract big sales in folk- and by the age of 15 he’d learned guitar, particular? Ewan MacColl. play, well, I’m working on it. conscious America, where critics call autoharp and harmonica. “I like writing and I like writers. “I’ve written a couple already but I’m Dylan “the most important new voice in A folk singer-, he was Len Chandler, a friend of mine who not satisfi ed with them. They haven’t this singing generation”. Folk singer Pete influenced by and writes, he’s fi ne. I might sing some been performed. Do I want them to Seeger goes further: “Bob Dylan will be equally. of his songs one of these days. At the be? Not right now. America’s greatest troubadour – if he was another who made a big impact moment, I only sing my own songs. “This one I’m writing, I can’t tell you doesn’t explode.” on Dylan. And a few traditional things.” much about it. It’s like some kind of

8 NME ORIGINALS 1964-1965

how I changed. I just dug it all. It taught me to dig it all, to keep digging it all. “There’s nothing that’s not worth listening to, that’s not worth thinking about, that’s not worth singing. I learned that. I met people there, I was conscious of people and somehow come out of it very unconscious and not feeling guilty about anything.” No guilt “I don’t have any guilt, and then again, saying that is like saying I’m completely guilty. If someone gets killed, who’s to say who fi red the gun? And why? He fi red just because he was uptight. “About this hotel: I was booked in here. It isn’t bad really. But apart from these rooms, the bar is the only place I’m allowed in without a tie, no deep philosophical reason for not wearing one. I just don’t have a tie. “I don’t have a Ferrari, either.” Ferrari “I don’t bother myself about thoughts of success. I’d get a Ferrari BOB DYLAN if I had the urge, and the money. Another Side Of “One thing I know is that you Bob Dylan CBS can’t please everybody. You know somebody’s going to pick on you Dylan: tie-less and for something. They’re going to Ferrari-less in 1964 fi nd something wrong. “I’m good, kind, gentle, I think – I mean no harm to anybody, but people pick me apart. Either they “I’m good, kind, gentle, I think – I mean no like me or else they slam me. I get put down a lot, but I dig it when they slam harm to anybody, but people pick me apart. me for some odd reason. “This question of British singers Either they like me or else they slam me” doing foreign songs, and so on: NME, 4 December 1964, page 12 I think that if somebody from o argument about it, Dylan is maze. Just a bunch of people who Traditional wants to sing a Southern blues, it’s N different. His singing is often out play act, really act, try to act, you “All the pictures were shot in great. If you want to do it, do it. Who’s of tune. His voice wails and his diction slurs (sort of a singing Marlon Brando). know, for each other, talk to you, Hollywood: shots of everything, a to say you can’t do it? Who’s to know, His harmonica and about you, above you, below you. whole picture of Hollywood from the if you can’t try it?” guitar playing A lot of it is just unconscious writing. beautiful sign on the hill to Marlon Dylan’s sounds as if voice wails he’s still It doesn’t have a title. Brando speaking while someone holds Rules and his diction learning. “Did you know I was doing three up a sign saying ‘Nigger lover’. Yeah, “It’s the people who don’t do it, who slurs – sort of Yet he gets books with a photographer? He’s I dig this photographer, and I dig live by the rules, who cause all the like a singing out his Barry Feinstein, husband of Mary of taking pictures myself. trouble. Life is too small to worry Marlon messages Peter, Paul & Mary. He’s been taking “Now this thing you asked me about about it if a man sings something his with a sincerity Brando that makes you pictures for ten years. singing traditional songs. Well, I did. grandfather couldn’t have sung. listen. And when

S “The fi rst one’s supposed to have I sang the folk songs and country “If an English singer is happy singing he turns to humour, it’s been done a while ago but may not be music, and I played rock’n’roll a Southern US ballad, I’d rather way-out, as in ‘I Shall Be Free, No 10’. fi nished ’til the fall. It’s just pictures once. Oh yeah, I played in R&B bands. see him happy than see him doing Seems Dylan just sings what comes into his head (or writes down and the words I’m going to write “The time I changed was when I something else and being unhappy. what he’s thinking), and if it that coincide with the photographs, landed in … you know, New “Authenticity? I know authentic folk needs polishing, he doesn’t that somehow fall into the same York for me! You have to go there and music when I hear it, know it for myself. worry. Allen Evans

MICHAEL OCHS ARCHIVES/REDFEN OCHS MICHAEL directional mood.” sort of surrender to New York. That’s But what difference does it make?”

NME ORIGINALS 9 1964-1965

10 NME ORIGINALS 1964-1965

NME, 26 March 1965, page 8

MM, 18 December 1965, page 21 DONOVAN Catch The Life-lines of Donovan Wind Pye NAME: Donovan Philips Leitch CURRENT HIT AND LATEST FAVOURITE : Very Bob Dylan-ish, but once you’ve got over BIRTHDATE: May 10, 1946 : ‘’ Guthrie, Dylan, Stravinsky, Mingus the shock of that, a BIRTHPLACE: , DISC LABEL: Pye FAVOURITE GROUP: really pleasant record PERSONAL POINTS: 5ft 8in; PERSONAL MANAGERS: Cops And Robbers of this controversial 9st 12lb; green eyes, black hair Peter Eden and Geoffrey Stevens MISCELLANEOUS LIKES: singer’s composition. It has a haunting, PARENTS’ NAMES: Donald and BIGGEST INFLUENCE ON A beach, a pipe and a girl plaintive quality, and he Winifred CAREER: Thousands of things – MISCELLANEOUS sings perfectly in that BROTHER: Gerry (youngest) I extract the goodness from all DISLIKES: People who nasal Dylan tradition. PRESENT HOME: Hatfield that I can. Woody Guthrie and Bob laugh when they want It must be a hit. Ray Coleman INSTRUMENTS PLAYED: Dylan I respect a helluva lot. to cry and vice-versa Guitar, harmonica, kazoo FORMER OCCUPATIONS: Just BEST FRIEND: WHERE EDUCATED: St tramping around, travelling and Gypsy Dave Audrey’s Secondary Modern, singing MOST Hatfield and the Campus, HOBBIES: Singing and playing and THRILLING Welwyn Garden City listening to cool EXPERIENCE: MUSICAL EDUCATION: FAVOURITE COLOUR: Tangerine Being high on Self-taught FAVOURITE SINGERS: Guthrie, the rocks at AGE ENTERED Dylan, Hedy West, Julie Felix St Ives at sunset SHOWBUSINESS: 18 FAVOURITE ACTORS/ TASTES IN MUSIC: FIRST PUBLIC ACTRESSES: Jean-Paul Belmondo, Everything with soul APPEARANCE: Richard Burton, Julie Christie FORTHCOMING DISC The Cock, St Albans FAVOURITE FOOD: Scampi, PROJECT: An LP BIGGEST BREAK IN mushrooms and chips ORIGIN OF STAGE NAME: CAREER: Meeting my FAVOURITE DRINKS: Milk, My christian name managers vodka and lime PERSONAL AMBITION: TV DEBUT: Ready FAVOURITE CLOTHES: Anything To live ’til I die and fill in the Steady Go! I’ve got space in between RADIO DEBUT: FAVOURITE BANDS: John PROFESSIONAL AMBITION: Saturday Club Renbourne, Davy Graham To keep writing and singing RETNA

NME ORIGINALS 11 1964-1965

ran away from home seven times, visiting South Dakota, New Mexico and . DYLAN: FASTEST He went to the University of Minnesota on a scholarship for only six months. “I fl unked out,” SELL-OUT YET he says. “I read a lot but not the required readings.” But it was here MM, 27 March 1965, page 7 that he started folk singing in the igns are that Bob Dylan’s coming British tour will be Scholar, a house near the among the quickest sell outs known to local promoters, university. Then he was heavily Sa healthy omen for those many who believe Dylan to infl uenced by blues artists like the be one of the most creative talents to appear on the folk phenomenal Leadbelly and Big Joe scene in years. Only two box offices have opened so far. Williams, plus some R&B names Both sold all their tickets in double quick time. London’s like and . Albert Hall started selling on the Saturday. By mid-day Dylan went wandering again, Monday, they had standing room only, and by four o’clock, this time to New York where he they had sold out completely. Tickets for ’s visited a father fi gure of white folk Free Trade Hall were snapped up almost as swiftly. music, Woody Guthrie. Guthrie The next box offices to open are at Sheffield City Hall has been ill with a nervous disease and Leicester’s De Montfort Hall. Readers in those parts since 1954. He receives visitors in anxious to see Dylan are advised not to hang about. In Long ago, far away: the Greystone Hospital, New view of this current commotion, it is ironical to consider Dylan relaxes in York. Dylan visited and when he aSheffield hotel, that Bob Dylan was here in 1962 – doing a play – when April 30, 1965 appeared back at the university, he visited the Troubadour and other London folk clubs it was Guthrie, Guthrie, Guthrie. without apparently making much of an impression. Dylan is in many ways a fantastic figure – a good deal of fantasy creeps into a song like ‘A Hard Rain’s A-Gonna Fall’ – and fantastic figures attract legends and fanciful notions. My telephone conversation with him went like this: I hear you have a very successful record out there? “Oh, do I?” Yes, I’m told it’s a tremendous success called ‘SubterraneanHomesickBlues’.What’sit about? “It’s just a little story really. It’s not about anything.” Has this single made any difference yet? “No.” Do you realise that you’ve started something of a cult and The Beatles have been praising your work? “Not really.” Did you notice ’s comment that they – and gets into singles chart! admire “the Dylan way of life?” “No, I didn’t. I think that’s kind of weird.” NME, 26 March 1965, page 12 informally dressed – never wears a He sang Guthrie’s songs, played What do you think of The Beatles, as artists and people? verybody said if they issued tie – folk singer lionised throughout in the Guthrie manner and even “Oh, I think they’re the best. They’re artists and they’re a Bob Dylan single – up to the world. And argued about. talked like him. Later, of course, people.” Max Jones E now he’s only had albums Because ‘ They Are more Bob Dylan found its way released – it would get into the A-Changin’’ is a , into his music, but Guthrie still charts. They did, it has – ‘The like his other hit composition, remains a shaping force. John Times They Are A-Changin’’ is ‘Blowin’ In The Wind’, people Hammond, director of talent for Dylan’s fi rst-ever single hit. It’s put him down as a singer of songs CBS, discovered Dylan for the disc also the fi rst hit for CBS since they protesting about the way the world. Years ago he also got disc had their own label. world is run. About ‘Blowin’ In companies interested in Benny Nowadays Goodman everybody is heavily infl uenced to and Count is talking Basie. Dylan Bob Dylan. the extent of writing material and singing attended a John Lennon rehearsal for is heavily another folk infl uenced to in the Dylan manner. Donovan too singer that the extent of writing occasional The Wind’ Dylan said: “I still say Hammond wanted to record. Up material and singing in the that some of the biggest criminals until this Dylan found it diffi cult Dylan manner. Donovan, too. are those who turn their heads to work steadily at singing – he came back from away when they see wrong and even occasionally slept in shop New York full of an evening know it’s wrong.” doorways. Now Dylan works

spent with the folk singer. But Dylan isn’t only a protesting exactly when he wants to, gets ORPIX Which is as it should be. For if singer; he is right in the tradition around $2,000 a performance, but we are in for a folk boom then of folk music. And the folk professes no interest in money. Dylan could provide the spark music tradition has its infl uence All he wanted from life, he once and most of the impetus. Dylan on Dylan, too. He has been a said, was “a couple of motorcycles, was born in 1941 in Duluth, wanderer since very early in his a new air-conditioner and four

Minnesota. Now he is an life, starting at the age of ten he or fi ve couches!” Ian Dove SCHATZBERG–CORBIS/MIRR

12 NME ORIGINALS The Dylan I Know by British folk singer

Disc Weekly, 10 April 1965, page 4 Money his humour first met Bob Dylan in December He is completely unaffected by his sudden fame. Of comes 1962. He had come to Britain course, he has made a lot of money from his songs and through in to appear in a BBC play called personal appearances. But this doesn’t mean a thing to him. many of his songs. Madhouse In Castle Street. He is just doing what he wants to do. He doesn’t split IBut I first saw him when he strolled into the King And Just what sort of a person is Bob Dylan? Basically, he people into blacks and Queen pub, near Euston, where I was playing with a folk is very shy. Yet he will say what he believes. He’s not whites. To him people are people. He accepts them as group called The Thamesside Four. they come. He never really gets heated He sat sipping a beer and listened to about anything. For instance, I don’t the group. He said he liked us – and “Dylan loves English pubs and is very think he would give a darn about the after that, we became good friends. good at shove ha’penny. He beat me at singers who have copied his style Bob Dylan is not a pop singer in the – both in America and Britain. accepted sense. He writes and sings it – fancy an American doing that!” He’ll talk on any subject under the songs that broadly come under the sun. Often during a conversation, he category of social commentaries on our life and times. very keen on reporters. And if they bug him with a lot of will appear preoccupied. You think he isn’t listening to a He would never have set out to become a trivial questions, he will tell them to get lost – and in no thing you are saying. Then he will surprise you by coming commercial success; he is far too much of a sincere polite terms! up with a pointed comment. person to do that. There is absolutely nothing “show- Yet he has a marvellous sense of humour. It’s very hip. bizzy” about him. That he has become popular is He’s not crazy about the usual TV programmes, for instance. Humour purely incidental. Yet he digs the type of satirical humour. And He can be a great tease. He’ll make fun of people – but in the nicest way. There is nothing malicious about him. He is too much of a humanitarian for that. Standing on the In appearance, he is rather short and not at all stairway: Dylan poses in New York, distinguished. He is usually dressed in jeans and a shirt. August 18, 1965 He doesn’t wear a cap often. He dropped that years ago. Yet, when he gets onstage he puts on an electrifying performance. Many singers sing better. And there are far better guitar players. But Bob Dylan has a style that is all his own. But there is nothing contrived about his act. He doesn’t rehearse every little movement like some artists. Usually, he will have no set idea of what he is going to sing next. He just sings the song best suited to his particular mood. Bob is not a “purist” about folk music in any sense. He likes all forms – provided they are good. He likes The Animals, and The Beatles. He likes what they do. And he likes them as people. Girls Girls? Bob has an eye for beautiful ones. The Scandinavian type. I know he thinks that Mary, of Peter, Paul & Mary, is really lovely. He loves English pubs. He would often visit a little pub in . And he is very good at shove ha’penny. He beat me at it. Fancy an American doing that! He’s not bothered much about different kinds of food. But he does have a weakness for prawns. He likes reading – especially poetry. And he is writing a John Lennon type book, I believe. He seems quite fond of animals. Acquiring personal possessions doesn’t bother him. He would not dream of having a swimming pool in his garden just because he had a lot of money. But he does live in a big house at Bearsville, just outside New York. It’s right on the edge of a forest, and he tells how the deer come right up to his back garden and feed out of his hand. He likes the secluded life. For this reason, he moved out of . Phoney artists bug him. He was glad to get away from them. To sum up, Bob Dylan is a thoroughly sincere person. He lives his own life – and lets other people live theirs. For my money, he’s just a lovin’ man. A regular guy and a wonderful performer.

NME ORIGINALS 13 NME, babe: Dylan escapes the hurly- burly of his latest press conference

NME, 30 April 1965, page 2 ylan’s here! The world’s most now, anyway – and how I spend it is my of authorities state that Dylan’s been could call me a Top Ten artist here but talked about folk singer fl ew into business. Not on material things. I don’t greatly infl uenced by that other in America I’m only Top Forty.” London Airport on Monday for need ten cars, a mansion and a yacht. Of folk great, Woody Guthrie. I shouldered With chart successes and a sell-out Dhis sell-out tour. And somebody course, I’d be a fool to say money means into the throng to ask about it. tour Dylan means big business and who looks less like a star than he does nothing to me, but I don’t really care.” “My eyes and ears have been my big money. And it’s usually at this I’ve yet to meet. A battery of cameras fi re. Dylan great infl uence,” he says. “Nothing or stage that the pressure to become DYLAN – small, hardly noticed when looks as it he’s been hit, replaces his nobody else really. People who have intentionally commercial is applied. fi rst he came in, shielding his eyes dark glasses. “All I’m really interested tried to infl uence me have been so But Dylan assured me it won’t from photographers’ fl ashlights. Dark in,” he says, “is singing to people who wrong. I don’t know why – they just happen to him. “The only difference glasses go on and off with every fl ash. want to listen to me. And I don’t care have been. And the same goes for me. success has brought is that I now feel DYLAN – evading more questions than how many that is.” Fortunately if not I’m not trying to infl uence people. In I must make my records even better. he answers, but more diplomatic than for Dylan, for somebody, thousands of fact I don’t want to.” Before I made records to please myself President Johnson’s Press Secretary. people want to listen. A voice, well in the background, asks and though that I’m now also DYLAN – above all looking bored conscious that the public deserve the and strangely out of place against the best I can give. This I owe them.” luxury that surrounds him. Almost “I’ve seen all these crazes come and go. In a couple years Even before it starts, Dylan’s tour is the little boy lost. Until you speak to him. one of the biggest successes an American “I don’t give the impression of being time I shall be right back where I started – an unkown” artist has had for quite a while, but this a star,” he drawls, “because I don’t apparently leaves him unmoved. But think of myself as one.” Born in Duluth, May 24, 1941, Dylan him if he hasn’t been infl uenced by even if he gives the appearance of living This isn’t the talk of a naive person. lived for the fi rst 17 years of his life in Donovan! His press offi cer winces! in a world of his own, bored with the He believes it. Like when he says: “I’ve Hibbing, Minnesota. By the winter But Dylan’s expression doesn’t outside, he can’t go wrong. To his fans seen all these crazes come and go, and of 1961 Dylan, still only 20, had change. “Who is this Donovan? he represents the rebel, the man who I don’t think I’m more than a craze. In sung his way through one half of the I’d never even heard of him until believes in the things they do. And acts a couple years time I shall be right back American States. yesterday,” he says. And he means it. the way they’d like to. I must admit that where I started – an unknown.” He later wrote: “I’s driftin’ an’ As more and more people squeezed I liked him personally – if only because A lot of today’s stars secretly think learning new lessons. I was making my into the room to welcome Dylan to of his courage in remaining completely this… none of them would dream of own depression. I rode freight trains Britain, he became more and more detached while being so lionised. saying it! I go along with Dylan and for kicks. An’ got beat up for laughs.” surprised at this acknowledgement If he appears onstage and decides ask him if he’ll be sorry when it’s over. Finally though, Dylan reached the of his popularity. Not that his face to stand on his head and not play a “Nope!” studios and cut displayed much emotion. note during his entire tour, he’ll still Wouldn’t he even miss the money? his fi rst album called simply enough “I seem to be more popular here be loved. His fans will probably read

“Nope! I spend most of what I get ‘Bob Dylan’. That was the . A lot than I am at home,” he muses. “You something into it. John Wells PICTORIAL PRESS/POPPERFOTO

14 NME ORIGINALS 1964-1965

Myby Gypsyfriend Dave, talking to DONPenny Valentine

NME, 13 March 1971, page 8 Dave. “When we were kipping in the same tent. We had “He ypsy Dave’s real name is David Mills and he was born a gas time and have continued doing so ever since.” wants in Hatfield, Herts, in 1947. He lived at home with his Meeting Dave is very much like meeting Donovan’s to save parents and elder sister until he was 14 when he left brother. He has the same quiet voice and almost nervous money Gto go to Torquay with Donovan. mannerisms. He has the same dark curly hair and loads of and buy a From then until he was 17 he kept on returning and charm. They share the same jeans and boots and anything house on the then leaving home, leaving notes around for his parents they happen to have bought. Spanish coast to find. “I was wicked. I used to make myself cry until the They share the same interests: records, books and chicks. – that’s all he wants. paper was soggy and it looked pathetic. I think my mother The one main difference is that Dave has a rather tash beard “We used to share a cottoned on after a few times, though!” and a thinner face. house in and it was ridiculous. All our friends Shared interests “I’ve been watching out for him to kipped on the floor and everywhere. It was nice to One time Donovan and his friend Gypsy Dave have all those friends, but we couldn’t relax. Now used to live in a pill-box in Hastings, until they change so I could say ‘now watch we have this big flat which we share with some tried to light a fire one cold night and smoked friends and there’s plenty of room. themselves out! Today they have just moved it’, but there’s been nothing” “We can all cook, fry-ups mainly, and we just do into a luxury flat in Baker Street in London. But what we feel like. Either we eat in or go out or sit their friendship still continues to flourish under these very Gypsy Dave calls Donovan “Don” and laughs loudly about around listening to records. different circumstances. riding in taxis. “Don likes Indian music a lot – we have a lot of LPs like Dave, who was given his nickname by a chap called “Don is great. Fantastic. He hasn’t changed at all by this that. And folk stuff of course. He’s just begun collecting Dominic in Manchester, has been Donovan’s friend for over popularity. He’s always been popular anyway wherever things like records and books. Before this we had nowhere. four years and is now his road manager. In the early days we’ve gone. Everybody loves him because he has such a Don and I just wandered around with a guitar and a kazoo, they roamed England together with no job and no money. nice personality. I’ve been watching out for him to change they were our prize possessions. It was a good scene.” “We met on an Aldermaston march one Easter,” says so that I could say ‘now watch it’, but there’s been nothing. His policy on life “Now he has bought a record player and records and books. We both think Spike Milligan is great and have bought his new book of poetry and short stories. Don buys a lot of books that I can’t remember the names of. “He’s interested in a lot of things he won’t talk too much about because he doesn’t want to get involved. He has this policy that whatever comes along he fits in with or fits it into his own way of life.” Donovan, a few weeks ago, parted with his guitar. This, says Dave, was a tremendously hard thing for him to do but that he did it to prove his friendship. “It was his most cherished possession, that guitar. He’d hulked it all around England. But a friend of his needed one and he just gave it to him. He loved it but he valued that friendship so much he just had to give away the thing he loved best to prove it.” Works in the night “He’s writing a lot more stuff now. He likes writing songs and poems. He does a lot of work in the middle of the night because that’s the quietest time. I’ve known him write stuff on a train, too. He just brings out his box – that’s what he calls his guitar – and starts singing.” Extraordinarily, Donovan’s life today is not really very different to the life he has always led – except that he is continually being mobbed by fans. “The nice thing is that everyone likes Don. I have to charge through crowds making a passageway for him towards the door to get him through – it’s quite a thing. “We think this life is great. A laugh. It’s tremendous Donovan in ‘65: because Don is doing what he likes most in life – mad about Saffron, clearly unimpressed travelling the country and singing… and getting paid by crimson for it!”

NME ORIGINALS 15 Dylan and Joan Baez pose outside the Savoy Hotel, London, April 26, 1965 SCREAMS FOR DYLAN MM, 1 May 1965, page 3 He parried queries about his friendship “No, I don’t write about anything.” Bob then had a question to put to us. ob Dylan got the full star treatment with Joan Baez – and asked if he would Did you play amplified guitar on “Where’s Christine Keeler?” Someone asked at London Airport on Monday marry her, Bob said, “I might marry her arm.” ‘Subterranean Homesick Blues’? if he wanted to write a song about her. night. A mainly young crowd of A few minutes earlier, Joan Baez stood “No. I played my own guitar. I just fool “No, I just want to meet her,” said Dylan. B about 150 created chaos as the 24- a few feet from him, Dylan was asked if around with amplified sometimes.” year-old “folk poet” left the customs hall. she was over here with him. How much do you think The Beatles Truth Some wore Bob Dylan hats; some showed “Yes I think she came along,” he said. contributed to your wide success here? But why had so many young people made CND badges; they carried autograph books Then the press asked these questions. “I find it very hard to understand the meaning the long journey out to the airport on a and copies of his newest hit, ‘Subterranean of the word success. I don’t understand miserable wet night, to meet Dylan? Homesick Blues’. They carried him – pulling Are The Beatles on the way out? commercial success either. I like The Beatles Said Roy Wiffin, aged 20, of Hounslow at his hair and tugging at his clothes – into “They will never be on the way out – you – I think they are the best. I don’t know West: “I think he has great quality in his a press conference. He looked a bit white know that.” what they said about me, or anything.” songs – and I don’t think he needs The and shaken, but he laughed it off. “It was Beatles as his publicists. He isn’t a OK – they didn’t hurt me. They just gave Dylan sat throughout the conference great singer at all – but he does sing me a haircut. I’m ready to get drunk now!” the truth.” Looking round through a mob of police brandishing an outsize lightbulb. He Pamela Barron, record shop and TV and radio men, Dylan said: “I want refused to be drawn on its signifi cance assistant of Swanley, Kent: “I know all to make sure my friends got through.” his records but I’ve never seen him.” These included Joan Baez, his manager Al Have you ever heard of Donovan? Which pop singers do you like? What did she think of his ‘Subterranean…’ Grossman, and publicist Ken Pitt – nursing “Donovan what?” “I don’t really know too many other pop single? “No – a mistake,” she said. a bleeding hand after the melée. How long will your British concert last? singers. I’ve just got my own things to do.” Back in the conference room, Dylan was “About an hour and a half.” Did you write any songs on the plane? still being prodded about Donovan. “Where Mocking What numbers will you include? “I made a few notes – I call it stabbing is he, this Donovan?” said Dylan. “Let’s get Earlier, baggage had been sent flying in “I don’t know yet.” the paper.” him out of here – put him on the wall!” the airport foyer; a pane of glass smashed; Have you written any songs about What is your message? And before making a fan-evading sprint and Lena Horne went by totally unnoticed. Britain since you were last here? “Keep a good head and always carry to the car taking him to London’s Savoy Wearing sunglasses, black jacket, open- “No not about that, I didn’t write ‘Mrs a light bulb. (Dylan sat throughout the Hotel, Dylan shrugged. “Oh, to be a simple necked blue denim shirt, jeans and black Brown You Have A Lovely Cheese’ (Smiles).” conference brandishing an outsize electric folk singer again.” leather boots, Dylan was in mocking mood Have you ever written anything about light bulb. He refused to be drawn on its BUT HE DIDN’T LOOK AS IF HE MEANT IT.

as he faced the journalists’ questions. Vietnam? significance.)” Max Jones and Ray Coleman PICTORIAL PRESS

16 NME ORIGINALS FAIRPORT CONVENTION 1968–19711964-1965

NME ORIGINALS 17 1964-1965 “Like a who has tried to smarten up”: Dylan in the UK, 1965

MM, 14 May 1965, page 14

MM, 8 May 1965, page 10 Students were out in force. Many had hitch- His stage tactics are nil. He sips water – utside Leicester’s De Montfort Hall hiked hundreds of miles and arrived with somebody must have forgotten the Beaujolais last Sunday, a religious fanatic carried haversacks featuring a flask poking out of – and almost bows after each song. a banner saying “Prepare To Meet the corner. He wore a black leather jacket over a grey O Thy Doom”. There were some untamed pop fans. But jumper, blue trousers, brown suede shoes and He walked among the 3,000 people pouring they were in the minority. Dylan commands a a harmonica harness throughout. He looks like into the hall to see Bob Dylan’s concert. It was vast audience of thinkers. a hobo who has tried to smarten up. a weird sight and an uncanny juxtaposition. Bob relies entirely on the words of his songs The man’s message had a peculiar Uproar to get across. And his words are the very relevance. It was not doom the people were When this slight, serious faced and incredibly heart of reality. going to meet, however; it was something less casual man walked onstage – with a guitar, They are stark, real, cunning and biting. final and more pertinent. seven and two glasses of water Whimsical, brilliantly descriptive, subtly Dylan, the most important folk singer his only company – there was silence. At the funny and often poetically romantic. Above of today, was on parade all these things, they through Britain for the first are important social time. And a big percentage Bob relies on the words of his songs and commentaries. of the crowd were there to his words are the very heart of reality find out how commercial Potent success had affected the man whose early end of every song, the audience applauded In his dressing room afterwards, Dylan asked fans had not expected hit records. – thunderously. No screams, no whistles, no what impression he wanted the audience to A Dylan fever is sweeping the country and talking. The applause almost switched off leave with, said: “No impression. I just hope only a British sentimentalist would deny that almost mechanically, like it was canned. they’re happy and don’t feel cheated”. it is approaching Beatle-size proportions. But Only one aside by Dylan caused hilarious He brandished a shillelagh and evaded 300 without the king-sized screamers. uproar. In the middle of his brilliant searing young girls mobbing his car. He half smiled. It was a complicated fan scene at Leicester ‘Talking World War III Blues’, Bob half sang: One got the feeling he didn’t quite dig that. last Sunday. Some came in Dylan caps and “I turned on my record player – it was But let’s forget all about cults: Dylan has jeans; others in suburban charcoal grey suits. Donovan”. The crowd booed their resentment caught the mood of this generation. And Some extremists were and had of Donovan. Dylan came back with “whoever only foolish reactionaries will put him down. haircuts that made The Beatles look bald. Donovan is”. Ray Coleman

18 NME ORIGINALS 1964-1965

BOB DYLAN Bringing It All Back Home CBS

NME, 14 May 1965, page 14 “I think her voice grates on him because it is so pure. NME, 14 May 1965, page 14 he more important Bob Dylan he colourful combination of Bob Dylan, Marianne She hits such perfect high notes that sometimes they T thinks his messages, the less time Faithfull, Joan Baez, John Myall and “a nice fat man can hurt your ears. My dog can’t stand her singing, he puts into them. In his philosophic called Albert” (Dylan’s manager) met to dispose of and every time I play her records he sits back on his ‘Gates Of Eden’ and ‘It’s Alright, Ma Indian curries in a London restaurant last Tuesday. haunches and howls.” (I’m Only Bleeding)’, he sacrifices T tune for an almost monologue style When I talked to Marianne at Decca studios in London, In the late evening the party moved back to the Savoy to punch his words across, she seemed bemused as to how the meeting occurred. Hotel, where Donovan joined the festivities. He played which he does almost “I know people like Manfred and his wife, Sue, who knew and sang for almost the entire evening at Dylan’s request. as if he is a politician. Dylan Dylan before,” she explained, “but I believe it was John “It’s a shame that people are so patronising towards The sentiment is sacrifices that of the young Mayall who fi rst phoned and mentioned I was in town. Donovan,” said Marianne. “He can be hurt so easily, tune for a today, wondering Dylan invited me to dinner after saying that he wanted me and people are doing it all the time.” monologue why riches and to appear on his TV show.” The party went on into the wee small hours, and style as if he’s a power should Marianne admitted that her singing style was very much after Donovan had sung ‘Blowin’ In The Wind’ for politician be so important, when nature is infl uenced by Joan Baez. She bought an LP of the Newport the umpteenth time, Dylan played Marianne some of there. On other tracks Jazz Festival on which Baez sang his own LPs. he gets more tuneful and two songs. Since then less intense, with songs like ‘Maggie’s Marianne has bought Farm’, a rocking c-and-w number, “Bob hates Joan’s voice and tells her so! or the swinging ‘Outlaw Blues’. He Baez LPs by the bundle. punctuates his rather tuneless singing “I couldn’t believe with his wailing harmonica. Backing it when I actually met Every time I play her records my dog group is good. Dylan, of course, her,” she said. “She’s composed all songs, some of them calling for some nimble tongue so beautiful, with that sits back on his haunches and howls” twisting, which he does to perfection. gorgeous golden skin and Allen Evans those lovely blue eyes. “After every track he would ask, ‘Did you understand “She insisted on singing her high, what I was getting at?’ or ‘What was that all about?’ I got DONOVAN NME, 28 May 1965, page 4 vibrato version of ‘Here Comes The quite fl ustered. He has this huge pile of ‘cue cards’ with the What’s Bin Did And DONOVAN What’s Bin Hid Night’, which Dylan complained meanings of his songs written on them, so that if anyone Pye Colours Pye about. He hates her voice and tells her asks what ‘Subterranean Homesick Blues’ is about, he just Whatever you may think of the Dylan- so. At one point he held up a bottle holds up the appropriate card. Great! Donovan controversy, as she sang a high note, and drawled, “He’s not terribly witty, and takes himself very seriously. there’s room for both ‘Break that!’ She just laughed. Really, he is a poet.” Keith Altham of ’em in the charts – and Donovan will be back there again soon with his second single, Dylan and Baez: ‘Colours’ (Pye). shattering perceptions and glass in 1965 The lyric explains how he associates certain colours with things he cherishes, and it’s set to a guitar and banjo NME, 14 May 1965, page 14 accompaniment, with harmonica interlude. ritain’s folk singer has a much Slightly faster than Bsofter touch, is more tuneful ‘Catch The Wind’, and dreamy than Dylan. He sings six and without strings, of his own tunes, arranges three it’s a much simpler others. No deep philosophy, ditty – yet Don’s but some relaxing uncomplicated sentiment. Donovan approach is strangely Donovan has a lovely sound moving and sincere. has a much about him that I see no reason why softer touch, is most appealing. this shouldn’t do as is more tuneful His guitar NE COOKE/REX FEATURES well as his last. and dreamy and harmonica playing, too, Flip: a more forceful than Dylan projection of one of his is soft and LP tracks, ‘To Sing For quiet. Simple You’ is not so tuneful backing is good, as the top side. Both including ex-Shadow numbers self-penned. Brian Locking on bass. Derek Johnson Allen Evans VAL WILMER–REDFERNS/JOHN BYR

NME ORIGINALS 19 1964-1965

Disc Weekly, 22 May 1965, page 6 I don’t want to be part of it. Why should I have to go ylan rebels against convention. It’s obvious along with something just so that someone else can eat? in his songs and it’s obvious when he talks. “Why don’t you just say my name is Kissenovitch. He speaks his mind and no holds barred. You know and I – er – come from Acapulco, Mexico. D You remember that riotous send-up of a press That my father was an escaped thief from South conference in A Hard Day’s Night when a girl asks Africa. You can say anything you want to say.” George what he calls his haircut and gets the casual reply, “Arthur”? Well, that’s how this interview with Clothes Dylan went. This week Laurie Henshaw and Disc Let’s talk about you, your clothes for instance. Weekly have been ‘Dylanised’ and you can read the Is your taste in clothes changing at all? results for yourself in what is without a doubt the “I like clothes. I don’t have any particular interest at most amazing interview that Dylan has ever given. all. I like to wear drapes. Umbrellas, hats.” You’re not going to tell me that you carry an umbrella? Can you tell me where and when you were born? “I most certainly do carry an umbrella. Where I Broke down ending: “No, you go fi nd out. There’s many biographies and Dylan shows his come from everybody carries an umbrella. Have you you can look to that. You don’t ask me where I was affection for the ever been to South Dakota? Well I come from South UK, 1965 born, where I lived. Don’t ask me those questions. Dakota, and in South Dakota, people carry umbrellas.” You fi nd out from the other papers.” I’d rather hear it from you. “I’m not going to tell you.” Can you tell me exactly when you entered the profession? When you fi rststarted writingsongs? “When I was 12.” And you were writing poetry at the time? And are you writing a book now? “I’ve got a book done.” Is it already published? “It’s going to be published in the fall.” What’s it called? “I’m not going to tell you.” Can you give me an idea of what it is about? “No.” The most fantastic interview the amazing Bob Money You must obviously make a lot of money nowadays… Dylan has ever given! Shock treatment! That’s “I spend it all. I have six Cadillacs. I have four houses. what the folk singer dished out to Laurie I have a plantation in . Oh, I’m also now working on some kind of rocket. A little rocket, not Henshaw last week at his suite in the Savoy Hotel a big rocket. Not the kind of rocket they have at Cape Canaveral. I don’t know about those kind of rockets.” I have.‘MastersOfWar’,‘Blowin’InThe Wind’… What had been the greatest infl uence in your life? Do you have personal things – cameras, watches “What about ‘Spanish Lover’? Have you heard that? “You! Your paper happens to infl uence me a lot. I’m and that sort of thing? Why don’t you listen to that! Listen, I really couldn’t going to go out and write a song after I’ve seen you “No, I don’t. I buy cars. I have a lot of cars. The care less what your paper writes about me. Your – you know – what I’m used for. I feel what I’m doing Cadillacs. I also have a few Oldsmobiles, about three.” paper can write anything, don’t you realise? The and I feel what your paper does. And you have the people that listen to me don’t need your paper to listen nerve and gall to ask me what infl uences me and Politics to me. I’m not going to be known from your paper.” why do I think I’m so accepted. I don’t want to be Do you have any fears about anything political? You’re already known. Why be so hostile? interviewed by your paper. I don’t need it. You don’t “No.” “Because you’re hostile to me. You’re using me. I’m need it either. You can build up your own star. Of course have a very strong content… an object to you. I’ve nothing against you at all. I just “Why don’t you just get a lot of money and bring “Have you heard my songs?” don’t want to be bothered with your paper, that’s all. out some kid from the North of England and say:

NME, 21 May 1965, page 4 We Took A Trip To Hong Kong And FAVOURITE GROUPS: The Fab Clocks It was probably idiotic of us to ask Stayed Awhile In Reno But I Lost Her MISCELLANEOUS LIKES: Trucks with no a poet like Bob Dylan to contribute Again In Oklahoma’ wheels, French telephones, anything to our Life-Lines feature. You can’t CURRENT HIT: None that I know of with a stewed prune in the middle expect an idyllic dreamer to do it as LATEST RELEASE: The Queens Are MISCELLANEOUS DISLIKES: Hairy you or I might do it. Coming firemen, toe-nails, glass Mober forks, However back came the form, with ALBUMS: Yes birds with ears two of the four pages of questions EPS: None BEST FRIEND: Porky the wild answered, five of which are on the left FAVOURITE FOOD: Turkish Mervin (a elephant shooter and others printed below: form of egg-plant coming from Nebraska) MOST THRILLING EXPERIENCE: FIRST IMPORTANT PUBLIC FAVOURITE CLOTHES: Nose-guards Getting my birthday cake stomped APPEARANCE: Closet at O’Henry’s FAVOURITE DRINK: Frozen tobbacco on by Norman Mailer Squire Shop FAVOURITE BANDS: Corky The Kid PETS: My friend Lampa OTHER DISCSINBEST-SELLERS: (Sombreros) PERSONAL AMBITION: To be a waitress ‘I Lost In But FAVOURITE COMPOSERS: Brown PROFESSIONAL AMBITION: To be She Appeared Again In Honduras And Bumpkin and Sidney Ciggy a stewardess

20 NME ORIGINALS 1964-1965

‘We’re gonna make you a star, you just comply with everything we do. Every time you want an interview, you can just sign a paper that means we can write what we want to write. And you’ll be a star and make money!’ Why don’t you just do that. I’m not like that. I’m not going to do that for you.” Why should we bother to interview you if we didn’t think you were worth interviewing? “Because I’m news. That’s why I don’t blame you. You have a job to do. I know that. There’s nothing personal here. But don’t try to pick up too much, you know.” When did you start making records? “I started making records in 1947 – that was my fi rst. A race record – I made it down South. Actually, the fi rst record I made was in 1935. John Hammond came

and recorded me, sitting on a farm. The man who discovered Benny Goodman saw me down the street. He had me in to do a session. Otherwise, I wouldn’t have been here.” Manfreds Have you heard Manfred Mann doing ‘With God On Our Side’? “I haven’t heard it. I’ve only heard about it.” It was sung on Ready Steady Goes Live. “I would like to have seen it.” “I don't want to be bothered by your paper. Why should I have to go along with something just so that somebody else can eat?"

What sort of people would you cultivate? “I would cultivate the kind of person that sticks to his job and gets his job done. And is not too nervous, but nervous enough to not come back.” What kind of people do you take an instant dislike to? “People that shake. An instant dislike – wham! Most of the time I throw them against a wall. I have a bodyguard.” Dylan here put his hands to his mouth and called to the next room. “Toppo! Is Toppo in there? I have a bodyguard to get rid of people like that. He comes out and wipes them out. We wiped out three people last week.” Do you paint? “Yeah, sure.” What sort ofpainting? “I painted my house.” At this point, Bob Dylan abruptly

REX FEATURES ended the interview. 1964-1965

Bob Dylan transfers some of his thoughts onstage in 1964

MM, 22 May 1965, page 11 “It’s hard for me to accept the silent audiences,” Had Dylan been nervous on British stages? “Not ob Dylan talks like an abstract painting, he he began. “Yeah, they’re quiet in the nervous. Thoughtful. If I appeared nervous or tense, sees his songs in pictures – it’s too. I’ve been doing concerts over there for two and that was because I was kinda inhibited, y’know them away in just a few words. It’s equally a half years but I don’t know why – I feel somewhat – standing there listening to everything I was doing. B hard for anyone talking to him to keep track bored with the audiences there. And I don’t like to do that much.” of his thoughts. His mind wanders, he Much has been said of Dylan “cult”. His evades questions. And he mumbles. rebellious image; his torch against social Ironically, this man so direct, “The message isn’t in the words. I’m just injustice; his anti-establishment songs forthright and explicit in his – all have helped to create an image of a tremendous songs, becomes transferring my thoughts into music. Don’t young fi ghter devoted to getting freedom, apparently confused when confronted hitting out at the older generation. with straight questions. Either that or put me down as a man with a message” How did Dylan feel about this? he is infuriatingly obscure. His friends He sat in his room and lit a cigarette. explain that he is just shy. He gazed at the fl oor. “If someone wants There were a lot of questions left unanswered last “Silent audiences don’t exactly worry me, but to believe something about me, they can. It doesn’t week after Dylan played his fi nal sell-out concert at I think a lot more about what I’m singing and saying matter a little bit to me. London’s Albert Hall. In the peculiarly un-Dylan- when they’re so quiet. You know, I was thrown into “At one time it did. That was some years ago like atmosphere of the Savoy Hotel, the slight, wild- this situation. In the States there are different levels when I was on the streets and trying to make some haired young man – who had stunned thousands you work on. I work concerts, and also coffee houses impression. Right now, I don’t care what people into silence as he sang – began to refl ect on what and bars. People talk when you’re singing, it’s not think – the cult is something other people talk

was going on around him. that different.” about. Not me.” REDFERNS/ROBERT ATTMAN–RETNA

22 NME ORIGINALS 1964-1965

Image Bob was equally strong on the subject of his hit “My songs are just me talking to myself. Maybe “Everybody is motivated to act a certain way. I don’t parade successes. that’s an egotistical thing to say, but it is what it is. try to prove anything about myself. I just don’t ask “If they attack me just because I have some success “I have no responsibility to anybody except myself. people to study me. I don’t know what my image is with records, then they’re entitled to. But I’m equally If people like me – fi ne. If they don’t, then maybe I’ll now. I could change my clothes and look different, entitled to disagree with them. do something else.” couldn’t I? “Are these people trying to hate or “It’s all a question of pictures. People may have had what? I don’t hate pop music. Politics a picture of me when I used to wear that hat. I wore “Oh man, somebody’s got to be a little bit wacky “No politics. It would be just impossible for me that hat when I came to four or fi ve to say, ‘I don’t like electrifi ed guitar’. What’s wrong to stand up and be associated with any political years ago. I’d come from the Midwest where things with electrifi ed guitar? And drums? People say, party. They are all crap – every single one of them are not the same. ‘How can it be folk music if you’ve got electrifi ed is crap. They all think they are better than the next “People don’t grow up the same way, y’know? guitar and drums?’ Ha!” one. Huh? I fi nd that here in England they are more “It’s OK for someone who wants ready, the young people. They don’t have to be in a political party, but not me. so much as they do have in the United “I have no responsibility to anybody except They stand up there trying to tell me States, where they take things for granted. what is good and what is bad and what I mean materially. myself. If people like me – fi ne. If they ought to be done. “I’m not saying which is better or worse. “They’ve got a commodity to sell But there is one thing I could say about don’t, then maybe I’ll do something else” and that commodity is them. Politics the United States that wouldn’t happen is just a commercial bandwagon.” in this country, England. Over there, you could get killed for having your hair long, if you’re Message Future in the wrong part of the country. “These instruments are real. I like them. Aren’t they “I have these things ready – plays and things. “Now your Liverpool looks like the whole of the things everybody uses when they start out? You Nothing’s fi nished. I live in the present. It’s hard New York’s East Side, or Greenwich Village. But don’t start singing by yourself.” for me to look beyond today. Every time I try to do somehow I got the feeling that here I wasn’t playing How did Bob write his songs? What exactly otherwise and plan for the future, it doesn’t pay off. to that sort of people. Well I think England’s more provoked the strong messages in ‘The Times They I know I’ll write a lot of stuff, but exactly what shape open minded, y’know. Are A-Changin’’ and ‘Masters Of War’? it’ll take has yet to be decided.” “I don’t think my British audiences were phoneys. “The message isn’t in the words,” Dylan replied. I can’t see a phoney audience being forced to accept “I don’t do anything with a sort of message. I’m just Poet a song like ‘Gates Of Eden’. I don’t believe that song transferring my thoughts into music. Nobody can “Everybody has their own idea on what’s a poet. could be accepted as a thing to do. give you a message like that. Robert Frost, President Johnson, TS Eliot, Rudolph “And if they can take a song like that, there’s hope “All I can hope to do is sing what I’m thinking. Valentino – they’re all poets. I like to think of myself for them, whatever sort of people they are, right?” Don’t put me down as a man with a message. as the one who carried the light-bulb.” Ray Coleman

Joan Baez on the campaign Baez: not so much a folk trail in 1965 singer, more a politician

Melody Maker, 22 May 1965, page 3 “I don’t mind so much now,” she told me. What did she think f music journalists could interview Joan “What I hate is having to protect myself of the current boom Baez every so often they’d probably stay commercially as a recording artist.” in folk music? Isane, sober and serene for the rest of Didn’t her singing success make it “It doesn’t do their lives. increasingly difficult for her to resist any harm except In the artificial world of pop music, Joan commercial pressures? to bad groups and Baez is something of a phenomenon. But “Nobody has to do anything they don’t singers. The boom then she doesn’t really belong to that world want to do. If you want people baying will come and at all – and still less does she regard herself round your car – that’s OK, but I prefer a go like all booms as a phenomenon. quieter life. and afterwards, only the “First,” she says, “you are a human “Singing hasn’t interfered with my trying really important contributions will remain “I am principally interested in being.” And the way she says it suggests to be a human being and I wouldn’t let it. – people like Bob Dylan and . humanitarian things. I think the world is this is already something to live up to. A lot of people, I know, are furious with me “Dylan is great. He interprets political capable of many changes. All it needs is a “I try not to consider myself in any for meddling in politics – but it is cheating songs so well – with understatement – and willingness on our part to stop ourselves business. I regard myself principally as for me to pretend I am only a singer. doesn’t make them sound trite.” blowing ourselves up. a politician. I like being referred to as a “Others have criticised me because I am When it comes to listening to music at “I think the USA is ready for a revolution pacifist. I don’t mind being called a folk not a traditional folk singer. Well, I wasn’t home Joan Baez fluctuates between the – but of course it must be a non-violent singer. But music is secondary to me.” born in a rocking chair – or whatever else extremes of the classics and rock’n’roll. one. I would participate in anything right Until about a year ago, Joan Baez you have to do to qualify as an authentic She hates musicals. “The songs are so now that would stop the war in Vietnam.” avoided interviews. This week, when folk singer. But I like singing. slick, phoney and contrived. Rock’n’roll There is nothing of the priggish do-gooder I tracked her down in she was “As a matter of fact, folk music doesn’t music in all its banality is at least honest.” about Joan Baez. She’s a girl of great charm preparing to disappear into the country interest me very much. I rarely listen to it But what she loves most of all are life and humility who is deeply concerned about in search of peace and quiet. because most of it is so bad.” and people. humanity. Mike Hennessey

NME ORIGINALS 23 1964-1965

Disc Weekly, 12 June 1965, page 8 n Tuesday of last week Bob Dylan taped his two shows for BBC TV. THE FIRST TIME I’VE The previous session had been O cancelled because of his illness and SEEN HIM LIVE AND the programmes – at least half an hour each – are now scheduled to go out on I’M IMPRESSED! June 19 at 10.50 and June 26 at 10.30. Both shows are different, and in both By Phil May of he is entirely on his own. In fact, they will The Pretty be just like his concert performances and Things that means DYNAMIC! as reporter Penny Valentine and Phil May of The I’d never seen Dylan live before and discovered when they went to the taping. I was tremendously impressed. He It is a quarter to eight at the BBC studios in knocked me out. London. There is an audience of 300 but the We were there all afternoon watching place is very quiet as everyone waits for Dylan. him rehearse and he Mrs Al Grossman, Dylan’s manager’s wife, never sings one song sits in the front row wearing a suit and leather the same way twice. boots. A fat man with a bald patch sits further It was a complete joy to hear him do ‘Boots Of Spanish Leather’ three or four times and the nearest along with a sketch pad. The Pretty Things sit he got to doing it the same way as on his LP was at the in a line with intent faces. actual taping. I’ve never heard anything so fantastic. Just past eight Dylan appears at the side of I thought his voice sounded a lot stronger than on the studio. He wears a black leather jacket, his records, and his timing is perfect. The way he picks out one person in the audience to aim the verse at, and dark sweater and trousers, his harmonica then times that verse for them, knocked us out. harness round his neck. He looks pale and tired And he has a way of evoking sympathy from the after his illness. He ambles out round a camera audience. He had me on the edge of my seat all the to the applause and stops next to a bright red time he was tuning his guitar. I really felt for him. And at one part I thought “if he knocks the mic with leather stool. He stands by the mic, tuning that harness once more it will be the end”, because up. On the monitor screens above our heads there was such an atmosphere of perfection that one appears the picture of a girl on a beach. Dylan June 1, 1965: more tiny mistake and you could feel the thing might adjusts his harness and plays the guitar softly Bob on the Beeb collapse and he’d stop and never start again. We met him during the rehearsals and had just a few as the cameras angle up. words with him. He seems tremendously nice. We didn’t stay long because he didn’t look very well and we could see the strain on him. He had been doing camera positions and starting and stopping all afternoon. I know what it’s like when you feel tensed up as he obviously was – somebody just says one thing too much and you blow right up. You know, I’ve been a Dylan fan for a long while and I can still remember the time when I took Dylan records to parties and people threw things at me! The trouble was that at that time most of my friends Nowmillionsofpeople cansee whatheis really were very interested in folk music, but only in the folk of Woody Guthrie, Big Bill Broonzy and Jack Elliott. They likeontwospecialBBCTVperformances thought of Dylan rather as the of folk! And John Stax and I, when we weren’t working – used to take a boat out on a lake with a portable record player Cue card songs he will do. On the screens the face of Dylan alternates and a load of Dylan LPs and play his records over and “Hey wait a minute,” he mumbles, and a young man in between hatred and love. He comes over strikingly well. over again very loudly – until our time was up! a super-smart corduroy jacket suddenly appears from In the first show he sings effortlessly through songs nowhere. “I can’t see those cue cards,” Dylan explains. including ‘One Too Many Mornings’ MM, 5 June 1965, page 5 “You’ll have to bring them right up – I’ve got bad eyes.” and ‘She Belongs to Me’. In the studios They bring the cue cards nearer and he fixes another he has a 15-minute break. harmonica into his harness. The hot lights have affected At rehearsals he did ‘Maggie’s Farm’ the strings on his guitar again and he turns away from the and then decided not to sing it after audience, listening intently as he runs through the chords. all. His second show includes the very The young man in the jacket says that sounds fine to him. funny ‘If You Gotta Go, Go Now’ and “It doesn’t to me,” says Dylan. “I’ve got bad ears too!” ‘Mr Man’. Some sort of magic seems suddenly to have hit the entire proceedings with Dylan’s grin and joke. We all laugh. Inserts The red stool is unused by Dylan throughout the two On ‘Mr Tambourine Man’ there are shows. He stands, feet slightly apart, head a little back. He filmed inserts of a fairground shown makes no attempt at introducing the songs. His attitude is over Dylan on his guitar. At the end of the same as he adopts at his concerts – that his audience the tapings Dylan crouches, his chin should know his work without explanation. cupped in his hands, watching the

The only time he does offer an introduction is on ‘It’s credits coming over the monitor sets. THOMPSON UGH Alright, Ma (I’m Only Bleeding)’ when he says the title and As the last glimpse of a now static adds: “This is a funny song, ho, ho, ho.” Dylan face is shown on the set he stands up and looks satisfied. He says Striking his thanks to the camera crew and The stool carries his extra harmonica and a crumpled piece once more to the audience and then

of paper on which Dylan has written down the titles of the quietly walks away. Penny Valentine FEATURES/H PRESS/REX PICTORIAL

24 NME ORIGINALS Donovan wonders which way to run after escaping from Strangeways, 1965 DONOVAN WROTE SONGS IN PRISON NME, 11 June 1965, page 9 He told me candidly: “I don’t see I just don’t know yet. There’s a lot to do he tired of it all by now? How did he othing about Donovan is easy to much of my parents. It’s not a row. We an’ a lotta time.” feel about Bob Dylan personally? understand when you fi rst meet just don’t speak the same language. Would he ever give up those faded He pushed back his blue denim cap. him. He can be deep; but open. There’s nothing there for me, man. So denims and wear a suit? “I don’t think “Some of it’s a bit sick,” he told me. NFriendly; but cynical. I left home. so,” he told me, “not for long. I couldn’t “I don’t like the hecklers. Who would? This is how I found him in an “Sure, I’ve slept rough. Lots of times, take much care of a suit. Too much Some of them want to kill me. amazingly frank conversation this in old houses, on beaches and derelict bother. I might change, though. Who “I think I’ve convinced some people week. He told me: “I write songs and sites. You don’t like it when you’re knows? Everyone has a right to change I’m not a Dylan fi end. Bobby’s a poems everywhere. Man, they just doing it, I wouldn’t recommend it. his mind. It’s a personal privilege.” good fella and I’ve met him often on come into my head. “In fact, I wouldn’t recommend the Talk to Donovan for long and you his stays here. Now we’ve talked he “The police in Manchester arrested life at all. It’s not fun. Live like that get used to the fl at staccato way he remembers me from last time he came me before I got known. I was thrown over. He has a fantastic memory. into Strangeways for two weeks. “I’m not a Dylan fi end. We’re both “What else can I say? We’re both in I wrote two songs while I was cooped the same business, he seems to like up in there. in the same business, he seems to what I’m doing, and I like him.” “They accused me of breaking into Money doesn’t interest Donovan at a cinema and stealing 5,000 cigarettes. like what I’m doing and I like him” all. “If I fl opped, I’d only be sorry for But when the case came up I was the people behind me. I might buy acquitted. My trouble was, they relied and you either turn out to be mad or speaks and the direct way he puts his a big house and look after my friends, on evidence they shouldn’t have done. a genius.” views. I like him for this. He might not but that’s it. I’d been framed, but the law didn’t I asked him how he thought he be an interviewer’s dream but seems “I look at myself like this; I’m an know that,” he alleged. would turn out himself. He thought almost utterly honest. easy-going guy, and I don’t want to do Those were out-of-the-rut days for deeply. “I don’t know, man. I’m I asked him how he felt about the anybody down. I just want to show Donovan. working a few things out with myself. Dylan Vs Donovan controversy. Was what I can do.” Alan Smith

NME ORIGINALS 25 1964-1965

MaxJonesmeetsRamblin’JackElliott

MM, 29 May 1965, page 6 Hobo songs ou know what knocks me out “He had this one shirt that he always this time?” asked Jack Elliott. seemed to wear – I guess it never got “Y And promptly answered laundered. It was another part of the himself, “All these photographs of Bob Woody Guthrie legend. Dylan and Joan Baez… it’s wonderful. “One of my reasons for going back Elliott, who isn’t billed as Ramblin’ Jack to the States was to visit Woody in very often these days is back in Britain hospital. I visited him and there was for a tour which opened yesterday Bob Dylan. I kind of thought he was (Wednesday) at Acton Town Hall. imitating Woody but he said he wasn’t, He came here first in September 1955, that he learned those songs from and sort of commuted back and forth various he met on the road. over the next six years. After a stay in “So I didn’t argue about it. I dug him, the States, he was in Britain again in and I guess he reminded me of myself ’63. How does he see the scene then a little when I was younger. and now? “In those days he had a repertoire of wonderful hobo songs, some of which Scene is changing I had never heard before. He was “When I first came here there weren’t singing worse than I was at the age of too many people singing my kind of 20, but although he hurt my musical ear things. I guess I was very lucky at times, I was the loudest clapper coming over at the right in the audience. time. There was a big “I wanted to applaud interest in blues and him for stepping into the folk music, what they Guthrie-Cisco called . tradition. And later, “Now, I think the it was a gas seeing folk scene here is him make money, changing. Everyone which I’d never done. told me, ‘Going to “Now he’s a prolific England? You’ll have a The late Woody songwriter. So prolific he great time there. You’re going Guthrie: inspiration hasn’t time to sing many of his for Ramblin’ Jack to do well’. I hope they’re and Bob Dylan old songs because he’s putting right. Anyway, seeing these down new ones all the time. Better than all the nest: big pictures of Dylan is a gas. “A lot of people say his The Byrds (clockwise from top left) , Jim He’s very photogenic. songs are full of images that don’t mean McGuinn, Michael Clarke, “When I went back to the states – ’61 anything. It’s like abstract painting. , I think it was – that was the first time Some people don’t have the imagination I met Bob Dylan. Those were his early to appreciate something a bit vague. days. He was about 19 then, and didn’t Woody wasn’t vague, and that’s one even have the black corduroy cap.” way Dylan has departed from him.”

Ramblin’ Jack Elliott lifts a glass to Dylan and the resurgence of folk music

NME, 16 July 1965, page 8 this very moment birds are following nless I am very much mistaken Byrds by the coach-load across the August is going to see Britain breadth of America. gripped by a new phenomenon Leader of The Byrds’ disciples is a U – BYRDMANIA. Stand by for bearded artist named Carl who – to the biggest explosion of hysteria since quote Byrds publicist The Beatles fi rst sent love ‘From Me – has “wild, black hair sprouting To You’, when The Byrds fl y in from like corkscrews from his enormous COOKE BYRNE /JOHN Hollywood to cash in on the success domed head”. of this week’s haunting chart-topper. It appears that Carl achieved Mothers should take heed of the considerable fame in Hollywood warning and lock up their daughters, without even engaging a press for I have it on good authority that the agent by being unpaid dance leader group has Pied Piper habits, and at wherever The Byrds played. MICHAEL ARCHIVES–REDFERNS OCHR

26 NME ORIGINALS 1964-1965

NME, 2 Ju ly 1965, page 8

So impressed were the group’s added authenticity. They didn’t care. managers at the frenzied results Though it was 3.16 in the morning he achieved that they hired Carl in Hollywood and The Byrds had just to accompany the Byrds on their exhausted themselves playing at Jane US tour and he now superintends Fonda’s party, I managed to glean the the coach parties (I’m not joking) following information: of fans who tag on after each Byrds The group has plans to make a fi lm show to follow them to the next city. What I did learn is that these to look even more English. And I later this year, writing the script – and Whether or not Carl will be brought fi ve musicians, who have enjoyed wanna meet John Lennon, he sounds possibly even directing – themselves. along with when they visit more success with a Bob Dylan like a man after my own heart. Who Should be fun. England next month I’m not sure – composition than ever Dylan has, are knows, maybe we’ll even come home The Byrds were with The Rolling The Byrds were still “thinking about more than keen on their forthcoming with English accents. Crazy.” Stones on their last US tour, but it” when their leader, Jim McGuinn, visit to Britain. I said I would duly warn Carnaby “although we didn’t fi ght, I don’t telephoned me from California the “We wanna buy some clothes Street and Lennon and, if they cared, think we really got through to them, other day. in Carnaby Street – then we’ll be able lay on a visit to an English castle for or them to us!” Chris Hutchins

NME ORIGINALS 27 Disc Weekly, 24 July 1965, page 6

The “quite nice fellows” in 1965 and (inset) their mate BYRDS

Disc Weekly, 31 July 1965, p15 THE BYRDS CBS EYE VIEW! I think this is a marvellous song. Dylan is the only man By Mick Jagger, who met them on around who would write love lyrics like the Stones’ US trip “I don’t want to classify you”. I also think this is Disc Weekly, 10 July, 1965, page 6 to stay on stage to keep the audience a very good follow-up hey’re quite nice fellows – very entertained,” Mick explained. to ‘Mr Tambourine Man’. I also know that English types really. Long “By the time we eventually got this will be a gigantic “Thair and all that.” That was the there they had run out of all of their hit – partly because calculated answer Mick Jagger gave me own numbers and were playing ours. of The Byrds’ visit when I asked him last week what he What a gas!” which will probably put them down in thought of The Byrds, who were one of Mick told me that The Byrds played posterity. The voices the supporting groups on the Stones’ nearly all Bob Dylan numbers. are there again just as good as before and the backing is “They’re quite nice fellows – very excellent. But, Byrds fan though I have English types. Long hair and all that” always been, I prefer the Sonny & Cher last tour of America. “Their manager is a very close friend recording of this particular song. “They were on the tour for about a of Dylan and so he often hears his Still, never mind, CBS week while we were round the West numbers before Bob has recorded can rest easy in the Coast. They used to go on each night them. This was the case with ‘Mr knowledge that they just before us. Tambourine Man’,” he said. have captured the most important group since “They fi rst recorded the number The Beatles on the pop Breakdown about fi ve or six months ago. They scene today and that “One night before we were due to be did it in march time and didn’t like this record will prove it. playing at , the car we were the results. So they kept it on one side ‘I’ll Feel A Whole Lot Better’ on the flip. travelling to the theatre in, broke down. and didn’t release it. Then they re- Penny Valentine This made us half an hour late arriving recorded the number and the result at the theatre and so The Byrds had is this hit.” Rod Harrod

28 NME ORIGINALS REDFERNS/LFI/CORBIS Ode to the highflyingByrds! Ode to the highflyingByrds! the group, with a -type hair-do. hair-do. Jones-type aBrian with group, the of image sex the of part he’s Dave, Like Chris. with singing. and playing started he before girls the from squeals appreciative off sparking and cloak Hood-cum- Robin dashing that in resplendent Crosby, Dave was centre the at the ready. In front of him, slightly towards guitar slim, and back straight there stood and back the towards level ahigher on was He stage. time. on it did and doing were they what knew everyone but casual, was everything hurried, was Nothing fashion. aimless aseemingly in stage the around detached vagueness. on, they wandered on with that unique air of they didn’twelcoming screams. Actually walk of wall ahearty to on out walked Byrds The screams Welcoming I by what they could do in person. Fairfield Halls, last Thursday evening. And sink or swim, Croydon the of stage the on out walk to were they now And before. gone had who any from were they different How boys. our by dominated previously chart American Drummer Mike Clarke sat down at his kit parallel parallel kit his at down sat Clarke Mike Drummer the on position left far the took Hillman Chris Each move by each Byrd was calculated. They drifted were now re-asserting the American sound in the the in sound American the re-asserting now were Byrds. The of views and news with buzzing been had country The One. Number to way its rattled t was the moment of truth, ‘Mr Tambourine Man’ had How potent and significant they were. How they they How were. they significant and potent How Disc Weekly, 14 August 1965, page 7 page 1965, 14 Weekly, August Disc Count Of Monte Cristo Monte Of Count shades of his which surely must start a new optic fashion. optic anew start must surely which his of shades small-lensed those glancing over owlishly and through position, front right far the took McGuinn Jim leader and was there, but the words were nowhere. progression chord the and tune The definition. no was there but mics, their into directly singing were boys The words? the to happened what but auditorium, the around vibrating there, was sound Byrds The A-Changin’’. Are They Times ‘The Dylan’s was song first the Predictably, Immediately impressed ‘Mr Tambourine Man’ himself Gene Clark was centre front front centre was Clark Gene himself Man’ Tambourine ‘Mr McGuinn onstage and Crosby Hillman, Caped crusaders: minimum and hidden behind those grotesque specs. grotesque those behind hidden and minimum a to movements keeping sings, and plays and stands Jim Gene is the nonchalant mobile showman of the team and drums, his over broods Mike style, audience-winning an in andat with billowing th showpiece, constant cloak twirling impressed. immediately was and technique, playing stage the LP is and indistinct inaudible. One watched The Byrds’ as she goes. goes. she as his , and then withdraws, waving to Chris Hillman of part adjust to seems and bends cheek, the on quickly Chris is undemonstrative and functional, Dave is a is Dave functional, and undemonstrative is Chris of some all, After that. by alarmed unduly get didn’t One Was she a spontaneous invader or was she fixed to to fixed she was or invader aspontaneous she Was him kisses Clarke, Mike towards stage on darts A girl sound merchants. on the lyrics of the songs they sing and are not just just not are and sing they songs the of lyrics the on importance and emphasis place they that sure for ofpart the number. the stage and Dave and Jim turn to face them for for them face to turn Jim and Dave and stage the behind arranged audience the remember Byrds The version. record the as clear as are words the and adjustment? Nobody was telling. was Nobody adjustment? drum and ardour fan of purpose adual serve Once you could hear them adequately, you knew knew you adequately, them hear could you Once exchanged glances between themselves. themselves. between glances exchanged they but dented, not was coolness casual Byrds’ were lost in a barrage of confused sound. The words the again and Babe’, Yourself, Doubt ‘Don’t DeShannon’s Jackie was number Second glances Exchanged ‘Mr Tambourine Man’ gets a great reception, Nigel Hunter Nigel NME ORIGINALS ORIGINALS NME 29 30 NME ORIGINALS D 1964-1965 pictured) not (worm Byrds early the gazebo: Sweethearts of the performed togetherperformed in hadn’t They them. about known was long-haired. So here was a third. Nothing All Brummels. Beau The other the Raiders, &The Revere Paul was One groups. rock –both clients two Ihad agent. a press Iknow.” all for lousy be may They Byrds. like to look at,” he said. “They’re called The may you here agroup “There’s desk. my on casually pictures of acouple dropped into and my office then uncluttered sauntered tour Beatles’ The on met I had acameraman when February, in Hollywood in Iarrived after days of acouple started it me, For us. of any for warning enough little with Suddenly, happened. Byrds The – exclusive to to – exclusive fame chart to rise group’s the of story the gives he Here Byrds. The with I had come to California to work on as MM, 17 July 1965, page 3 page 1965, July 17 MM, Melody he holds the same job job same the holds he where Hollywood in lives now officer, press erek Taylor, ex-Beatles . unfashionable night club on Sunset Strip. alarge, Ciro’s, at $10 each for appearance public first their make to due were They too.” so think “We said, he And ahit.” it’s “I think Isaid, version. Byrds’ The approved had and song the written had explained, of it and he played it to me. Bob Dylan, he acopy Man’. had He Tambourine ‘Mr called anumber with them recorded had Records Columbia and good pretty were Byrds The Hollywood. He too, was broke. said he But, he looked honest. Which is something in and eyes gentle and smile akind had He singers. folk for man A&R an been had who bald, prematurely man, aroly-poly Dickson, Jim was name His office. the into came they had no money at all. Very promising. And looking. good weren’t They record. public as a group. They hadn’t released a hyhd’ eesdarcr,they hadn’t released arecord, They weren’tgoodlooking andtheyhad However, I called their manager and he he and manager their Icalled However, omnya l.Vr promising Very money at all. no “Stick around and keep smiling, but we we but smiling, keep and around “Stick said: Dept, Audit Army US the for work to used who man cautious aslim Tickner, Eddie partner, his and Dickson manager But it. of hell the for just aweek dollars rock experience. overnormal and above It was something onstage. happening was Yet something aunit. all at not and ease, at ill shy, were they and audience an faced never microphones. Collectively, they had inadequate breakdown, – amplifier difficulties unimaginable mechanical had They Byrds. The see to Iwent So ghosts. glamorous athousand and Grant Cary and Johnson Van of and prime, Humphrey in Bogart their brawling and Flynn Errol of haunt the was It Diffi I offered to represent them for a few afew for them represent to I offered culties of all the national charts – of all national the charts top the to places 30 of leaps in bounded Number One. Five weeks later, it had newspaper to forecast it as a nationwide AHit”. For “Tip his as it pick to decided Hull, Dave jockey, disc Beatlemaniac city’s the and it liked Angeles Los in KRLA Station Radio April. in America in. Iwas and agreed Dickson and Tickner Finally, income. group’s the of percentage a take to offered and out stuck and around Istuck yet.” anything pay to afford can’t Billboard replace ‘Mr Tambourine Man’ at the top. the at Man’ Tambourine ‘Mr replace are, at this climbing moment, rapidly to Better’, Lot AWhole Feel ‘I’ll and Do’ To Want ‘All IReally release American second their of sides both And thousands. fan club members were numbered in Their newspapers. trade the all of cover of America. point talking music pop the were Byrds The June, of end the By lists. local of I went into print in the station’s station’s the in print into I went in released was Man’ Tambourine ‘Mr They were featured on the front , Record World Record , plus hundreds hundreds , plus Cash Box Cash ,

RETNA – they resemble the Beatles. celebrations in Malibu. At the party were They are all intelligent, cool, Lauren Bacall, Steve McQueen, George acutely aware of the follies, Cukor, Sidney Poitier, Diahann Carroll, extravagance and hypocrisy in Roddy McDowall, and Warren show business. But because they Beatty. Adding international flavour, among had willingly abandoned their separate the British guests were Peter Finch, James impoverished careers in the less Fox, Ian Bannen, David McCallum and Jill remunerative branches of the industry, Ireland. France was represented by Louis they plunged into the hurly-burly of the Jourdan, Roger Vadim and Leslie Caron. contemporary rock scene. Though they The Byrds’ diligent management – with had only seven weeks’ experience they all the enterprise and zest of an Epstein The dancefloor was a madhouse. were hired for all seven of the Southern – secured them appearances on every Packed A hardcore of Byrd followers – wayward Californian Rolling Stones concerts in May. American television show from Hullabaloo Abroad, ‘Mr Tambourine Man’ was also painters, disinherited sons and heirs, to Shindig. The only gap in The Byrds’ one of the records of the year. It went bearded sculptors, misty-eyed nymphs Fashionable TV scene is The Show. That into the Australian and Canadian Top and assorted oddballs – suddenly taught They were booked for a huge, prestige, follows this autumn. Columbia Records Five, and after a rush-release in Britain it Hollywood to dance again. This was no charity show at LA’s Shrine Auditorium, – grateful to The Byrds for the label’s first climbed into the coveted English charts. Shake, Watusi or Frog session. It was and were the hit of the night in a $100,000 Number One since January, 1963 – paid The Byrds returned to Ciro’s and for an exercise in “Byrdmania”. A frenetic rock‘n’roll show at the Hollywood Bowl. all expenses for an appearance at the the first time in years packed the place. extension of the talents of five quite Also – and America is not without its company’s convention in Miami. And the There were queues up and down Sunset exceptional pop musicians. social strata – they became fashionable. Willard Alexander Agency – bookers of Strip of desperate teenagers clamouring None of The Byrds is easy to get to The Byrds were booked by Henry Fonda’s , Count Basie, no less – filled to get in. know. In this – as in many other respects daughter Jane for her Independence Day every night in July with coast-to-coast dates.

Disc Weekly, 31 July 1965, page 6 1964-1965

Disc Weekly, 14 August 1965, page 11 BOB DYLAN Like A CBS Here it is, then! That six- Bob Dawbarn minute trek through Dylan- Even Dylan himself land. And a very way-out had trouble staying one at that. listens to the new, awake for the whole When he did six minutes six-minute long ‘Subterranean…’ I thought he was having a good Bob Dylan single, laugh at us all. Then came ‘Maggie’s Farm’ which, at and comes to the least, was understandable. And now comes this slightly conclusion that monotonous, very long it’s just as well it’s Dylan record completely away from the Dylan we not scheduled for love or hate – depending on taste. British release Accompanied by a huge massed army of strings, MM, 7 August 1965, page 7 guitar and organ, I really ob Dylan’s latest American chart entry is wouldn’t like to say what the world’s longest single – a six-minute will happen to this as far as the chart goes. Interesting epic entitled ‘’. In though. Flip is ‘Gates Of B Britain, CBS have no plans to release any Eden’. Penny Valentine Dylan single in the immediate future. And when a single is released, it is by no means certain to be ‘Like A Rolling Stone’. For once I’m on the side of a record company. Frankly I can’t see ‘Like A Rolling Stone’ pleasing either faction of Dylan’s British fans – the folk collection or the pop pickers. Dylan is saddled with a quite horrific backing dominated by syrupy strings, amplified guitar and organ. Mick Jagger fans will also be distressed to learn that the song Disc Weekly, 14 August 1965, page 11 title refers to a rolling stone and not a Rolling post stands with folded arms”? The problem DONOVAN Stone. The lyric has its moments of typical Dylan posed by ‘Like A Rolling Stone’ is the problem Universal Soldier Pye imagery, but the monotonous melody and Dylan’s of Dylan himself at this stage in his career. His This is a very beautiful EP, expressionless intoning just cannot hold the talents have become so diffuse – folk singer, which is being promoted interest for what seems like the six longest minutes writer with a social conscience, composer of as a single. For the first since the invention of time. There are times when hit songs, poet, satirist, pop star. The trouble time I really like Donovan. I like the change in voice, Dylan sounds faintly like Eric Burdon and, in fact, comes when he starts mixing the roles. ‘Like I like the way he’s suddenly the song would be a much more suitable vehicle A Rolling Stone’ will offend the folk purists discovered that he can sing for The Animals than for the composer himself. with its strings and electric . It is unlikely without resorting to Dylan My copy of the disc bears the legend “Prod By to appeal to pop fans because of its length, phrasing. I particularly like this switch to Pete Seeger Tom Wilson”. Somebody should have prodded Mr monotony and uncommercial lyric. guitar work. Lovely. Of the two sides, the A-side, and presumably the one that will The monotonous melody and expressionless receive the plugs, is far and away the best. intoning cannot hold the interest Buffy Sainte-Marie’s ‘Universal Soldier’ is the first Wilson until he agreed to lock the backing group Those lyrics are another problem. He seems track, and is followed by the in the cellar until the session was over. The to be getting more obscure – there is an almost loveliest song on the record, Donovan’s own ‘The Ballad paucity of ‘Like A Rolling Stone’ is emphasised surrealist feel about his recent stuff compared Of A Crystal Man’. The chorus by the flipside which also runs for nearly six with the directness of ‘Masters Of War’ and on this and Donovan’s voice minutes. This is ‘Gates Of Eden’, familiar to those ‘Don’t Think Twice, It’s All Right’. One imagines are perfect. Would have who attended Dylan’s British concerts and a that this is all quite deliberate on Dylan’s part. made a super single. The EATURES/REDFERNS other two tracks are both track from his ‘Bringing It All Back Home’ album. He no doubt enjoys confounding the critics and anti-war songs. They are This is just Dylan with guitar and harmonica. upsetting the folk fans, who first bought his ‘Do You Hear Me Now’ and And without the extraneous backing noises records, by going over to the electronic enemy. ‘The War Drags On’. Well one can concentrate on what the man is saying That is his privilege. But it is also the record worth anybody’s money. Penny Valentine – and some of the writing is magnificent. What buyer’s privilege to reject sub-standard Dylan. other popular writer would sing “The lamp- And that is what ‘Like A Rolling Stone” is! JERRY SCHATZBERG–CORBIS/REX F

32 NME ORIGINALS NME, 6 August 1965, page 10 Soft-spoken Jim explained the merica’s hottest pop group current trends in folk music. “My own property for years – The Byrds opinion,” he said, “is that most people – fl ew into London early on in the world today are worried. The A Monday morning, and were folk music of today is a refl ection of greeted by coach-loads of fans, who present-day life. Folk music changes all had waited hours to see the group. the time, but the essence is the same. The fi ve-man outfi t who reached Life is like that, too, and music is life,” the top of the chart with a Bob he said, philosophically. Dylan composition have arrived to The Byrds were formed only eight undertake 16 days of TV and personal months ago. Leader Jim used to appearances. Although the group has play lead guitar with Bobby Darin’s had only one hit record, The Byrds will backing group. “Darin is a wonderful very probably become the biggest group person to work with,” he said. David ever to come from America. Already in Crosby, who arrived at the Savoy the US they are hailed as the leaders of wearing a green suede cape, was a a new cult in pop music and it shouldn’t solo singer-guitarist. “But joining The be long before the same happens in Byrds was the best thing I ever did,” Britain. They are untidy, long-haired, he said. Drummer Mike Clarke used intelligent and extremely modern. to wander around the States working They are all devoted to music and regard whenever he could fi nd it. He is still

Byrds of a feather- cut: America’s scruffiest heart- throbs hit Britain

Bob Dylan as the master of folk tune- rather dazed by the group’s success. not new. It’s a mixture of all types. And what of the American groups? making. Although their fi rst disc, ‘Mr “I never thought we’d make it,” he I asked Jim about a slide-rule he had “There are lots of groups,” said Dave. Tambourine Man’ and their second, said, simply. The group has toured in his jacket pocket. “Oh, that,” he said. “But very few have anything to offer. ‘All I Really Want To Do’ were written the US with , and “I always carry it, just in case…” In the States, Britain is still regarded as by Dylan, the group regards itself as the Mecca of pop. We’re very excited a rock’n’roll band – not a folk group. about touring Britain because everyone “We will play a lot of rock,” leader Jim over here, even the older people, seem McGuinn told me at London’s Savoy to have an interest in the charts.” Hotel. “But Dylan is really the best Why do they spell their name with a folk writer of our time. His phrasing ‘Y’? Jim explained: “We didn’t want to is unique. He is a product of the 20th they all have a great admiration for the The Byrds look very, very English and be confused with the English slang for century and completely tuned to the British music scene. Jim peered over I asked Crosby if this was a deliberate girls, and so we changed the ‘I’.” present time.” In actual fact Bob Dylan his tiny sunglasses and explained: attempt to cash in on the success of When the group returns to the States attended the group’s recording of ‘Mr “The British groups are new and fresh. British groups in America. “Not in they hope to write, direct and star in Tambourine Man’ and was completely They have presented music in an the least,” he said. “But we do like the a fi lm. “That should be a real gas,” satisfi ed with the result. original manner. The music itself is English mod clothes.” said Jim. Norrie Drummond FANS GO COOL OVER TOO-COOL BYRDS MM, 14 August 1965, page 9 greeted The Byrds when they finally fought with the audience. It was all a bloody scene. lopsville” was London’s verdict on the their way to the stand at around 2am. Paul Said Denise Hall (19): “I think they are a much-publicised Byrds. They left a trail McCartney was among the Byrd diggers, drag. Absolutely no stage presentation and “Fof hot, tired, bored and disappointed which helped to raise the temperature of all their numbers sound like ‘Mr Tambourine fans, who waited hours to see them give a several young ladies present even more. Man’. They are not bad, just very, very dull.” performance described as “very, very dull.” Eventually The Byrds began their act, lasting It seems a shame to be so hard on our The Byrds were due at The Flamingo only half an hour, during which they American guests after the receptions British Club Allniter on Friday and enough people performed six numbers in the familiar Dylan- groups have got in the US, but it proves they packed in for it to take on the appearance cum-’Tambourine Man’-cum-Searchers can’t beat The Beatles yet. At the end of of the Black Hole Of Calcutta. The heat mould. They also played an extraordinary their Pontiac stint, one girl asked: “Aren’t was intense enough to bake bread or version of Vera Lynn’s ‘We’ll Meet Again’. you going to say anything?” “Goodbye,” fry eggs on the floor. A roar of applause They made no attempt to communicate said David Crosby. Chris Welch The Byrds: “absolutely no stage presentation” 1964-§1965 SONNY & CHER TAKE OVER THREE CHART SPOTS!

NME, 27 August 1965, page 3 the shade, I became “the man who came out of the e’ll never make number one in this fog” to Sonny, in contrast to Cher’s image of me: country,” said Sonny, resignedly, “the reporter who smiles and doesn’t miss a thing”. nonchalantly removing a wad of English The following day I was in their dressing room at “W pound notes from his right sock as he when Kinks co-manager Larry Page, changed in the dressing-rooms of the Ready Steady Sonny & Cher’s representative in Europe, entered Go! studios. “We’ve got too many discs on the go, and wearing a pained expression. “Your Rolls-Royces The Rolling Stones for company,” he said, extracting have arrived,” he announced to Sonny. Outside, a bundle of dollar bills from the other sock. “But Sonny began padding happily up and down a line we sure had one helluva good time here,” he added. of six Rolls he had ordered for viewing from the That was the scene before Sonny & Cher, the nicest showrooms! The sight of Sonny in his shredded twosome I’ve ever met, left for their Hollywood trousers, prodding the tyre of one limousine with NME, 20 August 1965, page 10 home. The pessimism proved unfounded, for they hit his eskimo boot almost brought one chauffeur to long with Sonny & Cher I went to see The Byrds the top of the tears. But all onstage at Finsbury Park Astoria last Saturday. NME Chart “Sonny wrote ‘I Got You Babe’ after we were thrown out of was forgiven A Following their Number One hit, ‘Mr Tambourine this week with when Sonny Man’, the group arrived in this country with a publicity ‘I Got You a restaurant in because of our clothes” Cher ordered two. theme along the lines of “America’s answer to The Babe’. As if that Back in the Beatles”. On Saturday’s performance, it was a pretty wasn’t enough, Cher’s ‘All I Really Want To Do’ is at dressing room, I talked to Cher about her husband, pathetic reply! After tuning up for a full five minutes Number 11 and Sonny’s solo disc, ‘Laugh At his music, and his way of life. “Music is the most behind the curtain, they were treated to a traditional Me’, is making a move towards a big hit at Number 21. important thing to him – next to me,” Cher told slow handclap by the impatient audience. Then their With their sounds of today and clothes of tomorrow, me. “He’s so good because he never writes anything first two numbers were completely drowned by over- Sonny & Cher have proved to be the “something unless he feels it. The fi rst record we made, ‘Baby amplification. I have it on good authority from Cher that new” we’ve all been waiting for from America. I spent Don’t Go’, he wrote just after we were married. We the first number was ‘I’ll Feel A Whole Lot Better’, but four days following them around London, to fi nd out were broke. ‘I Got You Babe’ he wrote after we were the vocals of that and the next number were inaudible. just what kind of people they really are. The answer in thrown out of a restaurant in Los Angeles because of At the interval compere Rod Cameron announced one single word is – nice! I met Sonny in a well-known our clothes. He knows what being hurt means.” Sonny & Cher were in the audience and so ruined any “kinky boot” shop at the back of Covent Garden. “Nice At London airport there were tears from Cher chance they had of seeing the rest of the show! We to see ya,” he said. “What are you doing wandering as she distributed gold watches to people who had fled backstage, where a mountainous Irish sergeant did around out there in the fog?” Off-beat humour is worked to help them. As she did this, Sonny looked stout work by keeping out the people he was supposed another Sonny speciality – although it was about 90 in even sadder than usual. Alan Smith RETNA, LFI to allow inside. After letting Cher through he barred the way for Sonny, Cher’s sister, their managers and myself! Sonny & Cher: Sounds of today, clothes of tomorrow, The Byrds’ biggest fault is this ‘cool, hair of 1485 couldn’t care less’ attitude. The audience don’t like it. Neither do I Rescued by two friendly policemen, we got backstage and I tried to communicate with The Byrds. I spoke to Dave Crosby, who looks like Jr with dimples. “I thought we were good tonight”, he said. “We don’t talk much to the audience because we like our music to speak for us.” With that he wrapped his green cape around himself and turned his back on me to talk to Donovan. Jim McGuinn is a likeable person. He wears squared glasses permanently on the bridge of his nose and peers at you over the top like an admonishing school teacher. He never raises his voice above a whisper and in his most emotional moments can be heard to say, “But I trust it will turn out all right in the end.” He carries an air rifle and 35lb of ammunition around with him. “I couldn’t ever kill anything,” he states. “It’s just for target practice.” Gene Clark walks around in a Mountie’s hat saying “Hi all!”, Chris Hillman seldom says anything and Mike, the drummer, says “Cool it” and “When do we eat?” occasionally. The Byrds’ biggest fault is this ‘cool, couldn’t care-less’ attitude onstage and off. The audience don’t like it. Neither do I. Keith Altham

34 NME ORIGINALS NME, 10 , page 10 getting something to report to you, but Young soul rebel: onovan’s eyes lit up almost enviously eventually I managed to cull these assorted Donovan smashes down the ’60s as he spoke to a friend across the comments from Don on his idol, Dylan! conventions recording studio. “Y’know when “Dylan is a beautiful cat. He’s got some DI was in Newport with Bob Dylan, nice things goin’ for him. I saw him at a bloke went a bit mad and shouted: ‘I’ll Newport, in the States, and he was doing kill for you, Bob. Who do you want killed?’ this great act with electric guitars. It lasted Dylan just kinda looked at him.” a while and was fantastic, man. Electric “Did he say anything?” I asked. “No,” guitars and folk? Do they mix? Sure, if you said Donovan, flatly. Then he turned away want them to. Why not. Dylan uses electric from me, saying something about, “There’s guitars because he likes it that way. He a lotta soul floatin’ around here an’ we doesn’t care what people think. gotta pick some of it from the air an’ inject “Dylan does what he wants, man. Not “You don’t see the real Dylan in interviews. You don’t see the real Joan Baez. Same with me. There’s things said that shouldn’t have been”

it into this session.” A little later he looked what convention says he’s gotta do. I feel over at me and asked, sombrely: “I wonder the same. All young rebels are like this. what should Dylan have said? What should People say I’m a folk singer, but I sing anyone have said?” I said I didn’t know. anything I want… Beatles songs, everything. Further conversation was stilted by Donovan You have to smash down convention. Joan munching sandwiches and asking what had Baez sings Beatles songs, too. They’re happened to Gypsy Dave. Gypsy had gone beautiful.” He looked pained and earnest. off seeking solitude during the short break. “Listen, you don’t see the real Dylan in He was being recorded for the first time and interviews. You don’t see the real Joan he was obviously nervous. “So c’mon,” said Baez in interviews. Same with me. There’s Don, “let’s put him at ease. Let’s show him a lotta things been said that shouldn’t have some of that soul.” He plucked some more been said. Things about me. Wrong things.” DONOVAN TALKS (guardedly) ABOUT IDOL DYLAN at his guitar and then suddenly turned in I asked Don if he didn’t sometimes feel my direction. “OK, whatcha wanna know?” it might be his own fault. If he didn’t like BOB DYLAN Stone’, familiar to most people, is I was just about to level a question at him talking to reporters, how did he expect CBS followed by when he turned away and began again them to always be right? Answer: “I can’t one of the on his guitar. Some people might have say what I feel in talkin’, man, I say what best tracks, given up, but the point is – both Dylan and I feel through my songs.” Did he have any ‘Tombstone Blues’, a Donovan are like this. You have to take them other news on Dylan? “Only about ‘Like A jumping as they come. Their “un-showbiz” attitude Rolling Stone’,” said Don, as he twanged swinger with continually confounds their critics! Dylan has his guitar with some of that soul. “An‘ all some of the crashed up to Number Three with ‘Like A I wanna say is it’s a fantastic, beautiful best blues guitar you’ve heard Rolling Stone’, while Donovan’s ‘Universal record. I heard it first in the States. for years. Soldier’ has jumped incredibly (for an EP) to The title track is a Number 15. It would be understandable Characters fast one again that thunders if they threw themselves frenziedly into “There’s a lot I’d like to tell you ‘bout Dylan, along. Dylan’s vocal is punctuated with sirens and bottleneck as he sings. “Abe promoting their discs, but they don’t. but perhaps ‘cos I’m a character myself, MM, 16 October 1965, page 12 said: ‘Where do you want this killing I don’t notice so much.” He turned away ob Dylan’s sixth LP, like all others, done?’ and God said: ‘Right on Highway Unconcerned again and then I shook hands to leave. As B is fairly incomprehensible but 61’.” The tempo is slowed down for the Dylan seems hardly concerned by the I went through the door, Gypsy Dave came nevertheless is an absolute knockout. On final track, the meaningful 11 minute, all nine tracks Dylan uses some form of ‘’. As usual a great LP ups and downs of the charts – and Don back in and they put all the lights out to accompaniment, ranging from guitar, and it caters for fans who like their makes only the occasional live appearance. give the session some atmosphere. I only organ, to a siren, and the accent is Dylan quiet and for those who like Usually, his date sheet reads like a factory hope they managed to find the soul they mainly on swing. ‘Like A Rolling him swinging.

CORBIS summer holiday rota. It was tough going were looking for… in the dark. Bill Brown

NME ORIGINALS 35 1964-1965

Ban this filth: Sick Barry McGuire peddles his so-called ‘protest’ song MGuirec with a message... MM, 9 October 1965, page 3 was just a very fast hello. My greatest desire of modern jazz musicians. He mentioned Sparks left, Barry fronted the group. n his hilltop home just off Laurel is to know them,” he said. “I have the Stan Kenton, Shorty Rogers, , Mr ‘Eve Of Destruction’ is not accustomed Canyon in Hollywood, Barry ‘Eve Of greatest respect for those kids. I must spend Dave Brubeck, but he said that the jazz to screams from the audience. “I had I Destruction’ McGuire told me of his a couple of hours in England to talk with musicians sought and found sounds but the screamers only once – at the Aragon “Love everyone philosophy” which he Ballroom in Santa Monica. I really dug it. hopes to bring to England with his songs. “The message songs of today I’ve only been in showbiz for four years and “The message songs of today follow being onstage is always so groovy. When the times and happenings,” he told me. follow the times. Romance is I saw The Beatles at the Hollywood Bowl “Romance is changing; the rules are and the audience reaction, I was shaking different from 20 years ago. People talk of changing. People talk of a more with excitement. I can imagine The Beatles a more sincere, broader love. It takes away sincere, broader love” up there must go out of their minds.” the bad things in love – the jealousies, the Barry was born in Oklahoma, but his fears. It’s having a love affair with humanity.” them. They’re doing everything. They change they never found themselves. At the age family moved to California when he was Barry went on: “The folk-rock controversial all the time. The Beatles are very wild. of 25, he joined in a sing-song at a Laguna one. At 16, he joined the navy. At 16 and songs are just the beginning. Soon there’ll They’re smart, creative kids.” Beach coffee house, was 11 months he was discharged as being too be sounds that people have never dreamed Barry said that the heard by the club owner, young. So he followed his father’s profession of – the integration of eastern and western customers that are coming and booked for the club as and became a construction worker. “I used music. The eastern scales and quarter in to see him currently at a solo. Following local club to sing on the scaffolding,” he recalled. tones will integrate well with rock‘n’roll The Trip on the Sunset Strip gigs, he joined with another Currently, blond brawny Barrie lives with music. The Byrds, The Beatles and others are “beautiful people”. He singer, named Barry Kane, his Viennese-born wife, Elaine, and three are already doing it. I want to get into it.” said that he wants to tell the and they worked for a year old son Stephen in a quiet street just Barry said that beat musicians and kids in England about the while as Barry And Barry. a stone’s throw from The Byrds. “As soon their fans are freeing themselves of the kids in the United States. He hired them as I get enough loot, I’m going to have a restrictive shackles in life and “just loving expounds the philosophy when he was forming the new house built in the hills here,” he told and having fun”. He particularly admires that people individually should understand Christy Minstrels. The Christy group sang me. “My friends are here, my safe world the fun-feeling and honesty of The Beatles. how beautiful they are. “Accept and admit everywhere – for President Johnson, at the is here. But in the meantime I’m looking “When I was in London with the Christy your own beauty and that you are great.” Hollywood Bowl, Carnegie Hall, at the San forward to Europe.” London will love this Minstrels, we met The Beatles. But it Barry has always admired the music Remo Festival and in London. When Randy Barry McGuire. Howard Lucraft

36 NME ORIGINALS 1964-1965

NME, 24 September, page 9 and Ethel’. I guess you have ing a song of protest a lot of Freds and Ethels – and you, too, could fi nd here too. I think protest yourself there in the charts. songs are one of the greatest S Suddenly a whole fl ood of things to hit these let’s-put-the-world-right in a long time.” He added numbers has descended on the that he and Peter and Mary ears of the record-buying public. were great Donovan fans Some of them don’t even want – they loved the sentiments to put the world right – they just of ‘Universal Soldier’. Don tell us things are in a heck of a himself had some comments mess, and that’s that. on the protest movement in Barry McGuire’s ‘Eve Of pop. And as the “king” of Destruction’ is about the biggest British protest, his comments of these spine-chilling ditties are certainly worth hearing. at the moment. But if you “All protest songs are good,” thought that was controversial, he told me, “in that they make then stand by for a really people aware of the situation. mighty blast of opinion when I hope ‘Universal Soldier’ does a new LP is released today. this. No, I haven’t heard any The album has been recorded criticism of it – except from by , who usually America. I suppose they think specialise in a happy sound. it’ll affect enlistment. ‘Eve Of But not this time – for one Destruction’? Well, there are track ends with the massive, good ones and there are bad rumbling roar of an A-bomb ones. That’s a bad one.” explosion. You could call it For every new song telling the fade-out ending to end us about war and death, there them all. Personally, I think are still dozens of singers who it qualifi es as the sickest disc have decided to leave the protest idea in a long time. movement well and truly alone. Hollie doesn’t Ken Dodd is one: “They’re not feel the same. He told me: exactly my kind of music,” he told “We’ve called the song ‘Too me. Dusty Springfi eld is another. Many People’, and it says “I’m rather tired of this angry young that God has ways of cutting man thing,” she says. “There’s a lot down the population when of twanging, wailing stuff around, there are too many people but Donovan I like. I think he really in the world. War does believes in what he’s doing.” This is away with a lot, and then the point – he believes in what he’s there were things like the doing. But one of the latest so-called plague of London. It kind protest songs is from Hedgehoppers of levels things up.” Their recording manager Anonymous, a British group with suggested rounding it all off with a nuclear The pop world isn’t the right place for lyrics about “rotting several members who are in the Air Force. blast. Said Tony: “It will be controversial, Their number called ‘It’s Good News but that never did any harm. It’s publicity, bodies”, or the big beat sound of nuclear explosions Week’ throws in every ingredient from and with a record, you’re just selling a product.” live and die in slums. Dylan is the granddaddy of birth control to the A-bomb and “rotting bodies”. I call Actually, many record-buyers may not realise the protesters. His ‘Blowin’ In The Wind’ hit out at this sick. I’ll go along with protest songs to a degree, how many of the current crop of discs come under race prejudice and ‘Like A Rolling Stone’ also has its because it would be silly to close our eyes to many the “protest” banner. Billy Joe Royal’s ‘Down In share of social comment. Do the fans realise all this? things that need changing in the world. But I am sure The Boondocks’ talks of love and poverty and The Or do they regard such songs as – as Paul of Peter, many NME readers will agree that the pop world isn’t Animals’ ‘We Gotta Get Out Of This Place’ was a Paul & Mary put it – “just nice, pretty toons”? Said the right place for lyrics about “rotting bodies” – or slashing condemnation of the way so many people Paul: “We call the people who don’t understand ‘Fred the big beat sound of nuclear explosions. Alan Smith

NME ORIGINALS 37 1964-1965

Eric Burdon, lead singer with The Animals, describes his fi rst meeting with the controversial folk king

Disc Weekly, 6 November 1965, page 10 ob Dylan hates living in New York but when he does it’s in a penthouse in the house of his manager, Al Grossman. It’s a comfortably-sized place with three Bbedrooms, bathroom, dining room and a quite large lounge. All the fittings are modern but the furniture is just very hip. It’s not modern or antique. But it suits the place – and Dylan. He’s got a big colour projector there and he and his manager take a lot of care choosing the right type of picture of him to be released. Not necessarily the ones that make him look the best – but the type of picture. Most of them are very way-out. He’s very artistic in his ways but yet when you are carrying on a normal conversation with him he’s a surprisingly straight guy. Not as deep as you’d expect. Appreciated But in the right company, and talking on a subject he likes, Dylan will go on forever. I first met Bob just before he became popular. It was during our first trip to the States. The rest of the boys had been out with him for the evening but I’d been out with a bird. We met up late in the Brass Kettle, a bar in Greenwich Village, New York. No sooner had he said, “Hi, man,” than he tried to chat up my girl.

MM, 18 December 1965, page 21 I didn’t mind because I was chuffed SIMON & that he appreciated my choice. GARFUNKEL The day the boys went up to The Sound his flat was the same day he had Of Silence CBS recorded ‘Subterranean Homesick Folk singers Paul Blues’. He couldn’t make up his mind Simon and presenting whether to release it as a single. their big American They assured him it was right. hit written by Simon. I don’t think he’s worried about A moving, depthy his image as a pop star – his disc, with some Byrds-type guitar songs are most important to him. accompaniment. He spends money quite liberally Interesting harmonies but hasn’t got a lot of worldly and backing might possessions. I’m told he gives a lot make this a popular record in English folk of money away to worthy causes circles also. but he never talks about this. He spends quite a lot of time in Ondines, a discotheque, when he’s

in New York. And he still Dylan hopes gets down to Greenwich he’s got enough Village quite a lot to the booze in for The Animals’ next visit blues and folk clubs there. He never seems to stay in one place very / long but prefers the country to town life. When he’s in town and not working Dylan wears what he wears onstage. But mostly he’s typical with all the Dylan enjoys life in his own way. He’s a lot more sincere as a mostly lightweight kids around New York. person than lots of other people I know in the pop business. jackets or corduroy stuff He enjoys a drink, so he’s in good company with us! But Simon & Garfunkel: and gay shirts, More sincere this time he looked very ill. I would say he should ease up. the original Art slightly different to Although he may not sound like it, I can assure you that BUT HE’S A KNOCKOUT GUY! folkers in 1965 SCHATZBERG/HUTTON–DEUTSCHJERRY COLLECTION CORBIS/REX

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1966-1967

NME’s Tracy Thomas reports from Bob’s LA press conference

NME, 11 February 1966, page 12 rigitte Bardot, Robert Goulet and . What have these three famous celebrities in common? All played a part in one of Bob Dylan’s infrequent press B conferences in Hollywood recently! The shapely French actress’ name arose in the question: “Didn’t you dedicate your first song to her?” Tousled-haired, sleepy-eyed, faint-voiced Dylan agreed and proceeded to crack up the hardened reporters with his answer to the follow-up: “Why?” “Why? Come on, you can see why! Think it out for yourself!” Though a local television commentator tried his best to make today’s king of folk’n’roll say that Barry McGuire is a protest singer, Dylan did not succumb, insisting that McGuire is a mixture of country and western and modern-day minstrel. “I think a protest singer is one who sings against his will. Like Robert Goulet or Eydie Gorme.” Spector proved to be one of his favourite A&R men, though he admitted: “I’ve only heard of a few.” Meanwhile another reporter attempted to force the undernourished-looking singer into confessing that he and many other performers use drugs. But to no avail. “I wouldn’t know one if I saw one. Why, do you use ’em?” he cracked with a smile. Warmed up Most of the press obviously expected obscure wisecracks from a sullen, sarcastic, rebellious youth. Instead, Dylan began the conference with mumbled, incoherent answers, but soon warmed to his audience, laughing and joking, but giving wild answers to poor or obvious questions, in excellent deadpan fashion. Perhaps the best example was his comment about movie plans. Speaking out of the top of his head, an innocent-appearing Dylan elaborated: “Yes, we’re making one. I’ll play my mother in it. I guess we’ll call it Mother Revisited. I’m quite excited about it.” This last bit was dragged out in a lazy, completely bored tone. And again, when quizzed on why he was in California, folk music’s boy-wonder replied in a manner rivalling the famous Liverpool straight- faced send-uppers: “To find some donkeys. We’re shooting this film about the life of Christ back in New York and we need several donkeys. Also, I’m doing a few concerts.” His serious and thoughtful side came to force when Politics and political singers crept into the questioning, discussing his followers. “I was amazed when I heard a but Dylan adamantly denied any connections. “I’m too The conference ended with the all-in-black-clad Dylan taped interview with a 15-year-old girl, who was waiting to busy for that. It’s fine for those who want to mix the two remaining in his seat several minutes to oblige the get into one of my concerts. She said how she digs fields, but it’s not for me.” photographers. With a wave and a smile, one of the Blake and a bunch of others that no one else has read. However, he couldn’t let the subject pass without most influential and controversial musical figures of our “She was really hip and more free in mind than most of a laugh. When asked about his participation in anti- time concluded a rare 45 minutes of answering a wide these 22-year-old kids.” Vietnam movements he protested: “I don’t participate assortment of questions, leaving the impression that, if not About letters from fans: “Some of them actually in anything. I defy you to name one thing I participated the boy-genius-next-door, he is at least a lot more human understand. I like to read them.” in. Name one!” than we’re led to believe! REDFERNS

42 NME ORIGINALS ‘Silence’ partners: and Art Garfunkel

NME, 8 April 1966, page 10 “No matter how successful we are, Bob Dylan, The Animals and some “They’re not yelling at me,” Paul Life is like a game. Everyone I’ll quit in a couple of years. I enjoy others are developing new sounds, commented. “They’re screaming for keeps trying to fi nd out how to singing, but the main thing I want to but so many are just stagnating, what they think I am – some dream win. If you stopped trying to do is write. That’s what I’m living for. recording old songs or writing of what I might be.” discover this, life would “In between performances, I’m something similar.” Art broke in: “It’s really a weird be nothing.” always writing, trying to develop Actually Simon and his tall, blond situation. A few weeks ago, I could The average rock’n’roll star does characters, so that I can do the Great partner Garfunkel have been singing walk down the street and no one not give out similes like this. But then would think twice. Now I’m a big Paul Simon is not average. Simon & “Dylan started something beautiful star – I get mobbed. Just a hit record Garfunkel are not average. and… wham!” The duo hail from New York; Paul’s a but it was destroyed by commercial This was one of the usually quiet writer and Art is a former architectural Art’s few outbursts, but another came student. Their intellectual prowess and songs without meaning” Paul Simon when I suggested that they could be less-than-consuming interest in music termed urban folk singers. separate them from the “normal” American Novel.” His earnest speech folk music around New York and in “Why must everyone label things?” performer, if there is such a thing! ended with a chuckle at himself. Europe on and off for many years. Eventually he admitted to the “urban” When I spoke with them during “Very little rock’n’roll is creative,” since their songs are about New York a recent visit to LA, Simon insisted: he continued. “People like , Intermittent most of the time, and to “singer” and “We’d go off to school for a while, a half hour later to “folk” but only see each other again and sing together under certain defi nitions MM, 23 April 1966, page 13 SIMON & for a while. Then we’d drift apart Finally he professed to love GARFUNKEL re Paul Simon and Art Garfunkel Aon the threshold of becoming the and then together again,” rock’n’roll. “It’s a lot of fun! We’re CBS next extension to the waning Dylan cult? Paul explained. trying to organise a permanent This features Paul’s original numbers, “We were in England when we heard backing band. I hope we’ll be able subtle protests against the amplified the news about ‘The Sound Of Silence’ to play concerts in lots of colleges. “commerciality” of Dylan. They tell of two lonely men committing hitting big in the States. Columbia I’m really quite excited about it!” suicide in ‘Richard Corey’ Records has taken it from our album, Art, rather a studious lad, seemed and ‘A Most Peculiar Paul’s recorded a couple of years ago, and surprised at his own enthusiasm. Man’, then switch added the rock backing. We hurried “We certainly don’t want to be to rock’n’roll on original ‘Somewhere They numbers are back home as pop stars!” called folk-rock,” interjected Paul. Can’t Find Me’, subtle protests Sudden fame has not drastically “Bob Dylan started something or ‘We’ve Got against the changed the philosophical pair, beautiful, but some guys came A Groovy Thing amplified nor has the screaming adulation of along and destroyed it by writing Goin’’. Interesting, Dylan entertaining. fans turned their heads. They offer commercial songs without meaning.”

CORBIS – BETTMANN a discerning explanation. Tracy Thomas

NME ORIGINALS 43 1966-1967 PAUL SIMON POP THINK IN

MM, 30 April 1966, page 7 to have them, particularly in Greenwich Village: Vietnam. I don’t know what the “There’s a lot of mythology about British folk clubs: “My solution will be. They tell the Greenwich Village. There are a lot favourite! At British clubs, the American people we are there of creative people in Greenwich audiences are very attentive and because of a moral commitment, Village and a lot of phonies. It’s very open-minded. There is a but we are there for a strategic the Bohemian myth. Everybody beautiful idealism and none of reason. They shouldn’t say we comes from a town like Duluth that New York cynicism. Dylan are there to defend the to make the scene, and the place once said… forget it, I don’t want Vietnamese against communism. is fi lled with people from Duluth! to talk about Dylan.” The people just want to live in Most of the folk places have gone peace. It doesn’t matter to them over to folk rock now. The Lovin’ Rock’n’roll: “When it’s good, who it is that comes along and Spoonful, The Mamas And it’s very good, and when it’s bad, burns their villages.” The Papas, Jim McGuinn and it’s lousy. I never could stand the Dylan and us all came out of Stones until I heard ‘Satisfaction’. LSD: “I had a whole folk into folk rock. I don’t think When it’s bad it’s Gary Lewis & conversation about it with it’s commercialisation. It’s just The Playboys. Their music doesn’t an old guy recently before another way of saying what you mean a damn thing. I like The I realised he was talking about want to say.” Yardbirds and The Hollies.” pounds, shillings and pence. Long hair: Bob Dylan: “I don’t think folk rock is commercialisation, it’s just “Who cares how “Unfortunately, you wear your I’m always being another way of saying what you want to say” hair? Short, long compared to Bob – whichever way Dylan but I don’t think we are I thought I was in the middle you like. I think it’s stupid to grow talking about the same things. of a Chekhov play. LSD has your hair long because it’s cool, He is always dumping people tremendous personality. There but if you dig it – great.” more than I do. It’s really easy to is a defi nition that genius is the put somebody down. It’s tougher ability to see relationships that Cassius Clay: “A fi ne to love than to hate. The biggest other people don’t see. Scientists showman. Can’t say I go along thing Dylan has got going for him have expounded a theory that with his affi liations with the is his mystique. We’ve met on a a chemical reaction makes for black Muslims. I don’t buy racial few occasions and he’s diffi cult genius. LSD is a mind stimulant supremacy. Black supremacy to communicate with. Artie likes and if they could control it, or white supremacy. But I can him. More than I do.” they could create a world full of understand negroes being so geniuses! They could cure all frustrated with their position Soldiers: “Emotionally, I’m mental disorders. But if it is not as to join a group that would be tremendously against soldiers. used properly it can cause lasting violently anti-white. They had Paul Simon looks to Intellectually, I realise they are damage. I don’t think there is too a very eloquent representative score some pounds, shillings and pence part of the game of international much wrong with pot either. It’s in Malcolm X and it was a pity politics. I wish we didn’t have a lot less harmful than booze.” he got killed.”

last year when pundits hazarded guesses that ‘Mr Tambourine Man’ referred to a drug pedlar. ‘’ was written largely he Byrds’ latest US hit single ‘Eight Disc and Music Echo, 14 May 1966, page 9 by Byrd-member Gene Clark with help Miles High’ – now on release in from fellow Byrd-members Jim McGuinn T England on the CBS label – has been and Dave Crosby, and it refers specifically banned in Washington, the US capital, to London and the strange effect of the and in the cities of and Houston. city on The Byrds when they arrived last The record was already in the United autumn by jet from the US, having passed States Top Ten when it was labelled through various time zones. The phrase a “drug song” by the Gavin Report, a “eight miles high” refers to the height subscription sheet circulated weekly of the aircraft in flight. Commented Jim – and widely – to radio stations and other McGuinn: “We could have called the song entities in the recording industry. All those acid… ‘Forty-Two Thousand Two Hundred And sorry, plane trips Compiled by record expert Bill Gavin really turned the Forty Feet’, but somehow this didn’t seem in San Francisco, the report substantially Byrds on to fashion to be a very commercial song title and it influences a thousand or more radio stations certainly wouldn’t have scanned. which, in the US, make or break discs. ‘Eight Miles High’ from our recommended The irony of it is that The Byrds and “It seems extraordinary that a very Of The Byrds’ song – and of Bob Dylan’s playlist. In our opinion, these records imply Dylan are, in their lyrical innocence, again pretty lyric about an intriguing city should ‘Rainy Day Women’ – Gavin says: “We encouragement and/or approval of the use linked in a drugs controversy. The first be condemned because the phrases are have dropped ‘Rainy Day Women’ and of marijuana or LSD.” time this happened was in the middle of couched in some sort of poetry.” REDFERNS, CORBIS REDFERNS,

44 NME ORIGINALS 1966-1967

MM, 14 May 1966, page 3 hatting up Bob Dylan is not the simplest job in the world. It used to be easier, but as he gets older C he seems to grow more and more fed up with questions. One of the diffi culties is getting him alone. When you’ve failed in that,

the next hindrance is his reluctance MM, 14 May 1966, page 3 to impart information. It’s not that fter an hour of the opening Dublin he won’t answer. But his replies, concert on Thursday, Bob Dylan, sometimes oblique and often designed A the folk-poet genius credited to send-up, carry vagueness to the with re-routing the entire cause of borders of evasion. , suffered the This is understandable with the humiliation of a slow hand-clap. It was personal stuff: Will you be meeting The the climax of mutual growing contempt Beatles? (“I don’t know”) or do you – Dylan for the audience and the have a marriage certifi cate? (“Why are audience for Dylan’s new big sound. you so interested in what I’ve got?”) Dylan split his 93-minute concert in two, But it’s harder to see the reason for the first half being a solo performance. equivocation on the subject of what It has been said recently that he has instruments he’ll be playing on the tour. gone away from the bigger things in Having read that he was booed at a life. Certainly his own performance was US concert last year when he emerged completely introvert and personal, with an electric guitar for the second touching on sex – ‘Give Something half, and greeted by mass shouts of “We Back’ – broken love affairs – ‘Visions want the real Dylan!” I wanted to know Of Johanna’ – and leading into life in a if he’d be using an amplifi ed guitar over bitter social parody ‘Desolation Row’. here. “I’m not sure if or not,” was For the second half, he brought on the best I could get. the backing of piano, organ, drums At times the answers were amusing, and two guitars. Like Newport last more often confusing. Asked if the label year where he was booed offstage, it ‘folk-rock’, sometimes applied to his proved a disaster. It was unbelievable to see a hip, swinging Dylan trying to look and sound like Mick Jagger and to realise after the first few minutes that it wasn’t a take-off. Someone shouted “traitor”. Someone else “leave it to The

Dylan folk-rocks out with Rick Danko (left) and (right) Max Jones meets the mystical mister Dylan

current music-making, meant anything Son House and Big Joe Williams. Did to him, he queried back at me: “Folk rot?” Dylan still listen to such blues singers? When we’d established the term, “I know Big Joe, of course. But I never he shook his head. “No, well, they say listened to these men on records too a lot of things about me. I’m a folk much. Lately I’ve been listening to Bartók singer. A purist folk singer, no more and Vivaldi and that sort of thing. So and no less.” I wouldn’t know what’s happening.” As I had just been reading an American There was absolute mystery about interview which said Dylan disowns the number and identity of Bob Dylan’s all the folk songs he wrote and protest accompanists. So I asked him how songs that made him famous, this last many there were in his group. was on the confusing side. I pressed on. “Oh, 14, 15,” he said indefi nitely. “I read that you no longer sing protest Rolling Stones”. Dozens walked out. songs. Why is that?” With the exception of the powerful “Who said that?” he mumbled, then “All my songs are protest songs. All I do is ‘Like A Rolling Stone’ and ‘One Too warming to the theme (for him): “All Many Mornings’, what came out of my songs are protest songs. All I do is protest. You name it, I’ll protest about it” the amplifiers was nothing more than protest. You name it, I’ll protest about it.” watered down . Will he do TV shows for the BBC “What about Mike Bloomfi eld? He blank. “It’s the leading musical paper in It was sad to see the tiny figure with again this year? played guitar on your last album.” the country,” said the reporter, fi rmly. the desolate barbed-wire hair trying “Yes, I’ll do anything. But I don’t “Michael Bloomfi eld… No, I used “The only paper I know is the Melody to make it a night to remember for the know if I’ll do them or not. I just get him in the studio but he’s not here. Who Maker,” was Dylan’s reply. One way and two thousand who came to hear him. the word from other people to turn up is? Oh, George, Harry, Fred, Jason.” another, he makes it clear he’s not out to For most, it was the night of the big somewhere and I’m there.” Before we parted, another journalist win friends and influence newspapermen. let-down. To raise the level of the conversation, was questioned by Dylan. He See page 47 to read how NME covered Vincent Doyle

REDFERNS, RETNA REDFERNS, I injected the names of Bukka White, mentioned his paper. Dylan looked this same press conference rather differently

NME ORIGINALS 45 1966-1967 amas and Papas: M all shapes and sizes! NME, 20 May 1966, page 10 We never answer that type said ‘What’s the name of your group?’ Convinced ike fl ying to the moon… of question.” We had been joking calling each other While driving down the like attending the NME All four, I soon discovered, are ‘mamas’ and ‘papas’ and he said, ‘I love turnpike, John convinced his wife Poll Winners’ Concert… masters of the send-up. Warming to it!’ We almost called ourselves The Michelle that she should sing too. like meeting John Lennon their victim John said: “We named Magic Circle, but The Mamas And How did he convince her to give up Lat Disneyland… The Mamas And The ourselves after our parents.” Denny The Papas represents us much more.” modelling? “Mostly by body punches,” Papas almost defy description! And came in with: “Or maybe after the Cass was formerly in The he informed me. they come in all shapes and sizes too! fourth commandment ‘Thou shalt Mugwumps, a folk group composed of Cass followed the three of them to Michelle Gilliam is married, blonde honour thy father and mother’.” Then and (of the Virgin Islands, but not as part of and slim. is single and far it was Cass’ turn and she – I think – took The Lovin’ Spoonful) and John and the group since her range was not from slim! is tall, thin pity on me: “Maybe it was when we Denny. When they broke up, John and high enough. and married to Michelle. Denny were in the Virgin Isles camping out, Denny teamed as . That problem was remedied soon Doherty is handsome, comes from enough. “I got hit on the head with and laughs at his own sarcasm. a pipe, which increased my range by Talking to them is an unforgettable – three notes,” she explained. “I’m still and sometimes confusing – experience; not sure, but I think they arranged to like when Cass explained the group to have that pipe fall on me!” Ann me as: “Every one of us is really into whatever it is we are and there’s no Michelle and I were the Ladies, John and question of waiting for everyone to Dennis were the Gentlemen. You know, defi ne our personalities. You can see ‘The Ladies will cook the food and the what we are by looking at us.” She then Gentlemen will take out the garbage.’ MM, 21 May 1966, page 7 added: “It’s so apparent!” Shades of “Seriously, when we were in Los Dylan! And the confusion was helped Angeles we saw a TV programme about when I met all four of them later at their the Hells Angels. One of the Angels record company offi ces in Beverly Hills. was talking about their girls and he said, ‘Some people call ’em cheap but Few words we call ’em our mamas’. John and I had asked them how they got their Denny started calling us ‘mamas’ as name. Denny, who says so much in so a joke! When we signed with Dunhill few words, replied: “That’s a no-no. the man who became our manager

Meet the parents: (l-r) Michelle, John, Cass and Denny

NME ORIGINALS 40 REDFERNS 1966-1967

Everybody must get stonewalled: Dylan meets the press in 1966

NME meets the ‘rebel’ in a London hotel suite

NME, 31 May 1966, page 3 Posterity? “Joan Baez was an accident,” returned Mr Dylan. air bristling about like a Fijian suffering from For posterity’s sake I framed a question which might Dylan’s good friend, folk singer Dana Gillespie, was a severe electrical shock, wearing a blue suede be construed as “being aware”, as Quasimodo aimed mentioned. Dylan brightened visibly – he practically tore jacket and white striped trousers, Bob Dylan his mechanical hump at me. Why is it that the titles of his face in half in his effort to smile. H meandered into a suite of the May Fair Hotel his recent singles, like ‘Rainy Day Women #12 & 35’, “Is Dana here?” he asked. “Bring her out. I got some last week followed by a squad of cameramen and sound apparently bore no connections to the lyric? baskets for her.” engineers, the latter to record the “press reception”. “It has every significance,” returned Dylan. “Have you Regretfully Dana was not there and the conversation A large gentleman, with a grey top hat and movie been down to north Mexico?” reverted to monotone inanities again. camera permanently affixed to his shoulder, lurched “Not recently.” about the room like Quasimodo, alternately scratching “Well, I can’t explain it to you then.” Revelations! his ear and his nose, with the occasional break to ‘whirr’ It would appear that the authorities in Washington, We discovered in quick succession that Dylan cannot see the machine in the face of perplexed reporters. Baltimore and Houston have worked out the explanation, too well on Tuesdays… his toenails don’t fit him… he A lady in grey denims waved what appeared to be for they have banned ‘Rainy Day Women…’ as being an considered Peter Lorre the world’s greatest folk singer… two huge grey frankfurters about, but they proved to alleged approval of LSD and marijuana drugs. A dubious all his songs protest about something… he has just be microphones attached to tape recorders. We were honour that Dylan shares with The Byrds’ ‘Eight Miles written a book in one week about spiders… and he apparently being taped for posterity. For some 15 High’, also banned in those States last week. didn’t know who the gentleman in the top hat was. minutes, photographers exposed innumerable rolls of I tried to get him to talk about Paul Simon, whom he “I thought he was with you,” he returned, deadpan. film at Dylan looking bored, slumped on a window sill. phoned recently in the US, and about Bob Lind. The lady with the giant frankfurter mike torpedoed Finally he removed his dark glasses as a bonus to the “Never heard of them,” obliged Mr Dylan. With that it forward so as not to miss a syllable of this sparkling cameramen, but somehow managed to look exactly the I declared my innings closed and watched with interest repartee. same. Ken Pitt, surely the year’s most optimistic publicist, as the others got batted about. As the reporters filed out of the suite I took one of announced that Mr Dylan would now answer questions. “Bob, your hair has got me worried,” said one lady Dylan’s undercover agents to one side (I knew he was “Is this a microphone?” enquired Mr Dylan about reporter. “How do you get it like that?” a Dylan man as he had dark glasses on) and enquired a large cylindrical object on the desk under his nose. “How do I get it like that?” why a man of Dylan’s obvious intelligence bothered to Having ascertained that it was indeed a microphone, “Yes, how do you get it like that?” arrange this farce of a meeting. Dylan signified he was ready to begin by giving a slight “I comb it like that.” “Man,” he extolled, “Dylan just wanted us to come grunt and shifting his chair a bit. Someone tried shock treatment: “Are you married?” along and record a press reception so we could hear how “Which musicians have you brought with you?” “I don’t want to lie to you. It would be misleading if ridiculous and infantile all reporters are.” After this question had been asked again, then I told you ‘Yes’,” Dylan declared and in the same breath: I stumbled brokenly back to my Plasticine, the rephrased several times, Bob replied: “You want names?” “I brought my wife over here on the last visit and no one sandpit, my chalk slate at the NME! But you’ve got The reporter said this might be helpful. took any notice of her.” A suggestion was made that he to admit there’s only one Dylan – thank goodness! “Gus, Frank, Mitch…” mumbled Dylan. was secretly married to Joan Baez. Keith Altham

NME ORIGINALS 47 1966-1967

Disc and Music Echo, 4 June 1966, page 5

MM, 4 June 1966, page 13 I never have and never will write a ‘drug if it was lying on the stage and I could NME, 5 August 1966, page 9 n an amazing speech from the stage of song’. I don’t know how to. It’s not a ‘drug pick it up. London’s Albert Hall, Bob Dylan denied song’, it’s just vulgar.” “This music that you are going to hear suggestions that some of his songs are Dylan carried on with songs like – if anyone has any suggestions on how it I ‘drug songs’, attempted to explain his ‘Desolation Row’ and ‘It’s All Over Now, could be played better, or how the words changing music and indicated he wouldn’t Baby Blue’. Then he was joined by the could be improved…? – we’ve been playing appear in Britain again. group for his electric-sound songs. this music since we were ten years old. This all came out Folk music was just at his concert there an interruption and last Friday. Dylan denied suggestions that some of his songs are was very useful. If you After Dylan had ‘drug songs’, attempted to explain his changing music don’t like it, that’s fine. been singing for some “This is not English minutes, accompanying and indicated he wouldn’t appear in Britain again music you are listening himself on guitar and to. You haven’t really “I’m sick of people asking: ‘What does it harmonica, he stopped and began talking Explained Dylan: “I like all my old songs. heard American music before. I want now mean?’ It means nothing.” Here Dylan was to the huge, hushed audience. It’s just that things change all the time. to say what you’re hearing is just songs. interrupted by shouts, including “Woody “I’m not going to play any more concerts Everybody knows that. I never said they You’re not hearing anything else but words Guthrie would have turned in his grave” in England,” he announced. “So I’d just like were ‘rubbish’ (he pronounced the word and sounds. You can take it or leave it. and “rubbish”. But the majority of the to say this next song is what your English in a Northern accent). That’s not in my If there’s something you disagree with, audience wanted to hear Dylan out and

musical papers would call a ‘drug song’. vocabulary. I wouldn’t use the word rubbish that’s great. shouted down the hecklers. REDFERNS

48 NME ORIGINALS 1966-1967

turn out to be always seems to come as a refreshing surprise to visiting American artists. In another corner of the room I was introduced to Doris Day’s son, , who was thrashing at a Spanish guitar. A lovely blonde with green eyes, matching sweater and blue trousers mysteriously appeared and poured me a cup of the most revolting tea I have ever tasted, from a huge blue pot. We talked about “folk-people”. “Donovan is our kind of person,” said John, removing his dark glasses, and with his drooping moustache and rustic hat he looked like a mountain man from a John Steinbeck novel. “Everyone loves Don in the States and although he has not had a hit out there recently, the clubs are packed when he appears.” Food Rattlings in the kitchen seemed to produce vibrations in Cass, who is very strong on vibrations. She gets them onstage, created by a feeling between an audience and herself. “I hope that’s food,” said Cass, hearkening to the clatter of crockery. A monstrous pile of luncheon meat sandwedges appeared and Cass dug in. A rather abstruse discussion began as to the origins of The Mamas And The Papas’ music and John monopolised the conversation with remarks like “all our songs are written from our own experiences”… Papa John tries to keep a firm grip “the of today deal with existence rather on Mama Michelle than imagination”… “one of the reasons we took this house with virtually no furniture is that staying in luxury hotels only leads to a withdrawal from life”. Sausage scene In the “out” scene with the group are The Four Seasons, who they do not dig, and , whom Cass describes as having “a dollar sign hung around every The Mamas And The Papas talk to NME the day after note he sings”. John described Bob Dylan’s ‘Rainy Day Women…’ as a late night with John Lennon and Paul McCartney “carpentry music”, and a strange remark was passed about not being NME, 24 June 1966, page 8 Cass. “It was kind of like a climax for us – meeting able to obtain beef sausages in the States! he fi rst thing you discover about The Mamas The Beatles. We just sat around and talked and Denny, who watched progress through half-closed And The Papas is that they are not – although Paul played the piano for hours on end. They were eyes in an amused bewilderment, contributed his say Papa John is married to Mama Michelle. The everything I hoped they would be.” on the sausage scene. Tbeautiful Michelle was, unfortunately, the one “I expected them to be a little nasty,” said Papa “Now that’s not so,” he drawled languidly. “I’m sure member of the folk family unable to make the British John, who was wearing dark glasses and what looked that somewhere in that great country of ours, there is holiday and is at present visiting the Mexican family suspiciously like a white tea cosy on his head. “I don’t a place where you buy sausages.” who cared for her as a child. really mean nasty. But they were so natural.” When I located the group last Thursday evening Backing group they had been entertaining Beatles John Lennon Surprise It’s not yet certain who The Mamas And The Papas and Paul McCartney until the early hours in a large The popular misconception of what young will appear with when they return from their residence off Montague Square, formerly Mick millionaires should be like and what The Beatles autumn tour. Cass mentioned that The Hollies Jagger’s abode. wanted to but they wanted top billing. Papa Denny answered the door and, smiling One thing is certain and that is when the group dreamily, he showed me up three fl ights of returns they will have their own backing unit. stairs. We entered a vast room hung with oil “Fast Eddy (drums) is a kind of juvenile paintings of old soldiers and seated behind a delinquent who steals hub-caps during the huge table was the staggering sight of Mama concerts,” grinned John. “Joe Osbourne (bass) Cass in a yellow nightie, with a single pink has played for artists like Dick Rivers and Rick plastic roller perched upon her head. Nelson and he’s the best and ‘The Doctor’ (lead “Sorry about this,” smiled Cass, combing her guitar) is a friend of mine who specialises in lank tresses, “but John and Paul didn’t leave deafening bird calls. He was frightened by an until about 9 o’clock and I had to wash my hair.” aviary in the Santiago Zoo when he was a child.” Cass has a bit of a ‘thing’ about John. “He Nice friendly folk The Mamas And The Papas was charming, courteous and intelligent. Denny takes care – I look forward to meeting the other attractive of Cass’ hair before Witty, amusing and entertaining,” extolled the luncheon meat quarter in the autumn. Keith Altham sandwiches arrive NME ORIGINALS 49 1966-1967

Disc and Music Echo, 21 January 1967, page 16

Disc and Music Echo, 4 February 1967, page 15 WHATADRAG IT CAT:IS BEING YOUNG DONOVAN he lyrics in Cat Stevens’ songs would time because my parents weren’t in. I used music which I love and the world of money imply that he was a simple person to think it was pretty rough. It made me a which is great. But I like to know where my Pye T involved with the simple things in bad mixer. Now I hate parties. Immediately money is all the time and what’s happening The trouble with both life. Working for a rotten boss, loving his dog, I walk into a room full of people I think to it. It worries me. I like money.” of the last Donovan records is that they here comes his baby looking fi ne. But – bang there goes my identity. Terrible.” It is often hard to realise that Cat is only 18. were played so much, his attitude to life is far removed from the All these things contribute to the being of He hates being young and is for such a long time image of soft, understandable Cat Stevens, songwriter. He locked himself to being an old man with an enthusiasm that before a sign of them things. He has a habit, unnerving, of falling away in and wrote and wrote, knowing is almost terrifying. was seen in the shops it nearly drove you to off sofas when you interview him, sticking that one day he would be discovered. “I think being a kid now is hard. That’s why distraction. The other on his dark glasses, hugging three orange “It’s funny because although I was lonely they all look old and worried. The pressures night I must have cushions and generally rolling around. I always felt secure within myself until I came are too great. They don’t get a chance to really heard this at least ten A psychiatrist might say this enjoy themselves. They should times in half an hour. So now it’s hard to be showed a distinct lack of security. “ is I’m a liar. have a new world, more than any constructive about “I used to feel very sorry for other generation. But they’re still it. It’s a very catchy myself. When I was about 15 I get into violent arguments put down. The older generation record and has none of I used to lock myself away and draw seems to be very stubborn. When that harsh insistence with myself through lying” ‘Sunshine ’ and think I was the only person I’m old I’m sure I’ll be very happy. had, which is well who ever thought about anything. It’s God’s into the business. Now I’m frightened. I was I’m looking forward to it and the sooner it since it’s about being gift just to me, I used to think. Then one day scared stiff that ‘…Dog’ would be a gigantic happens the better. It’s peace of mind. It’s mellow. But what’s I was talking to my friend and found out that smash because of trying to follow it up. As it knowing what it’s all about and not having it all about, Donovan dear? I admit it now: he could think too and that was a gas. I really was I spent longer on ‘Matthew…’ than on to chase yourself round in circles. Being old “I’m just wild about started writing because I was lonely. My parents anything else I’ve ever written. would be great.” Penny Valentine Saffron” and the rest ran the shop all day and there was me stuck “I’m not mixed up but when I try to work leave me more than in the middle of Soho. I grew up very quickly. out what I am, it worries me because I don’t bewildered. Inner meaning? Perhaps. “My parents didn’t really have a happy know. All I know is I’m a liar. I lie all the But then we’re not life and I wasn’t really happy. I never had time. And I fi nd myself getting into violent all Freud. a big family thing. I used to see my mates arguments with myself through lying. And Penny Valentine and then around 5pm they would go home I’m very money conscious. Well, why not

NME, 31 December 1966, p4 and have a tea time. I never did have a tea admit it? I have two worlds. The world of my CAT STEVENS NME, 21 October 1966, page 5 Matthew And Son Deram This is an extremely good disc – novel, yet topical. The title is that of a business concern in the city, and the lyric explains how the employees are Musical youth: slaves of routine. Full Cat Stevens credit to Mike Hurst’s looks forward to production, which faraway 2005 opens with a rippling, tinkling, effect, which breaks into a palpitating beat, which reflects the busy bustle of office life. Dancing strings and brass enter later. I would have welcomed a stronger melody, but I think it’s a hit. Flip: another self- penned item. Has a jaunty bounce beat, with clanking piano and brass. Another fascinating and well- conceived lyric. Derek Johnson REDFERNS

50 NME ORIGINALS 1966-1967

Bob astride his trusty Triumph in 1964, well before breaking his neck

NME, 4 November 1966, page 12 didn’t just slip away to some country retreat hree months ago, the NME reported where he could nurse his injuries. He severed that Bob Dylan had been involved in all connections with the life he had known, a motorbike accident and sustained a and took off for a secluded hide-out – T broken neck vertebrae and concussion. where, presumably, he has been ever since. It was stated that it would be necessary for Many of his closest friends don’t know even to persistent stories that his career is at In this country, we are affected only by the singer to convalesce for a couple of months where he is, or even how badly he was hurt. an end. His agent has dismissed such chatter the let-up in the flow of his record releases. before resuming his normal engagements. It’s likely that only two people have known as nonsense, but admits that he doesn’t know CBS have absolutely nothing of Dylan’s But we are now entering the fourth month Dylan’s whereabouts since the accident when Dylan will emerge from . scheduled for release in the foreseeable since Dylan’s accident, and there is still no – his agent Albert B Grossman (and he’s Two weeks ago, America’s World Journal future – although it’s always possible, of sign of him emerging from hibernation. saying nothing) and beat poet Allen Tribune tracked down a remote hide-out course, that they could take a single from Speculation is now rife as to whether the Ginsberg, who is probably Bob’s best friend. where Bob had been staying – a rambling a previously issued album. Meanwhile, the bike upset was far more serious than was at And now, as a spark to further rumours, old house in an almost inaccessible village – great Bob Dylan mystery deepens. Fans are first intimated. His fans are clamouring for Dylan’s first book Tarantula – scheduled on the Cape Cod peninsula in . asking whether his injuries are taking longer news of their idol – particularly in the States for this autumn – has been postponed Confronted with this information, Ginsberg to mend that expected – or whether, having where the Dylan mystery has almost attained indefinitely. What’s more, a two-hour TV admitted that he had visited Dylan there and found seclusion, he appreciates it so much crisis level – but there’s nothing to pacify special, in which Bob was due to appear in had taken him some reading material. But that he’s reluctant to forgo it. Or is there some them. Just silence! To all intents and purposes, mid-November, has been cancelled. This has when the Tribune’s reporter called at the other explanation that we don’t know about? Bob Dylan has completely disappeared. given rise to suggestions that he was much house, no one was prepared to say whether If not, why the cloak-and-dagger stuff? This was no ordinary convalescence – he more badly hurt than we thought – and or not the singer was still in residence. Derek Johnson

It’s rich in sparkling BOB DYLAN money you’ll get three previously THE BYRDS sound could never ideas, the and feel of issued singles, ‘Rainy Day Women Younger Than be as good as their most incredible ‘Everybody’s CBS #12&35’, ‘I Want You’, ‘One Of Us Yesterday records. The Byrds Been Burned’ Must Know’, and a 12 minute side of CBS usually play before feeling and, is almost too ‘Sad Eyed Lady Of The Lowlands’, silent audiences, what’s more, incredible. The an appealing hymnic chant which void of screamers, beauty concept of ‘Mind ranks with the best of the new and unfortunately they Gardens’ is just as Dylan. Scattered elsewhere among are all too often condemned mind-blowing. The lyrical the four sides are his emotive for “sounding bad”. But it would flow of ‘Renaissance Fair’ makes one ‘’– one of the be a foolish critic who ignored their of the most beautiful songs under successes on his recent tour – the records, just because their “live” this sun of sound; ‘So You Want To rocking “Most Likely You Go Your performances were not up to Be A Rock‘N’Roll Star’ takes on a dry Way And I’ll Go Mine’, ‘Obviously expectation. And if you ignore this Mexican sound with the trumpet Five Believers’ – a raunchy blues album you are not only foolish – but of Hugh Maskela; ‘My ’ featuring Charlie McCoy on deaf! It surpasses all other Byrds is another delightful Dylan-Byrds

INS/REDEFRNS harmonica – and ‘Memphis Blues works, being rich in sparkling ideas, amalgamation; and for those of MM, 13 August 1966, page 11 Again’ taken at a snappy pace with the most incredible feeling and, you who dug ‘The Lear Jet Song’ on some great lyrics about Shakespeare what’s more, beauty. The singing ‘Fifth Dimension’, there is another ob’s back with a supergloss MM, 13 May 1967, page 11 Bgatefold , and all that jazz. It’s hardly necessary and playing of guitarist Jim McGuinn freaky tune about digging fifty shillings worth of all to mention that this is all Dylan plus f it was possible to hear every is fantastic; bass man Chris Hillman Martians, ‘CTA 102’. The Byrds that’s best on the American heretical organ, electric guitars etc, I note played at a Beatles concert is positively out of this world and are beautiful – there’s rock scene. For your and good at that. it would be unfair to say that the his enhancement to the lyrics word for it. COOKE/KEVIN CUMM

NME ORIGINALS 51 1966-1967

NME, 5 August 1967, page 3 “ am not a professional fl ower child,” stressed The men: flowers, IScott McKenzie over the pot and cynical transatlantic phone wire. hippy opportunism not pictured “I’d rather carry a fl ower than a gun. But I do not like talked about things that Scott McKenzie: uniforms or the way certain we really believe in and it San Frantastic people are packaging ‘love’, became a labour of love. FLOWER POT MEN to be sold in shops. We knew the record would “I wish I had the courage be big. It is the way people HOPE TO STAY ON to arrive in England with a are thinking. conventional crew-cut, suit “I should hate to see these THE SCENE and tie, because the wrong ideas become big business so

NME, 16 September 1967, page 12 emphasis is being placed that the truth is lost under ’ve often wondered what the result on the explanation of what the money to be made. would be if some enterprising is happening out here on Scott is at present trying I manager recruited the most talented the West Coast. It is – as to fi t in his life around the members of the best groups in Britain, moulded them and recorded them before Andrew Oldham has said success of his disc. His trip letting them loose on the public. To a – nothing to do with the to England in September certain extent that’s way you look or dress. It is has been postponed. what has been done a state of mind! “At the moment my with The Flower Pot Men, whose ‘Let’s “The accent on peaceful whole life is postponed,” Go To San Francisco’ thinking has been going on he said. “But I very much climbs to Number out here on the West Coast want to visit England and Eight in this week’s for a year. I am pleased to it will happen.” NME chart. Two of the have helped.” We attempted to fi ll in the group, Neil The good things coming years between Scott’s being Landon and Tony out of the West Coast Scene in The Journeymen, where Burrows, were with The Ivy League are essentially a lack of he sang with Papa John, heard Scott sing on the until two weeks ago, while the other members, Rob Shaw and Pete Nelson, hostility among men and a and becoming a solo artist. ‘Frisco’ disc are in for a used to provide vocal backing on other sense of brotherhood – not “Well, I did a lot of odd production Ronald Reagan shock, if he reverts to the people’s discs. exactly a new concept, Scott jobs and grooved around played the role I had!” style I have heard him use The result of teaming the four of agreed, but it is unusual a bit,” said Scott vaguely. Which brought us nicely on earlier material. them together has so far been highly successful, but will it continue? to fi nd it being practised “I did some acting for the to the question – Ronald Which people infl uence rather than preached. Diners Theatre. I played Reagan for President? Scott most in the “I like wearing “When John (Phillips, a 50-year-old General in “I think he believes he composing fi eld? a kaftan because of The Mamas And The John Loves Mary, which already is,” Scott cracked. “I admire Dylan, and it’s so comfortable” Papas) and I got together was a hit on Broadway way “But God, I hope not!” Lennon and McCartney.” Neil Landon for ‘San Francisco’ we back in 1949. In the original People who have only Keith Altham “I certainly hope so,” Neil told me when he popped into the NME office. Disc and Music Echo, 28 October 1967, page 14 “And I don’t really see why our next record shouldn’t be a hit. I think we have quite a distinctive sound which I hope appeals to the public.” Like every good flower child, Neil was wearing a colourful kaftan and an assortment of bells and beads hung round his neck. Did he wear them because he was a Flower Pot Man or was it because he was genuinely interested in the present cult? “I like wearing a kaftan simply because it’s so comfortable,” he said, stooping to pick a bell which had fallen off its chain. “But I don’t really think many people will be running round in clothes like these when winter comes. “Most kids who are wearing hippy clothes now only do so because it’s in fashion – not because of any great interest in yoga or meditation. But I do think that as a result of the Flower Cult, young people are becoming much more aware of what’s going on around them.” Would The Flower Pot Men follow up their hit with another flowery record? “As long as it’s a strong melody I don’t mind.”Norrie Drummond REX FEATURES/SKR PHOTOS 52 NME ORIGINALS

56 NME ORIGINALS B and Woody’s widow is heard heard is Woody’s widow and fi audience the Dylan. see to there was everyone –but Seeger Pete and , Elliott, Jack Havens, Richie included Judy Collins, , performers The Hall. Carnegie York’s atNew Woody Guthrie accident –fi Dylan makes his fi 1968–1969 Hall, January 20, 1968 20, January Hall, Arlo Guthrie at Carnegie and Collins Judy Dylan, Bob Seeger, Pete (L-r) There is an expectant atmosphere in in atmosphere expectant an is There MM, 27 January 1968, page 10 page 1968, 27January MM, musical tribute to the late late the to tribute musical occasion was last Saturday’s the fi for onstage back was Dylan ob rst time in 18 months. The The 18 in months. time rst lled with folkpeople ttingly enough at atribute to hisinspiration, Woody Guthrie rst public appearance since hismysterious motorcycle but not wild and he has a small ear- asmall he has and but notwild curly, longand is hair His nervous. but healthy Helooks hand. right his on ring diamond agrey and no tie; boots; suede grey zippered, high shirt; blue suit; agrey wears Dylan chairs. artists fi for Then the Dylan. security fantastic the describing There is no audience hysteria for Dylan, forDylan, hysteria isnoaudience There le on stage to sit in arowof in sit to le onstage but rather a sort of relieved affection ofrelieved asort but rather a screen and Dylan turns to watch watch to turns Dylan and a screen on projected are Bowl Dust of the Guthrie, leading into songs. Photos from quotations itbecomes Then ofGuthrie’s. friend apersonal Geer, Will and Ryan byRobert narration quietly. chats and to Paxton next sits Dylan close. cut beard to-ear The programme begins with a with begins programme The alone and with each other. each with and alone sing, artists the as sentimentality of sense astrong is there and quiet very is audience The closely. them own acoustic guitar, but noharp. guitar, acoustic own tohis Dam’ Coulee ‘Grand he sings as silence is there then and down die to applause fortumultuous He waits did. healways as guitar his holding microphone, the to walks up. Dylan and electrifi drums organ, piano, bass, of electric group abacking while apause is there Towards the end of the fi ofthe end the Towards ed acoustic guitar sets sets guitar acoustic ed rst half

DAVID GAHR/ELLIOT LANDY–REDFERNS PHOTOGRAPHER 1968–1969

by Columbia and a potential highlight of the record is Odetta. All the artists BOB DYLAN complex. are in top form and interesting ‘Ballad…’ has the familiar Dylan spoken narrative. ‘Drifter’s Escape’, CBS moments include Seeger and Havens the story of a hobo’s getaway during in a . Arlo Guthrie, looking like a what seems to be an act of God, namely a hippy in bright cranberry, has hardly thunderbolt of sorts, is clever story-telling. any voice but much stage presence The second side opens with ‘Dear Landlord’ with a strong beat backing and – and he is Woody’s son. a hint of blues carrying the song along. The show closes with roof-raising ‘I Am A Lonesome Hobo’, is quieter and applause which doesn’t stop until early Dylan in feeling. ‘I Pity The Poor Seeger says something to make the Immigrant’, with half its tune taken from the traditional British song ‘Come All Ye audience leave. Crowds hang around Tramps And Hawkers’ completes a set waiting for Dylan for a long time, of three songs that comment on human but he has evaded them and no-one situations and social predicament. knows where he has gone. That he has ‘The Wicked Messenger’ has much more of the deep imagery and meaning of the been there is enough. ‘Bringing It All Back Home’ era but the last He seems different – that he is back MM, 3 , page 10 two tracks are particularly interesting. after 18 months is different in itself. ob Dylan made his first public ‘Down Along The Cove’ is straight 12-bar But the beard changes him and his Bappearance since his motor cycle blues and ‘I’ll Be Your Baby Tonight’, with smash in August 1966 at the Woody Guthrie steel-guitar backing, is definitely country hair doesn’t look electric any more. memorial concert last week. and western in flavour. Everything about him is intense, but It was in the same month as his accident Dylan’s voice has changed. Gone are as the strangeness wears off he will that CBS records issued his last album, the rough edges, replaced by a slightly become more familiar. ‘Blonde On Blonde’, in Britain. Since the strained but smoother vocal sound, issue of that album – nothing. We were possibly a result of his accident, but still The most startling change is in his reminded of former efforts with ‘Bob recognisable as Dylan. voice. Very obvious, as on his LP, ‘John Dylan’s Greatest Hits’ but nothing new has It seems that he has backtracked and Wesley Harding’, is that he sings more been issued. the record, despite its new songs, is an than he used to. There is more melody This month sees the release of his appraisal of what he has written in first album since 1966. Titled ‘John the past applied to what he is and a lot of the harshness is gone. His Wesley Harding’, it has been The writing now. voice sounds older, more mature. It is The new Dylan album is out in America for about a rough edges month but a copy found its interesting and intriguing, diffi cult to tell what effect this might to his voice have on his songs, since he sang only way to the MM office. but because of the The title track opens side are replaced by variety of song-types and Guthrie numbers at the concert. one and is an outlaw ballad a strained but styles gives no definite But none of the effect of his presence very much in the folk vein smoother indication as to where he is missing. He still rivets attention on as is the second number, vocal may go next – if he does himself – as when he moves his hand ‘As I Went Out One Morning’, go anywhere. although drums and bass prevent The beat group backing is slightly to the song, while everyone them sliding back into the folk replaced by a simple bass and drums else taps feet and snaps fi ngers. bag completely. rhythm section with occasional addition of He is confi dent after the fi rst ‘I Dreamed I Saw St Augustine’, ‘All a second guitar to Dylan’s own guitar and nervousness has passed. And when, at Along The Watchtower’ and ‘The Ballad harmonica playing. Of Frankie Lee And Judas Priest’ are the end of the programme, a number The new Dylan is simplified, unelectric more like the pre-crash Dylan of and still one of the best songwriters of of Columbia executives come out two or three years ago with the the decade. of the wings to greet him, he shakes lyrics becoming somewhat more hands and smiles and laughs and looks very pleased to see them. There is no audience He greets applause for this with shy hysteria for him, smiles and nervous bobs of the head. but rather a sort of Then into ‘Dear Mr Roosevelt’ and relieved affection, fi nally ‘Ain’t Got No Home In This a reassurance that World Anymore’. More applause as becomes stronger the audience welcome him back. as they watch and Nervousness seems to have listen to him. All disappeared and he walks offstage the questions that with the others, talking and laughing have been asked, and looking more than glad to be there. all the mystery of The audience has been looking for signs his total retreat, are of his accident, but there are none. As still unanswered. the lights go down in the second half, But they are not so he is on stage again, and it is as though important any he had not been gone at all. more, for they are He doesn’t sing alone in the second less important half, he does one verse of ‘This Train than the fact that Is Bound For Glory’ and with he is back. Judy Collins on ‘This Land Is Our It is more Land’, when Seeger succeeds in appropriate too, that getting the audience to sing along. All he should return nervousness gone, Dylan laughs and almost as he started jokes with artists, waves to friends, – with Woody enjoys himself a great deal. Guthrie. Bob shortly before his less-publicised The whole evening is being recorded Carolyn Reynolds ‘mysterious taxi crash incident’

NME ORIGINALS 57 1968-1969 Cohen Songwriter who got into folk by accident

MM, 17 February 1968, page 21 is pretty good in America. The ideas in hen Leonard Cohen’s debut the song may seem a little complex, but album is issued later this it’s just the way I see things. We’ve all W month on CBS, I predict learned to accept the fact that we don’t that the talk about him will become necessarily understand every moment deafening. Yet, when I met Cohen of what’s happening to us. Well, it’s the in London a short time ago he was same with songs. talking of giving the whole thing up “I want to write the sort of songs you to go and live on a Greek island. Or hear on a car radio. I don’t want to Cohen pictured shortly before moving he might go to Nashville to write achieve any sort of virtuosity. I want to Nashville/retiring/ country and western songs. To the to write lyrics that no-one notices but becoming a prostitute best of my knowledge he is in New they fi nd themselves singing over a few York at the moment. days later without remembering where are simple enough – aren’t they? You do. They are really great, in their lives, “I got into the folk thing by accident,” they heard them. New York didn’t begin to wonder if there is some other in the way they love, in style, in taste… he explained. “I had just fi nished my understand what I was trying to do.” level to the simple story of a man great in every way.” novel, Beautiful Losers, and I was on my If Cohen really means what he says shaving and looking at himself with Despite all this, Cohen is dissatisfi ed way through New York to Nashville and – and he has a habit of using words like a jaundiced eye. Dress rehearsal for with what he has achieved so far. I was waylaid by the folk scene. I used religious, God, prostitute, and sin with what, exactly? This boy raises more “I’ve just turned down $15,000-worth to play in a barndance group, The meanings quite special to himself so questions than he answers. of concerts because I didn’t want to Buckskin Boys, back in Montreal. do them. The presence of money in “While I was writing the novel in the whole enterprise has been having a I used to listen to the American “I don’t have anything against sinister magical effect on me. It meant forces radio, mostly country and prostituting myself. I think prostitutes doing something false to myself. It’s not western because that’s the music I’m that I have anything against prostituting closest to. In New York they kept are important and valuable” myself. I think prostitutes are putting me in an intellectual bag but important and valuable. But what use that’s not what I’m at. I never thought it’s not always easy to tell if he’s putting “This generation understands what is a prostitute if she can’t excite a man? of myself as a poet with a capital P, I just you on – no-one could accuse him of I am trying to say,” he believes. “It “Right now I feel like I did when want to make songs for people because underestimating his audiences. For was this generation I was writing for I fi nished my novel. At the end of the I reckon that they can understand his songs are pretty complex things. all the time, though I didn’t know it. book, I knew I wouldn’t write another things that I understand. That was why ‘Suzanne’ is about a man and woman I thought I was writing for my own because I’d put everything I had into I was so glad to see Noel Harrison get making love by a river – but it’s also generation but they thought I was just that one. I’m still writing songs, but if so high in the charts with ‘Suzanne’. He about Jesus. ‘Dress Rehearsal Rag’ and trying to shock them. The kids today are I fi nd I have nothing else to say that’s got to somewhere like 55 or 56, which ‘Hey, That’s No Way To Say Goodbye’ only interested in the best work you can new I shall probably stop.” Karl Dallas

THE BYRDS Disc, 12 October 1968, page 16 Sweetheart t’s quite a month for country and western Of The Rodeo I fans – at least six new LPs well worth close CBS attention. The Byrds’ ‘’ LP shows how wise this great group were to switch completely to the style of music they love and know. They bring to C&W the same full, big sound they gave rock – and there are some lovely instrumental highlights /PICTORIAL PRESS on such songs as ‘One The Hundred Years From Byrds bring Now’, ‘You Ain’t Going the same full, Nowhere’, ‘You’re Still On My Mind’ and big sound they ‘’. brought rock to country & The - A stylish album. era Byrds with western

REDFERNS/CENTRAL PHOTOS PRESS Gram Parsons (second left)

58 NME ORIGINALS 1968-1969

NME, 30 March 1966, page 12 right little stars become super novas in the course of time, and last Thursday at the , where a full house B of 5,000 people had come to listen, Donovan’s sun was burning bright. Straight from his long run at the Maharishi’s meditation centre he had returned fired with fresh energies to give a perfect concert. NME, 17 February 1968, p10 With a host of golden daffodils and purple iris DONOVAN Jennifer scattered on the stage before him, Don snapped Juniper the musical chains of the folk singer once Pye more. He dabbled in jazz with the assistance Donovan sings Enid of brilliant musicians like Harold McNair, who Blyton! A charming warbles like some inspired song-thrush on a and wholly inoffensive little ditty light and flute behind the simpler ballads like ‘The Lullaby fluffy, reflecting Of Spring’, and then switches to tenor sax to the happy side of provide a kaleidoscope of notes to the ode ‘To Don’s dream world. Hampstead Heath’. The mini-big band got right Set to an infectious shuffle beat, it’s behind the feeling of ‘Skip-a-long ’ and rather like ‘There Is ‘Mad Mad John’ to provide a touch of swing A Mountain’ – but while ‘First ’ brought the without the calypso calypso touch. Pianist-conductor rhythm. Engaging backing arranged some beautiful classically-inspired of clavioline guitars, passages for the string section, who, dressed in and fat immaculate evening suits and bow ties, looked bubbling . It’s so basically simple just a little bemused by the frills, flowers and A refreshed in both tune and “bandito“ moustaches of their fellows. Donovan Donovan returns from his 1966 visit lyric that its appeal brought all back to earth with voice and a lone to the Maharishi is instantaneous. guitar on ‘Epistle To Derroll’ and a new song he Thoroughly enchanting, wrote in , ‘The Boy Who Fell In Love With A it’s very easy listening – and yet compelling Swan’. In the second half of the concert Georgie at the same time. Fame played organ for jazz singer John Hendricks. Definitely another hit. Both made surprise appearances and delighted Flip: this is the title the audience with two rhythm’n’blues numbers. theme from the film Poor Cow – rather The first half of the concert consisted of two more than the top up-and-coming groups – The Flame, who sang side with alternative sweet, undiluted contemporary folk music; tempos and a deeper and the Tyrannosaurus Rex, who made some thinking lyric. Derek Johnson bold excursions into the realms of Indian music and were notable for some good guitar work from . But this was Donovan’s show and each of his top pops were greeted enthusiastically by this capacity crowd from Donovan treats the ‘Saffron’ and ‘’ through to the Maharishi’s acolytes final big band of ‘Mellow Yellow’. to an impromptu Seldom have I heard a huge audience so free show, 1966 attentive and silent – how one person was not arrested for blowing his nose during ‘The Tinker And The Crab’ and disturbing the “peace”, I shall never understand! which bristled with the spiky ends of new strings and Those who came to hear cared and went backstage had a cigarette impaled on one. “I’ll sing you a song included Hollie , recently returned from a that Paul McCartney wrote while we were out in India,” highly successful tour of America. He had a present for he volunteered and began a pretty tune about “Army Don in the shape of book titled simply Graphic Work by boots, parachutes and sleeping bags for two”. “Lennon MC Escher which contained some incredible surrealistic and McCartney got so together out there they must have Paul McCartney, etc) would it not be possible for them sketches. Mia Farrow (Mrs Sinatra) sat shyly in one corner written at least 27 new songs,” Don reported. all to get together for one huge project? “Perfectly true,” and looked so young that she might have been fourteen, How much did it cost Don to stage one of these said Don. “I think many of us are looking for a stage with her “urchin-cut”, no make-up and an Indian shawl (a concerts with all his extra musicians? Ashley jumped in: presentation which will eventually go back to the concept souvenir from the Meditation Centre on the Ganges) about “The musicians the flowers and all the extra equipment of ‘the strolling players’, those troupes who entertained her shoulders. John Hendricks bounced through the door costs us approximately £500 to provide, but it’s worth with songs, sketches and comedy. I’m sure we will with a scotch in his hand and a huge grin on his face. He spending this to provide the audience with the best. converge some time in the future.” began to change into his stage suit commenting: “Man, if They give it back to us by their support, like tonight’s Is Donovan’s next single to be ‘’? I saw someone who looked like me –I’d laugh!” Georgie full house. The expensive packaging on the ‘Gift From A “I think so,” Don replied. “It’s a nice happy song. It’s the Fame arrived and ran up behind Donovan’s manager Ashley Flower To A Garden’ album was a gamble but we have story of the world. Whenever there are bad times and Kozak to do an impression of playing a . Ashley already sold over half a million in America alone. We are we face some terrible crisis, someone like the ’Hurdy turned to discover the joker was the prodigal organist building for a future and you have to put a lot into it to Gurdy Man’ comes along to make people forget their returned from his US tour and affectionately embraced him. get a lot out. We all have faith in Don’s judgment.” troubles and be happy. It might be me, The Beatles or the And, of course, Donovan was there, relaxed in a cool With so many people thinking alike in the pop business Maharishi. We believe we are heading for a golden age!” white suit, holding a large red-and-yellow guitar at present (Graham Nash, Eric Burdon, , Keith Altham

NME ORIGINALS 59 Disc and Music Echo, 6 July 1968, page 19 SIMON & GARFUNKEL Mrs Robinson CBS I have a strange and nice feeling that this is going to be the record to break the Simon &Garfunkel chart silence in Britain. Thank the Lord for it. I am bewildered by the lack of commercial success these two have had when they turn out the most consistently lovely records. Still, here it is! The song they wrote for the film The Graduate, done with those beautiful guitars and bongos and their voices which are unspeakably good. The words are splendid, all about “Jesus loves you”. And after all the Homeward bound: hoo-ha the time is very Actually, heading to right for an instant hit Manchester after a for these two. Top Of The Pops gig Penny Valentine

Disc and Music Echo, 20 July 1968, page 9 is perfect, including the sound track “ prefer boysenberry more than any musicbyPaulSimon,whichsetsthe ordinary jam/I’m a ‘Citizens For mood rather than relates to the film... Boysenberry Jam’ fan.” A line Notonlyworthseeing,aMUSTfor Ifrom‘Punky’sDilemma’,byPaul everyone to see.” However, way back Simon,whichisnomoreandnoless in 1966 Paul Simon had THREE obscurethananythinghe’swritten. SIMON & records in the chart: Bachelors’ ‘Sound What’s it mean? Probably no one OfSilence’,Seekers’‘SomedayOne knowsexceptthesongwriter;atleast, Day’and‘HomewardBound’,sungby many,manyadmirersownuptonot himselfandArt.Itwaswaybackthen understandingatleast75percentof that they first became large names Simon&Garfunkel’ssongs. GARFUNKEL intheStatestoo.When,surprisingly Butthatisreallybesidethepoint; enough,PaulSimonwasinEngland mostofthebeautyoftheirsongsis Close-up on the quiet giants of (whichisnotsosurprisingreally–foryears that they moods, emotions, music sweeping to the top Paulwasanunknownfolk-singeratplaces atmospheres, call them whatever you will, like London’s Troubador and Enterprise clubs instantly;it’sonlyAFTERthemusichasaffectedyou Ten,25and129intheLPcharts–andthat’sallthe andtheEdinburghFolkFestival.Infactheprefers that you start thinking “but what’sit MEAN ?” albumsthey’vemade.Untilveryrecently,their‘Mrs playingheretotheStates).Paulsaid:“IwasinEngland Andbythen,itdoesn’tmatterintheleast. Robinson’singlestoodrightatthetopoftheHot100 when we heard about ‘Sound Of Silence’ hitting big An awful lot of people have been talking about singleschart.ItseemsthatalotofthissuddenSimon in the States. We hurried back home as pop stars!” PaulSimonandArtGarfunkelforsometime.Not &GarfunkelmanianowsweepingtheStatesisdueto Theinfluencetheyhavewieldedeversincethose surprisingly, because they have featured in the charts afilmcalledThe Graduate,whichfeaturesthe‘Mrs firsthitsonthepopscenethereandinBritain both here and in the States for the last couple of years. Robinson’smashandseveralolderPaulSimonsongs. hasbeenconsiderable.BruceWoodleyofthe Butitappearsthat1968isTHEyearofPaulandArtie. Disc’sfilmreviewerGavinPetrieravedabout late-lamented Seekers wrote songs with Paul; The Consider the evidence: in last week’s Billboard US The Graduate in no uncertain terms: “This must Hollies, one of Britain’s most creative groups, owe a magazine, S&G albums stood at Numbers One, Two, bethefilmoftheyear!Everythingaboutthefilm lottothem.“GrahamNashwasatquiteafewofour sessions. I imagine we influenced The Hollies quite

NME, 13 July 1968, page 10 alot.”Paulfirstcameoverinthesummerof1964, SIMON & same fears with others of the GARFUKEL nspiring, descriptive music behind same age, with wild, confused when he landed a long-forgotten but historically Bookends I the forceful singing of Simon & orchestral music at the end. Side interestingseriesontheBBC’sFive To Ten religious CBS Garfunkel of Paul Simon’s songs. two starts with ‘Fakin’ It’, about programme. Recalls Graham Wood, who used Between two versions of ‘Bookends’, someone not really making it; ‘Punky’s torunafolkclubinEssexandknewPaulway are songs of contemporary America. Dilemma’ is a light ditty about skittish ‘Save The Life Of My Child’ is about things; ‘Mrs Robinson’ is a beat item backthen:“Paulwasalwaysveryinterestedinthe a boy on a ledge threatening to jump; with a strong Latin flavour and a lyric problemsofyoungpeople–likethedrugaddicts.” ‘America’ is about a trip in a Greyhound about a mixed-up woman; ‘Hazy Shade WhetherSimon&Garfunkelcanrepeathere bus; ‘Overs’ is `about a couple who feel Of Winter’ is a mood poem about cold theincrediblesuccessthey’vesuddenlyandquite they should part, but can’t; ‘Voices Of days; and ‘At The Zoo’ is about Old People’, recorded by Art going to see the animals, to unexpectedlyhitinAmerica,isuptotherecord-buying PHOTOGRAPHERS L Garfunkel, of the sadness a happy beat. Imaginative public, spurred on, one hopes, by that beautiful film of old age as told in and at times confusing The Graduate.Butreally,whethertheydoornotdoesn’t snippets of conversation Imaginative and at times to know what the matter.Thosewholovebeautywilldiscovertheir of old people; ‘Old composer is getting Friends’ is about being confusing to at, if anything. songsforwhattheyare.Andtheincredibleinfluence 70 and sharing the know what the Allen Evans theduohavealreadyhadonpopmusicissomething

composer is that cannot be denied. Hugh Nolan REDFERNS/WEYBRIDGE INDUSTRIA getting at 60 NME ORIGINALS 1968-1969

The ISB bring summer sunshine to the Albert Folk music takes an unexpectedly magical Hall, 1968 turn with the rise of ’s anarchic stars

NME, 8 June 1968, page 14 who’s smaller, dark-haired and looks the Scottish folk club scene specialising ay Incredible String Band to like someone Shakespeare might have in American . In autumn Britain’s more hip record buyers created for AMidsummer Night’sDream. 1965 they were joined by and you will have said the fi rst Each plays a wide variety of and the three began doing more blues Sand last word on what popular instruments: Robin, the oud, mandolin, and jug band material, and by the music is all about. whistle, guitar, fl ute, violin, pipe, spring of 1966 were adding songs which NME, 6 July 1968, page 16 The sad thing is that if you said the water harp, gimbri, Jew’s harp, chenai Mike and Robin had started writing. here are those who believe the same to thousands of others they’d and African drums; Mike the guitar, In June that year they made their Incredible String Band capable of just stare back bewildered. That is a , harmonica, Hammond organ fi rst LP, consisting mainly of original T absolutely anything and the fact situation which cries out to be rectifi ed, harpsichord and hammer dulcimer. The material by Mike and Robin. Later that the weather performed a sudden for the Incredible String Band is the beginnings of this Incredible twosome still in 1966 left to go to transition from rain to blazing sunshine most potent, unique and dynamic force can be traced back to a duo called Afghanistan and the two who were on Saturday for their “A Summer to brighten our dull existence for a Robin & Clive, and left began operating under the name Evening With...“ concert at the Albert long, long while. Clive Palmer, who had been working the Incredible String Band. , Hall will probably encourage them to The Incredibles are who had signed them to credit Robin Williamson and Mike Heron two young Scots: Robin , became with that as well. But if you are skeptical Williamson, who is tall, their manager and in of their power over the elements – and golden-haired, bearded early 1967 they made it is best to approach with feet firmly and how you’d imagine several tours of English on the ground – their power to rise the Disciples to have folk clubs, adding a above the traditional confines of music looked, and Mike Heron, countrywide following is beyond doubt. Theirs is the most to their already strong original music development happening Clever the twine: A support in the Glasgow area. today and to watch them is to be in small selection of ISB’s sonic arsenal By the release of their second at the formations of extraordinary album, ‘5,000 Spirits Or The Layers talent ( hearing the early Of The Onion’, their audience had Beatles must have experienced a grown tremendously and many more similar excitement). followers were added by the appearance of the LP in the NME Albums Chart. But it was their third and current LP, ‘The Hangman’s Beautiful Daughter’, that has proved their greatest success, being now in its tenth week in the NME Chart – a considerable feat for a Robin is the more in the clouds, his group which has never received major lyrics and melodies more complex and exposure or had singles success. meandering than those of his partner. The lncredibles’ attraction lies in the Mike is more earthbound, the more delicate musical patterns they weave immediately acceptable and the more with their vast range of instruments, powerful and wide-ranging vocally. the meandering vocals which border If Robin is the kite borne by a breeze, on musical anarchy and the lyrics that Mike is the anchor – the thread in are primarily anti-urban and mainly between binding and feeding both ways. pleas for a reawakening to nature. Highlights were Mike’s ‘Swift As To hear them is to enter a different The Wind’ and ‘Mercy I Cry City’ with world, a world of magic and beauty, Robin accompanying on mouth organ, and a different age, that of a medieval flute and drums (often playing two at naivety, and the effect of switching once), Heron’s powerful masterpiece from them to something like ‘Simon ‘A Very Cellular Song’, and a new Says’ is to discover an ugly pylon amid instrumental called ‘Drum Tune’ which a beautiful landscape. Meanwhile the had Mike joined by Keith De Groot, Mike good news is that Mike and Robin have McInnerney and a girl called Licorice already cut their next album for release while Robin whooped about in a kind sometime this autumn. of fertility dance. Nick Logan

NME ORIGINALS 61 1968-1969 BYRD GRAM SAYS NO TO SOUTH AFRICA

MM, 20 July 1968, page 10 was based on. I talked to people who had he Byrds began a tour of South Africa been born there and I found out.” last week – without 22-year-old organ Gram himself was born in Georgia, and guitar player Gram Parsons. another place that has its race problems. T Explaining his decision, which means He said, “I won’t go back there except to Gram is now an ex-Byrd, he said, “I first see friends. I have a lot of good friends in heard about the South African tour two the South – and they’re not all white.” months ago. I knew right off that I didn’t Continued Gram, “I think the South is want to go. I stood firmly on my conviction. where you find the good, simple people “The Byrds are a very professional group concerned with the elements, the rain and they thought it very unprofessional and the wind. In the mountain regions “The Byrds are a very professional group and they thought

it very unprofessional of me not to do it” Gram Parsons Gram Parsons (left) discusses Apartheid of me not to do it. I thought it was short- there are people who still speak in an with The Byrds in sighted saying it was confirmed without Elizabethan accent and it’s from there that London, 1968 finding out about the South African situation I extract some of my music. And it’s where first. It was just two conflicting opinions.” rhythm and blues come from.” How much did Gram know about South Gram will now lead his own group. country and gospel oriented music, with when Roger McGuinn and Chris Hillman Africa’s racial policies? “I knew very little “The group’s already formed although I a steel guitar.” chatted to Melody Maker at the concert. about South Africa before the tour was can’t say too much about it. We plan to The Byrds played their last gig with Gram They refused to be drawn on the split in mentioned,” replied Gram. “I knew there come over in about two weeks. The group as a member at the Royal Albert Hall last the group and reckoned to get it sorted out was a problem but I didn’t know what it is basically a Southern soul group playing week. Already there were signs of a rift after their South African visit. However they were more forthcoming on Ex-Byrd: Gram their musical directions. Said Roger, “We Parsons flew were kind of astonished when our album the nest in 1968 ‘The Notorious Byrd Brothers’ was a hit in Britain. We had sort of given Britain up after ‘Turn! Turn! Turn!’” “I think our first tour was destructive to our British reception,” said Chris.”But I think we’ve corrected that the last couple of times we’ve been here.” The Byrds were in the vanguard of the West Coast scene yet they do not relate themselves particularly to what is happening on the West Coast. “We’re nothing like the newer San Francisco or LA groups,” said Chris. “I don’t think you can put us into any particular category.” If the group are influenced by any sound at the moment, it is the country and western music emanating from Nashville. The two Byrds agreed that they had become country and western based, although it is not the stereotyped nasal twangings that pour out of the Nashville studios. “You’ve got to move around,” explained Roger. “You have to keep moving or you’re a sitting duck.” Roger predicted that country music would be the next big thing. “You can notice what Bob Dylan is doing. And look at the success of artists who have gotten into a country bag – Bobby Goldsboro for example, who wasn’t doing country stuff before. Buffy Sainte-Marie is doing country songs.” But country music won’t last long either, said Chris. “It’ll be more of a novelty. I have a suspicion that electronic and space music will be really big by 1970, because that’s when we’re supposed to have a man in the moon.” Tony Wilson and Wina Golden REDFERNS/GETTY IMAGES NME, 13 July 1968, page 2 ichard Harris is one of those admirable Irishmen who conceals a deeper sensitivity under a fi ne sense of the absurd and Rcouples that with a rare lust for life which compensates for that Final Irish Solution – a good punch in the gob! Here at last is a ‘man’ to compensate for some of the callow youths at present attempting to emulate the gods of yesteryear and here at last is someone singing songs worth listening to with ear, heart and mind. I phoned the lad from Limerick last week in Pennsylvania shortly before he was due on the fi lm set with Sean Connery. He is highly delighted with his new found status as a pop singer. “It’s incredibly unbelievable! I’m loving every minute of it,” said Richard. “I’m keeping a very careful eye on it in the English charts. Hang on a minute while I turn down the record player!” There has been a tendency among some few to underestimate Harris’ contribution to ‘MacArthur Park’ in the light of the tremendous musical talent of Jim Webb, but they would do well to pay closer attention to this actor’s interpretation of the lyric. He moves inside the sympathy of the words and extracts the last ounce of feeling from the song with his fi ne phrasing and enunciation. “I heard Jim Webb’s work about 18 months ago in America.” revealed Richard. “At that time he was Here, at last, is a ‘man’ singing songs worth listening to with ear, heart and mind writing some things for Johnny Rivers, which frankly I thought were brilliant but badly recorded. He had nowhere to stay so I gave him my house on Malibu beach and installed a harpsichord for him to work on. He did a charity show for me down there and Jim Webb (left) I got him to agree to working on an album with me. and talk about flower “The album is ‘A Tramp Shining’ (from arrangements, 1968 which ‘MacArthur Park’ has been taken), it cost approximately $90,000 to produce and at fi rst no record company would touch us! We went to Sinatra’s Reprise label and they said it was too expensive. We went to Columbia and they were scared and wanted to know who the hell Jim Webb was. I told them, RICHARD HARRIS ‘You’ll fi nd out in a year’s time when he’s the next biggest thing to The Beatles.’” And so it was that eventually TALKS ABOUT JIM WEBB RCA picked up the explosive Webb-spun magic and the album, which was The lad from Limerick talks about the latest produced with scores of American musicians in happenings in ‘MacArthur Park’ to Keith Altham LA and was fi nally rounded off when Richard put the vocal tracks on in a London recording studio I asked him how the fans were reconciling his hard On the cover of his album, ‘A Tramp Shining’ over Christmas. drinking, hard living, tearaway image exemplifi ed Richard Harris is depicted as having more hair below “A lot of the work on ‘MacArthur Park’ was on The Eamonn Andrews Show here, with the more his ears than above his eyebrows, a prominent nose completed by Jim in England,” said Richard. sensitive impression given by his hit record? – which we may more courteously refer to “I rented AA Milne’s old cottage in the country for “I think that the youngsters who as “” – deep laughter lines about the him. He was very good about the vocals and let me have seen me in have eyes and the kind of well used face which work my own interpretations. Someone asked him been reconciled to a more peaceful looks as though someone might have why he only wrote sad songs and he said, ‘I can only image,” said Richard. “They relate the ridden a bike over it. And yet how pleased write sad songs and Richard can only sing sad songs.’ character of Arthur and his crusades I am to hear him and his well worn voice That’s about it!” to the singing message.” singing songs of truth.

NME ORIGINALS 6341 1968–1969

MM, 28 September 1968, page 26 free-ranging tunes that swoop down and soar up in ways alking to Joni Mitchell about her songs is that few singers except perhaps Mesdames Baez and Collins rather like talking to someone you just met could handle. In this they are unlike the deadpan, almost about the most intimate secrets of her life. banal melodies used by her fellow Canadian, Leonard Cohen. Like peeping in a window on someone and “My lyrics are influenced by Leonard,” she admits. “We Tthen discussing with her what you have seen. Her songs are never knew each other in Canada, but after we met at The new-look so personal. They’re honest, too. The girl in the songs on Newport last year we saw a lot of each other. My song countrified Byrds her Reprise album, ‘’, isn’t all sweetness ‘Marcie’ has a lot of him in it, and some of Leonard’s as pictured in and light, and she doesn’t seem to win the whole-hearted religious imagery, which comes from being a Jew in a September 1968 approval of the writer, herself. predominantly Catholic part of Canada, seems to have “Her heart is rubbed off on full and hollow me, too.” like a cactus tree “How can I sing ‘Night in the city looks ‘Marcie’ is WHY THE BYRDS while she’s so about a girl busy being nice,” pretty to me’ with people being beaten up waiting for a she sings, in a full letter that never DROPPED round voice that by the police?” – Joni Mitchell comes, who has a lot of Judy walks out of the Collins in it – which is interesting, since Judy has recorded last verse to go west again. Is Marcie Joni? “I suppose so, ROCK’N’ROLL two of her songs and is putting more on her next album. really. Marcie is a real girl, she lives in London. I used her “I’ve always admired Judy ever since I first started singing name because I wanted a two-syllable name. But I’m the in Saskatoon, Canada, where I come from. Now we are girl in all these songs. And the first song in the album, ‘I Had Disc and Music Echo, 5 October 1968, page 12 close friends. But in those days I think I sounded more like A King’, is about the break-up of my marriage.” t seems difficult to believe that the Byrds have been Joan Baez. Since I started writing songs, the range of my Joni is not doing too much writing at the moment. “I’m around for only three years. If anyone ever writes a voice has extended downwards something like two octaves, too hung up about what’s going on in America politically. Imanual on “How To Survive In Rock’N’Roll Despite which gives me a lot more freedom in the I keep thinking, how can I sing ‘Night in the city looks All Odds,” that person should be Roger McGuinn, with melodies I’m writing.” pretty to me’, when I know it’s not pretty at all, with Chris Hillman writing the introduction. Since that first She certainly people living in slums and being beaten 12-string guitar opening on ‘Mr Tambourine Man’, Roger uses that up by the police? has seen Gene Clark, Michael Clarke, Gene Clark again, freedom with “It was what happened in Chicago Kevin Kelly, and Gram Parsons come and go; The Byrds long, during the Democratic Convention have been five, four, three, four, five, and four; The Byrds that really got me thinking. All those have been folk, rock, bluegrass, electronic, country. kids being clubbed. If I’d been wearing And it has always, somehow, “worked out all right.” these Levi’s, they’d have clubbed me, Last week I interviewed The Byrds for the first time not for doing anything but because this in over a year. Roger and Chris had changed, of is the uniform of the enemy. That’s what course, and the others were entirely new to me. The they are beginning to call the kids only thing that remained the same, essentially, was today, the enemy.” their presence, that “thing” they have which has Karl Dallas always filled me with no little awe, an intelligent and alert thing, a self-confidence that has weathered many Love and Haight: Joni Mitchell dodges The only thing which remains the same the peelers in San Fracisco, 1968 about The Byrds is their presence storms and still holds steady. Young girls no longer follow them about the country and yet their magic is still intact, they still elicit volumes of appreciation and nostalgia when they perform. “We always had a country thing going, but only sort of half-baked; we just used country influences. Then into Gram Parsons and he started us in that direction,” Roger explained. “He just happened to come along at that time, when we were ready,” amended Chris Hillman. “So we decided to do a country album, that’s all.” “We anticipated a negative reaction to country, but we’re overwhelmed,” added Roger. “The album is selling like hotcakes. The country market is open- minded enough to accept us; we did , and for about the first five minutes that audience wasn’t ready to accept us, but when they saw we were doing straight country, they started digging it.” “I suppose people are just tired of what they’ve been hearing,” Chris said, “and country sounds different to most young people.” “ was a good, interesting thing at first, but now there are just too many musicians playing 15-minute guitar solos in the key of E,” smiled Roger. Judy Sims

64 NME ORIGINALS 1968–1969

As they prepare to release their fi rst proper album as a group, The Band want to drop the Dylan tag and stand on their own ten feet

MM, 12 October 1968, page 19 hey are known simply as The Band, although at one time they almost became The Crackers. Their publicity picture makes them look like Ta bunch of the McCoys back from a successful skirmish with the Martins. They hit the MM Chart recently with a song called ‘The Weight’, written by lead guitarist Robbie Robertson, and backed with Bob Dylan’s ‘’, both tracks coming from their album, titled ‘’. The sports a painting by Bob Dylan. Robertson, together with drummer , pianist and vocalist, , organist and Rick Danko, who plays guitar, fi ddle and mandolin, lives at Big Pink. Big Pink is a 125 dollar-a-month ranch-style house in not far from Dylan’s home. It was in the basement of Big Pink that The Band, once Dylan’s backing group, improvised a recording studio. Dylan would come over and together they would work out tunes ranging from folksongs to spontaneous creations. The group have been together almost nine years and once backed a singer called Rompin’ Ronnie The Band were working at a coastal resort in New when Dylan phoned Hawkins. They were known as The Hawks. The name of The Band wasn’t meant to be any sort of status name The Band photographed en because they worked with Dylan. “For one thing route to an Amish there aren’t many bands around Woodstock. Friends fancy dress party and neighbours just call us ‘the band’ and that’s the way we think of ourselves.” The Band are much travelled and have long musical backgrounds of THE BAND involved with Dylan’s music magnificence. All rock, country and folk. Says drummer Helm, “We Music From Big Pink that it just sounds like the Dylan tracks had never heard of Bob Dylan, but he had heard of Capitol another side of the are super –once us.” The boys, having quit working with Rompin’ man himself. They Powerful, you’ve heard them Ronnie, were working at a coastal resort, Sommers don’t do Dylan any superb, three times you won’t better – they merely forget them. And Point, New Jersey, in 1965 when Dylan phoned. add another, very heavy The Band’s version “He said, ‘You wanna play the Hollywood Bowl?’,” interesting dimension. rock’n’roll of ‘Wheels On Fire’ recalls Helm, “So we asked him who else was on the ‘Music From Big Pink’ is is quite different and show. ‘Just us’ he said.” On the ‘...Big Pink’ album there not a brash, ostentatious quite excellent. The tour de force – it is ultra-held Band’s own songs are also is certainly a Dylanesque feel to the music and it has back, restrained and so cool. The outstanding; particularly ‘Mission’, been said that Dylan himself is heard on harmonica. record doesn’t walk off the turntable ‘Lonesome Suzie’ and the powerful “There is music from Bob’s house and there is music and sock it to you, you just gradually ‘’. Most would be single realise that this is one of the best hits if released as such – each song is CBROOM/ELLIOT LANDY–REDFERNS CBROOM/ELLIOT from our house. The two houses sure are different,” albums, music-wise, you ever heard. more or less perfect. With the added points out Robbie, once described by Dylan as “the Piano and organ together – shades of bonus of a pretty little cover painting only mathematical guitar genius I’ve ever run into who – give a fine, full, rich by Bob himself (but naughty does not offend my intestinal nervousness with his Disc and Music Echo, 9 November 1968, page 15 sound; bass and drums are unbelievably EMI for printing things all over it) this rear guard sound.” Inevitably The Band will be e used to think no one tight and exciting and the guitarist album should be missed by no one. Wsings Dylan better than is something of a genius. The feel of Powerful, superb, controlled – but identifi ed strongly with Dylan, but although infl uence Dylan; The Band have been so the whole album is one of controlled heavy rock’n’roll all the way.

BARON WOLMAN/RETNA/BRUCE M WOLMAN/RETNA/BRUCE BARON is there, they stand fi rmly on their own ten feet.

NME ORIGINALS 65 (left to right) David Crosby, Steven Stills and Graham Nash planning the future

Disc and Music Echo, 7 , page 18 Paul Butterfi eld Blues Band all split up, and why Steven sing and play together day and night. n a small top-fl oor fl at off Bayswater, London, a groups in America and Britain are moving away They are not making pretentious music, they music revolution is taking place. from each other every week. are not trying to shatter our minds – but to clear It is being pioneered by Graham Nash (ex- What they plan is to collect together and tie up all them. The sounds they make are really beautiful IHollies) David Crosby (ex-Byrds), and Steven the loose strings of musical talent in the pop world. and joyous. Stills (ex-Buffalo Springfi eld), and it is the answer It is a gradual process already in motion and, fi nally, If they have to be classed then I can only say to all the questions about what is going to happen to it may involve Clapton, Hendrix, Mama Cass and all that they lie somewhere in the Simon & Garfunkel/ pop music in the next year and all the years to come. the “heavy” musicians in the world today. Buffalo Springfi eld category and yet are really a It means the end of the group scene as we know it “,” says Steven Stills, “had this idea whole new personal, gentle, persuasive power. today. of getting all the good musicians under one roof Graham has become more calm, and yet outwardly I spent three hours in Graham, David and Steven’s and then let people come and choose who they elated – falling over his words to convey the genuine company this week, and wanted to put together to play for the people – like joy he feels. David Crosby, whom I fi rst met as I came away from that fl at more excited an atrociously aggressive member of and elated than by anything I’ve heard, The Byrds some years ago, has, at his seen or talked about in the music scene “We’re going to make record companies own admission, “grown in status and since I fi rst saw The Beatles. change their ideas. We’re not their realisation”. Steven Stills is pale and It is hard not to sound pretentious delicate and plays a 30-year-old guitar as about something as big, involved and private property” Graham Nash though it’s part of his body. thrilling as what these three boys are They played me fi ve really lovely songs ER planning and are already immersed in. It is hard one big orchestra.” of some 200 they have so far written, from ‘Lady Of because what they are doing is to fi nally point pop “This is our plan,” says Graham. “And we’ll start The Islands’ to ‘You Don’t Have To Cry’. music in a strong straight direction. Their decision is by going to America in two weeks’ time to just make “It all started over a year ago in Los Angeles,” says the answer to why has left the Cream, music together in anyone’s front room. Anyone who Graham. “One day David and I wondered what it why Jeff left , why Traffi c, Janis will give us room space.” would be like to blend high-pitch voices like mine Joplin, Mama Cass, Lovin’ Spoonful, and the famous Up in those four small rooms, Graham, David and and Cass and his and McCartney. Steven came to HENRY DILTZ–CORBIS/CHRIS WALT HENRY

66 NME ORIGINALS 1968–1969 us around then – unknown to us he’d been sitting thinking roughly the same thing.” “I’d been doing sessions,” says Steven, “and getting over being with the Springfi eld, and I thought of all the people I’d like to work with – like sing with Stevie Winwood, or play bass with foxy – and I suddenly thought: ‘Well I’m just going to start making music and see what happens’.” “We’re not starting another group,” says Graham. “For a start we’re all signed to different labels. But we’re pioneering. We may come together on a more NME, 22 February 1969, page 3 better for Peter these days, hundreds of songs but finds that permanent basis. This is a gamble in a way, but we Bob Dylan straightened me out especially now he has a hit on his he has to play for about six hours all knew we had to leave the groups we were with Oscar Brown Jr gave me the hands. Times have been a lot worse, before he gets the right ideas. He because they wanted to stay safe and warm where importance of a song however. can’t sit on a bus or in a cafe and they were, and we couldn’t. The world gives me ammunition “I worked in an office for a year get inspiration, though much of his “We’re going to make record companies change And love gives a reason to and left because I couldn’t take it,” writing is based on his personal their ideas. We’re not their private property. There’s carry on he recalled. “I went to the Continent experiences. no reason why they should compete with each other I am your friend to try and hitchhike round the world, With his mound of hair, and no reason why people from different companies but I couldn’t make it. Then I played moustache and college scarf, Peter shouldn’t play together if they’re happier and making eter Sarstedt wrote the bass in my brother Ric’s group for a resembles one of the LSE lot who better music not staying in a rut.” above notes himself for year, but left because I couldn’t take are never happy unless they’re his new album and after that, either.” miserable. Ptalking to him for a couple Peter spent some time in Paris On the contrary, he finds life Second generation of hours I am pretty well sure that busking, but says that it’s not the OK and will confine his revolting David Crosby explained that he thought this plan he means it. He seems to his songs (to the would involve all, what he called, “second generation to be a sincere sort of “I write obscene lyrics and constant concern of groups.” chap and is certainly his mother) but to his “The whole thing is, after the Stones and Beatles likeable. it upsets my mother” satisfaction. – fi rst generation groups – people got together and I learned that ‘Where “When they said said ‘Hey man, YOU can play bass guitar – and YOU Do You Go To’ is both Peter Sarstedt ‘Let’s put him on can play drums. And I can sing. And YOU can drive typical and untypical record,’ there were a van? Wow, we’ve got a group!’ of his songs. The content reflects his ill-paid way of making a living that lots of songs they could have used,” “It wasn’t a musical idea and we all got trapped with cynicism and comment, but the tone some people imagine it to be. Peter told me. “‘Cathedral’ didn’t the press bit, the money bit and the big star build-up. of the lyrics has been softened. “It’s not a case of living on fifteen quite make it, but I don’t feel any The whole pop scene has moved away from reality “I want to protest through my bob a week,” he pointed out. difference in me now that this – and that reality is MUSIC.” songs,” he explained. “This song “I sometimes collected six pounds one has. And Steven explains why what they are doing is was written in October, 1966, and a night in my hat.” “Eventually, I’ll record the song natural progression from last year’s pop music scene. I’ve been singing it since. It’s a Peter sees his career becoming I want to with the lyrics I want and “In America, aside from Beatles and Stones – and comment on a society girl, the social concentrated on albums, not singles, then I’ll be happier.” I believe the same thing’s happening in Britain structure. You can’t knock the class and can’t see himself as a pop star. Richard Green – concerts don’t draw people to come and watch. system, but it’s such a good subject. He only listens to the usual pop They put out a big name artist, a middle name artist, “The songs I do on my records songs with half an ear and is a small name artist, a black group, a yellow group and aren’t as strongly-worded as they generally quite happy with a green group and it doesn’t work because there’s no are when I do the folk clubs. his life at present. one big name act around that can draw people. “I write obscene lyrics and it “I’m not as bitter as upsets my mother. She says ‘Why do I was,” he commented. you have to write things like that?’ “I’ve fallen in love Heavy and I say that it’s just something with a woman and “The was a getting together of I feel and I have to do it.” when you’re in love all the ‘heavies’ in the world to have a big party and Peter is quite softly-spoken and you become more entertain the public. And it worked. A few months I often had to lean closer to hear tolerant. Things don’t ago there was a festival at Newport Beach when him over the noise of the jukebox. tend to annoy you as 100,000 people turned up. There were no seats – they He looks sometimes intense as he much.” sat on the ground – and the show made a bomb. explains his opinions and outlooks. Peter has written “The people came and paid to listen to a bunch of “No,” he agreed, “I’m the fi nest musicians around making happy sounds not really happy about because they were enjoying themselves, and this was having to tone down my what the public wanted to hear and become part of.” lyrics, but I’ve got to do it This then is the answer to one simple question at the moment.” NME, 25 January 1969, p6 – “what is going to happen to pop music in the ’70s?” Peter is an admirer of PETER SARSTEDT David Crosby sums the whole thing up like this: Bob Dylan and speaks Where Do “I know I couldn’t stand up and sing ‘Mr highly of him. You Go To Tambourine Man’ once more – Graham feels the “There’s so much in his United Artists same with ‘Jennifer Eccles’. You ask us where we’re songs. Each time you hear He nearly had a hit with ’I Am A them, you see something going and to tell you the honest truth, we don’t know. Cathedral’, and this At the moment we’re just making a joyful noise. different in them. That’s enchanting and And it’s spreading. Where are all the best musicians why he’s so good, you highly descriptive – Clapton? Hendrix? It’s a big new moving force never know quite what ballad is equally as good. Lilting, with a that’s going to be the new music scene. he’s thinking or saying.” particularly effective Salty Peter: “It’s got to happen. It’s already started.” Things are getting lyric. Self penned. Sarstedt, the folk Penny Valentine Derek Johnson artist you can’t take home to mother 1968-1969

LEONARD COHEN Columbia

MM, 10 May 1969, page 24 ike his first album, Leonard L Cohen’s second, ‘Songs From A Room’, is notable more for the songs than the singing. Cohen has a superb sense of lyrics and this new album makes compelling listening. The atmosphere throughout is Campbell condensed: Cohen subdued, the songs big star in the ‘70s, seems to simply arranged in the ‘80s, cabaret comeback have taken and presented ‘90s to present day over from Dylan so that the focal in this subdued point is the word. songwriting Cohen, in fact, style seems to have taken over from Dylan somewhat in this area of songwriting. Hard to pick out notable tracks as they are all good but ‘Story Of Isaac’, ‘The Old Revolution’, ‘Bird On A Wire’, and ‘Lady Midnight’ are worth mentioning as tracks to listen for. Tony Wilson

ROY HARPER Liberty The American singer-guitarist speaks to Alan Walsh from the set of his US television show MM, 15 March 1969, page 5 running since January and is one of the studios. “I remember one year I did im Webb’s wistful ‘Wichita top variety shows on American screens. 586 sessions on guitar,” he told me. Lineman’ has realised an He’s already had people like Stevie “I sure was busy then.” ambition for guitarist-turned- Wonder on the show and the show He worked with a fantastic variety J singer . he was working on featured Bobbie of artists before John Hartford’s “It’s always been a hope of mine Gentry. Glen, in fact, has worked in ‘Gentle On My Mind’ established him that I could have a single on the many different fi elds of music. as a rising vocal star. He recorded a British charts,” said Glen from the His father, a Scottish Campbell who number of songs until ‘...Phoenix’ gave Los Angeles offi ce of his TV show, had emigrated to America, bought him his fi rst international hit. MM, 10 May 1969, page 24 arper’s third album ‘Folkjokeopus’ The Glen Campbell I asked when Hwas a long time coming but was Good Time Hour. British audiences worth the wait. “I made it into “I think British audiences are warmer than would be likely to see Roy’s writing is a kind of pop poetry; your chart with ‘By him perform. satirical, ironic, funny and individual. His sense of lyrics is excellent and can The Time I Get To American crowds. They appreciate an artist “I’d like to come be as clever and imaginative as it can Phoenix’, but I’m over this year. be simple and effective. really very, very more, I fi nd” Glen Campbell I like the idea of On this new album there is included pleased that working for British some of his best songs to date. Particularly outstanding are ‘...Lineman’ is in the Top Five.” him his fi rst guitar when he was four audiences. I think they are perhaps ‘McGoohan’s Blues’ and ‘She’s The It’s the second winner for the Webb- and within two years he was singing warmer than American crowds. Apart One’. Also included are ‘Exercising Campbell combination and Glen and playing guitar on radio shows from the country circuit, audiences Some Control’, a good example of is naturally happy to record Webb throughout his home state, Arkansas, here tend to have the attitude, ‘OK, the Harper wit, ‘Manana’ and his

tribute to San Francisco’s famous songs. “In fact, my next American Texas and Oklahoma. As a teenager then, show us something.’ TURES pot-smoking policeman, ‘Sergeant single is another of Jim’s songs called he joined his fi rst country band in “I think the English audience, like Sunshine’, who turned on the ‘Galveston’, and this will probably be Albuquerque, and eventually moved the country fans here at home, go steps of the town hall. A very my next British release in due course.” to Hollywood, where he established to see an artist because they want good album by any standards. Tony Wilson Glen had just arrived for the day’s himself as one of the busiest session to hear him and without the sort of rehearsal at the studios when I phoned guitarists on the West Coast. aggressiveness that you fi nd here. They

him. His Good Time Hour has been Glen recalled those busy days in the appreciate an artist more, I fi nd.” LANDY–REDFERNS/REXFEAELLIOT

68 NME ORIGINALS 1968-1969

BOB DYLAN is any indication of the composer’s inoffensive sort of song, which is likely by a girl and he wants her to “lay present state of mind, Dylan is carefree to be issued as a single. across my big, brass bed.” The CBS and careless. Gone is the bitterness of ‘Nashville Skyline Rag’ is an song is symbolic of the so-called New Dylan’s early work, the sharp-edged instrumental, country all the way, Morality, where sexual relations are as satire of other albums. The lyrics with acoustic guitars, fiddles and inevitable as a bunch of roses or a box are straightforward, simple, and piano. Dylan offers several highlighted of chocolates. Out in the country again (seemingly) honest. Dylan appears to be harmonica solos, which blends well on ‘One More Night’, simply mountain writing plain, simple songs about plain, with the tune’s overall light-hearted feel. music, with some sharp Nashville simple people. Love predominates. But the album is not all country. guitar picking. Reminders of the Jim The instrumentation is likewise ‘To Be Alone With You’ is a funky Webb style of writing in ‘Tell Me That simple, but deceptively so. His studio and mean uptempo blues number, Isn’t True’, a jumpy, punchy song, with group is tight and probably the best with powerful instrumentation and a excellent backing. Dylan winds around he’s ever worked with. It punches swag of Mississippi guitar licks. the melody, extracting the full out the backings with precision and This is Dylan at his most flavour of sadness. The authority. At 27, married with a son, commercial, and in this arrangement is similar NME, 19 April 1969, page 13 Dylan seems to have found whatever context, the most At 27, to what you’d find ylan has changed it was he was searching for. His seven rewarding. ‘I Threw married with on a Cream or Led again. His latest album, years of writing, singing and the It All Away’ is a son, Dylan Zeppelin album. ‘Nashville Skyline’, the ensuing world idolatry, appears to simple and to the seems to have ‘Country Pie’ is D 14-month-later follow-up have gone full circle. In many ways, point. He had the found whatever reminiscent of The to ‘John Wesley Harding’, presents the Bobby Zimmerman, the boy from the girl and he needed it was he Beatles as they are folk-rock star in a completely new guise. boondocks (Hibbing, MN) has brought nothing else. But was searching now. Humorous Vocally, you could be excused for it all back home. His music is a magical he didn’t realise lyrics and a heavy- thinking Dylan has started all over marriage of blues and country. it until too late. A for handed pianist. again. His voice is unlike the Dylan of ‘Nashville Skyline’ seems destined to universal theme, and far In brief, this is funky old, acoustic, electronic, or otherwise. be Dylan’s biggest selling album. Like from new, but in the hands country, a rare music form. More’s the surprise, because no inkling The Beatles, Dylan has abandoned the of Dylan, it is refreshingly enjoyable. In In the final cut, Dylan becomes of this new phase had leaked out. leadership quest in pop. He brought the final track on side one, Dylan makes all schmaltzy, in the rock concept. Dylan is very sensitive about things like together folk and rock and now he it abundantly clear he’d like to spend ‘Tonight I’ll Be Staying Here With You’ that. His new contract with American seems to be happy just being himself. the night with ‘Peggy Day’. Eminently is so cute, it isn’t difficult to imagine Columbia (CBS in Britain) firmly Side one opens with a Dylan-Johnny hummable, and probably the ‘Ob-La-Di recording it. Again, stipulated that no advance publicity Cash collaboration on his 1963 hit, ‘Girl Ob-La-Da’ of ‘Nashville Skyline’. The heavy backing, and Dylan singing in would be accorded any of his albums. From The North Country’. Each singer guitars chatter away, a pedal guitar unrecognisable fashion. You can’t help ‘Nashville Skyline’ consists of offers several verses separately, and break, and a rousing blues climax. but be amazed at the change in his ten tracks, nine of which are Dylan then they team up to carry the song ‘’ makes no pretensions style. That in a nutshell, is what this originals. If the content of the songs to its conclusion. It’s an easy-rolling, about its meaning, Dylan is infatuated album is about – change. Ritchie Yorke

“A magical mix of blues and country”: Dylan laps up Nashville

NME ORIGINALS 69 1968-1969 Meet the positive

NME, 28 June 1969, page 6 DONOVAN AND GROUP Goo Goo Pye Almost everything else MISTER this week fades into insignificance against this gem of a record that heralds Donovan’s long-awaited return and dispels all fears that his magic was on the wane. But the importance of the HAVENS Beck Group’s contribution cannot be overstated. It is the group, aided by a superb production, that provides a backing full of fascinating discoveries. A piano that must be ’ rampages along behind Donovan’s shuffling, almost scat singing and every now and then there’s a lick of Beck guitar to be relished. In fact, its most interesting facet is that, because there’s so much happening, you’ll be picking up something you missed before on every new hearing. Nick Logan

THE FLYING : BURRITO “I think in terms BROTHERS of everyworld, not everday things” A&M

MM, 31 May 1969, page 14 as long as I can remember. then I leave it. I contend that I don’t hrough Richie Havens’ “There is an order to the way we pick the songs – the audience does. I’ve music, he asks people to do things. A lot of people think there had people come up to me after a show look at themselves, try and is chaos, but it’s one force working and have a list with them of songs they Tunderstand themselves and against another force and it’s up to had wanted me to do and I’ve done then understand those around them. you to know which part of the order them all, down the line. “Communication is the deciding you’re working for. I think I picked the “They’ve been thinking them down factor,” he says. “The deciding factor positive side.” there and I’ve just done them. So as to what can be really good or bad in Richie left home at 17 and a everybody is giving and receiving on

NME, 24 May 1969, page 11 the world. succession of jobs – messenger boy, that side.” his is what the accompanying “What we’ve found out is that there restaurant counterhand, doll factory Richie says of the material he does: T handout describes as “roots is an individual negativism. If it was a worker – followed. “Most of them, I think, are part of music.” Or down-home country music mass negativism, we could at least see it He gravitated to Greenwich Village my philosophy of realisation. My as opposed to big-city bash, if you like. and do something about it.” and became involved with the own songs are my communication. The Burritos are an amalgam of ex- Byrds Gram Parsons and Havens is making his fi rst visit to musicians, artists and writers there. The kind of songs I write take time in Chris Hillman, joined Britain and on June 5 appears coming down to a simple text. by steel guitarist The at the Royal Albert Hall. His “I get an idea then I forget it Sneaky Pete and latest album, ‘Richard P Richie Havens is not just a singer until it happens again. Then Chris songs have Ethridge. humour, but Havens, 1983’ has recently – he is a communicator it comes out simple. I think The songs have mainly been released and has in terms of everyworld, not humour, but a cynicism received good reviews. By 1962, he began playing guitar and everyday things.” mainly a cynicism aimed at big Born in Brooklyn in 1942, he is singing and was drawn into the urban Richie Havens is still something aimed at life and city life the people of the the eldest son of nine children and folk revival. of an underground performer, big city, ‘The Gilded his early life was tough, overshadowed “Audiences are just people – that’s particularly in Britain, but he thinks Palace Of Sin’ of the title. by the violence that is the everyday life the way I look at it,” he says, “and it’s that isn’t a bad thing. ‘Sin City’, for example, warns of the in the ghettos of New York. always been like that in the States “Because of more communication TZ–CORBIS “slickers in their green mohair suits.” A highly recommended LP. Home on At 14, he organised a gospel group, unless I’m working a strictly college – radio and television – new demands the range is certainly where some the McCrea Gospel singers. audience.” An essential part of his are being created. There are new of today’s most provocative Although Richie is not religious in performance anywhere is to feel an people we have not heard from yet, but music is being made. the sense of being a strict practitioner empathy with the audience. “I want when we do there will be rapid changes Nick Logan of the Christian religion, he says, to get everybody to join in. I know the in music.”

“I never doubted that there was a God fi rst couple of songs I’m going to do, Tony Wilson PERSSON–REDFERNS/HENRYJAN DIL

70 NME ORIGINALS 1968-1969

Crosby, Stills & Nash prepare to make a giant leap with new members

Disc and Music Echo, 26 July 1969, page 15 (l-r) , Graham rmstrong, Aldrin and Collins have carved themselves Nash, David Crosby, a place in the history books. Their moon adventure , Neil Young, marks a giant step in scientific progress. A Crosby, Stills & Nash are poised to receive similar recognition. Only they’ll be remembered, I’m certain, for their exploratory journey into pop music. Nash is a name you will recall as the ex-Hollie who quit last autumn because he felt his work had outgrown the group. He disappeared into hiding to think and help plan the revolution which is about to take place. Crosby, David, late of The Byrds, is the stocky, moustachioed elder statesman of , who plays lovely electric 12-string and wails with a tender voice. And Stills, Stephen, late of and guest guitarist on almost everyone’s album, is – although he doesn’t shout about it – in the same class as Clapton or Hendrix, but without the ostentation of either. Together they have been moulded into one of the new, lesser-advertised “supergroups”. Based in the States – where they have still to make their live debut – this group is gradually pointing pop music in a new direction which will both astound and amaze. It started really in December 1968 when this ultra- talented threesome described themselves in Disc as a “second generation” group. Star musicians who get together, find they have much in common musically, and “This LP is really just the beginning. Just scratching the surface” Stephen Stills start to sing, write and play exactly as they feel. It wasn’t, claimed Graham Nash, just a new group. The together in the hills above Los Angeles. Their return to pop in this formidable new line-up as anyone. He now lives in pop scene was moving away from reality – and that reality music has been awaited with bated breath. a beautiful home over the hill from Steve. His life is quiet was the music. The three of them were pioneers. Blazing a “This ‘supergroup’ tag has been putting a lot of pressure contentment. He has, at last, found himself. new, previously unexplored path in pop music. on us,” admitted Steve Stills when I rang his home last “He’s very happy and kinda relaxed now,” reported Now, a terrific album and single (the tremendously weekend. “It’s like putting $50,000 on a 10-1 horse. The Steve. “But I think he’s getting homesick. And the rest of commercial Nash track ‘Marrakesh Express’) are about to minute we walk onstage we know everyone will expect us us are beginning to get curious about England, too. I guess be unleashed on the listening world, and both – like the to be a ‘supergroup’. It’s hard to comprehend. we’ll spend a month or two with you soon. I get incredibly lunar probe – are part of an enthralling revolution. “And we’ve had hang-ups all the way so far. So the good feelings when I’m over.” Much mystery and intrigue has surrounded Crosby, longer it goes on like this the more nervous we become. Crosby, Stills & Nash, lately augmented by the new Stills & Nash over the months they have worked untiringly All we can do in the end is just shrug our shoulders and do blood, have been working virtually non-stop since they what we do!” merged their musical genius and genuine enthusiasm more

MM, 9 August 1969, page 15 Crosby, Stills & Nash have now than a year ago. CROSBY, STILLS he strength of this trio lies in added Neil Young, another Buffalo Background (all hail from widely different homes) and & NASH T the fact that Messrs Stills, Crosby Springfield man, and 19-year-old any difference of personality make some things more Crosby, Stills & Nash and Nash are all excellent songwriters, bassman Greg Reedes, to enjoyable, says Steve. “All our influences are being fused Atlantic particularly strong on melody. Add to the fact that all have good voices join resident drummer Dallas Taylor. together as a result. which complement each other just right Steve laughed: “I suppose we’ll “Willie is the same – but different. A man when 22 is and you have a strong set-up. This is a now call ourselves Crosby, Stills, one guy. And at 28 he’s another. But really he’s still the delightful album of original songs, including Nash & Young. And while we were same guy,” he continued. “Now he’s really my brother. their current hit, ‘Marrakesh Express’. All apart from the haunting ‘’ originally ‘second generation’, We’re all brothers!” and biting ‘Long Time Gone’ are lyrical love we’ve now become virtually On their album all three have contributed individual songs. The line-up has Stills on ‘third generation’. And it will material and sung the songs their own way. The whole lead guitar, organ and bass, probably progress still thing is a product of deep friendship, definite genius, love Crosby on All and Dallas Taylor on have good further!” and loyalty. drums. Nash’s falsetto voices and But what of Graham, Says Steve: “That LP is really just the beginning. Just harmonies sound much complement rechristened “Willie” by scratching the surface. The first glimmerings of what’s less strained than on his each other just the others? He seems as going to come.” work with The Hollies. Bob Dawbarn right much of a driving force Mike Ledgerwood

NME ORIGINALS 71 1968–1969

Dylan faces the NME, 30 August 1969, page 3 UK press for the want to see the home of Alfred, first time since his accident, 1969 Lord Tennyson.” That is the reason Bob Dylan gave at his Isle “I Of Wight press conference on Wednesday for coming to Britain. Beyond that, he would not elaborate, but he did say that the songs he will perform at the festival on Sunday might be, “things you’ll have heard before but with new arrangements.” Dylan, looking a lot like Fidel Castro with his short beard and hairstyle, and continually tapping his sunglasses on his right knee, told me he had last appeared in St Louis a month ago. Asked about a report that The Beatles, The Rolling Stones, and the wanted to jam with him, he smiled and replied: “Great, great!” Did he think, I asked, he had changed a lot since we last saw him at the Royal Albert Hall. “I believe there’s a conscious thing since the accident. I haven’t really changed. It had more to do with the show I was doing than anything else. It really had nothing to Dylan was looking a lot like Fidel Castro, with his short beard and hairstyle do with me personally.” Does he feel that his days of “protesting” are over? “I don’t want to protest any more. I never said I am an angry young man.” Then I asked him why the acetates he made with The Band had never been released. Road manager Bert Block broke in and said: ‘Those songs were for the publishing company. Dylan and The Band record for different companies.” Because of his lack of public appearances I wondered if he liked doing shows. He replied: “The more the DYLANbetter!” TALKS TO NME Exclusive! But he remains characteristically enigmatic That was all I could ask in the fi fteen minutes I had with him on Wednesday afternoon at the beachside Halland hotel, Sea View, Isle of Wight, where the Stones are staying during the festival. I’m staying here, too, so I should have lots of news for Festival Flashes Disc and Music Echo, 6 September 1969, page 8 you next week. How did I fi nd Bob pleased to be playing, and their sound was he Band was a complete knockout in Dylan? About the same as in 1965 intoxicating. Dylan received his fee in full Tits own right before Dylan came on. – allegedly £35,000 working out at about when I last saw him He’s still shy and A fantastic, driving, sound with beautiful £530 a minute – before appearing. And £17 Bob and The Band inclined to be cynical. Perhaps if one tightness and great rocking drums from promptly went in Dylan’s pre-act drinks protest the price of the festival’s could get him alone he might relax. Levon Helm. They opened with ‘We Can bill for himself and his Beatles backstage Talk’, from their ‘Music From Big Pink’ LP, inadequate catering admirers. Despite assurances to the miniscule But surrounded by his helpers, it was which swung like mad, and followed with contrary by the organisers, food prices at plates of curry diffi cult to communicate freely with an hilarious ‘Don’t You Tell Henry’, ‘I Shall the festival site provided much profiteering. cost 2s 6d, and in the backstage enclosure Be Released’, ‘The Weight’ and ‘Loving him. Richard Green One man successfully sold breakfast for inadequate ham sandwiches sold at 2s 6d You Is Sweeter Than Ever’. They look so 11s 6d to several American visitors; while a round.

72 NME ORIGINALS 1968–1969

Disc and Music Echo, 6 September 1969, page 9 Dylan on stage e very rarely smiled. He barely spoke to us. But we at the Isle Of didn’t really care. We had gone to see Bob Dylan’s Wight Festival, August 31, 1969 comeback, and that was enough. He’s always “Hbeen serious, and he’s never liked small-talk. On stage, the aloof Dylan comes to life. He has an electric presence and must be the only star who can communicate with a gigantic audience by keeping his mouth closed when he’s not singing. That is because he is shy... and anyway, words would be superfluous after one of his songs. For an hour, Dylan gave us a fairly predictable 17 songs and there were few signs that he enjoyed himself. His face was stern, and if any other singer had changed those sanctified melodies so drastically as he did, it would have been considered sacrilege. But they are his songs, and he can do as he wishes with them. He bent the tunes, glided smoothly over once-tricky parts, twisted the words, so that we could barely recognise some of them. And with the magnificent Band behind him, enjoying the show much more than Bob and playing with brilliant tightness and empathy, old songs took on a completely new sound. There was not one so-called “protest” song. But then, to expect him to perform early epics like ‘Masters Of War’ or ‘Talking World War III Blues’ would be rather like asking The Beatles to do ‘Please Please Me’. It’s an era gone, if not forgotten. Maybe, like his voice, his attitude has mellowed a little, and he has found contentment in being an entertainer more than a lecturer. His songs mainly lacked contempt or resignation. Instead there seemed a greater accent on happy melody and rocking sessions with The Band. Still it was a night to remember: the maturity of 28-year-old Dylan, six years after It All Began, was simply spellbinding. It is no empty soul who can draw silence from that size of crowd. He shambled on in white suit and yellow shirt, harmonica harnessed in position, and sang ‘She Belongs To Me’. “Sure is great to be here,” he said afterwards. Then, nervously: “Thank you very much.” ’I Threw It All Away’ was taken very slowly. He has a new habit of lifting the guitar to straddle “This next song was done by the Manfred Mann group, 1. He doesn’t speak much, so the converted think they his chest, like a rifle, and it looks rather menacing at times. a very good group.” Then Bob performed, for the first time are “in” on his secret message, whatever that may be. His ‘Maggie’s Farm’ – with The Band chanting the “no more” I had heard the song by him, ‘Mighty Quinn’. Manfreds’ hit followers gather to hear him as if it is Word From Above. choruses – bore little resemblance to his recorded version. version is much better, for The Band’s sounds submerge 2. He writes unbeatable songs, poetically enthralling, He followed this with some lovely acoustic guitar work on Dylan’s words and it just becomes a very loud romp. He melodically enchanting, loaded with innuendo, withering ‘Mountain Thyme’. It is often forgotten that Dylan is a more- returned for an encore and ‘Rainy Day Women’ sounded just scorn, mocking hate, love, fun, even beauty. than-adequate guitarist. He’s an inspired, sensitive player. great, with the line “Everybody must get stoned” rasping out 3. He always leaves a tremendous amount in reserve, He gave us different words to ‘It Ain’t Me Babe’, tripping by Bob and The Band with tremendous force, even conviction. so there’s an even better song following and you forget at a rather stilted tempo through the melody. And with There weren’t any new songs, and no “superstar jam the climax reached a few moments earlier. And you firmly ‘Ramona’, we heard more of the believe he’s singing just for old, aggressive voice. The harsh, you, all night. rasping voice was replaced by his The Band played with brilliant tightness and empathy, and 4. He never outstays his newer, gentle whine on ‘Lay Lady welcome, but leaves his Lay’ and ‘Mr Tambourine Man’. Dylan’s old songs took on a completely new sound audience not just hungry, The Band gave Bob really but starved. So we go superb backing on ‘I Dreamed I Saw St Augustine’, and on session” at the end which we had been led to expect. But away waiting for the next meal, back home to play his records ‘Highway 61 Revisited’ he seemed for the first time to be Dylan was enough. He looked and sounded nervous,seeking and confirm what we’ve just heard: that’s he’s unique.

–REPFOTO/LONDON PHOTO AGENCY relaxing a little and enjoying the music. After ‘Pity The Poor comfort from a little backchat with The Band, and rolling The beauty of Dylan “live,” on stage, making his music, Immigrant’, he sailed into ‘Like A Rolling Stone’ – not nearly through his repertoire as if he’d just rewritten the tunes and is that he radiates an almost mystical warmth as he stands so clear, incisive or direct as his recorded version – before meddled with the words. Perhaps he felt that after a few there, a lean, wiry figure looking uncertain, even amateur. the cooling off period in his show: ‘I’ll Be Your Baby years some of the songs needed kicking about a bit. At the Isle Of Wight on Sunday, he was classless yet classy. If Tonight’. For this, he took off his jacket, though it went on What IS the magnetism of Bob Dylan? What is it about his anyone went away from this frail giant’s concert wondering again, mysteriously, for the next song. He was obviously too “live” performance that makes an audience feel so exclusive, what all the fuss was about, it’s no good trying to explain.

PRESS ASSOCIATION/ROBERT ELLIS hot with it on, too cold with it off. so favoured, and so plain lucky? There are several factors: His show is sheer magic, his talent titanic. Ray Coleman

NME ORIGINALS 73 1968–1969

NEIL YOUNG unconsiderable amount of talent, Everybody Knows but there is not nearly enough This Is Nowhere variety on this debut LP to make it Reprise entertaining. His voice reminds me very much of Peter Sarstedt, but his songs lack Sarstedt’s penetration and arresting quality. Exceptions are ‘Mary Jane’, a fragile little love song, and ‘Saturday Sun’, a reflective number on which the singer also plays a very attractive piano. Gordon Coxhill

FAIRPORT CONVENTION Liege & Leaf Disc and Music Echo, 6 September 1969, page 15 bass player materialised. The quartet Island t’s hyperbole time again. Prepare plugged in. The audience plugged in. thyselves, dear readers, for By the time it was over the audience NEIL YOUNG superlatives. Crosby, Stills, Nash had demanded two encores and Neil Young & Young opened at the Greek threatened to hurl themselves and the Reprise I Theatre in Hollywood for a week of chairs on stage, but ultimately there was nightly outdoor concerts. I was there no violence. Merely waves of adulation. for the fi rst one, second row centre, The were compelling, and felt that old familiar thrill of dynamic. Their voices were beautifully emotional involvement that I had alternating combinations that give once experienced with the Buffalo new defi nition to harmony. Most of Springfi eld. Only more so. the material was from the fi rst CSN Joni Mitchell opened the show and album, with three Neil tunes (one of Disc and Music Echo, 13 December 1969, page 19 she was truly good and pleasantly which contains the great line, “I can’t his is the last album from Fairport homespun in a sophisticated way. believe it/I think I’ll take it and leave T before their reshuffle in personnel She forgot the words to one song and it”) and two new Stephen tunes – both and it seems to be a showcase for NME, 20 September 1969, page 8 Sandy Denny, whose voice dominates did an effective a capella song which of them unbearably sad tales of loss hese two albums, containing tracks every number. revealed her Canadian opinion of and unrequited love. When Stephen T recorded last year, have obviously been As a group they seem to have come a issued because Young has recently joined long way backwards since their first the Crosby, Stills & Nash group. They go to album. The exciting electric sound of The foursome were very human, accessible and vulnerable, show just how much talent there will be in those days has been replaced with the the quartet. most traditional of traditional folk, which Young’s forte is a plaintive voice, sounding not doesn’t make for too much not standing aloof in their coolness unlike at times. He has a cynical – they’ve over-simplified. American military aggressiveness. suffers, he doesn’t pretend to hide it. side to his songwriting and is a more than It’s a nice album in a rather insipid olde competent guitarist. worlde fashion, but lacks life from a Very nice, really, but then there were But most of all, the foursome were There isn’t much to choose between these two group who are capable of more. Crosby, Stills, Nash & Young. very human, vulnerable, accessible. albums, but listen especially to ‘Everybody But fi rst there were only three stools They didn’t stand up there aloof in Knows This Is Nowhere’, ‘Round & Round’ and and three microphones. Crosby, Stills their coolness; they made corny jokes, ‘The Losing End’ on the first; ‘The Emperor THE BAND Of Wyoming’, ‘The Loner’, ‘What Did You Do The Band & Nash, opening with their album looked awkward and sincere, and Capitol To My Life’ and ‘Here We Are In The Years’ on opener, ‘Suite: Judy Blue Eyes’, and were obviously having a wonderful the second. Full marks to Warner-Reprise for then into The Beatles’ ‘Blackbird’. time. Graham Nash kept making tea digging these LPs out of the cellar. Ex-Buffalo Nash and Crosby did two more, while and bad puns. David was too proud Springfield Young was, and member of a “supergroup” he is, but he more than stands Stephen retired to the wings; Young and happy to even make more than a up by himself. Gordon Coxhill came out (looking unbelievably good, feeble political diatribe, and Stephen /ERIC HAYES wearing an actual suit) and did one managed to keep his “aw shucks” with Nash, then Stephen alone. humility within reasonable bounds. NICK DRAKE All this was acoustic and soft and Neil was Neil, which is more than good Island lovely. Then the curtains in back enough, always. They were absolutely parted, revealing a wall of electronic wonderful. I wanted to take them paraphernalia. The drummer and home, all of them. Judy Sims REPFOTO–ROBERT ELLIS/REDERNS

Disc and Music Echo, 22 November 1969, page 17 or the uninitiated: this is the group CSN&Y warm up that accompanied Bob Dylan at for Hollywood at F the little ol’ Royal the Isle Of Wight. But that should not Albert Hall, be their only claim to fame: they are August 1969 superb musicians in their own right, and this, their second album, enhances the reputation gained by their first mind- blower, ‘Music From Big Pink’. They have not changed style drastically, NME, 4 October 1969, page 14 but subtly. Instrumentally, they are ick Drake is a new name to me, strong, driving, happy lyrical players who N and probably to you. From an have carved a new sound, somehow, from accompanying biography, I read that he is at the rich pastures of American country/ Cambridge reading English, was “discovered” rock/folk, for there is a little of all these by Fairport Convention when they played on this album. Their vocals are gripping, on the same bill, and spent some time and the songs, written by the group travelling in Europe, a trip which has and mainly by Robbie Robertson, are greatly benefited his songwriting. I’m better than on ‘...Big Pink’. In short, sorry I can’t be more enthusiastic, if you like a tight, rocking group, because he obviously has a not this album’s for you.

74 NME ORIGINALS 1968–1969

(l-r) , , Richard Thompson, Sandy Denny, a dog, , Tyger Hutchins

No group has worked harder for a hit FAIRPORT than Fairport, says Nick Logan SPLIT

MM, 22 November 1969, page 3 airport Convention Fhave been hit by a split, I only a few months after reforming. Sandy Denny and Tyger Hutchings have quit to pursue solo careers, and Fairport will cease performances until a replacement for Sandy is found. A spokesman for the group said: “Sandy really can’t cope with all the travelling anymore. She wants “I’m happy to watch people on Top Of The to concentrate on writing and she will start work on Pops and tear them to pieces” Sandy Denny a solo album in February. She definitely won’t be joining Eclection as has been suggested. Tyger has left to form his own band which will feature electric folk.”

Folking off: Fairweather Fairport singer Sandy Denny goes solo 1968–1969

Disc and Music Echo 18 October 1969, page 13 PENTANGLE ou may or you may not have heard Transatlantic Pentangle. It is more likely that you Y have simply heard OF them. But it is a group that has unobtrusively crept into a great many lives over the last two years. Crept, rather than electrically stormed. They will look round after a show and realise they have just packed out the Albert Hall – ”and that,” says double bass player, , “is a shock.” When Pentangle got together two years ago, none of them were newcomers to the musical scene. Bert Jansch and John

Disc and Music Echo, 25 October 1969, page 19 Renbourn, the two guitarists of the group, heir albums have always been met several years before when they both T competent, and without a low had reputations as solo artists round the spot. This goes one better and has folk clubs. several high spots. Along with the refreshing all-acoustic John met Danny and instruments and Jacqui McShee’s (percussion) when they were playing beautiful voice, two of Pentangle’s in ’s Blues Band on a TV own songs, ‘Light Flight’ programme called Gadzooks, on which John and ‘Springtime (l-r) Bert Jansch, was accompanying Doris Henderson. Danny Thompson, Jacqui Promises’ really Jacqui McPhee, adds a make this album John asked them along to play at the , touch of the something to be Horseshoe in London’s Tottenham Court Terry Cox cherished. ‘gin-soaked’ Road where he played every Sunday On the bluesy voice, and very ‘Sally Go Round evening. effectively The Roses’ Jacqui He brought along Bert, and too adds a touch of the also introduced them to Jacqui “gin-soaked” voice, McShee, whom he had met and very effectively too. The number also showcased the guitar several times singing round folk talents of John Renbourn and Bert clubs and who sang with him Jansch – in their element on this type on his second album – ‘Another of number. Monday’. From glockenspiel to sitar, banjo to vocal… a great album. And that, although it may sound complicated, was the beginning of the Pentangle. Unknown group with thousands of fans VAN MORRISON Pentangle is a five-sided star and comes Warner Bros from the word “Pentacle” which is the oldest mystical sign – used as a protection among the dusty archives to find old be innovators or anything – we are just us. from evil spirits. John, says Danny, is “into madrigals, medieval songs and anything he It was a natural conclusion when we all got all that.” can lay hands on. together.” From their first audiences of former fans, “Old traditional songs are so simple and They arrange the songs themselves, Pentangle’s repute spread rapidly. There really beautiful,” says Danny. “To be simple everybody contributing what they feel is was no overnight recognition through musically is the most difficult thing to do. right, and on stage with songs they’ve done the aid of a single in the chart – they still “I’m definitely the non-writer of the group for a long time they find they can never play haven’t had a hit single. But they are a – I think too complicatedly. If you think of it exactly the same way twice. fine example that a single isn’t necessary all the great composers, they use one note It is this freedom and independence to establish a group with international when other musicians would use a million. within the group that keeps them fresh. recognition. “None of us have had any musical And they always do solo numbers during a

NME, September 27 1969, page 10 They’ve done two major tours here, two in education except Terry. concert, teaming up with each other on the he gravel-voiced Irishman has America, numerous festivals – at Newport “Bert has written so many songs. People spur of the moment. Tcome a long way since he fronted this year they got a ten-minute “We want to express Them on things like ‘Gloria’ and ‘Here standing ovation. ourselves with this Comes The Night’. Morrison has been “Traditional songs don’t have to be performed the same beautiful music. living on the other side of the Atlantic Why? for the past few years where he’s “I don’t know,” says Danny. way for centuries – we don’t bastardise them. We treat Traditional songs enjoyed a couple of American hits and “I think people were ready don’t have to be successes on the concert circuit. for music they could sit down them with respect.” Danny Thompson performed the same This album is as far removed from way for centuries – Them as possible; Morrison sounding and appreciate – not only the for all the world like Jose Feliciano’s songs but also the music that went into copy him and his guitar things, but he we don’t bastardise them. We treat stand-in on eight of his own them – the subtle things.” doesn’t care, he just goes on in his own them with respect.” compositions. The comparison rather Their music is unique, and can most sweet way. Donovan’s dedicated two As a group they get on very well together. deadens the impact of the album Jacqui is treated “as one of the boys” which because Morrison can’t better or equal easily be put under the heading of songs to him – ’Bert’s Blues’ and ‘House Of Feliciano’s distinctive style. The songs . Jansch.’ does annoy her at times. themselves aren’t very distinguished “We all play music which comes from “Folk purists said at the beginning, ‘Oh, But, says Danny, Pentangle loves what apart from the title track, and suffer these experiences of different kinds of that will never work’ to our music but they it’s doing. They are totally involved in their from being stuck in one groove accepted it. How long can you go down to music to the virtual exclusion of commercial throughout. On the credit side there music. I’m jazz-based, but I love folk. Bert is are some sensitive lyrics and folk-based but he loves jazz,” says Danny. folk clubs and hear the same songs done and financial influences. arranger Larry Fallon’s use Their songs are a mixture of their own the same way every time? It can only go on “Really,” he says, “we must be the of flute and eerie strings. compositions and old traditional ones found so long. happiest group ever.” Nick Logan

by John, who does a great deal of research “We’re not trying to preach or profess to Caroline ALTMAN-RETNA ROBERT C

76 NME ORIGINALS

1970 -1971

Joni brings a little Woodstock to the UK

A triumph for Joni MM, 24 January 1970, page 6 songstress appeared for the fi rst set repertoire with the famous ‘Both Sides Now’. oni Mitchell must love England to the same in a long red dress, her voice soaring and Next Joni appeared in blue and embarked on a extent that England loves Joni Mitchell. plummeting over that aggressive and much longer set which included ‘Galleries’, ‘Hard’ This fact was implicit throughout the whole characteristically open-tuned guitar. and ‘Michael From Mountains’, and with each J of her two-hour concert at the Festival Hall After three numbers Joni moved to the piano song she drew the audience further into her. on Saturday. An outstanding Richard Farina- The walls were still shaking The walls were still shaking ten style rock number ‘They Paved ten minutes after Joni had taken Paradise And Put Up A Parking Lot’ her second encore. Such was minutes after her second encore (now known as ‘Big Yellow Taxi’) the greed and expectation, that and the next Crosby, Stills, Nash hardly a person had left the hall when she fi nally and captured the audience completely by the and Young single, ‘Woodstock’, prefaced the fi nale returned for a farewell acknowledgement, and the nature of ‘He Played Real Good For Free’, a recent which was an event in itself – Dino Valente’s great audience rose en masse. composition, which refl ects her environmental song about brotherhood, ‘Get Together’. With great warmth and presence, the Canadian change. She closed a well balanced fi rst-half Jeremy Gilbert

VAN MORRISON uniqueness, and in its place is a rather CROSBY, STILLS, t’s heavier, tougher, funkier, with more solid band, borrowing from jazz and NASH & YOUNG Ifar more emphasis on the bass and (especially) soul sources without being in any percussion of Greg Reeves and Dallas Warner Bros Déjà Vu way unpleasantly eclectic. Morrison is now Atlantic Taylor. And, of course, there’s the brooding, without the need to strive, he simply does, inescapable presence of Neil Young, whose and what he does is precious without price. plangent, desolate ‘Helpless’ is the most His voice now has the flexibility and variety compelling song on the album.

of an , rather like Georgie There’s still room, though, for those familiar, McCARTHY/HENRYMIKE DILTZ–CORBIS Fame with the fat stripped away, and on floating, flawless harmonies and fine acoustic the title track particularly he uses his voice guitar work on the gentler songs, notably with such rhythmic beauty and exactness Graham Nash’s delightful ‘Teach Your that it flickers to and fro like a steel spring. Children’, which is blessed with steel guitar All the tracks are superb, and some (‘Glad from of the Dead. It’s followed, Tidings’, ‘Brand New Day’, ‘’, in sharp contrast, by David Crosby’s and ‘Moondance’) are considerably more quirky, ironical ‘’ with than that. ‘...New Day’, for instance, uses the its crashing, surging accompaniment. throaty humming of a black back-up choir The only dud is Joni Mitchell’s in a completely un-clichéd way, and the alto ‘Woodstock’, a dull song MM, 28 March 1970, page 29 sax solo by Jack Schrorer on ‘Moondance’ is MM, 16 May 1970, page 22 with messy production. f ‘Astral Weeks’ was the best surprise something else, like a flashback to a Harlem ossibly the most eagerly-awaited But it’s difficult to The solid Iof 1969, then Van Morrison’s new ‘jump’ band of the ’40s. The beauty of Van P set since The Band’s second album, knock an album which pleasure of album is very probably the solidest rock Morrison is that he takes his influences and and contrary to some reports, it’s no communicates the good musicians thus far in 1970. Gone is sublimates them so completely that the end disappointment. Nevertheless, they’ve solid pleasure of good playing simple, the Gypsy-like untogetherness of the product is entirely unique. He’s a rare talent, clearly been through some changes and the musicians playing honest music rhythm section, which gave the earlier and this album will awaken a lot of people to music here lacks some of the calm and limpid simple, honest music album so much of its charm and him. Richard Williams beauty of the first LP. together. Alan Lewis together

80 NME ORIGINALS 1970-1971

pattern – but to understand his songs it is first essential to understand James as a person. His lyrics speak of the mental upheaval which he had frequently experienced, and in his own words: “I am the product of a haphazard musical environment which, I suppose, makes me a folk artist; green rock‘n’roll. Words about my lyrics are at best redundant.” The Apple product was exploited by no mass-sell gimmickry but as so often happens with the more aesthetic works of art, it was MM, 16 May 1970, page 9 recording plans at the moment, although I know he passed around by word of mouth; since then songs hen James Taylor arrives in England this summer wants to make a live album at some stage featuring the like ‘Rainy Day Man’ and ‘Something In The Way She a lot more people will sit up and take notice songs of other people which he does,” added Betsy. Moves’ have been recorded by Tom Rush and Matthews’ than the last time he was here. And yet for all “James is still writing and has produced three new Southern Comfort. W his beautiful songs and two albums, he is still songs just lately. Sometimes he dries up for a couple Talent seems to run through the Taylor family, for something of a mystery figure in this country. of months, then he’s OK again. James has been ill but James’ brother Livingstone is also following in the same Last summer the 22-year-old folk singer from Carolina he’s fine at the moment and I think he’s very happy; vein and Warner/Reprise in America seem likely to sign was in England and appeared on the his sister Kate. Bobbie Gentry Show and My Kinda Folk, “When his health is good, the words as well as turning up at London’s Marquee From his tales of love and loneliness, which and music flow readily from his frail and and the Speakeasy. lofty frame,” runs James’s biographical James is currently building his own he always portrays in terms of night or day, press release. And primarily his songs are house on a plot of 27 acres just off the entertaining. But from the tales of love and coast of Massachusetts at Martha’s sunshine or rain, his life seems to be polarised loneliness, frustration and fulfilment which Vineyard Island. But his friend Betsy Doster he always portrays in terms of night and – friend of Taylor’s manager Peter Asher – pointed he really loves the island,” Betsy told me over the day or the sunshine and the rain, his life seems to be out that James had received a British TV offer from transatlantic phone. polarised; finely balanced between two extremes like Stanley Dorfman. “I guess everyone has to pay their dues, and some a man on a tightrope. “He’s trying to come to England, and it’s just a question people just can’t pay them all off before they collapse.” James Taylor’s songs are bitter-sweet, but they are of working it in. I think he would like Joe Boyd to organise As in America, the recent release of the ‘Sweet Baby easy going, tender and beautiful. Depending on how a small concert, and then he would just do that and the James’ album immediately drew attention to the first you choose to receive them they can appear intensely TV show and then go home again. Apple sessions. During the 90 days spent recording savage statements or unceremonious platitudes. “He’s doing mostly university and college concerts this album, the preoccupations and torments which But words about his songs are at best redundant at the weekends and working on the house during the hounded him, poured out in coloured arrangements. – particularly now that they are at last in the public focus. week. He’s toying with the idea of filming but he’s got no These he laid down, firm and symmetrical as a parquet Jeremy Gilbert

Taylor: words about his lyrics are at best redundant 1970–1971

82 NME ORIGINALS 1970–1971

MM, 6 June 1970, page 4

four students were shot dead by State Troopers) were released in the US simultaneously this week. “Our new bass player ‘Fuzzie’ (Calvin Samuels) is a quiet cat but really good. Steve found him in some club up the Edgware or Harrow Road. He came right over and learned all our material in two hours. When we played at the Albert Hall he stood at the stage door for two hours, but couldn’t get in ’cos he hadn’t got a ticket. And now a few months later, here he is playing with us. “Wow, Greg (Reeves, former bassist) was some cat. He really Revolution in the got spaced out coming from head: Nash ponders the uprising of the Motown and joining us. He Silent Majority also got very involved with being an Indian witch doctor, and would go around in feathers carrying a case of potions. Going WE MAY FIGHT, through customs if the guy would try to open the case, he’d say he couldn’t ’cos there were NASH:BUT MUSIC WINS magic powders in it. It never got opened. MM, 20 June 1970, page 25 my head. It became mechanical and that “Dylan was in last night, and we were raham Nash, thank heavens, is still wasn’t fair to me, the audience or the boys.” all trying to be so cool, but like it was Graham. In his denim shirt, jeans, So began Crosby, Stills & Nash. We DYLAN, man. So instead of doing all the laced boots and a short, well worn went onto the current happenings, with, four numbers we usually do to get us into G waistcoat and a toothbrush sticking of course, CSN&Y. Graham explained, it, we just did what we individuals felt like. out of his shirt pocket, he’s still very with a lot of honesty and logic that, “We That’s what’s such a gas, there’s no set, no polite, very unpretentious, but more are four individuals with huge egos, who routine, or anything. We just do what we straightforward and honest, and a friend have an incredible love/hate relationship. feel like. We can try out anything. I was knocked out to see again. We know each other so well that we know “I really feel America needs me. The Though there obviously were many exactly how to push each other’s trigger. blacks and the long-hairs are treated bad times between The Hollies at the We can and do incite love and hate, as second-class citizens. Nixon did an point Graham was leaving, there is no and we can cool each other out. Most incredible thing by ‘inventing’ the Silent bad feeling now and he and Allan are managers will pamper to your needs, Majority and putting them on his side. getting back to being But I’m not sure anymore close again. He said that people are unaware he and Tony had gone “We are four individuals with huge egos, who know how to push and won’t say things. Let’s through some very each other’s trigger – we can and do inspire love and hate” say we were in France in tough times but, “He the 18th Century and was the fi rst person in England to hear but not ours. When we’re all spaced out, I could be a pianist or something, we’d ‘Déjà Vu’. I played it to him and he just Elliot (Roberts) will come in and tell us it’s be talking about the same feeling of listened, and when it fi nished he just a load of ––. I love him. unrest and saying we’re not sure it could took my arm and went on to talk about “In England we couldn’t put out two happen. But they had a revolution and something else. But I knew without him singles at once, and we couldn’t put out people were wiped out. After the incident saying anything that he dug it and that ‘Ohio’ – those are some very strong lyrics.” at Kent I thought there would be more really blew my mind. Graham’s song ‘’ and bloodshed. Something has to happen. “The break had to come. I was on stage Neil Young’s ‘Ohio’ (about the recent I just don’t know what’s going to singing one song and writing another in incident at Kent State University where happen.” Vicki Wickham

SIMON & and is enlivened by a generally over rolling piano before an GARFUNKEL responsible use of rock techniques abrupt change of mood takes Bridge Over which frequently gives the record it to a furioso climax with more Troubled Water some of the carefree joy of a than a touch of the Spectors. CBS middle-period Beatles LP. There are a few dull moments, NME, 7 February 1970, page 29 ‘’, with its terrifying when Simon’s touch deserts him t’s been 18 months since the sound effects is well known, while and he becomes merely ordinary, I release of Simon & Garfunkel’s best of all is probably the but they’re worth enduring for last album, and for much of its title track, a pleasant the jewels they surround. length ‘Bridge Over Troubled tune sounding for It’s Not another classic like all the world like ‘Bookends’, but still Water’ makes the wait worthwhile. enlivened It’s full of the delicate, rather something from worth hearing. by a generally fey charm we’ve come to expect a Methodist Richard from Paul Simon’s compositions, hymnal, sung responsible Williams use of rock LONDON AGENCY PHOTO techniques

NME ORIGINALS 83 MM, 20 June 1970, page 24 oni Mitchell is a poet whose time has come. Because she uses the vehicle of music, her words and thoughts reach out to countless J minds. With Joni, there is no restriction of reading or schooling; she sings her poetry and brings it to the people. In the past year, Joni has emerged as a major force in music. Her songs, once the exclusive property of a few, have become the catchword of many. Her songs are refl ections of a very feminine way of looking at life. All too seldom in music, and indeed in any art form, is the female view of the world set down. Joni does just that. One critic suggested that women think in a complicated manner and speak in simple terms. This could certainly be said of Joni’s material; but her simplicity reveals a sensitivity and awareness that few composers possess today. With phrases like “know that I will know you” and “while she’s so busy being free” we are given an entire picture of a woman’s mind and heart at work. Joni has been seeing situations and storing them in her memory and in her music since her birth in Canada some 25 years ago. She originally wanted to be an artist, a desire she still retains. In the mid-’60s Joni came to America and played in clubs, travelling the folk circuit in the East, bravely waiting out her turn to make the mark. But the single folk singer was on the way out – rock was coming in, and managers fi gured, with a Joan Baez and a Judy Collins, who needed a Joni Mitchell? Fortunately, fellow folk singer Tom Rush heard Joni’s songs and introduced her material to his following and the writer to Judy Collins. The result was an invitation to sing at the and Miss Collins’ recordings of ‘Both Sides Now’ and ‘Michael From Mountains’. Her present manager, Elliot Roberts, brought her to the attention of . Her fi rst album was ‘Song To A Seagull’. It sold only moderately; but she became an underground “fi nd”. With ‘Clouds’, Joni’s second album, it was evident that she had arrived; with ‘Ladies Of The Canyon’, her third album, it is evident that she is exalted. With each album there has been more music, more of an effort to bring in other musicians. But despite added instruments and group singing on various stages, Joni remains forcefully a loner. “I fl at-pick my music and I know there are places to be fi lled in,” she told us. “There could be more texture to it. When I fi nger pick, I play the melody line and in many cases that’s the way it stays. When I’ve fi nished a song, I’ve honed it to a point where it’s a completed song to me. And anything that is added might to other people sound better and more complete, but to me it sounds extraneous. “I’m very serious about my music and so I like that seriousness to remain. When I play with other JoniJoni people, I like that to be for fun. It’s on another level… a looser level where a sense of my own imperfections doesn’t enter into it, because it’s just for my own Let’sLet’s makemake lifelife pleasure. It would be diffi cult for me now to learn to play with other people, like teaching an old dog new tricks.” Until ‘Ladies Of The Canyon’ Joni’s melodies have emphasised her past association with folk: simple and straightfoward, they encompassed little of what rock moremore romanticromantic has brought to the music scene.

However, her present association with rock DILTZ–CORBIS HENRY

40 NME ORIGINALS 1970-1971 musicians has somewhat liberated Joni, Like many poets, Joni insists that and you can hear that change in ‘Ladies...’. her lyrics be worked over until “I guess there will just come a time when every word is absolutely necessary I’m hearing more music than I’m able to and cannot be altered. She admires play and then the change will come about both Dylan and Leonard Cohen, naturally,” she says. although each for their differences. Joni does not see adding musicians as “Leonard’s economical, he never back-up men as a step toward co-writing. wastes a word. I can go through “I don’t think I could do that for the same Leonard’s work and it’s just like silk. reasons I can’t play professionally with other Dylan is coarse and beautiful in a people. I know what colours I want to use, rougher way. I love that in him. “No, you can’t have I’m too opinionated… no, that’s not the word ago,it’smine” I think I’m a belated fan, at least I want. It’s just that I feel too strongly about Joni and unknown my enthusiasm is growing the more friend, 1970 what the fi nished thing should be, whether I live in urban places. it’s music or a painting. “Before I lived in cities I couldn’t “I mean, how many times do you hear about “There’s the fear of the big hurt, we’re taught to be see what he meant. I’d never known what the street painters working together? are three very cool. And be noncommittal. That’s the thing meant. I was sheltered, I hadn’t seen the injustices. painters who paint together, but how many times do about places like . Like they’re encouraged to Now I can understand him.” you hear of that? I feel very much about my music say, ‘Oh, I love you my darling’ and then if it doesn’t Her ability to understand and transform has made like I feel about my painting. work out they all say, ‘Poor little Emilio, his heart is her almost a legend in the United States. Critics and “If I were working for a master and he came up to breaking’ and nobody puts him down. listeners alike rhapsodise over her songs and her me and said ‘Well, if you put a brush stroke of red in “You know, they’re all very kind, they shelter psyche. She is fulfi lling something of a “goddess” that corner, you’ll save it’ I would have to reject his him because he’s mourning openly for the loss of need in American rock, a woman who is more way of saving it or improving it until I could fi nd a someone. Whereas in America you stifl e that so than a woman; a poet who expresses a full range of solution of my own which was equally right.” much… well, anything that’s repressed and goes emotions without embarrassment. Joni’s strong desire to be independent and an underground really gets distorted. You don’t know Her legend is beginning to obscure her work; entity unto herself can seem at times a contradiction what you want after a while if it’s repressed. because she is virtually without competition (Joan with her own gentleness and music. Baez and Judy Collins don’t have the However, it somehow isn’t. Early on Joni output; Buffy Sainte Marie doesn’t have was criticised for being too feminine, too “I can’t playprofessionallywith other people.I knowwhat the immediate newness), she is without romantic (“secrets and sharing sodas/that’s comparison. Her work for now goes almost how our time began”). colours Iwant,I feel too strongly aboutwhat the finished thing totally without question, without debate. But just how a woman can be too shouldbe”Joni Mitchell Success has worked its hardships on feminine isn’t really clear to Joni, who sees Joni’s life as well. With sold-out concerts the lack of womanliness in her contemporaries as “Even if I’m writing about myself, I try to stand comes demands on personal time and involvement. one of the worst aspects of progress. back and write about myself as if I were writing After ‘Ladies Of The Canyon’ she split to Greece for “I think there’s a lack of romance in everything about another person. From a perspective. It’s sun and silence. She said she needed the time to be today. I went to see the fi lm version of Romeo really tough because I want to explain to you how alone and fi nd her creativity again. And Juliet which is supposed to be the epitome of I write, but I can’t. It’s just standing back and getting Her house, redwood and hand-honed, high in romance and I thought it was very unromantic. another perspective on it. I step back and carry on Laurel Canyon (Los Angeles) stands empty and Everything was too perfect. a conversation with myself. waiting. “I think that women are getting a bum deal. “It’s almost schizophrenic. You lay out a case and One of her many treasures within the house is a I think we are being misguided. It’s just follow the argue with yourself about it and with no conclusions. grandfather clock which refuses to tick… it’s too old leader. Like for a long time I wouldn’t go out without But I have to write a long time after something to be repaired… it stands idle, useless and beautiful. wearing my false eyelashes, because I thought that has happened, because when I’m in the middle of That in itself tells us as much about the lady as without them I was plain. You know, that’s really silly something I’m totally emotional and blind. I can’t anything she might write. isn’t it? But that’s what happened. get a perspective on it.”

It’s not BOB DYLAN Portrait’’s 24 tracks is one of openness, of exciting and open so much a Self Portrait adesiresimplytositdownandplaymusic. Fotheringay idioms on the current mind-blaster, CBS Of course, that’s what he and The Band Island scene. more a gentle, havebeendoinginWoodstockforfiveyears, Fotheringay is, if you insinuating butthecrucialdecisionistocomeoutinto need reminding, the theopenanddoit. The Isle OfWightwas Fairport-Eclection-Poet affirmation anattempttodojustthat,buttheevent And One Man Band tie- naturallyreceivedsomuchpublicitythat up, led by ex-Fairport singer Dylanranscared,andwasforcedbackinto Sandy Denny and Eclection’s retreat. Now, I feel,he’stryingitagain,and . this time it may work better. Thealbumisagoodcross-sectionoftheir ‘SelfPortrait’isavastpanoramicviewof style,theirownandtraditionalmaterial everythingthat Dylandigstosingandplay. sung by either Sandy or Trevor to an equally Most of it refers back to earlier eras, with important backdrop of gently undulating amuchhigherlevelofintegrationthan acoustic and electric work. Their ensemble on such previous attempts (such as ‘John playing is particularly classy and controlled Wesley Harding’, for instance), and the on numbers like ’s ‘The fewsongswhichdon’tareremarkably Way I Feel’ and Sandy Denny’s ‘The Sea’ with MM, 20 June 1970, page 5 old-fashioned. NME, 4 July 1970, page 10 its rippling quality enhanced by fine Jerry ob Dylan’snewdouble-album,‘Self Onmostofthetracksheusesguitar,piano, hefieldoffolkrockgainsnew Donahue electric guitar. B Portrait’, when coupled with his recent bass-guitar and drums, which combine in T championswiththisdebutalbum, ‘Banks Of The Nile’, a traditional anti-war studio adventures in the company of George a sound which has the airy, open quality fulfilling much of the promise of a full-of- song, has Sandy, vocally and Fotheringay, Harrison,seemstosuggestthathemight of‘...Harding’plusalittlemorefunkiness. promise group. instrumentally, at their best. beabouttocomeoutofhisGarbo-like That’s not all, though: strings, brass, a It’snotsomuchabarrier-shattererora ‘Peace In The End’,withthetwosingers eraofseclusion. female choir, and other unorthodoxies all mind-blaster,moreagentle,insinuating working together, rounds off a classy The overriding feeling of ‘Self make their appearance. Richard Williams affirmationofwhatisoneofthemost debut. Nick Logan

NME ORIGINALS 85 1970-1971

The 1970 saw a host of artists playing into the small hours to over 600,000 fans

MM, 5 September 1970, page 24 him go. He sang a tender ‘Younger Girl’, which gained extra effect from the way he Saturday groped for the part-forgotten words and TIE-DYED John Sebastian opened Saturday’s changes. programme with what eventually proved to Finally, after 140 gloriously unforgettable be one of the most satisfying performances minutes, he waved his way off stage having of the whole festival. exhausted himself and his repertoire. With that unique mixture of whimsy After they’d left, compere Rikki Farr Big Yellow Dress: Joni Mitchell and open-hearted fun, John first shouted: announced “a lovely surprise for you – JONI onstage on “Just holler ‘em up, and I’ll play whatever MITCHELL!” and on she walked, diffident Saturday you want to hear,” They did, and John yet majestic in a long dress the colour of went through ‘You’re A Big Boy Now’, golden-rod. ‘Nashville Cats’, and others before a most The vibes were good, nurtured by standing, staring at the ghastly figure extraordinary thing happened. Sebastian and retained by the crowd, who was resisting attempts to drag He received a note, handed up from the but halfway into ‘Chelsea Morning’ she him away. Joni went back to the piano audience, which he read out: “Just ask stopped, declared, “I don’t feel like singing stool, picked out the opening chords of Joni’s retinue pinioned his arms and Zally up on stage.” Zally, of course, was that song so much,” moved over to the ‘Woodstock’, and began the song. She forced him off, and the crowd began to bay: his old colleague Zal Yanovsky from the piano, and announced that she’d sing could not have made a worse choice. “Let him speak… let him speak.” Spoonful, and together they worked their ‘Woodstock’. At that moment we were anything but Joni, badly shaken, came forward and way through more old favourites like the Suddenly, with a terrifying swiftness, the stardust and golden, and the garden had made a little speech about how when she gorgeous ‘Darling Be Home Soon’, which vibes turned right around. A man in the become a place of squalor. performs for an audience she puts herself was blessed with great lead guitar work VIP area, 25 yards from the stage, cried The atmosphere settled slightly, but was into it, and how she gets off on her music. by Zal. Both of them were having a ball, “Help… we need a doctor”, and all eyes still charged with electricity when a man “Last Sunday, I went to a Hopi Indian feeling their way through the old songs, swung towards a swaying, puppet-like approached the microphone and started to ceremony, where some of the Indians and it was a nostalgic sight. figure obviously on the worst of bad trips. recite “a very important message for the were behaving like tourists. I think you’re By this time John had been playing for In an instant, the stage was full of people on Devastation Hill”. He was not behaving like tourists, man… give us some two hours, but the crowd wouldn’t let frightened eyes and everyone was allowed to continue as the stagehands and respect!” It was a concise, emotional diatribe on the relationship between art and life, and it got through. “Hello, I’ve lost my friends, have you She sang again, and lightened the seen the meeting atmosphere with ‘Willy’, her heartbreaking point?” song about Graham Nash, and a new ballad called ‘California’ about homesickness, ERNS on which she played the dulcimer. She was called back for four encores, and by the time she went off she’d averted a potentially dangerous situation simply through the pure beauty of her songs.

Sunday NCY/PA PHOTOS/DICK BARNATT–REDF SUNDAY dawned warm if a little duller than Saturday, and the music was begun by Kris Kristofferson, an American singer who was John Sebastian, bringer of good unjustly chased from the stage by boos and vibes to Saturday’s jeers on Thursday night. crowd SKR PHOTOS/LONDON PHOTO AGE 86 NME ORIGINALS Neil Young “relaxes” in his rented house in Chelsea, 1970

Accompanied by Zal Yanovsky, the attempting to rip down the walls despite composer of ‘Sunday Morning Coming Farr’s pronouncement that the festival was Down’ fared much better this time round, free. A seemingly interminable wait, while and paved the way nicely for another singer/ John Renbourn tuned his sitar and Bert composer on the way up: Ralph McTell. Jansch did the same to his banjo, scarcely Despite his self-confessed nervousness, brought them favour either. McTell was as melodic and as dextrous But the lovely ‘Light Flight’ brought the as ever. As soon as his feet touched the audience back, and from thereon out they stool’s cross-bar, he accelerated into Blind went from strength to strength, producing Boy Fuller’s ragtime blues ‘Truckin’ Little delightful versions of two favourites: Baby’. His song of schooldays, ‘Chalk Dust’, ‘Bruton Town’ and ‘Pentangling’. was well received, as was his ballad about Joan Baez is a true folk-singer in the real loneliness in the metropolis, ‘The Streets Of sense of the word, in that her material is London’, already a folk standard. drawn from all sources, but basically the The first “free” music was provided by popular songs of the day. She seems to Donovan, who arrived on stage alone with have abandoned any attempt at purity of NEIL YOUNG The six-minute ‘Southern Man’, the title After The Goldrush being self-explanatory, is a song that an acoustic guitar. His style was mellow, style, and on Sunday night/Monday morning Reprise crackles alive with emotion, lines like comforting, typically his own; a mixture she was content to leave the choice of “I heard screaming and bullwhips of traditional Scottish ballads and his own numbers up to her audience for the most part. cracking” jumping with fire on the back on Young’s quivering high pitched brand of Celtic Rock. For one song, which he On this account she sang songs as far- voice and a paranoiac electric guitar of announced as being a “heavy philosophical ranging as ‘Farewell Angelina’, ‘Oh Happy searing power. number”, he was joined by three small Day’, and ‘Let It Be’, with a couple of Significantly perhaps, the album ends blonde boys called Julian, Jake and Charlie. Spanish numbers and a childlike Italian song on one of the simplest songs in the set, ‘Cripple Creek Ferry’. Here again Young It turned out to be a kids’ song about dogs thrown in for good measure, and the only throws in the sketchiest of images peeing against trees, and only the lovely two things that were remotely interesting yet against the gentle rhythms and naiveté of the kids saved it from yuckiness. were Jesse Winchester’s ‘The Brand New harmonies there’s no doubt about the big After that came several of his hits, like Tennessee Waltz’ and The Band’s ‘The Night ferry boat nosing its lazy way through the overhanging trees. From bullrushes to bullwhips is some NME, 3 October 1970, page 10 range and some mind. Nick Logan he unfolding talent of Neil Young, Tbudding with Buffalo Springfield, blossoming on his “solo” albums and BOB DYLAN with Crosby, Stills and Nash, has been a ‘Hurdy Gurdy Man’, and ‘’, before he They Drove Old Dixie Down’. joy to follow. CBS picked up an electric guitar and was joined One can’t somehow take her seriously as The brilliant Canadian, already regarded by a fast growing body of American by the other two members of Open Road: a musician and singer anymore; she is more aficionados as a greater talent than C, Mike Thomson (bass-guitar and 12-string of a personality devoted to causes with a S and N combined, is without doubt guitar) and John Carr (drums and bongos). capital C. Yet she has remained enormously destined to become a giant Leading off with ‘There Is A Mountain’, popular. Her rapport with her followers of the ‘70s. Young is Young is a painter of they played very tightly and gave us songs is based on genuine mutual affection, a creator songs, a creator of like ‘Train Whistle Blues’, ‘Season Of The and she projects real warmth and of images that images that stand Witch’, and the amusingly controversial spontaneity. stand out like out like silhouettes ‘Poke At The ’. Don obviously enjoys Richie Havens and Leonard Cohen silhouettes against a landscape, playing with a band, and they demonstrate got on to play at some ungodly hour a sketcher of against a fragments of scenes considerable togetherness, but there was of the morning. Havens went through a landscape that leave the listener a distinct lack of adventure about the mostly familiar set in which he successfully to complete the picture. NME, 13 March 1971, page 8 undertaking. recreated the excitement of his Woodstock ‘...Goldrush’, (released October ny utterance from Bob Dylan 16) his third solo collection, is A– especially when contained on an Pentangle next took the stage, and got off rendering of the ‘Sometimes I Feel Like A his finest achievement to date. album – causes some sort of excitement to an incredibly bad start. The sound was Motherless Child’/’Freedom’ thing, and he Running a line from to and talk of the next LP has led us to appalling in both balance and quality, and ended on a good note with a Hare Krishna politics, ‘...Goldrush’ proves that Young believe that it is the be-all-and-end-all of the consequent lack of definition reduced mantra. is equally at home at either end; the fact his music. I’m afraid it just isn’t – much of it is standard pop that would be totally their output to sheer boredom. Cohen, supported by The Army, did a that both sides can sit comfortably on one LP being fair measure of his skills. neglected if any other artist had done it. They were also plagued by the anarchists, couple of new songs in a set which also Not that the heavy-handed polemics of The rock content is very good and who diverted attention from the music by included a beautiful treatment of ‘Lady some of his contemporaries has any place demonstrates just how far he Midnight’, one of his most melodic, in the Neil Young style. has come since the early days. (Blood, caressing songs. Hence the stunningly chilling ‘Southern The rock Anarchy in the Man’ isn’t allowed to close one side, as a Sweat & Tears’ content is IOW: Bert Jansch of Whether he’s the kind of artist best heard song of its power would on most albums, former member) is Pentangle gets the very good and in the company of half a million other people but leads into a minute-long, jokey piece present on piano, Sunday blues. demonstrates is another matter, though – he seems such containing a trumpet Herb Alpert would which Dylan also plays, but there is no just how far he a private singer, that he’s best heard in be proud to put in his brass. Basically the material can split into two indication at present has come comparative seclusion. camps, the simple emotive love songs who does what on As the light came into the sky, and the and the more potent lyrical compositions. which track. music ended, the weather changed with From the former, ‘Tell Me Why’, ‘Only So ‘New Morning’ doesn’t really live up to Dylan’s expected symbolic abruptness. The sun which had Love Can Break Your Heart’, ‘Birds’ and ‘I Believe In You’ have the insistent standard. The album is due for CBS beaten down for three days vanished, melodic qualities brought over from release here on November 13, but the replaced by a biting wind Young’s days with Buffalo Springfield. company is striving to have it out earlier and a cold intermittent drizzle, to make On these and others like ‘After The and has high hopes of it being available in this country before American kids the business of going home that much Goldrush’, the aforementioned ‘Southern Man’ and ‘Don’t Let It Bring can buy it. more unpleasant. You Down’, Young’s credentials as It will undoubtedly sell a lot, but not What could have been a pilgrimage a writer of substance have never go down as one of Bob Dylan’s best ended with shivers and sneezes, but much been more evident. efforts. Richard Green good humour remained to console the

NME ORIGINALS 87 1970–1971

Taylor charms the birds out of the balconies at the Palladium, October 26, 1970

MM, 31 October 1970, page 22 He has swiftly established young man and his guitar with himself with a coterie of songs about love and the world admirers who react to each – the way he sees it – can be the song with gasps of pleasurable A most crippling experience anticipation. At the London outside of Rugby football. Yet James Palladium on Sunday, he held an Taylor makes the experience painless. enthusiastic audience with a gentle Roller’ and with He has an extremely pleasant voice. eyebrows fl uttering gave a perfectly No harsh overtones, yelps, or anguised His stage manner was easy, straight reading to the incredible lyrics cries of pain, remorse, anger, despair of ’s anti- song, a and frustration here, only the calm, casual and cool and girls tittered cue for much disbelieving laughter. He wry humour of a chap who has seen at his little asides sang the excellent ‘Fire And Rain’, one it all... or most. of his own little gems, and played an James has had quite a hard climb to and entertaining set accompanied the Widow Twankey to make an instrumental ‘Greensleeves’. the top. He freely admits he spent some solely by his own more than competent appearance and it even seemed like There was a sense of completeness

time in an institution from which acoustic guitar playing, and slightly a Humpty Dumpty audience – happy about his performance. It was full and HIVES-REFERNS/HENRY DILTZ-CORBIS stems the song ‘Knocking Around The less than competent grand piano work. and quick to respond. “I wish I had satisfying, as was the opening set by Zoo’. He makes reference to his early His stage manner was easy, casual and something funny to say,” said James Matthews’ Southern Comfort, who days singing white blues in frenetic cool and girls tittered at his little in his white Chinese laundry shirt, impressed with their vocal harmonies, New York groups. Now he can afford asides. In the warmth of the old theatre possibly borrowed from the Aladdin the steel guitar of Gordon Huntley and to laugh gently about those times and fi lled with memories of pantomimes props. He recalled his blues-bashing Ian Matthews’ own charm and feeling

mutter an amused “Shucks!” of our youth, one half expected past with the humourous ‘Steam for a song. Chris Welch REX FEATURES/MICHAEL OCHS ARC

88 NME ORIGINALS 1970-1971

JAMES TAYLOR acoustic guitars, electric piano and pipe STEPHEN STILLS Sweet Baby James organ, and (on ‘...Proposition’) a use of string Stephen Stills Warner Reprise bass. Both have an extremely free, loose Atlantic texture, the musicians filling in the gaps between Buckley’s terse phrases at will. The result is very strong indeed, highly experimental although still retaining conventional sonorities, and is one of the most adventurous sides I’ve heard in the rock context. The second side, with three longish tracks, is slightly more orthodox, and ‘Driftin’’ is particularly superb, with Buckley stretching the high notes over a casually rolling guitar phrase. The overall Tim of the season: mood of the music is very “down”, but I’m Buckley basks in convinced that this is an important album, his latest positive and I look forward to discovering the rest review of Mr Buckley’s work. Richard Williams NME, 21 November 1970, page 8 MM, 4 April 1970, page 26 seem to have spent a lot of time in the last ames is not a great blues singer TIM BUCKLEY CAT STEVENS I year and a half in recording studios with J – or country singer. But somehow, the Lorca Tea For The Tillerman Stephen Stills. I sat through a lot of the first English chap with an adopted American Elektra Island Crosby, Stills & Nash LP, and through even accent (for rock‘n’roll purposes), has made an more of ‘Déja Vu’ at Wally Heider’s studios in extremely enjoyable album. The atmosphere Hollywood. is relaxed, unpretentious, and has the added Then, early this year, I went to Island studios bonus of the guitars of Danny Kootch, Red in London to see and hear Rhodes and Mr Taylor himself, which sound what was going on pretty good in stereo. A typical song is with Still’s first solo ‘Country Road’, with one of those band type album. I loved I can’t backbeats. Taylor’s lyrics are thoughtfully what I heard, describe the enclosed in a leaflet, and he wrote all so it was a sensation I felt the numbers except Stephen Foster’s ‘Oh pleasure when Susannah’, given tasteful treatment. Paul Stephen called as the last chord Asher’s production has ensured a rich me and invited poundered backing which never becomes too obtrusive. me down A favourite track of this reviewer is ‘Blossom’, to his Surrey out of the which could make a single. home to do an MM, 14 November 1970, page 17 MM, 14 November 1970, page 16 stereo While not exactly country music, it could exclusive review perhaps be described as Green Belt Rock. his is presumably Buckley’s last album his is the kind of album which is hard for NME, and after do Chris Welch T for Elektra, being recorded (so I’m told) T to put down but equally hard to some general Sunday-in- at same time as ‘Happy/Sad’ and before his get excited about. Like his last one, this is the-country hanging out. first Straight album, ‘’. It’s pleasant, relaxed and tasteful. Cat writes The solo album is better than I can remember. also, shamefully, my introduction to him. thoughtful, attractive songs with un- I’d stick my neck out and say that it will in THE BAND There’s a lot of ‘Astral Weeks’ in the two clichéd lyrics, and avoids being pedantic or time be classed as one of the all-time great Stage Fright tracks, ’Lorca’ and ‘Anonymous Proposition’, bombastic even on “message” songs like records. It’s right up there alongside ‘Sgt Captiol which make up the first side; not in a ‘Where Do The Children Play?’ and ‘Father Pepper’s...’ and ‘Tommy’ and that first magic plagiaristic way, but in terms of feeling. And Son’. The best-known song here is ‘Wild CS&N album. The only complaint I would offer Both share the sense of being inner-directed World’, a recent hit for Jimmy Cliff, and there in writing about Stephen Stills is that I have monologues, overheard and indistinct, but are several just as good. The only fault with difficulty in describing the sensation I felt still communicating alienation and a state the album, excellent though it is, is that it as the very last chord poundered out of the of disengagement which is somewhat past lacks energy and tension. It’s a bit too low- stereo. Shivers down the backbone? Spiders despair. In musical terms, these two tracks key, and I can’t see myself wanting to play it on the shoulderbone? Anyway, it is fantastic! depend on a complex under-pinning of much again. Alan Lewis Allan McDougall

Stills, Colorado, September 1970: “I’m sure that red giraffe over there is following me...”

NME, 10 October 1970, page 8 ow! What musical talent these boys W own between them. Country rock seems to be a popular style of music at the moment but The Band are the originators of this clear- An cut funky sound. ‘Stage Fright’ is an incredible incredible example example of of good writing, good writing, good singing and superb production good singing blending together and superb to supply a must production for the record collection. This album will appeal to anyone who takes the trouble to listen to it, no matter what kind of music they prefer. It is difficult to pick out best tracks because they are all so good, but my favourites are ‘Strawberry Wine’, ‘Daniel And The Sacred Harp’ and their current single ‘Time To Kill’. Gordon Coxhill

NME ORIGINALS 89 1970-1971

LAURA NYRO Christmas And The Beads of Sweat LAURA’S LONDON TRIUMPH CBS MM, 13 February 1971, page 22 no one present could have argued dark autobiographical melancholy; hen an audience can greet against the assertion that she is ‘Emmie’, for its sense of personal Laura Nyro the way they certainly more effective live than loss; ‘Map To The Treasure’, for a did at the Royal Festival on record; the arrangements for stunning display of highly W Hall, London, on Saturday voice and piano are more sharply percussive pianistics; and the night, then I’ve got to admit it’s getting focused, the emotional registrations climactic ‘Christmas In My Soul’, better, it’s getting better all the time. more exact, than the recorded which she delivered as if possessed by To me, she symbolises the breadth orchestral treatments. benign spirits. of pop music – the way it can embrace She was an extraordinary sight, Unexpectedly, she also read a brief such widely disparate performers. wearing an off the-shoulder Spanish poem called ‘Coal Truck’ which Nyro is at one end of the spectrum, dress, her hair fl oating down to emphasised her way with words, and MM 30 January 1971, page 22 and she has it all sewn up. the piano stool as she leaned back her fi nal encore took the form of a ach of Laura Nyro’s four There can be no question that the ecstatically at the end of each number medley of two old favourites; E albums has had its own distinct personality. ‘Christmas’ is concert was a personal ‘He’s Sure The different again; for a start she’s triumph for her. Nyro is at one end of the Boy I Love’ and accompanied, on the first side, True, the audience ‘Spanish Harlem’, by the brilliant Muscle Shoals band. The fact that other names was on her side from spectrum, and has it all sewn up bending them to include Duane Allman and that the start, and would her will and production is credited to Felix probably have applauded had she just while the spotlights dimmed to a making them sound as though Cavaliere and Arif sat there mumbling and never sang or pin-point and died. It was a superbly she’d written both. Mardin might lead one played a note. But a large part of her theatrical performance, yet one never The concert was opened by Jackson to expect Underneath achievement was the conquering felt any sense of falseness because Browne, who used to compose some kind most of the of her extreme pre-concert the music is true and the trappings and play guitar for . His warm of soulful, songs there’s nervousness, which manifested somehow enhance that honesty rather voice, rough but driving guitar and funky still a leitmotif itself in her rather unsteady gait than give the lie to it. piano and sad songs made a strong music. of self- and occasional tight half-smile. In fact destruction She gave us 11 of her own impression before the interval but the the essence The fi rst strident notes of ‘Stoney compositions, all familiar from fi rst glimpse of Miss Nyro drove all hasn’t changed End’ though, dispelled all doubts the albums, outstanding among else out of everyone’s head. It was a at all, and Laura (or rather Mardin) uses the assets in the hearts of both her and the which were ‘Timer’ for its vocal most memorable occasion. of these musicians to serve her audience. A couple of minutes later, virtuosity; ‘Been On A Train’, for its Richard Williams approach, rather than becoming subservient to them. The result is probably her best album to Laura Nyro in date, although it’s difficult to talk concert 1971 about her in such comparative terms. Many of the songs create an impression/illusion of greater happiness than before, like the opening ‘Brown Earth’ (positively euphoric) and the gorgeously impressionistic ‘Upstairs By A Chinese Lamp’. But underneath most of the songs there’s still leitmotif of self-destruction, like ‘Map To The Treasure’: “My pretty medicine man/Got pretty medicine in his hand.” But perhaps the best track, overall, is ‘When I Was Freeport And You Were The Main Drag’, which has wisely been released as a single in the States. It’s in her tradition of singable songs (‘Wedding Bell’, ‘Stoney End’,) and Mardin’s arrangement is the soul of tactful emphasis. The lovely cover portrait sets the seal on a magnificent record. Richard Williams /ELLIOT LANDY–REDFERNS

Laura Nyro: “positively euphoric”, unlike

her stylist... ARCHIVE–REDFERNS OCHS MICHAEL

90 NME ORIGINALS MM, 9 January 1971, page 1 otheringay, one of the great white hopes of 1970, has split barely 12 months after its creation. The decision was joint, and was made just before Christmas. F There will be a special farewell concert at London’s Queen Elizabeth Hall on January 30. Sandy Denny told MM this week that her main reason for wanting the band dissolved was so that she could make her first solo album. “I’ve been wanting to do it for a really long time, but I don’t think I was ready before,” she said. “Because I was in the group I didn’t have the time to make it and we “I’ve been wanting to do a solo album for a long time, but wasn’t ready” Sandy Denny weren’t a rich band. We couldn’t afford to take time off from being on the road. “I’m not quite sure yet how long I can be without a Fotheringay group. Apart from the album, I don’t really know what pictured in 1970: they were over by I’m going to do.” Christmas The album, she said, would be started soon. She had composed four songs already. Was it true, as rumours suggested that the band split because it could not get any gigs? “No, not at all,” she protested. “We’ve got loads of gigs coming up that we’ve had to cancel because of this decision.” The folk supergroup decide to call it a day, but Trevor Lucas, singer/guitarist with the band, plans to learn deny that lack of success was the cause record production and engineering. He will continue to write songs both with Sandy and by himself, and hopes to make to continue playing sessions and concerts. “The music But Tim Sharman, a friend of Fotheringay told MM he a solo album. scene,” said Conway, “is now turning more and more to believed they had parted because of a lack of venues, He said: “It was getting a bit pressured for all of us. It people playing not in one group but with other musicians.” management hassles, and a lack of public reaction. got to the point where there was such a lot of work and Lead guitarist Jerry Donahue will also work freelance for a Karl Dallas, writing in MM in November, commented on so many different things happening that I didn’t have time time, but is considering offers to join other groups. Fotheringay’s failure to live up to their early promise, their to relax.” Lucas stressed that the decision to split was amicable and lack of fire, and their failure to gel completely. Drummer and bassist Pat Donaldson plan came from within the band. “What’s going to happen to Fotheringay?” he asked.

VAN MORRISON Van Morrison with TIM BUCKLEY His Band And wife Janet Planet Starsailor The Street Choir and daughter Shana Straight Warner Bros in Woodstock

Disc and Music Echo 13 February 1971, page 18 MM, 30 January 1971, page 22 The sleeve illustrations depict the singer around a Motown guitar riff. Among my tarsailor’ from Tim Buckley is very heard ‘Domino’, sighed inwardly, and and band in commune-style scenes, favourites is ‘Crazy Face’, which almost ‘S strange. Most of the songs are sung I thought I knew that everything was gonna surrounded by wives and kids, and seems to hark back to ‘Astral and played in minor scale sequences and be all right. As a worshipper at the shrines of the album reflects this loose, easy There’s Weeks’ in mood. The humorous don’t sound altogether tuneful. Other tracks Them, ‘Astral Weeks’, and ‘Moondance’, it was mood. The songs don’t snap nothing scat riffing of ‘’ is have a suppressed violence in them, totally important for it to be so, even more when like they used to, his voice ‘wrong’ with quite diverting, too. In fact the unlike his previous work. I know that this band is the best live unit I’ve stretches but doesn’t bite, and it as such; I just more I listen to this album, ‘’ is beautiful and has a peaceful backing music, set to sad words. ever seen. there’s a lack of the terseness have the feeling the more I get out of it. I still Why, then, is so much of ‘His Band And The which made him so attractive. have definite reservations, It’s quite a relief to reach ‘Jungle Fire’ which Street Choir’ vaguely disturbing, even moving Apart from that, the music that Morrison is when compared to with is on more familiar ground and breaks towards disappointment? There’s nothing has much to recommend it. Van too relaxed his earlier masterpieces, but into rock. The entire album is unsettling, “wrong” with any of the 12 tracks, as such; seems to be delving back into anyone who dug the latter to any but gives the impression that all will be I just have the feeling that Morrison is early R&B (maybe he never left it). extent will want this. revealed after listening to it over a maybe too relaxed, too happy. ‘Domino’ is a small masterpiece, based Richard Williams longer period.

NME ORIGINALS 91 1970–1971

GRAHAM NASH DAVID CROSBY If Only I Could Atlantic Remember My Name Atlantic

NME, 5 June 1971, page 7 NME, 3 April 1971, page 6 am a simple man/So I sing a simple suppose there are those among us who “I song/I’ve never been so much in love/ I have still to realise the magnitude of And never hurt so bad at the same time,” David Crosby, Stephen Stills, Graham Nash sings Graham Nash on his excellent premier and Neil Young... collectively and as soloists. solo collection. In doing so he states the main Having paid their respective dues with Buffalo theme that prevails throughout the album. Springfield, The Byrds and The Hollies, they Though a majority of the material pivots now stand among the very finest writers/ around the subject of love – lost and found, performers. In a consumer industry which past, present and perhaps future – Nash pivots around “here-today-gone-tomorrow” doesn’t wallow in self-pity, pathos or hide music, the songs of CSN&Y will remain as under the doom clouds of despair. being reflective of the quality music of the ‘70s. Graham Nash has come to terms with his life, Prior to the unit reforming for concerts and with the result that ‘Songs For Beginners’ recordings, the interim period has been laid has evolved as a most tasteful anthology, aside for these Titans to indulge in a spate light, straight and ever so simple. It is in the of “own thinging.” To our delight, Neil has charm of its basic simplicity that this album produced his classic ‘After The Goldrush’, and has succeeded. With a minimum Steve has displayed his personality of production and a smatter in an all-star gathering. Now, of “names”, Graham has Nash old ancient-face David conceived an album Crosby has assembled his which is perfect for the doesn’t closest musical friends summer months and wallow in self- to enhance his debut one which could notch album. Retaining the up the same kind of pity, pathos or basic spirit of some of sales figures as Neil hide under the his CSN&Y albums, this Young’s ‘After The particular set seems to Gdldrush’. doom clouds hover in a singular mood All of the 11 cuts are of despair of lethargic tranquility. It short and precise, and may not have the immediacy in being so they sustain the of the Stills and Young collages, listener’s undivided attention but after continued re-plays it emits through both sides (own up, how many a slowly rotating charisma of sustained calm albums can you say that about?). and peacefulness. My introduction was early At no time are any of the tracks, over- on a warm sunny Sunday morning, with the embellished or drawn out... self-control green fields and scurrying squirrels acting as Picture caption in has been observed and artistic discretion a pleasing visual backdrop, which may give here please in here maintained. Far removed from the CSN&Y you some small insight into the mood. thanks. Picture format, the only noticeable characteristic Though none of the tracks give individual caption to be detected, on a couple of tracks, is performing credits (a pity), the collective that Nash is prone to adopt a Lennon-esque personnel includes Nash, Young, Joni Mitchell, timing in the delivery and pauses in certain sidekicks Jerry Garcia, Phil vocal stanzas. As both Lennon and Nash are Lash, Bill Kreuzmann and , first generation nasal rocksters from the members , Jack same area of North-West England, perhaps it Casady, and Jorma Kaukonen, is just a natural trait, nevertheless it enhances plus Santana sidemen Gregg Rolie and the mood of the particular tracks. . Roy Carr

Graham Nash: “Nice NICK DRAKE weather. Not too Disc, 13 March 1971, page 19 many doom clouds on the horizon” Island ick Drake was discovered by NFairport Convention some time ago and ‘Bryter Layter’ is his second album. He sings his own very personal songs in a strange, deep Vaseline voice, probably more suited to crooning, accompanied at times by a really funky backing. There’s an amazing array of faces featured – , Richard Thompson, Dave Mattacks, Lyn Dobson playing flute on the title track, Chris McGregor and on lovely things like viola, harpsichord and celeste. An extraordinarily good, hefty folk album.

92 NME ORIGINALS “But I don’t know any more songs”: Neil faces the , 1970

MM, 6 March 1971, page 18 so striking. He deals with very personal subjects, in a guitar a very full sound; on ‘Cowgirl In The Sand’, “ ‘ h Lonesome Me,’ Neil…” tightly-focused way which has no truck with abstract for instance, he even managed to accompany his “Uh… I can’t do that without the band.” imagery. His words, like his tunes, are concise to the own brief but typical solo fl urries, and the effect was “ ‘Southern Man,’ Neil…” point of saying what he wants them to say and then almost as driving as the recorded version. O “ Uh… listen, I’ve got a bunch of stuff to sing stopping. Not many people can do that these days. The key songs were ‘The Loner’ and a new one, for you. I… I came prepared folks. This is a big gig for He sang many new songs: the most unusual perhaps, ‘The Needle And The Damage Done’. Both are about me, y’know.” was ‘A Man Needs A Maid’, which he’ll record with friends, viewed with a sad but uncloying sympathy. It turned out to be a big gig for everyone. I wasn’t the London Symphony Orchestra this week. He When he reached the verse about Judy Collins in going to go at fi rst, because it looked like being the used the piano on this, and behind those crashing ‘The Loner’, Young seemed suddenly traumatised; sort of concert that EVERBODY attends. You know, climaxes one could already hear Jack Nitschze’s his voice dropped, yet became charged with the everybody who’s anybody… I mean deepest emotion, and the song became what a DRAG. But good sense prevailed, really real. ‘The Needle...’ is about the friends and was rewarded by as fi ne a concert as he’s watched wreck themselves on , anyone could have wished. and the high clarity of his voice hurt. It was The inevitable comparison was, followed by ‘Nowadays Clancy Can’t Even I suppose, with the Dylan of ’65, and if it does nothing arrangement for the LSO. There were two beautiful Sing’, Springfi eld’s fi rst single which built a startling else, such an exercise at least delineates the changes in songs about his new ranch, another called ‘Dance Dance momentum into a brilliant performance. attitude towards rock performers. Whereas the old Dance’ which was a light Cajun-inspired piece to jig He left, but the audience bayed for more so he came Dylan was magnetic, hypnotic, a far away fi gure who around to, and the title song of his next LP, ‘Harvest’, back and sang ‘Dance Dance Dance’. They wouldn’t mesmerised, Neil Young at the Royal Festival Hall last which had a graceful melody strongly reminiscent of stop, though, and reached that awful point where they Saturday was an old friend come to sing us a few songs. the old English folk song, ‘Mary Hamilton’. were really applauding themselves for being so The sense of occasion, so strong that it almost curled But there was much that was familiar, too: ‘Tell COOOOL, stupidly demanding more from an artist into the nostrils, was created not by the performer, Me Why’, ‘Only Love Can Break Your Heart’, ‘Don’t who’d already given everything. Unwisely he came but by the audience and their expectations. In Let It Bring You Down’, ‘Ohio’. Oddly, most of these back looking rather surly and sang ‘Expecting To Fly’, concert, by himself and with only a guitar and piano sounded even better than the recordings, for Neil’s fast. It had been a wonderful concert but the audience

MICHAEL PUTLAND-RETNA/STARFILE MICHAEL to play, the essential simplicity of Neil’s songs is what’s unusual technique allows him to draw from the had come damn near to ruining it. Richard Williams

NME ORIGINALS 93 1970–1971

“See you in the ‘80s, peckerheads”: (l-r) S, N, C & Y laugh it up for the last time

CROSBY, STILLS, he almost re-routes the traffic to make it into retains its magic despite the lack of musical enthusiastic closer. ‘Pre-Road Downs’ opens NASH & YOUNG a one-way street. One can almost envisage support. ‘Triad’ and ‘The Lee Shore’ are two the second album in a rush of electricity more 4 Way Street his “friends” standing back in complete moody cameos from Mr C and coming one on evocative of the first CS&N album and secured Warner Brothers admiration for his performances; most notable top of the other they do slow the pace, mainly their musical immortality. ‘Long Time Gone’ is being ‘Cowgirl In The Sand’ and ‘Southern due to their very obscure melody lines. ‘Chicago’, definitely one of Crosby’s better compositions Man’, the latter being the standout track. a Nash song dedicated to Mayor Daley, with dark rumbling guitar support. Good Though you can draw comparisons with the has strong political overtones, passionate vocal. ‘Southern Man’ is, to studio cuts, a few benefit from the naturalness and as it was performed in reiterate, the best cut on the set. of being performed before an appreciative the city of its title has even Young completely takes over gathering. At times even the most intense more impetus. One the group for this extended song takes on a relaxed casualness in its ‘Right Between The Eyes’ can almost track which stretches to stripped-down interpretation. opens side two and imagine 13-minutes plus. Drawing Musical imperfections, human errors and it is one of “Willi’s” every ounce of strength obvious clangers are to be detected, but such introverted songs of love, Young’s “friends” from the other musicians is their artistry that it enhances as opposed as opposed to being a love standing he has preserved a classic to widening the quality of performance. For song. Beautiful lyrics. performance. ‘Ohio’, over-indulgence in the studio can at times ‘Cowgirl In The Sand’ back in Young’s politico anthem, lead to an undertone of sterility. Split into two showcases Neil Young at admiration maintains the same high- NME, 24 April 1971, page 15 contrasting sections, the first album is the his very best; while ‘Don’t tension which prevailed in e’ve been promised this double-set “wooden” set, in that it is all acoustic with Let It Bring You Down’, another the previous number. ‘Carry RESS Wfor many moons, but various internal solo performances all round. Track by track Young original from his ‘Gold Rush’ On’, Stills’ 13-minute cut, more conflicts and continuous re-mixing have been the set opens with ‘On The Way Home’, the collection is equally as good. ‘49 Bye-Byes’ than demonstrates what a vastly underrated the prime obstacle in its delay. Yet, it has to old Buffalo Springfield hit which Neil also uses is Steve Stills’ first contribution, which starts guitarist he is. ‘Find The Cost Of Freedom’ is be said that this is the most worthwhile as the introduction to his solo concerts, and slowly then doubles the tempo to include ‘For the closer and the group’s acoustic encore. acquisition. If only for the fact that Neil immediately he asserts his position as one of What It’s Worth’. I prefer the deep brooding And a song which Stills originally wrote as the Young unwittingly dominates the this year’s artists supreme. Buffalo Springfield original. ‘Love The One epilogue for the movie.

proceedings to the extent that at times ‘Teach Your Children’, the familiar Nash song, You’re With’, Stills recent hit single, is a fine Roy Carr HENRY DILTZ–CORBIS/PICTORIAL P

94 NME ORIGINALS 1970–1971

LEONARD COHEN CAROLE KING JAMES TAYLOR SongsOfLoveAndHate Tapestry Mud Slide Slim CBS A&M And The Blue Horizon Warner Brothers

NME, 22 May 1971, page 7 MM, 22 May 1971, page 22 MM, 1 May 1971, page 16 hat a depressing guy this Cohen is! He ow strange, and yet how pleasing, is the hen a musician becomes as Wsings as if he’s a bad loser at a poker Hrecent ascendancy to stature of a girl who W fashionable as James Taylor, he is in game, or as if it is an effort to get the words teased us all as teenyboppers with simple songs danger of sounding like a parody of himself. out. All in a dull monotone. like ‘It Might As Well Rain Until September’. Stylistically, this rush-released album is no But he does let you hear the words he sings Carole King is ten years older now, but her songs great departure from his last; and while and if you listen carefully and think a bit you are younger. Her last solo album, ‘Writer’, was the songs are rich in words and moods it can get the message. The music behind him is a side road; this new one is a motorway, strikes the Taylor admirer, on first hearing, from his group The Army, and from because it’s difficult to turn off once you’ve as being rather too passive. strings and horns arranged started. Understatement in performance But then, melancholia is James’ kick, and by Paul Buckmaster has a lot to do with Carole’s charisma, we should perhaps expect no more from and from the Corona What a but the words are powerful, too. him than a collection of fine songs, simply Children’s Choir, in depressing How else would she secure the constructed in that observant, poetic manner. London. friendly co-operation of James James is kept company by some notable ‘Dress Rehearsal guy this Cohen Taylor on acoustic guitar; brilliant notables: Joni Mitchell sings with him on Rag’ is a morbid is!Ifyou want guitarist Danny Kootch and ‘Long Ago And Far Away’, and ‘Love Has piece about bad Merry Clayton on background Brought Me Around’, while Carole King, as memories and to be depressed, vocals? The beauty of King’s well as writing one of the tracks, lends an ‘Diamonds In The this is writing lies in her rare ability effective piano to several others. Taylor is Mine’ is quite tuneful for you to be sentimental without even rarely credited sufficiently for his acoustic until Cohen starts bordering on the maudlin. At a time guitar work: rarely can a man who relies on to sing! ‘Love Calls You when California’s music is getting his songs and voice complement these with By Your Name’ is low-key embarrassingly introspective, Carole seems such a warm instrumental touch. self-pity and ‘Famous Blue Raincoat’ a study able to articulate other people’s emotions So what of James’ songs? It’s strange in desperation. ‘Joan Of Arc’ dwells on her and physical frustrations: ‘So Far Away’ is a that people read mystical messages in his fate in the mind of Cohen. I found the album a simple, touching song echoing the ache of stories. The overriding communication is thoroughly depressing experience and if you loneliness. ’You’ve Got A Friend’ is in the same one of doleful despair, heavily introspective want to be depressed, this is for you. Allan Evans league; ’Will You Love Me Tomorrow?’ is rich, and providing an occasional insight into meaningfully sung, with backing vocals by his desperate loneliness. ‘Places In My Joni Mitchell and James Taylor. ‘Tapestry’ is an Past’, and ‘Hey Mister, That’s Me Up On The engagingly poetic performance, though the Jukebox’ stand out as vintage Taylor, one lyrics are a bit strident. This is small criticism shy man with a guitar and some incisive of a magnificent record which elevates Carole stories worth re-telling. It’s an endearing King to the Joni Mitchell division. For rock record, and though not startlingly original, romantics, an essential album that transcends it does enhance his stature as a writer and all the barriers. Ray Coleman musician. Ray Coleman

James Taylor’s favourite kind of folk songs? Carole’s

NME ORIGINALS 95 1970-1971

JONI MITCHELL guitar echoing the sentiment in an incisive Stephen Stills: wail, and, of course, to the chorus where in falls just short of Blue self-pity Reprise a flash of inspiration, Joni summarises all her feelings in the thought that she’d be so pleased to get home she would “even kiss a Sunset pig”, ie for those who can’t work it out, a member of the California constabulary. The album is rich in such poetic imagery, a lyrical strength unequalled certainly among her female contemporaries. Hers is a quality that combines the art of the poet with the documentary-like directness of the best of rock lyric writing, vis-á-vis the attention to detail in ‘The Last Time I Saw Richard’… the quarter in the Wurlitzer, the barmaid in fishnet stockings and a bow tie… and the “pretty people reading Rolling Stone, reading Vogue“ in ‘California’. And the poetry: like NME, 10 July 1971, page 7 in ‘A Case Of You’ where her lover is in her oor put-upon Joni, her heart on her blood and she could “drink a case of you, Psleeve. “I’ve gone and lost the best baby darling, and still be on my feet”. that I ever had” she sings in ‘River’, returning ‘A Case Of You’ is the second of the four to a recurrent theme. Yet still contenders for the best Mitchell song. she’s the Woodstock girl with Woodstock The others are ‘Carey’ and the previously hope – hardly a liberationist but with such mentioned ‘River’. ‘Carey’ has Joni on dignity. The dreamer in ‘The Last Time I Saw dulcimer with the tale of her life in the caves Richard’: “All good dreamers pass this way of the Greek Island of Mattalla and her visits some day/Hidin’ behind bottles in dark cafes” with friends to the Mermaid Café. ‘River’ is We should all know about those “dark cafes”. more melancholy. “I made my baby cry” sings Blue is the beautiful Joni’s fourth album and Joni, wishing for a river she could skate away possibly her finest. Yes, certainly her finest on. Vocally, the singer is superb, and always when you consider that there are at least in control of the sentiment, accompanying four compositions in this collection that could herself either on piano, guitar or dulcimer contend as the best ever Joni Mitchell song. with tasteful support on various tracks. ‘All It ought to have been ‘California’ – in which I Want’, ‘This Flight Tonight’, the joyous ‘My Joni may have written the definite in a Old Man’, the more melancholy ‘Little Green’ long rock tradition, the yearning-for-home and ‘Blue’, the latter with its uncharacteristic song – and maybe it still is, though my piano construction, complete a set brimful of enjoyment of the ‘Blue’ performance has Mitchell class. to be tempered by several hearings of this This may well be the best album of the particular composition during the lady’s last year, but then, where Joni is concerned, time in London. Listen to the chorus line “Oh comparisons have little point. She is in a class pain in ‘Open Secret’, among the set’s best it gets so lonely”, Sneeky Pete Kleinow’s steel of her own. Nick Logan STEPHEN STILLS Stephen Stills 2 tracks, saves itself from tumbling into a Atlantic De Luxe self-pitying abyss because the “pain” is not specified but is universal and identifiable with. Joni works on her That might not go for ‘Relaxing Town’ and “superb, controlled” vocals with a good ‘Bluebird Revisited’ – in which Stills harks dose of the evil back to the old Springfield number – the former concerning itself with the currently popular subject of the rock star wanting escape from the pressures of his chosen career, the latter offering an intrusion on a painful love affair. But it’s in the main a musically strong, if somewhat distressing, album. Stills, as on his first solo set, has gathered round him accomplices of the highest calibre – Eric Clapton, Dave Crosby, and among them – as well as contrasts NME 24 July 1971, page 6 in the arrangements. These range from the n the end there’s something just a little courtly simplicity of the charming ‘Change Iunsatisfying and frustrating about Partners’ and the acoustic ‘Word Game’ to Steve Stills’ second solo album. Anyone the brash Memphis Horns-featuring cuts looking for the neat self-contained roundness ‘Bluebird’, ‘Open Secret’ and ‘Ecology Song’. and polished finish of the kind of songs Stills A standout track is ‘Fishes And Scorpions’, was singing at the inception of CS&N which boasts some beautiful guitar won’t find them here; rather playing (Clapton?) and a strong the songs of this album are Stills vocal redolent of the incomplete, open ended, The phrasing and pitch of Neil haphazard in construction, listeners are Young. sometimes ill-conceived or The lengthy ‘Word Game’ ill-executed. voyeurishly invites comparisons It’s raw, if you like… like invited to with the ‘Masters Of a nerve end is raw. Like War’ Bob Dylan. Here the Lennon album was participate in Stills launches into a honest and raw. the erosion of bitter polemic against In short, the songs, the his spirit oppressors of all shades frustrations, reflect the man, that bristles with the kind

in whose apparent erosion of of repressed emotion that –RETNA spirit and resolve we the listeners made Neil Young’s ‘Southern Man’ are voyeurishly invited to participate. such a masterpiece. Threaded through the material on this album That leaves just the lengthy and plaintive is a pained, despairing quality that I would ‘Sugar Babe’, again a standout cut, to like to think falls just short of self-pity. The mention. For Stills, if it ever was, it isn’t heartfelt plea to know the reason for the a game any longer. Nick Logan REX FEATURES/MICHAELREX PUTLAND

96 NME ORIGINALS 1970-1971

MM, 17 July 1971, page 18 Carole King and James Taylor utside London’s Royal Festival Hall last Friday, at a tour press ticket touts offered £15 for £1.50 seats for the conference, July ‘71 James Taylor concert. O Inside, when he walked on stage, James received tumultuous applause simply for tuning up his guitar before starting. All his spoken words were received glowingly by a loving crowd. “You’re easy,” he told the audience. He soon realised that he had only to be there to score maximum points. That’s the stage Taylor-worship has reached now: he commands a sheep-like following of devotees who believe that just to be seen in his company signifies good taste, and that James’ disarming manner is part of his act. The Taylor audience seems to want to accept anything he does as beyond criticism. It’s a remarkable achievement for James, but also uncanny – because he doesn’t appear to enjoy his status as Pied Piper of the acoustic movement. When he’s on stage you get the strong feeling that he’d been far happier playing among a few friends in a local folk club, exchanging songs, helping fellow musicians with their songs. He comes over like a gigging musician who’s suddenly been elevated to an uncomfortable perch. He seems bemused and baffled by pop stardom and judging from his unsmiling postures on and off the stage since arriving in Britain, he doesn’t outwardly appear very happy. Perhaps that’s part of the man’s remote make-up, for his London concert was musically thoroughly enjoyable. James makes a mysterious rock idol but he’s a fine musician and judged on purely musical terms he gave a majestic performance of fine songs gently and lovingly sung – one man and his guitar, with a load of dainty, quixotic narratives. His outlook may be doomy and introspective, but it’s intensely personal and adds to the charisma of the man. What we saw on Friday was the James Taylor Gang Show, Live From Los Angeles; much of the West Coast’s most attractive sounds with James accompanied by such strong names from album credits as (drums), Lee Skiar (bass) and the amazing, swooping lead guitar of Danny Kootch joining Taylor on some songs. And after ten years of waiting, we saw Carole King. With America’s His personal magnetism is beyond The Taylor gang hits Britain... Number One-selling album and single she arrived here dispute. Sitting on stage with piercing, as a topical success but with a glorious past to recapture, menacing eyes, blazing like beacons, song. To have written things like ‘I Feel The Earth Move,’ too. So urgent and moving was her performance that it he speaks just like he sings. Announcing a song about a ‘Will You Love Me Tomorrow’, and ‘No Easy Way Down’ seemed a pity she had to share the stage with James, for hot dog, he said: “You can get a good chilli dog at Pinks – that would have been enough of a contribution. either of them would have been a more than adequate at the corner of Melrose and Fairfax in Los Angeles” – at To perform them with such meaning, playing piano so solo attraction. As it was they combined to present which the audience broke into applause. discreetly is the clincher. And when Carole sings lines like together with the jamming musicians from Jo Mama, a Information disseminated by James Taylor is obviously “Something inside has died and I can’t hide/And I just marvellous programme. like word from an apostle. James reaches out and touches can’t fake it” it sounds so REAL. She is sentimental James’ songs were straight from his albums, without being maudlin. with only one surprise, The Drifters’ hit ‘On ‘Up On The Roof’ was performed with a Broadway’. Opening with ‘Sweet Baby James’, Information disseminated by James Taylor is obviously like knowing style, but her encore ‘Natural he sailed through ‘Something In The Way She word from an apostle. He reaches out and touches thousands Woman’ was breathtaking. Her work sounds Moves’, ‘Soldiers’, ‘Carolina In My Mind’, and much better in person than on the ‘Tapestry’ many others, followed by an all-in finale. thousands of people with this rural homespun patter, but album – she seemed to come alive at that piano. This featured Carole King and Gail Haness (Jo Mama’s he is mystified by such willing ovations. Throughout this three-and-a-half hour show, there was singer) as backing vocals while all the musicians went on Carole King sitting at the piano with her unique an ultra-cool atmosphere among a group of musicians stage for a grand jam with James on ‘Come On Brother, repertoire, was a new experience for us all, and quite with plenty to say to each other and to the audience. Get On Up And Help Me Find This Group’. simply, electric. Somehow, the popular music of ten years There wasn’t one weak link in the people on that stage; Taylor is at least as powerful in person as on record. Too was embodied in Carole’s all-too-short time on stage. Her everyone communicated a love for music and an ability to little is said of his instrumental work; his empathy with his songs, beautifully suicidal, mirror the vulnerability and project that feeling to each other and to the audience. own vocal work is outstanding and he has a beautifully painful despair of the human condition, and at the Festival A really great Gang Show. delicate touch with the guitar. Hall she established herself as the First Lady of popular Ray Coleman

NME ORIGINALS 97 1970–1971

98 NME ORIGINALS 1970–1971

NME ORIGINALS 99 1970–1971

Her songs are about love, sadness, death, wickedness and her voice is a rich vibrato that can cajole or whiplash. She could make ‘Ba Ba Black Sheep’ sound like a ghoulish lament if BUFFY SAINT-MARIE she was so inclined. Soldier Blue Nowadays when she’s not working, Buffy Vanguard

lives with her husband on one of the outer NME, 7 August 1971, page 9 Hawaiian islands, 100 miles from Honolulu. t’s taken five months for “We have a farm and it’s really not inhabited Ithe new Buffy Saint-Marie and far enough away so I rest more than single to enter the charts, which is a long time to wait I would if I lived in town somewhere. I almost for anybody! The song is moved to England once to live, but then I met the title music to the film my husband who’s Hawaiian.” Soldier Blue, a movie about Her latest album to be released here the brutal and often unfair The freak who lost her feathers... treatment of American Red is, ‘She Used To Wanna Be A Ballerina’, Indians a century ago. a magnificently powerful work. Buffy Who better to write the recorded the album about 18 months ago, music or sing the song than and she’s done a further two since then, Buffy, whose big campaign in life is to fight for the rights as yet unreleased. On ‘Ballerina’ she’s used of the American Indians? , Neil Young & Crazy Horse (she Half Red Indian herself, has included his song ‘Helpless’) and Merry Buffy, who is 29, lives in a Clayton on back-up vocals. mountain house on Garden Island in Hawaii. “I like each album to be different, and if ‘Soldier Blue’ I meet different people having a is her first different kind ‘Soldier release of life, then the album will reflect Blue’ is for a few years in that. With ‘Ballerina’ I’d just met her first Britain, Neil and that lot. I did a country chart entry and her and western album in Nashville, in Britain first chart and on one LP, ‘Illuminations’, which entry here, too. is probably my favourite, I used a Currently she synthesizer.” is working in Japan, There’s no set formula for her song writing, but a tour is being lined her songs just come to her. When she was up for her here in October. While Buffy may live in doing a photo session in Hampstead recently comparative comfort at she started scribbling down lyrics on the back her house in Hawaii, many of a bill. of her relations still live on “It just comes to me wherever I am, reservations in America. And she makes it her business to sometimes when I’m sleeping, which can be devote some of her money a drag. I never decide ‘I will write some songs to help the American Indians because I’ve got a record due next week,’ it fight for their rights. just happens, kind of like sneezing, and there’s Although she’s been writing songs since she was a child, Cher alike: Synth not much sense faking it. it was only in her last year pioneer Buffy plans “And I’m not critical of myself, because for her 2015 comeback at college that she made me they’re free gifts, they’re not something her first public appearance. I sit down and compose like a high school The response she received encouraged her to make MM, 7 August 1971, page 11 of the others were put out here – she was thesis, so I always like my songs... the ones singing and writing her uffy Saint-Marie is sceptical of Britain generally neglected, which considering her I remember anyway.” career! Julie Webb and it’s not surprising. When Miss brilliance and her contribution to music is a bit Buffy spends a lot Marie last arrived on these shores it like totally ignoring Schubert. of time round Indian was as though the days of the old Wild A Cree Indian, Buffy grew up in New reservations and does a Buffy Saint-Marie B in the limelight at West were still very much alive. People peered England and graduted from the University lot of benefit concerts, BBC TV Centre at her, scratched their heads, and decided that Of Massachusetts, reading philosophy. After but tends to steer clear she must be a freak. After all, what kind of Red graduating she was considering going to India of getting involved in Indian was it that didn’t wear feathers? And to study some more, but went to New York demonstrations. where was the warpaint that we had expected? for a weekend, sang in Greenwich Village and “I think marches and things are best left to those experienced in “Songs just happen, like sneezing, and there’s not them, and I’m not. I figure it’s best to do much point in faking it” Buffy Saint-Marie what you’re good at, so I sing songs about it. So since that experience Buffy has steered was spotted. The following autumn she What frustrates me is clear of the old country, except for the odd turned professional. that people won’t pick visit to friends. “It was terrible,” she recalls, “I played piano before I learned guitar,” up the ball. I try to give “They’d been pushing Red Indian this and Red she says. “There was a piano in the house people something they Indian that. People were asking me where my from the time I was four, and playing it came didn’t have when they feathers and beads were, which didn’t offend so easy I thought playing it on stage would came in, poetically, me but was an awful waste of time.” be cheating so I never have!” It’s said that musically and It is also a drag, because it’s meant that when she was 17 she could tune a guitar 32 philosophically.” after her first three or four albums – none different ways. Caroline Boucher PETER STUART, HARRY GOODWIN

100 NME ORIGINALS 1970–1971

SANDY DENNY The North Star Grassmen Bless The Weather And The Ravens Island ILPS

NME, 9 October 1971, page 13 MM, 4 December 1971, page 52 hat makes this album for me oth as a songwriter and performer John Wis Sandy Denny’s voice. It is so BMartyn concentrates on exploring well- different, with a full bodied range, full of defined areas of mood and tone. His songs, emotion and feeling. Many will say it is just lyrically and melodically, are introspective fashionable to dig Denny. Maybe, but there and he is a fine enough musician to translate is no getting away from the fact that she’s this into subtle arrangement or perhaps a good singer, on the traditional pieces, it would be a closer estimate of Martyn’s the more emotive ones, or the good working methods to say improvisation. Even old rockers. the rock formula of ‘Sugar Lump’ contributes Her career with the Fairports and then to intensity without damaging the sensitive Fotheringay has obviously helped her to musical balance. Very similar tonal shades develop her singing and writing complement one another purely techniques, but I don’t think this because Martyn and co-producer record is the best she can do. John Wood recognise their And frankly in places I was Sandy’s potential and don’t blot them disappointed with what voice is so out with some contrasting had gone down. sound. ‘The Optimist’’s different, with There are even times when arrangement doesn’t a full-bodied these songs come within flow, and ‘Wretched range full of range of comparison with Wilbur’ is downright other singer/songwriters scrappy. ‘John The Gun’, a emotion and with their guitars and good song in its own right, feeling lurking in the has many similarities to ‘Late background. The difference is November’ and is only saved by that Martyn never has to grope the chorus. for a mood. There are no awkward These are only incidental criticisms, and it is spaces while piano augmentation is allowed a successful record in the main. to trample blindly over the continuity and John Martyn: Sandy has also continued her association effect of a song. Simply, it sounds as though complete simplicity or with past colleagues by using Richard he knows what he is doing and the result is simple completeness Thompson, Jerry Donahue. Pat Donaldson accordingly precise. The instrumental aspect and Gerry Conway. With Jerry and Richard benefits from Martyn’s choice of musicians often playing together it gives the tunes – Danny Thompson (string bass), Tony Reeves CAT STEVENS THE BAND a lot of bite, with their lead patterns (electric bass), Roger Powell (drums), Ian Teaser And The Firecat Cahoots snapping at each other. Tony Stewart Whiteman (keyboards), Richard Thompson Island Capitol (electric guitar), Smiley De Jonnes and Beverley Martyn – although they are all strictly harnessed. The songs, all John’s apart from ‘Singin’ In The Rain’, are absorbingly attractive, their impact increased by the clarity of the recording and intricate backing. In the past his lyrics have sometimes been monotonous, but on this album he has countered that without Disc and Music Echo, 18 September 1971, page 16 Disc and Music Echo, 13 November, 1971, page 45 splitting from complete t’s irrelevant to decide which of the three ike ‘Stage Fright’, this falls just short simplicity (or simple IStevens albums is the best, but this one Lof their sublime second album, but it’s completeness). His is probably superior because the tracks are still better in every way than most bands ‘Walk To The Water’ all so good that no single one stands out will manage in a lifetime. They remain one communicates so immediately as a single. So Island chose of the two or three bands of our time who much with simple ‘Moon Shadow’. As before, he continues have been, and are, true originals. Standout words. My one with minimum instrumentation, leaning on track is ‘4 Per Cent Pantomime’, featuring disappointment is acoustic guitars, drums and bass as the basic a sensational duet between Robbie that John hasn’t unit. There is a subtle Greek influence about Robertson and Van Morrison. Another recorded more of the music (with the exception of ‘Rubylove’, guest is pianist/composer the reverb guitar where it is the basis of the tune); a bell here, , who arranged the Lee instrumentalism, as a tempo there, which brings it out. It is nice Dorsey-ish horns on ‘Carnival’. Most of the it offers a potential to get a whiff of Greek’n’garlic as opposed to tracks continue to reflect Robbie’s love way outside common the country and western style that besots the affair with American history, although reference points. heads and music of just about everybody who ‘Where Do We Go From Here’ has a Andrew Meanes isn’t playing hard rock. more topical theme.

NME ORIGINALS 101 1970-1971

The ex-teacher, soldier, janitor, boozer, boxer and general hobo who has joined the top rank of American singer-writers

NME, 6 January 1971, page 10 He’s not pretentious at all. He gave up a secure future equipped recording room and one studio room which ashville. Green, green grass. The airport building, as a teacher to go to Nashville three years ago to create could hold at a pinch 20 musicians and no more. Here like most of the places in town six miles away, and communicate. He stuck out a job as a janitor at CBS many stars have made hits, including . is one-storied, including the studios around studios for 58 dollars a week for about a year and then got Kris had seven with him, four session men and three 16th Street. the sack from it. who tour with him. The latter are bassist Terry Paul, N Olive-coloured, with just the wording “Home He lived in a 25 dollars-a-month rooming house near keyboard man Donny Fritts and lead guitarist Stephen Of Monument” painted on the front wall, Fred Foster’s the studios. He kept writing to counteract loneliness and Bruton (with Kris on guitar, though not in the studio). famous studio is old. It could have been a church hall or a his craving for the bottle and other stimulants. It was very Among the session men were guitarist Bucky Wilkins, warehouse first. different from the first 30 years of his life. son of Mrs Marijohn Wilkins, owner of Buckhorn Music The pretty lady sitting on the concrete step outside He was a brilliant literary student at a Texas university, publishers who have some of Kris’ copyrights, and sunning herself, said Kris Kristofferson was recording his won a Rhodes scholarship to England’s Oxford University, drummer Gerry Kerrigan. third LP with Fred Foster, head of Monument, and it was spent two happy years there, reading Shakespeare and Songs to follow his successes like ‘Sunday Morning more than her life was worth to let me in. Blake and Hemingway, boxing and singing a bit as Kris Coming Down’, ‘To Beat The Devil’ (about hopes of being Kris is America’s latest hot product and the album is Carson, doing six sides with Tony Hatch (his first session) successful, dedicated to Cash), ‘For The Good Times’ eagerly awaited to follow ‘The Silver Tongued Devil And I’ for the defunct Top Rank label in 1959, managed by Paul (written after his marriage broke up, thinking of when it (released in Britain this week) into the US album Top Ten. Lincoln, who had Tommy Steele connections. He wrote two was a happy union) and his bluesy ‘Me And Bobby McGee’ His new single, ‘Loving Her Was Easier’ was tipped for novels, both rejected. are on the new LP. possible British success by NME’s Derek Johnson last week. After college he went into the Army and became a I had pre-hears of ‘Devil’s Got Her Soul’, about a girl And his ‘Me And Bobby McGee’ album is released here helicopter in Germany, got married and had two and the wages of sin, sung in a dark, husky voice to a next month. children. But the Army made him feel stagnant creatively, ‘Frankie And Johnny’ type of rhythm; a soft, easy song Last year, too, his ‘Sunday Morning Coming Down’ was so he left after several years. called ‘Sugar Man’, with a jog-trot, danceable sound; chosen as Nashville’s CMA song of the year. He is big stuff. A post teaching English at an American military college ‘Josie’, a lively song about an interesting girl: and the Hank The young lady took a card inside and came back to awaited him. But he had some songs and wanted to go to Williams-influenced ‘Somebody Nobody Knows’ about a say: “Come back at 6.15 and visit awhile then.” I did and Nashville to see if they could be published. He got to like man dying in a city gutter, a real tear-jerker. was ushered into the darkened studio with its coloured Nashville and decided that was his future. His decision sent On one playback, Kris’ ear observed that one track, a spotlights, coked up (cola, of course) and given the big his wife and two children home “to mother” and led to a guitar one, was playing backwards. Fred had this hellos from Fred Foster (an old friend) and Kris, who was break up. rectified. Meanwhile a good-looking bon viveur called most friendly. He also “lost” his parents, who felt he was giving up a Bob Beckham, publisher of Combine Music, which He has a slighter frame than I expected (he was a career to be a bum (“I was, too,” says Kris). But before now brings out Kris’ songs, arrived with a bottle of Golden Gloves boxer and an Oxford University Blue for he died early this year, Kris’ father made it all up with Scotch, which he passed round, everyone swigging fisticuffs), smiling but obviously tired and rocking a bit on Kris. “He was a general in the air force and just couldn’t from the bottle. He looks after Kris and his heels after several hours in the studio. among others. Informally dressed in sweatshirt, heavier Sitting beside Fred Foster was Mort Thomas, waistcoat, jeans and terrible old boots, he “My father was a general in the air force, bespectacled, calm, business-like engineer, gets on with the job, gently bossing the who recalled to me: “I did three million-sellers six musicians with him and sometimes and just couldn’t understand why I became in one day once – ‘Walk Right Back’ (Everlys), countering Fred Foster’s ideas for speeding ‘Ahab The Arab’ () and ‘Wooden up numbers. a hippy” Kris Kristofferson Heart’ (Elvis),” Mort has been engineering for Kris apologised for keeping me out at first. some 30 years. Then he told me he hopes his next trip to England will be understand why I became a hippy.” says Kris. A visitor to the studio was Wayne Carson, who wrote better organised. The Isle Of Wight isn’t a happy memory Kris was no overnight success. “I would have given it all ‘The Letter’ and other hits, and who is now singing under after a long wait on the stage, and Top Of The Pops even up but for Johnny Cash and Fred Foster and Fred Foster’s banner. more unhappy, when he made an unaided journey from and others saying my songs were good. I kept plugging on, We listened to Kris working on a song about going to Earls Court to the TV centre and found the producer sometimes not believing it was still me, the ex-Army man. New York because LA was getting him down and how didn’t like his music. Eventually he got a second or two But I was creating and happy.” he’s going to keep going, “until I die, as long as I can with Tony Blackburn, who started with, “What are you Now he’s got it all going for him, ever since Roger Miller get up again”. One or two takes went wrong for various

doing here?” did his hitch-hiking song, ‘Me And Bobby McGee’ in mid- reasons and then Fred suggested Kris sing it a little faster. S “By that time I wondered that, too,” Kris said with a 1969. He’s going to make a film of this, starring in it, with “Oh Fred,” he moaned, tired. grin. He has a quiet, almost whispering speaking voice, Dennis Hopper, of Easy Rider fame, and for whom he acted So next take the drummer, session man Gerry Kerrigan, keeping his vocal power for his singing. in the forthcoming great film, The Last Movie. stepped up the pace without being told and it really In America he is hailed as another Bob Dylan. His recent His third album is awaited in America with great helped. Perhaps that is the secret of Nashville – the session songs have clever turns of phrase and read like poetry, impatience. I heard some of this, now in its finishing men know just what to do to help things!

though he says: “Me, poet? That sounds pretentious.” stages, in the Monument studios, which is just one well- Andy Gray ARCHIVE–REDFERN OCHS MICHAEL

102 NME ORIGINALS 1970-1971

Kris Kristofferson, fresh-faced, beard- free and ready for the big time

NME ORIGINALS 103

1972-1974

that meant something to me. It feels different but it’s been a long time coming and I’ve been adjusting to it.” THE MYSTERIOUS MIND OF McLean’s image of himself is that of a melancholy loner. “I can’t travel on the road with other musicians. I like travelling alone and I like being alone most of the time. “I don’t give a damn whether anybody else likes my music as long as I’m happy with it. I feel that I have certain elements of myself that are DON MCLEANI could to describe a certain loss that universal to you and everybody else. I felt in American music. So if I like something I feel that there’s “’s death, for me, was a good chance that you’ll like it too. a symbolic death that virtually all “My fi rst record was incredibly the characters in the song suffered. pessimistic, I think. I can’t listen to The music never dies, though, and it – it depresses me. I didn’t set out all I was saying in the song was that to depress anybody, it’s just that the people lack the basic trust to believe record refl ects a depressing period of that the music will happen again.” my life. When McLean dropped out of high “On the whole, I think my music is school in 1964, he naturally drifted very positive. I’d say that ‘American into the circuit. Pie’ is a sad song. “I remember that I was at the Bitter “There are happy moments, just as End when I was just 17. I’d never there are happy moments in life. But played a pub before in my life; I don’t life is generally sad. I’m not always think I’d been out of the house. And melancholy. Sometimes I’m happy “Life is generally sad. I’m not always melancholy. Sometimes I’m happy – happy as hell” Don McLean one of the waitresses asked me: ‘How – happy as hell.” And he grins at old are you?’ And I said 17. And she his wit. turned to the other waitress and said: What comes next? He doesn’t ‘What could anyone 17 years old have know. to say?’ And I thought about it and “I’m just trying to get my thoughts agreed with her.” together now for another record Four years later, a little older but no that I’ll probably record in fi ve or six wealthier, McLean signed on with months. I have no idea what form or The enigmatic Don the New York State Government to direction it will take. McLean: certainly not easy as pie tour the communities on the Hudson “But I can promise you this. It River valley. won’t be like anything I’ve already “I had to play 50 river communities, done. It certainly won’t be another NME, 18 March 1972, page 10 And that is why Don McLean no three a day for a month or more while ‘American Pie’.” ’m not going to discuss the longer gives interviews. After this the state paid me 200 dollars a week,” Jim Smith lyrics of ‘American Pie’, tour there will probably be no press he recalls in his biography. so you can forget those conferences either. Meanwhile Pete Seeger NME, 22 January 1972, page 11 “Iquestions right now,” “You can only answer the same was planning a project of Don McLean proclaimed. A wave of question so many times,” he offers in his own to save the Hudson sighs swept the room, but amazingly explaining his planned withdrawal. River. Seeger planned nobody walked out. McLean and his agents are not the to sail a boat down the Don McLean was giving a Toronto only people turning a good buck river, carrying ecological press conference; he’s in the middle from ‘American Pie’. To his expressed messages to the towns of a month-long 20-city tour of disgust, several Americans are McLean had been visiting. one-nighters and there’s a press marketing their interpretations of his McLean joined the crew, conference at every stop. murky lyrics. along with people like ‘American Pie’ is being touted, by “I have never given my blessing Ramblin’ Jack Elliott and people who should know better, as to any interpretation of anything,” . Now he was a monumental record of the ’70s he charges. “I want to make that running in fast company, and, although nobody is really sure absolutely clear. People go off on musically speaking. just what the song means, as a major wrong tangents and start doing their “I had a good reputation commentary on rock’n’roll music. own number. in the States. did not know McLean’s ‘American Pie’ album, his “I haven’t tried to hide anything,” what would happen. I second, has become the ‘Highway 61 he pleads. “‘American Pie’ was just an didn’t care, in fact. I just Revisited’ of this decade. attempt to use metaphors, the best wanted to make records

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NME, 22 January 1972, page 6 contract and signing with their manager, DJ . together. Each number on merica’s home in the country is hardly luxurious. Almost straight off they landed a string of appearances both the album and the single

Down in bleakest Herts countryside , with at the , with The Faces at The is credited to just one member NME, 20 November 1971, p16 Dan Peek and choose to live in a Oval, and on a Cat Stevens tour. of the group. AMERICA dilapidated old farm labourer’s cottage just outside Said Gerry, “I think there’s a feeling in the business that “On the occasions we’ve A Horse With A No Name a village of the type normally described as ‘sleepy’. if you don’t go through two years of slogging through the tried to write together the Warner Brothers clubs you don’t get hardened as a musician. concept involved has just been Inside the house, America were taking a day off. In a tiny, An atmospheric dark room lit only by an electric fire the group were taking “But let’s face it, the only way fresh music comes on the too much. We seem to work piece about a guy the opportunity to play some rough old tapes recorded long scene is if it happens the way it happened with us. If we’d best by one of us bringing a who’s wandering in before they thought of making hit records. spent years playing clubs the music would hardly be fresh.” song to the others which is the burning desert. Basically the melody In the early days of their career they were dogged by then arranged between the “In fact, the success of our single took us completely by is no more than a surprise,” remarked Dewey. “When we got back from our comparisons with Crosby, Stills & Nash. Now their standard three of us.” said Dan repetitive riff, but its tour of Holland we were amazed to find ‘Horse With At present the insistence intensifies No Name’ in the charts.” group’s thoughts are the sombre aura. “At first we concentrated on acoustic music because we There’s a jogging concentrated on a tour The fact that the three American expats live rhythm, some together is not surprising. They met at school and couldn’t afford any electric instruments” Dan Peek of the States arranged attractive acoustic became friends long before they thought of forming for February. Although guitar and colourful a group. Each had a background of American servicemen’s reply to such criticisms is a half-smiled, “Crosby, Stills & they are all American they’ve harmonies. This is a maxi-single, with three Nash sound like us.” spent little time in the families and a history of moving around the world. tracks taken from the “It all happened one night when we got together over a Why though, I asked, has there been such a concentration States in the last few years. trio’s ‘Sandman’ album. crate of beer and a couple of acoustic guitars,” said Dewey. on acoustic music so far? Musically, they are almost “Everything fell into place. I suppose you could say the “At first we just couldn’t afford any electrical unknown. candle was lit. Straight off we arranged the song ‘Children’ instruments,” replied Dan. “Now it seems to come naturally. “It’s going to be weird,” mused Dewey. “I suppose we which later appeared on the album.” We write and arrange acoustically and whenever we try it go to sleep each night thinking about it. We don’t know Each had been writing songs on their own and so the any other way it just doesn’t seem to fit.” what to expect but we’re not expecting very much.” newly-formed America had a stockpile of material to work “Really I don’t see why there should be such a distinction “Whatever happens, I think we’ll always base ourselves on. There followed a spell of going round record companies between acoustic and electric groups anyway,” said Dewey. in Britain,” said Gerry. “We started here, we live here and playing to anybody who’d listen, which led to a record “They’re both intertwined. We would all like America just to a lot of the music business is consolidated here. be known as a group – period.” “Britain feels as much like home as anywhere else. In spite of the closeness of the When we’re in the States I’m sure I’ll get homesick group as personalities they find for London.” it impossible to write any songs James Johnson

The right to bear arms: (l-r) Dan Peek Gerry Beckley, Dewey Bunnell REDFERNS/HENRY DILTZ–CORBIS 1972-1974

PAUL SIMON Paul Simon either observations or autobiographical, Recorded in New York, Los Angeles, CBS which he then enhances with easily-absorbed San Francisco, and Paris, the opening melodies which range from sheer delicacy cut ‘Mother And Child Reunion’ was to hard bluesy rockers. And this trait is more recorded in Kingston, Jamaica with than evident throughout the entire album. a host of local musicians. When I spoke to Simon during his recent A potential single and a song which stop-over in London, he admitted to being I’m sure will warrant many , more than satisfied with his efforts, but it features Simon adding an almost didn’t show undue concern over how it might Jimmy Cliff inflection in his voice be received when he stated: over a pronounced reggae beat. “As far as records are concerned people are Quite a departure from his usual always making comparisons. When accepted style, for girlie I put out this new album, it’s voices led by Cissy inevitable that people must You Houston swell out compare it to when I sang the hook-line with Artie and to what don’t, not chorus. NME, 8 January 1972, page 12 I wrote on the ‘Bridge even for one This is followed part from the immediacy of the Over Troubled Water’ minute, miss by ‘Duncan’, a Amaterial, the first thing that strikes you album. So what? It poor-country- when listening to this, the first album that doesn’t matter. It’s their the presence boy-comes- Paul Simon has recorded since severing his prerogative to stand up to-the-big-city of Art A rare shot Young’s partnership with Art Garfunkel, is that you and boo when they don’t Garfunkel saga sung in designated “smile don’t – not even for one minute – miss the like it and scream when Simon’s familiar double” latter’s presence. they love it.” lonesome detached No disrespect to Garfunkel’s talent, but Though for the sake of voice. With his flair for on this album Simon has attempted and controversy, there will be those who subtle underplay, he describes achieved all those things that his namesake will thumb their noses and align themselves Duncan as having “Holes in my confidence/ NEIL YOUNG McCartney has been endeavouring to to the former opinion, I feel confident that Holes in the knees of my jeans”. Having Harvest Reprise perpetuate – with only limited artistic success it will prove to be a demonstrative majority befriended a girl lay-preacher, he surrenders since he too decided to go it alone. who will be responsible for making this his innocence thus: “Well, she took me to As a lyricist Paul Simon has the consummate album emulate the same kind of sales figures the woods/Saying here comes something ability to pen highly-descriptive documentaries, enjoyed by the ‘Bridge’ album. and it feels so good/And just like a dog I was befriended”. ‘Everything Put Together Falls Apart’ is two minutes of intimacy with Simon’s guitar supplement by Larry Knetchel on harmonium and electric piano. A very relaxed, almost throwaway performance. With a classic three guitar, drums plus vibraphone backing, ‘Run That Body Down’ is a domestic two-way conversation which, when you read between the lines, infers more than it reveals. ‘Armistice Day’ concludes the first side and among the back-up musicians are BS&T horn MM, 19 February 1972, page 23 player and Miles Davis’ Brazillian he Mona Lisa has nothing on Neil percussionist Airto Moreira. Young. Enigmatic is probably too The second side opens with a very T precise a word for a man whose songs defy commercially-oriented song, ‘Me And Julio any attempt to pin him down. Down By The Schoolyard’, which has more He is all things to all men: loner, martyr, than just a passing touch of the ‘La Bamba’ Christ-figure, poet, mystic. The archetypal, concept. It’s the kind of song you would all-purpose outsider, with whom any expect Shirley ‘The Clapping Song’ Ellis to screwed-up, alienated kid can identify and excel on because the scan of Simon’s lyrics through whom countless more can wallow in are quite masterful. sweet, vicarious sadness. ‘Peace Like A River’ is very intense, has some He is also one of rock’s greatest songwriters, nice guitar licks creeping in behind the multi- wrapping up small nuggets of truth and dubbed voices. pain and beauty in melodies which have ‘Papa Hobo’ features Knetchel yet again in the haunting simplicity of songs half- company with Carlie McCoy on harmonica remembered from childhood and lyrics which, and jazz violinist Stephane Grappelli working like the best songs of Dylan and Lennon, can their way through a syncopated progression be interpreted on many different levels. depth; he doesn’t waste a word. A perfect It is the elusiveness, the mysteriousness, of example being: “It’s carbon monoxide/The many of Young’s songs, which makes them so ole Detroit perfume”. Nuff said. precious. Because they are not explicit, each ‘Hobo Blues’ is a short instrumental which listener can interpret them in a way which brings back memories of the Hot Club Of is meaningful to him or her. Listening to the France recordings. ‘Paranoia Blues’ is a songs on this album, I find it impossible to thumper with staccato horn punctuations set down on paper what any of them is really and some excellent bottleneck guitar about. Yet meaning is there, to be divined interjections from Stefan Grossman. This instinctively. song in many ways sums up the syndrome A few of the songs, superficially at least, that exists in America…whether this is are more explicit than others. ‘The Needle autobiographical or the observations And The Damage Done’, recorded live at of a friend, is up to you to decide. the UCLA, California, is a quietly poignant ‘Congratulations’ brings the album to a close lament for a dead addict. ‘Alabama’ seems and this country soul song again could come to continue the theme of ‘Southern Man’ on in for a lot of cover versions for it has a great his previous album, albeit more obliquely and deal of meaning in the lyrical content. less angrily. ‘A Man Needs A Maid’ is about It has been a long wait since the ‘Bridge’ the pain of love, of being involved, and the album, but Paul Simon is a writer who firmly impossibility of living without it: “To give a believes in quality as opposed to quantity love, you gotta live a love/To live a love, you and within the context of this album there is gotta be ‘part of’ ”. But is it Art? No, it’s suffice to sustain the listener until he chooses The other songs are harder to pin down. just Paul Simon on to collate another folio of his work. They tell of joy, sorrow, love, old age, half- his own Roy Carr

described incidents and meetings – REDFERNS

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all expressed in oblique, fragmented lyrics which create an indefinable atmosphere of regret and nostalgia for a simpler, happier way of life which probably never existed. Musically, the songs here hold few surprises, except for ‘A Man Needs A Maid’ and ‘There’s A World’ which were recorded with the London Symphony Orchestra at London’s Barking Town Hall, with some majestic string arrangements by . The rest feature the fairly familiar mixture of plangent rhythm guitar, woodchopping drums, stinging lead guitar and touches of steel, harmonica and piano. Young’s accompanists are Stray Gators: (steel), (drums), (bass), and Jack Nitzsche (piano and slide guitar) with occasional vocal support from Crosby, Stills, Nash, James Taylor and . Melodically, Young’s songs seem to have been getting gradually simpler and some of the songs here, notably ‘Heart Of Gold’ and ‘Are You Ready For The Country’ are simple to the point of being facile. And yet… he makes them work. That desolate, vulnerable, painful voice, the song and the arrangement come together as they do on ‘A Man Needs A Maid’ and the result is… frightening. Alan Lewis

JUDEE SILL Asylum

MM, 19 February 1972, page 23 udee is one of those breed of American J girls who have taken to singing that one supposes were previously engaged in quietly knitting at home and rocking gently back and forth on the chair in the porch. Now Judee, and dozens like her, have quietly put down their knitting, placed their spectacles firmly on the end of their snub noses, and taken up the acoustic guitar, bent on putting their bubbling thoughts into song. This musical manifestation of women’s lib has been of great value and importance, and shows that while the menfolk have been bawling their gauche and inarticulate lyrics these past four score years and ten, the Judees have NICK DRAKE natural thing to do to bag the album when it the verbal news meanderings. The more you been storing up a treasure house of poetry came in for review. It is hard to say whether listen to Drake though, the more compelling and song. Judee has a more American voice Island John was right or not. His music is so his music becomes – but all the time than Joni Mitchell, and she gently rolls her Rs personal and shyly presented it hides from you. On ‘Things around with an attractive swinging motion. both lyrically and in his Behind The Sun’, he sings to Her lyrics have a homely but none the confined guitar and piano One me, embarrassed and shy. less imaginative quality, as she sings of playing that it neither should play Perhaps one should play cowboys and Jesus. One of the does nor doesn’t come his albums with the sound best songs here is ‘Jesus Was A Cross Maker’, over. Drake is a fairly Drake’s albums off and just look at the which was produced by Graham Nash. She mysterious person, with the sound cover and make the music interprets each song with a gentle firmness no one appears to in your head reciting his that probably surprises her kin-folk; Her know where he lives, off and just words from inside the accompaniment is strictly non-rock, but the what he does – apart look at the cover to your own rhythmic orchestrations retain a funky yet tasteful from writing songs – and cover heart rhymes. flavour, and even swing a mite here and there is not even a chance Nick Drake does not exist at there. She tends to be rather limited in her to see him on stage to get all. Four lines of ‘Know’ – “Know choice of keys and her moods are mainly closer to his insides. In places he that I love you, know that I care/ introspective, without the flashes of humour NME, 1 April 1972, page 19 is a cult figure, and among the new younger Know that I see you, know I’m not there”. one welcomes in Miss Mitchell. But a sixth form and college audience there are It could be that Nick Drake does not ohn Martyn told me about Nick Drake beautiful and highly recommended album. pockets that go overboard to catch the exist at all. in ecstatic terms and so it seemed the Chris Welch J latest glimmer of news that moves along Mark Plummer

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he’s heard it – we’re good friends now.” “I don’t like reptiles anymore- they’re so indifferent” Apart from the rock venues, where else Judee Sill took a spoonful of yoghurt and watched a has Judee worked? “I have done every single folk club in man clambering on to the roof of the Italian Embassy. America. And that’s not many. There are only about five in the whole of the North MM, 25 March 1972, page 20 like manner. Her conversation is college debut album, just released on Asylum. She American continent.” he has just been discoursing on her cultivated, humourous, dry and frank. At follows in the illustrious footsteps of Joni It struck me that Judee was being past activities as lerpatologist when one point she stretched out her chair, gazed Mitchell, Judy Collins, Judy Henske, etc. diplomatically vague about her pre-album her attention was distracted. “That’s at the ceiling and uttered an expletive that “Yeah,” she says thoughtfully. “Did you know activities, especially as she admitted to S the same man who was lying on the would have shocked . “Oh there is a new female singer-songwriter leaving high school as long ago as 1962. floor in my bedroom just now,” she explained. – that spoilt my image of you,” sighed a who plays guitar called Joni Judy?” “After that, I don’t know what I was The small lunchtime gathering, inveigled youth, toying with the chives. Judee gently Judee’s album is a highly developed doing, apart from leading a life of crime and for the purpose of eating salad and joining explained that she usually did her best to musical statement surprisingly mature and drug addiction.” conversation with Miss Sill, a native dispel her public image. rounded for a debut performance. But as I laughed heartily at this amusing jest. Californian, looked puzzled. “Perhaps he is Judee is a singer-songwriter, who played Judee hints, she has been around a long “He’s laughing! He thinks I’m joking! an electrician,” suggests somebody. a sellout concert with America at the Royal time and been through a vast number of I didn’t do it just so it would make me Miss Sill is a firm young lady with a Festival Hall last weekend, and is here maturing experiences. One of her problems a great songwriter. I’ve always enjoyed plump face, owl-like glasses and a business- on the crest of the wave of interest in her in the States has been clumsy booking, writing songs, even when I was little. being put on to open the show for teenybop I used to think it was some kind of curse. Judee Sill: rock acts. My father used to run a bar and he had a Humourous, dry, “I really want to sell some albums so jukebox that played pop music from the frank and shocking I don’t have to do anymore and I can go ’50s. It was terrible…” At this point there out on my own. Please buy the albums!” came a shocking interruption from one of she pleads.“They keep putting me on with the party hanging onto Judee’s words. rock bands in the States, which is appalling. “That was the greatest music ever,” It really is the limit. I come on and there’s opined a mortified gentleman pushing 11,000 screaming groupies taking reds away his cottage cheese untouched. (amphetamines) and red wines, and they Unaffected by this outburst, Judee are only there for one thing – sex. They continued her rapid narration. “Well, I’ve don’t want music, that’s the last thing they spent all my life trying to improve the corny want, and it’s really depressing. melodies in my head. I actually write my “After high school, I don’t know what I was doing, apart from leading a life of crime and drug addiction”

“In fact, I opened for (famous rock group) songs backwards. I take a climax and then and I nearly puked, it was so terrible. I just I build up to the introduction. Cass Elliot did told them to shut up or I’d give them five ‘Jesus Was A Cross Maker’. She did it with a dollars and tell them to buy some reds and trumpet section. Really showbusiness.” go to the nearest bowling alley. And they all Talking of Cass Elliot, how come Graham scream (at the famous rock group) ‘Get your Nash got to produce ‘Cross Maker’? pants off!’ Well, that’s what they think.” “He’s with my management,” said Judee. What did Judee do in her formative years? “I didn’t know Graham before we did the “I went to college and studied Pythagorean track, but we’re friends now and I have musical theory. I had strong ideas that worked on the same bill as him and Dave I wanted to put into songs, ideas on religion Crosby. I remember vividly playing with them that I hardly ever talk about because I say at a wrestling stadium. They had a sign them so much better in my songs.” outside which read: ‘Graham Nash, David One of Judee’s most popular songs from Crosby And Judee Sill Wrestling at 8pm.’” the album is ’Jesus Was A Cross Maker’ Her bold spirit and humour is something produced for her by Graham Nash, which of an object lesson for those happy to rot specifies the Sills style – gentle, melodic, amidst of rock. Her father mysterious. died many years ago, followed by her “It’s not a religious song, it’s about a mother, who suffered from . Her bandit, who stole my love. In fact, it’s an brother died of pneumonia. unrequited love song about a romantic Judee raised a glass of red wine and bummer of great magnitude! One of the drank a toast: “Excelsior, onwards and

biggest romantic bummers of my life. Yes, upwards,” she cried. Chris Welch DILTZ-CORBIS/REDFERNS HENRY 1972-1974

NME, 25 March 1972, page 20 I wouldn’t hesitate to do so if I thought it would make trip on them about how I felt as I wrote them at f all the singer-songwriters to emerge in the the work easier, but I don’t have such a message.” the desk. At the concert I wasn’t at the desk. I was last fi ve years, Leonard Cohen is the most Asked how much the happenings and events in singing songs they knew. I don’t want to pretend we unique. His style is highly individual and his own life have infl uenced his writing, he replied: live every single moment of the song.” Ohis way of creating lyrics is literary. But then, “My life seems empty, it doesn’t have many events, Did he enjoy working in public? “This is the that isn’t surprising for a man who was already so the song has to come out of some other place. It’s second time I’ve done it. It’s hard to say anything a prize-winning poet and published novelist not an event and it’s not a message, it’s another kind about it because it went very easy last night, so I’m before his albums sold widely enough to make of colour.” tempted to say it’s easy. But if it’s a wipe-out in him an international name in the third-stream of Did he apply the same technique in song-writing Glasgow, I’ll develop some sob story about it.” contemporary music, the area between folk and pop. as in poetry-writing? “It’s basically like a courting Recalling his fi rst public appearance Cohen said Cohen is currently visiting Britain. He opened process, like hunting women. Most of the time it’s a that it was terrifying. “I couldn’t fi nish the song. last Saturday in Dublin and on the Sunday I met hassle. And you feel you’re not really getting as much I couldn’t tune the guitar. I thought it must be my him at his hotel. Of his creative life, he told me: as you should, and you’re unsatisfi ed. And from ears. The guitar must be in tune. I started singing “The kind of interest my songs created meant that time to time there doesn’t seem to be anything you and I couldn’t finish the song, I had to excuse myself. for some time I found myself moving into that area, can do. Of course from time to time you connect. “But a live performance gives you a chance to put to the exclusion of the other forms. But now I’m The time you don’t connect, you just kind of .” your character on the line. There are a lot of things getting back to the older forms. I’ve just you can do on stage. You can sell it to fi nished a new book of poems.” the audience, you can withdraw, you Of songwriting, Cohen commented: “My voice just happens to be monotonous. I’m somewhat can indulge in many kinds of fantasies. “When you fi nish a song you can present whiney, so they are called sad songs. It’s a complete biological “And it’s always a very interesting test it immediately in a fi nished way. Most of of character, because you know when the songs I’ve recorded in the last three accident that my songs sound melancholy when I sing them.” you are betraying yourself.” years came out of one extremely fertile During the course of the Dublin period when I wrote about 100 songs, and I’ve The interpretation placed on Cohen’s songs vary show, Cohen was asked to recite some of his poetry, taken them and moved them around. from listener to listener. What people make of his He obliged with an amusing three-liner written to “But that phase is over now and I’ve begun songs often surprises him. a girl some years ago. working on a new kind of song. When I think of “But the songs are empty, and you can put into “I never really enjoyed myself doing poetry from songs, I think beyond the one I’ve got. I’m into one them what you want to put into them. My voice just the stage, but I’m sorry I didn’t have a book of now that I think is great.” happens to be monotonous, I’m somewhat whiney, poems with me because people were so hospitable Cohen writes the kind of songs that send people so they are called sad songs. But you could sing them and interested and I did feel so relaxed. I might just off theorising as to their meaning. “Establishing a joyfully too. It’s a completely biological accident have said, ‘Well here are some poems I’ve written, if theme in a song comes later,” said Cohen. “I don’t that my songs sound melancholy when I sing them.” you want to hear them.’ really know what it is any more than I know what He talked about concerts – the sell-out Dublin “But it’s something that smacks a bit of the the theme of my life is, or anybody else’s is. I don’t one in particular. “I don’t want to pretend I was Sunday school, kind of ramming something down know what the themes of my songs are. the man who was writing those songs in a room. people’s throats. My own collected emotions are “If I had some very special message to lay across I’d already written them. I don’t lay some dramatic best kept between two hard covers.” Tony Wilson

behind the enigma

Point of order: monotone poet Cohen goes live

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recorded tapes, ‘cos she was leaving the Velvets. It was after ‘Chelsea Girl’ that she wanted to go out and play. She read my songs off a piece of paper, I remember. I really liked ‘Marble Index’ but it’s a pity my songs were on ‘Chelsea Girl,’ ‘cos her own are so poetic. I think she’s so much better doing music she’s written.” The following year, in ’68, he signed for Elektra, and began recording his album, but pretty soon found his own efforts were being swallowed by the idea of a group project. This involved himself and several other hopeful Elektra talents heading out to the country with a Wally Heider-mobile and playing on each others songs. They all christened it the “Phantasy Repertory Company.” They were, he recalls, “pretty high all the time.” Nothing ultimately ever materialised. Then, for a couple of years he didn’t do anything very much: “I just sat around. I did hoots at the Troubadour in LA. I got offers to record but I felt I wasn’t good enough. It just wasn’t right.” Other artists, however, were becoming aware of his songwriting talent, like Tom Rush and the American Steve Noonan, who used Jackson’s numbers on their albums. The now-defunct magazine Cheeta lumped him together with Tim Buckley and Steve Noonan on the grounds that Folk romantic Jackson Browne is one of music’s they grew up in the same area of Southern California and called them the “Orange County Three.” Since then there true survivors, as the details of his fascinating has arisen the assumption that Browne was part of a band life story make abundantly clear of that name. “It seemed like I was trying to make it by association with these two, and it was embarrassing. Tim Buckley I only knew from a few days’ hitching.” MM, 13 May 1972, page 10 It was during this period in 1967 that he accompanied Noonan, who made an album called simply ‘Steve f you haven’t got Jackson Browne’s album, why Nico on guitar at the Dom in Greenwich Village. He’s Noonan’ in March ’68, he did know. “He’s now got a wife haven’t you? And if you have you’ll know that slightly contemptuous of the way people now refer to his and kid and lives in Santa Cruz, without a care, which is Jackson is a romanticist; not in the horribly slushy association with Nico – “Why the stuff about Nico? Before sort of why I envy him. After all, in the beginning people I sense of the word, but insofar as his songs effect this year no one had heard of what I did with her!” In fact, just play to entertain themselves. Eventually there’s another deep emotional responses. Not Hollywood romance; just he played with her for several weeks and several of his responsibility – to your fans. You don’t want them to think the romance of being young and an idealist before the songs were featured on her first album ‘Chelsea Girl’. you’ve failed, when all the while you’re laying back at your puppy’s milk turns sour. “When I played there at first the Dom was nothing. house and having a good time away from the scene.” The virtue of Browne’s music is that it does not come Nothing until Warhol heard about it and realised it was He personally had acquired enough reputation, however, bedecked and garlanded but that it magnificently conveys ‘mod’ spelt backwards. Then he had all sorts of things to make the trip to Britain in ’71. He arrived with Laura corny themes like the death of a young friend or the loss done to it, continuous loops and such. It was really a bad Nyro at more or less exactly this time last year. They of innocence. In these he vivifies the cliché and makes it gig for me. I was scared to death, scared to death.” He played together but his name caused few ripples. And meaningful. shook his head at the thought. his attempts to record here proved abortive (out of them, This makes him sound rather like Joni Mitchell, with “For one thing, I was always scared to death of Lou however, rose an association with guitarist , whom he’s currently appeaing in Britain. But Jackson is Reed, y’know. He was really heavy, I thought. Then the whom Jackson used on his album when Lee was out in LA). less exposed, less fragile – not at all a stricken creature. one time I got to talk to him it was after Nico recorded He’d already met Elliot Roberts, however, a co-owner In his song ‘Jamaica Say You Will’, he loses the chick, and he was a really nice guy, I found out. And she was with of , his current label. but you know he’ll survive. In ‘Song For Adam’, in which so beautiful.” He paused. “Just a knockout. A cross Subsequently he got down in earnest to making his first the narrator and the subject of the song go their divergent between… oh, I dunno. album – his first record, in fact. ways, the latter eventually to die, he’s the one who’s the “They wanted her singing in a plastic box with pre- “I was in deep straits when I met Elliot, so bad I was survivor, left to ponder the meaning of the relationship. “I’m a great romantic,” he admits. “I think I probably started playing ‘cos I like serenading the guitar. Some JACKSON and it’s good; so good, in fact, Say You Will’ opens people see themselves on the football field, I see myself BROWNE that it establishes him the first side and not just as a versatile also encapsulates strumming songs.” Jackson Browne There are Asylum songwriter but as an the form of his Jackson Browne is this skinny little kid with a lean, bony a handful artist of major stature. of singers who writing. Jamaica is face and big, doe eyes, sitting across the table in this For a debut album the daughter of a sea can express a restaurant. He’s now 23. Browne could not captain with whom have wished to achieve love song so the narrator has a At his Festival Hall concert on Sunday evening this girl a more profound exquisitely romance, which finally in the row behind me whispered, “He’s very young, isn’t impact. Broadly speaking, ends when the captain he?” He sure looks it. But an air of self-containment, his songs are romantic, returns from the sea to even diffidence, gives him away. His romanticism is of the heart-in-the-mouth affairs, carry her off. The song embodies but structured with such subtlety, his compositional approach; he keeps imagination, not the appearance. earnestness and intensity of feeling his lines very uncluttered, eschewing He was born, curiously enough, in Heidelberg, where that their cumulative effect is rather obscurantist tendencies. Altogether, his father was working on the American paper there, like a return to innocence. There are ‘Jackson Browne’ should do for Stars And Stripes. They went back to the States when he not more than a handful of singers Jackson Browne a whole lot more than around who can express a love song ‘Neil Young’ did for Neil Young. If it’s was three, and he grew up in LA. His career as a musician MM, 25 March 1972, page 15 so exquisitely and touchingly, without not this album, it will be the next. evolved though the usual process, playing at school and then lthough the word has a trace of cloying sentiment. On an But it should be this one. It’s got a in clubs in Orange County on the West Coast. Eventually, Abeen out for some four album which is uniformly gorgeous brown cover. Don’t pass it up. he got dollars signing for a publishing company and years, this is his first album, there are several stand-outs. ‘Jamaica Michael Watts went to New York where he lived off friends.

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thinking of being a chicken rancher in Bakersfield. I had no idea of what I was doing. I’ve been involved in these projects that hadn’t come to anything. “The thing was everyone had a certain amount of confidence in the songs but I couldn’t sing ‘em. It was very much a hit and miss affair, and I guess I’m still improving. I used to sing like I was choking to death.” He laughed drily. “One time I remember my manager’s wife rushed into the room and said, ‘Are you all right?’ and I said, ‘Yeah, it’s OK, I’m just trying to do a new song.’” It was like that. He found his voice through the ministrations of a Caruso freak named Warren Barigian, who gradually overcame his disability by physical manipulations which centre on his voice. “I pass out sometimes on this treatment. You might wake up crying or laughing. But this guy, he was into opera before and I turned him on to Chuck Berry.” I asked whom Jackson was turned onto: “Well, I think I’ve been influenced by all the best people – The Beatles, Dave Van Ronk, Bob Dylan… I don’t sound like these people, but then again I don’t think I’ve been influenced to the extent I should be. Like, with Bob Dylan you get what you can get – not to sound like him, but to allow his music to take you somewhere.” Jackson is a great fan of Dylan’s, a great fan. Sipping his leibfraumilch, he tells this story about his appearance some months ago at in New York, at which Dylan showed up. “After the performance I’m sitting with the manager, who says he’ll introduce me. There’s so little room that I’m practically on this guy’s lap, and the guy’s talking all the time. So Dylan shows up looking very mysterious, with shades on, like he did on ‘Blonde On Blonde’. And he says nothing, just sits there. Afterwards, a friend told me he liked my guitar. Not my guitar playing, my guitar. And we never spoke.” He laughed, a little sadly I thought. Still Dylan was there to see him. He likes to check out the promising new talent, they say. Did you like what you saw, Bobby? Michael Watts

“Everyonehadacertainamountofconfidenceinthesongsbut Icouldn’tsing’em. Itwasverymuchahitandmissaffair. I guess I’m still improving – I used to sing like I was choking to death”

NME ORIGINALS 113 114 interesting, however, to hear be It would album. his off mainly were numbers The great. was ofhim heard I actually What across. himself getting of problem the with wrestled kid the as pity to through then to slight amusement, and tobewilderment, annoyance, from passed audience the of mood The movie. silent a from caricature some like mike the into mouthing left be he’d and onhim, die would sound the asong into ofperversity. point tothe skittish was level volume whose PA the system, in hoots and screeches ofwhistles, byaseries itself manifested addition NME ORIGINALS T Poor old Jackson Browne. As soon as he got stuck hegotstuck as soon As Browne. Poor oldJackson for the crowded audience, this unwanted unwanted this audience, crowded for the ofregard nosense With onFriday. Hall Festival atthe onstage presence malignant third, this and Mitchell, Joni Browne, Jackson was here MM, 13 May 1972, page 22 1972, page 13 May MM, can currently compare with. Her playing is direct direct is playing Her with. compare currently can songwriter noother that Canyon’ The Of ‘Ladies on particularly ofsensitivity, peaks touches writing Her Mitchell. Joni dislike actively can how anybody However… it’s diffi registers. higher the muffl sounded she so buteven set, onhis used States. the in works he Iunderstand up, as him backing aband with him For Joni Mitchell, the house PA replaced the one the PA house replaced the Mitchell, For Joni “Can you hear me me hear you “Can now? What about now?”: Browne’snow?”: got the PA blues the got an icon” just a performer but Joni “Not Mitchell: and evocative, and her voice is is voice her and evocative, and when she soars on those onthose soars she when when especially magnificent, concerts, however,concerts, she’s much high notes. not tobevilified.Itseemsalmostlikeheresycriticiseher andvulnerable, To Mitchellisvirginal herconcerts, thosewhoattend songwriter. She’s some kind She’s kind some songwriter. a and asinger more than and vulnerable, not to be nottobe vulnerable, and virginal priestess, of high To those who attend her her attend To who those cult to see see to cult ed in Michael Watts Michael them. tohear interesting be It would state. raw their in like are compositions at length. into went she inspiration butwhose get I didn’t lines. piano rolling lovely had which Beethoven) to (dedicated ForLudwig’ ‘Song onecalled and Cie’s, atTrader byameal inspired number light acomparatively was songs new the Among ‘Willie’. butnot ‘Blue’ was There life. her in men the about songs obvious notthe were There clarinetist. street York aNew about written was explained she which of‘For Free’, version abeautiful ‘Clouds’, and and Yellow Taxi’ ‘Big obligatory the was there although oficon. butakind aperformer just not becomes She . less slightly only guitar upthe takes she when and melancholic, tobe going is song the oneknows piano atthe down sits she When devotional. excessively be to tends performances ofher mood the that is tomymind one fault spotlights. the in white longfl in appearance vilifi That’s exactly it. One wonders what so many of her ofher many so what wonders One it. exactly That’s title whose asong was act ofher highlight The old, than songs morenew sang she Friday On her, but tocriticise heresy like almost It seems ed. The effect was heightened on Friday by her byher onFriday heightened was effect The ed. owing culottes that dazzled dazzled that culottes owing

REDFERNS/MICHAEL PUTLAND–RETNA 1972-1974

VARIOUS ARTISTS A Tribute To Woody Guthrie CBS/Warner Bros

MM, 13 May 1972, page 25 t speaks for itself. How many songwriters I have there been that have had Guthrie’s influence? More specifically, how many songwriters could write such versatile material? Like so many influential writers Woody Guthrie took his inspiration from his immediate environment and from the traditions that had These gone before him. He came two albums up with are no Library “A bloody emotions held amazing live in common by Of Congress band”: Manassas thousands, if museum rehearsing, 1972 not millions. His songs have pieces – they become more live STEPHEN STILLS Stills plays good, too; weaving lead work GRAHAM NASH & common property, Manassas and attacking wah-wah for the most part, DAVID CROSBY synonymous with Atlantic and he also gets some nice dual-guitar duels Graham Nash & folk. Perhaps it shouldn’t together with Hillman. David Crosby surprise anyone that performers so different Atlantic To display Stills’ various facets, the album is in their styles as, for instance, Bob Dylan, Judy divided into four sections, each titled and Collins, Richie Havens and Odetta should all each representing a different field of music: be able to adapt Guthrie’s songs so finely to Country, soft-through-hard rock, Latin rock. their own requirements. These two albums, Stills has also found a niche as a producer, compiled from live recordings, are no ethnic and techniques on ‘Manassas’ abound with Library Of Congress museum pieces. They live, his new production ambitions. just as surely as the subjects Woody wrote The main problem is the writing. Numbers about. The recordings are the result of two often start strongly, only to degenerate as “Tribute To Woody” concerts. The first was ideas are exhausted. Stills is aware of his held at Carnegie Hall NYC, in January 1968 hang-up about follow-through, and here – soon after Woody died in October 3, 1967, has tried to cope by dividing the music into with Huntingdon’s Disease. In September four sections. Great idea: but it doesn’t 1970 a similar concert was held on the West NME, 29 April 1972, page 16 quite work. coast, at the Hollywood Bowl. Evidently the The production is too samey to give a real records were not detailed replicas of the anassas’ comes close to being the sense of musical diversion, and some of the concerts. It appears that the performances MM, 6 May 1972, page 18 ‘M best thing Stills has ever recorded. It tracks are even interchangeable. Stills have been intermingled without regard for almost beats that first CS&N record in style should just have written less. The multi- he concept of this album seems the concert sequences. This is actually a and impact. But it’s not the best because, faceted image that he desires doesn’t really T cockeyed somehow. Six Graham Nash commendation, for it maintains the suggestion although musicianship and arrangements are come across. songs, five from Crosby, no co-written tracks, of a live atmosphere without all the delays nearly flawless, the writing fails to A good example of good writing, and no thread holding it together. and splinters of applause that wreck the maintain the standard. good arrangement and good Crosby tracks sound like Crosby and friends average live recording. Fortunately there has It’s still excellent. The group Stills is musicianship spoilt by over- with Graham putting on some piano and been no attempt to metamorphose Guthrie represents Stills’ ennui indulgence can be found on harmonies. Graham’s songs sound the same, into a mythical American messiah. If anything with superstardom and consistently ‘The Treasure’ (side four). only with Crosby putting on his bits. Perhaps the sleeve notes by Millard Lampell swing his longfelt desire to a fine Like ‘Go Back Home’ neither of them had enough songs written to the other way “An ornery bastard. Contrary. it up a little with a (‘Stephen Stills I’) it starts complete a full album, so they got together Irresponsible.” Therein is the reason for people good live band. musician, and promisingly, builds well, to make this between them. Or could it be from Pete Seeger to Country Joe wanting to Manassas are a good only sometimes arrives breathlessly at a that they just need an arranger like Stephen sing his songs. Woody’s son Arlo, Country Joe live band by all accounts. a fine climax, and then…blah. Stills to convert their songs from near-demos and Bob Dylan are all backed by some heavy Judging from the large Anticlimax. into something approaching the finesse that equipment. The songs Dylan sings – ‘I Ain’t amounts of almost composer The best section is the made ‘Déjà Vu’ such an outstanding album? Got No Home’, ‘Dear Mrs Roosevelt’ and ‘The frightening gunk to be found country side. The material is As musicians and as songwriters neither Grand Coulee Dam’ – he takes so to heart that on the new double LP, they must stronger and the style is better Crosby nor Nash have the power and they could be his own, flaming with the brash be a bloody amazing live band. served by the loose production. Also perception for simplicity that Neil Young vocal flamboyance of his later albums and They’re a spicy fusion of Buffalos and this section is where Perkins, a fine steel- carries off so well. They are very much the accompanied by Ry Cooder (bottleneck guitar Burritos, and include: Stills and Chris Hillman player, really shines. backing men who have moved out of their and mandolin), Band guitarist Robbie Robertson (guitar, vocals), Stills’ perennial rhythm If ‘Manassas’ proves anything, it’s that Stills restrictive seats to start making their own and (bass). The only song in the section Dallas Taylor and Fuzzy Samuels, Al is consistently a fine musician, occasionally music. Not a bad thing to do – but so much set not written by Woody was nevertheless Perkins (steel), Paul Harris (keyboards), and a fine arranger and only sometimes a fine lavish praise has been heaped on them that one of his favourites, Goebel Reeves’ ‘Hobo’s (percussion). composer. Never all three at once. But the whole validity of is cast in Lullaby’, sung here by Joan Baez, while Robert ‘Manassas’ abounds with near-perfect meanwhile this is more than enough to be doubt. Would Kinney have taken these tracks Ryan, and Will Gear recite some playing – some of the nicest touches going on with. if they had come from a couple of unknowns of Guthrie’s writings which are earthy and coming from . Oh yes, Tony Tyler from the Haight? Mark Plummer direct like his songs. Andrew Means

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Any slogging unhappy with the musicians around out here, it’s almost ludicrous. That’s one of the prospect of bleak years of backing big names and reasons we’re lucky to have found each other, really. There are about lesser talents, should take heart from this story 50 little cliques in this town, and we just happen to be part of the same musical family.” “Sometimes,” interrupted Glenn, “I forget there are people in the world who don’t play an instrument. Living in this place is like living in a recording studio – everyone, it seems is signed to a record company, or planning to get signed, or they own a record company.” “Whoever you are,” said Don, “if you’re a decent musician, you’ll get a record contract in Los Angeles. The competition to sign up musicians is terrifi c among record companies.” That might sound like self- deprecation, but The have paid their dues. Before going on the road with Jethro Tull and later with Procol Harum, they have rehearsed their act with some gruelling sets The Eagles (l-r) , – four nights a week for a month in a , small bar in Aspen, Colorado. “Three and hundred and fi fty people a night, elbow to elbow – we loved it,” says Glenn, “because we had an audience MM, 17 June 1972, page 32 seem to go round in circles as well as and Leadon recalls with a smile the and we could see their reaction to our os Angeles – any slogging clans. The Eagles could probably be independent generator that was music. It was a marvellous run-in.” session musician unhappy with tagged as the ones who got away from hurriedly imported into London’s Musically, The Eagles may best be the prospect of bleak years of the circuit, and “made it.” so that they described as clean, fresh, country- Lbacking big names on records, First, the line-up: Glen Frey (lead wouldn’t waste too much money by rock, but it’s the simplicity of their concerts, or even accompanying guitar), who has worked a lot with being here and out of work. They are sound and strength of their vocals non-stars and lesser talents, should Bo Diddley and Linda Ronstadt; unanimous in their unstinting praise that lifts them into something special. take heart from this story. Bernie Leadon (rhythm guitar, of : “I’ve never worked “The best thing about this It’s about the sudden breakthrough banjo), ex-Flying Burrito Brothers; with anyone in Los Angeles who band,” remarked Bernie, “is that of four players who had run the Randy Meisner (bass), formerly with has the sort of mind as Glyn,” said everyone can sing lead, everyone gamut of gigging around until they ; and Don Henley (drums), who Bernie. “We’d all wanted to record writes, nobody lays down the law, believed their future lay in getting regularly backed Linda Ronstadt. in London, ever since we heard those and everyone gets a chance to be a together a regular back-up band back-up singer. So it’s much more – then when they fi nally did that, satisfying than being a solo artist and their own sound became a hit. “The best thing about this band is that eveyone far better than being a back-up band. The group is The Eagles. They have So you get off both ways!” been together under that name for can sing lead, everyone writes, so you get off The simple name Eagles was coined just seven months, but have belonged by Bernie, who had read books on to the West Coast country-rock clique both ways!” Bernie Leadon Indian mythology. “Certain spiritual for several years. Currently they are powers were attributed to eagles,” he breaking through with a USA chart They got together originally as a early Beatles and Stones records – the said. “It’s high soaring, fl ying closer single, a potential smash album, and back-up for Linda, at the suggestion mystique of British rock! The sound to the sun than any other bird, and are on the present Jethro Tull tour of of Jackson Browne, a friend of Glenn seems just great. It’s such a different it’s spiritually the richest of them all.” America, reaching huge audiences. Frey. But after one or two sessions atmosphere and we love it.” “Eagles also sounds athletic, or like In Hollywood, your is together, they decided their sound “We just fancied breaking the a street game, and anyway it’s very quite likely to be a musician (the one was too good to just accompany and, pattern and recording in London,” American in a funny way,” chipped who drove me to meet The Eagles now-or-never, they ought to try to said Don, “But you look at the liner in Glenn. said he’d just written some songs for crack the barrier alone. notes of most of the albums, and most They seem to have the credentials and that his wife knew By February The Eagles had been stuff ends up being recorded here. LA and vitality needed to inject some Neil Young. He seemed honest). This born and fl own to London to record is the melting pot for all of today’s new blood into the transatlantic environment of Rock Utopia breeds under the supervision of Glyn Johns. music and I can’t see things changing.” rock scene. chain links of musicians who There was a power strike at the time, Bernie said: “There are so many Ray Coleman

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Joni Mitchell: THE EAGLES NEIL YOUNG Uncompromisingly The Eagles Journey Through The Past honest and can get Asylum Reprise away with bad hats

NME, 15 July, 1972, page 11 MM, 2 December 1972, page 24 y word-of-mouth reputation alone, et the buyer beware: this is not The New Bthis debut album by The Eagles – born LNeil Young Album in any meaningful out of Poco and the Burritos – has suddenly sense. It’s a ragbag collection of old Buffalo become one of the hottest import goodies, Springfield and CSN&Y ‘live’ cuts and tapes and thereby prompted EMI to push it out in from the ‘Harvest’ session, seemingly double-quick time. salvaged from the cutting-room floor, all Even just after one hearing, one can see stitched back together with snatches of why. In many ways, The Eagles are akin to conversation, a bit of community singing, a America in that they somehow manage to few sound effects, and a speech, courtesy of incorporate every fashionable soft-rock President Nixon. There’s only one new song. device into their style, yet come The justification for all this is that up with some semblance of it forms the soundtrack of originality, based on their Young’s autobiographical songwriting ability. film of the same name. They’re a fine band, This debut As a souvenir of the who present their album by film, maybe the album songs in a most The Eagles stands up… I can’t appealing manner, say, because I haven’t decorating them has suddenly seen it. But taken on with diverse become one of the its own merits, this natural harmonies album is messy and and some hottest import frustrating. equally effective goodiesinthe It doesn’t tell us much thumbed leather-bound book. ‘See You instrumental backing. we don’t already know JONI MITCHELL ‘’, co-written country about Young. Unless, Sometime’ and ‘Lesson In Survival’ are such, by Jackson Browne and For The Roses but ;Woman Of Heart And Mind’ is the best that is, you’re fascinated to Asylum Glenn Frey, has already been learn that he occasionally uses because she stands outside herself, painting a Stateside hit and seems set to the odd expletive when things don’t a portrait as dispassionately as one can in repeat its success here in England. Indeed, go too well in the studio. You could argue such circumstances of a quixotic, demanding this one track sets the style for the entire that this album is as mysterious and inexplicit man – both a put-down and a come-on, it two sides. as the songs of the man himself. If so, you winds up as catharsis. She’s at her best, like Apart from enjoying the sustained quality may dig it. Personally, I think it smacks of most modern poets, when she’s least explicit: of the group, one can take time out to play self-indulgence and laziness. Young has never ‘Electricity’ uses a marvellous metaphor to “Spot The Influences”. As a starter, Glenn been the most prolific writer but surely a few illuminate the breakdown of a relationship, Frey shows vocal allegiance to stablemate new songs would not have been too much while ‘Lesson In Survival’ contains the only SStills Esq.Roy Carr to expect? Alan Lewis jarring moment when she sings “Oh baby, I can’t seem to make it with you socially”; she HENRY DILTZ-CORBIS HENRY didn’t need to say that, because she’s already made the point in more subtly powerful ways. “Self-indulgent and lazy”: Two of Neil In ‘Blonde In The Bleachers’ she speaks from Young’s favourite bitter experience of another girl who may personal qualities MM, 9 December 1972, page 31 be herself, and even ‘You Turn Me On, I’m A ore songs of transient euphoria and Radio’, which sounds like a shout of joy, is Mstabbing loss, played out against an really an uncertain plea. ambiguous background of relentless fatalism Her expanding talents as a musician are and constant hope, mingled in approximately illustrated on the two most ambitious equal proportions, from the poorest little rich pieces. ‘Cold Blue Steel And Sweet Fire’ is a girl in Laurel Canyon. smack-song, and has her most finely poised The difference between Joni and most of her writing: “A wristwatch, a ring, a downstairs male balladeer companions, and the reason screamer/Edgy – black cracks of the sky/Pin- I respect her and not them, is that she writes cush-dreamer!” ‘Judgement Of The Moon her diary with an uncompromising honesty; And Stars’ is addressed to Beethoven, writing alone among them, she knows herself, and symphonies in his deafness. It demonstrates describes her psychodramas with a cool, clear how she’s now thinking of songs in terms of brain. Not for her is self-pity and her task is unbroken development, rather than as simple made easier by an almost total command of repetitions of a specific format, and I’m sure poetic device. Her images and metaphors this is where her future lies. are the result of thought, never the first Lastly, I should mention her voice. There will incomplete ideas of a lazy writer who grasps always be that mildly uncomfortable break the first phrase which comes to hand. Add between the contralto and soprano registers, to this a considerable and ever-developing but sometimes she can enunciate a word or musicianship, and a voice flexible enough phrase in a way that comes straight from to avoid the blandness this genre so often heaven. The way she sings “movie queen”, in attracts, and you have a talent which, for ‘Let The Wind Carry Me’ is the perfect mating once, justifies the acclaim it receives. of a rigorous intelligence and an earthy ‘For The Roses’ is mostly about loss: in many sensuality. The product of these two of these songs, she caresses her precious qualities is a third grace, which suffuses yesterdays like the cover of an old, well- the album. Richard Williams

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The solo sensation opens up (almost) at his California home

NME, 19 August 1972, page 16 VANMorrison: “After MORRISON an Morrison has been through all those years of an awful lot for a man of his age. adulation, I didn’t even like him” Remember, he was only 20 in ’65, V the year his previous band Them made it. Leaving Them in 1967 to pursue a solo career, Van split to New York to work with (who wrote and produced ‘Here Comes The Night’), and Berns’ Bang Records, but remained disenchanted with the business side of music. In his first solo hit, ‘’, from the summer of ’67, Van sang, “it’s so hard to find my way now that I’m all on my own.” And although it’s meant to reflect a broken love affair, I can’t help but think he was subconsciously voicing the difficulty of going it alone. Bang released his first solo album, ‘Blowin’ Your Mind’, from a bunch of demo tapes that Morrison had cut for them. He was upset they were released without his approval, but to the layman, there’s some good rhythm and blues in the set. Van then shifted to the Warner Bros stable and issued ‘Astral Weeks’ in 1968. “Underground” radio had just begun in the States, and the album proved a favourite in FM circles. Musically, it was a far cry from the rowdy rock and sweaty blues he had first become known for. ‘Astral Weeks’ introduced an acoustic-oriented group of musicians with strong jazz overtones. The songs were still full of frustration and inner turmoil. It was ‘Moondance’, his third solo venture, which awarded him wide acclaim and popularity. The band was electric and, for the first time, featured a horn section. In a nutshell, they were shit-hot. The rough edges were smoothed out of his voice and he sang more instead of shouting. The music ran the gamut of everything that ever influenced the man…jazz, blues, gospel, rock, a dash of this and a dab of that. A lot of critics called it “the album of the year”. But ‘Moondance’ was so good, they were Mind you, shades of the old Van During my recent return to California, pin turns without ample warning. sure as hell not sticking their necks out. Morrison do manage to emerge through I made a special trip to San Francisco to Past the front gate, there’s a long up- Since then, all of Morrison’s Warner songs like ‘Domino’, ‘’ and interview Morrison. Actually, he lives in hill walk along the driveway, until the albums, ‘His Band And The Street Choir’, ‘’. But for the most part, San Rafael, which is approximately ten perched mountain home becomes visible, ‘’ and ‘St Dominic’s Preview’, the bomb that threatened to explode in miles north of the Golden Gate Bridge. and impressive. The house is completely

his latest release, have followed the same his records has become a harmless Virgo- On the way to his house, you pass by secluded and surrounded on all sides by SCHULTZ-RETNA S/BARRY basic musical formula as ‘Moondance’. Gypsy whose (sound) quality is high, but the office of Caledonian Productions redwoods. He’s lived there for the past This has caused my interest to wane, content and depth are low. (Van’s company), which is located in a year with his wife (Janet Planet) and their while the post-‘Astral Weeks’ Van I, personally, would like to hear more neighbourhood shopping centre half a mile two kids. Morrison freaks roll around in ecstasy of the restless lion in Van Morrison and a from where he lives. Van manages himself, Van was in the living room. His light over the more hippie-dippee stuff they can lot less of the delicate romanticisms and as well as booking his own gigs. Driving to brown hair is thinning and, though he had

“relate” to. unimaginative contrivances. his house, the small dirt roads present hair- brushed it back, it was falling from the ARCHIVE–REDFERN OCHS MICHAEL

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middle to below his ears on each side. the album and then after you do it, you’re they’re right up front. So I like to perform VAN MORRISON He wore sunglasses which allowed his done. It may reflect where you were at in in small places where I can feel like I’m Saint Dominic’s Preview eyes to wander freely, and was curled up one given period of time, but after you’ve enjoyin’ it – rather than clockin’ in and out Warner Bros on a couch in a very stand-off-ish manner done the album, it’s over. My life can’t of work. which prevailed throughout the interview. revolve around an album. Any particular group of musicians His music may glow, but his ideas remain I mean, it’s just an album. Any album you’ve enjoyed working with? safely tucked away behind an invisible is roughly 40 minutes of music, but that Yeah. The one with Colin Tilton and wall of self-defence. After all this time of doesn’t mean that it continues to be Jack Schroer on horns, Dahaud Shaar on listening to his records and memorising something else. It’s entertainment. drums, Jeff Labes on piano, John every word, after all those long years of It seems to me like ‘Astral Weeks’ was Klingberg on bass and adulation – I didn’t even like the guy. an over-reaction to receiving complete on guitar. It was a really good NME: What kind of records did you listen artistic freedom. It’s unlike anything combination. to early on? you’ve recorded before or since. In the early days, your voice sounded Morrison: New Orleans jazz, blues, country It’s just what it was, y’know. It’s just what intense and frustrated and now it’s and western and folk – well it’s called I wanted to do at that particular time, so more relaxed. Is that a personal NME, 19 August 1972, page 12 folk, y’know, the stuff like Leadbelly and I did it. There’s a lot of stuff that I’ve never reflection? ike I’ve said elsewhere in these Sonny Terry and Brownie McGee, Hank recorded that’s totally far out. But I make I think it must be. Yeah, it’s gotta be. Lpages, Van’s albums have followed the same basic musical Williams…that kind of stuff. Then albums primarily to sell ‘em and, if I get too What type of music do you listen to at formula since ‘Moondance’. A song I picked up on Muddy Waters and Sonny home? like ‘Jackie Wilson Says (I’m In Heaven Boy Williamson. I listen to jazz, like Mose Allison and Gil When You Smile)’, for example, could I think Leadbelly really inspired me to Evans. I dig the Band’s albums. easily be slotted into either of his last two albums. start playin’ guitar and singin’. It came I don’t like heavy rock’n’roll though. The The song is also just from that, and early It doesn’t turn song is just scratching the surface, creatively, rock‘n’roll. I was about me on. I don’t scratching 12 or 13 when I sang “Imakealbumsprimarilytosell‘em,andif I gettoofarout, like screaming of all that he has the surface, to offer. OK, so and played guitar. alotofpeoplecan’trelatetoit” guitars and creatively, of all it’s alright, but Then I took up sax stuff like that. I’d that Van has it’s not brilliant or after that and I split it up half and half rather listen to or Chuck to offer outstanding, which between sax and singin’. In the bands I was Berry for rock‘n’roll. he is capable of being. ‘Gypsy’ doesn’t move in, other people were singin’ too. Do you ever plan to play England again? me much at all. Whereas I can half-way When did you begin to write songs? At this stage in the game, I don’t really get behind the intended simplicity of I started writing because that’s not what know. But I’m not planning on ‘Jackie Wilson’, this song is not up to was happenin’. I mainly wrote boy/girl far out, a lot of people can’t relate to it. touring…period. his standard either. The next song, ‘I Will Be There’, is a great jazz/blooze songs at first and some blues things. There’s a lot in between ‘Gloria’, ‘Brown I plan on playing some gigs in the States, number that sounds like the kind of I never really got a chance to write until Eyed Girl’ and ‘Astral Weeks’. There’s a lot but not touring. When I tour, it’s just a thing you might hear from a band at a after Them. I’d written before that – did of different things I do and I can’t get them distraction from writing. bar at three in the morning. Van also a couple of numbers in various bands all on one album. If you just put on the And I want to write mainly, but I can’t do belts some of the best vocal work in quite some time. He really should before that – but people weren’t really into tape machine and record six hours worth that on the road. It takes a lot of work to think more about singing, as he does original material when I started. They were – who’s going to put out six hours if it’s not put it together. in this tune. All in all, I think Van has into copies of American R&B. commercial? For me, it takes a lot of rehearsals and continued his excellent production Were you ever in a showband? There’s really nothin’ to talk about when planning. It might take up to six months of technique as on the last three albums. But I feel he’s in a transitional state, Yeah. At that time we did almost you discuss that, because it’s the difference my time just to do one tour. and I can’t wait for him to get there. everything, like a Vegas type of thing. We between art and showbusiness. Danny Holloway Maybe then we’ll see some more of the also did R&B, which none of the other Do you sacrifice your art for real Van Morrison. Danny Holloway showbands or groups were doing. People showbusiness, or is an album like didn’t really know what rhythm and blues ‘Moondance’ another side to your was until much later when groups like musical spectrum? A rare live outing The Beatles did ‘Twist And Shout’ and the That was just another side. I didn’t sacrifice, for folk’s Stones came out doing Muddy Waters and but I don’t think I’m going to sacrifice Mr Amenab le numbers. Then all of a sudden any more. I feel like I’ve been sacrificing everybody started to cop on. all along to a certain extent. Some of the But we were playin’ long before that and songs I put out as singles were much better everyone was saying, “What is it? We can’t live. Maybe they were like five minutes live, relate to that kind of music.” I guess when right? Well, on a single it’d be something people like the Stones and Yardbirds came like three minutes. So that’s a compromise. along and were commercial with it, all of a It would have been better to put out the sudden they got into it. five minute version. It’s just all this red tape When I was 14 and 15, I used to play that the record companies give you about people Bo Diddley and Chuck Berry records three minute singles. and they just didn’t know what it was. Are you becoming more comfortable They’d say, “What is it? It doesn’t sound with performing live? like rock’n’roll.” All of a sudden, three or My situation is: I don’t dig performing in four years after that, Bo Diddley was the big halls where you can’t feel the people. I big “in” thing. think performing is a waste of time for me Where were you at around the time unless I can feel the people. And I’ve been of ‘Blowin’ Your Mind’? Your singing to other people’s concerts in enormous seems to reflect a lot of frustration... halls and you just can’t feel it. It’s just hype. I don’t think that album really has anything It’s like the kids are there to see a name or to do with where I was at. An album is some kind of image that’s been built up. just an album. You do it when you’re doin’ They just see it and they don’t feel it, unless

NME ORIGINALS 119 1972-1974

It has taken three albums, but Carly Simon has fi nally made it, and is now dominating the charts

MM, 27 January 1973, page 3 because she’s taking off with James for arly Simon keeps a sun-kissed his Japanese tour and one Hawaiian apartment in Manhattan, but her concert in a few days. She herself has heart lies in Martha’s Vineyard, no plans to perform except for a TV Cthe resort island off Cape Cod, special to be taped in the spring. Massachusetts. “I do want to do some things with She and her husband, James Taylor, James,” she says. “I’ll probably work are looking forward to the completion myself into his show in Japan in of their house up there by the end of devious little ways. I don’t know how the summer. but I mean he invited me to. It’s not “The best place of the house,” says that I’m usurping his time. In a way, Carly Simon with a smile as pleased I’d prefer not to perform. I like to avoid and bright as on the back of her album feeling uncomfortable. ‘No Secrets’, “is we have a 45 foot tower “When I perform I feel that much with four storeys and just a circular more uncomfortable than normally stairway going up to the top. On the but I probably will work into his show top you’re so close to the stars.” a little bit. I have trouble performing Of course, it’s stars of quite another now because the album is very kind that make ‘You’re So Vain’ so produced and I would feel naked intriguing to fans. Carly just loves all without everybody who played on it Carly Simon: “I’m the rumours that have popped up and being there. It’s a very full sound and just not that sly” asks for more. I tell her Cat Stevens and I’d like to duplicate it.” Kris Kristofferson are in the running, To anyone who’s seen Carly work, it but that I love the song because it must seem incredible that she doesn’t describes so many people I’ve run like to perform. She comes across as across. one of the most natural, most loving “‘I refuse to be propelled in the typical way singers are in this business – like you’ve got to follow up your hit quick”

Carly sinks back into her long, and most relaxed performers I’ve ever comfortable couch and laughs. seen. A woman who enjoys herself and “I know. It certainly is not about wants the audience to do the same. Mick Jagger. I would never ever have Still, she says: “I don’t know a done that. I mean, that really takes a lot performer, with the exception of of slyness and I’m just not that sly. maybe John McLaughlin, who’s not “I really like Mick. He’s a friend of terrifi ed to go onstage, but everybody mine and in no way would I ever do deals with it in a different way.” anything like that to a person that Ask Carly if she’s begun working on I really cared for. her next album yet and she answers “But anyway, you’re right. It is about with a smile in a Maria Ouspenskaya a lot of people. The actual examples Transylvanian Gypsy accent: “My that I’ve used in the song are from dear, I just completed this vun.” my imagination, but the stimulus is Then she gets serious and explains: directly from a couple of different “I refuse to be propelled in the typical sources. I mean it’s not just one way that singers are in this business, particular person.” like if you’ve got a hit you’ve got to Carly’s apartment is that follow it up quick with a rare kind where there are follow-up single. plenty of soft couches to “Of course, it’s the way fl op down on and even in it goes. Just grind them an almost rustic kitchen- MM, 2 December 1972, p14 out. I can’t do it. I just CARLY SIMON dining area a big round You’re So Vain know I can’t. table. Elektra “Perhaps this is my peak The only touch of An unusual and from now on it will disorder is her opened accompaniment lends be downhill, but if that’s suitcase on the living a menacing mood to the way it’s got to be – I’ve a song that reminds room fl oor next to a high, me in part of got to keep my health and intricately constructed, but ‘Woodstock’. Carly my mental health and my still unfi nished table that sings beautifully and homelife and the things James built the previous it’s a most tasteful that are more important production, but too evening. long for a single. to me than having She hates to unpack and Chris Welch hit records.”

might as well not bother Loraine Alterman GRUEN–STARFILE/PHOTOFEST BOB Just Parson through: Gram on the country trail, 1973

GRAM PARSONS GP Reprise

MM, 7 April 1973, page 33 now opening their ears to this favourite kind heard singers from London and Newcastle he confederate flag was flying on of sound. “I guess they’ve just been hearing whom I didn’t realise were English. I was in the stage upstairs at Max’s during more of it so that it doesn’t sound so foreign an Italian restaurant near Victoria station. Gram Parsons’ gig to announce that to their ears anymore,” he says. There was this cat just singing by himself. T country music was in town. “It doesn’t sound like the rednecks or the He sounded just like Waylon Jennings and The man, who ago pulled The older generation or anything like that. Of I was sure he was from Texas. Byrds into country-rock and then formed course, the younger kids like a lot of plastic “After he was through the set I said, ‘Hey The Flying Burrito Brothers, was in the sixth with their country music too. But we get a man, let me buy you a drink’. week of an eight-week cross-country tour, good younger audience, very finely tuned I asked where he was from and he said, in a MM, 24 March 1973, page 22 his first time on the road in two years. and together. They like the slow ballads as British accent, ‘the south of London’.” ram Parsons is one of those Grare performers who, without His first solo album, ‘GP’, has recently much as they do the dance stuff and they Despite his devotion to country music, having any particularly obvious been released by Warner Bros and it, like seem to be very sincere in the fact that they Gram wishes some more new things were outstanding talent, possesses a sense his live act, features the soaring voice of dig country music.” happening in rock in general. “Maybe it’s all of syle which suffuses anything he one , who Gram has been He was pleased to note a change in this litter rock,” he notes. “Some people call touches. You’d never call him a great singer, for instance, yet his working with ever since his former Byrd and England too last summer. Country music it glitter rock. I call it litter rock. Everybody delivery and tone have Burrito colleague, Chris is just out to make a real personality Hillman, introduced a buck and if they Parsons which makes him “Everybody is just out to make a buck possesses a them a year ago. see a chance distinctive and sense of style very appealing “Chris knew I was and if they see a chance to jump on the to jump on the which suffuses indeed. As you’d looking for somebody bandwagon they anything he expect, the who sang higher than he do. As soon as a touches album’s roots are does,” Gram says. bandwagon, they do” fad starts, dyeing in country music. Yet part of Gram’s gift “I heard her in Washington DC, where was growing. “About three years ago, there their hair and wearing make-up, and the is that he can sing country she’d been paying dues singing in bars. She were definitely not many people into it. paying public gets a hold of it, and it gets and make something else entirely out was doing a lot of lead singing and didn’t People liked it in a sort of naïve way, like I off the ground, it’s already starting to die. of it: when he duets with the luscious- really have anybody good to back her up, did when I was a kid. “All they’re doing is just dyeing their hair voiced Emmylou Harris on ‘We’ll Sweep Out The Ashes In The Morning’, somebody she could work with. I was looking “I didn’t know it was called country music and putting on make-up for six months for instance, the format and the for the same thing.” or that black music was called blues. All I only trying to make bucks. I mean can you techniques are straight country, yet the ‘GP’ was made in two weeks, amazing knew was that one sounded this way and actually imagine anybody trying to do that resulting ambiance is quite different. considering the time some people spend one sounded like the other. Over there now and continuing to do it for say ten years? It’s the same with the cuts, like ‘Big Mouth Blues’ – his persona on albums, but Gram points out: “I was it seems they have gotten into country We’re into the great age of nothing rock.” lifts them out of their usual context. never able to get things done fast working music a little bit more and they are even Perhaps Gram Parsons can save the world Most of his appeal comes through the with groups. You always get five different starting to produce their own. with his brand of country rock. He laughs sense of hurt in his voice, a opinions and everybody is the arranger.” “There are the beginnings of it over there and says: “We’re going to try. We’re going bittersweet quality which set the tone for the Burritos. Growing up in Georgia is what put Gram’s in guys like Alvin Lee. He’s a very fine guitar to pull it all out of the apocalypse. Richard Williams roots solidly in country music and he thinks player. The steel players that I’ve heard in “Good country music teaches a lot of that young people all over the country are England don’t offer me very much but I’ve simple lessons.” Loraine Alterman

NME ORIGINALS 121 1972-1974

MM, 3 February, 1973, page 28 he scene is Durango, a dusty mining town with the highest murder rate in Mexico. Here, Sam Peckinpah, master of super violence (Wild Bunch, T Straw Dogs) is directing Pat Garrett & Billy The Kid. All eyes are on the man who plays Billy’s sidekick. For the man is Bob Dylan, bringing to his first acting role a dedication which suggests he has found the new direction which has eluded him for so long. It is more than two years since he made his last album, ‘New Morning’, and there are apparently no plans for another solo venture. He has consistently intimated to friends that he is tired of the music business, and he takes little active part in it. He is Bob Dylan. But who is Bob Dylan? As the myth of the musician and the generational symbol rises like creeping fog he casts about for a new purpose to it all. He sees other pre-eminent musicians, like Lennon and Jagger, involved in movies. An old mentor is Andy Warhol. Down in Mexico, a newer friend, Kris Kristofferson, is starring in a film, as Billy The Kid. Dylan was fascinated with the idea of a movie part as Wearied by the music business, Dylan tries his much as daunted. But he went down with Kristofferson’s manager Bert Block to Mexico to exorcise his doubts. He hand at fi lm acting and knife-throwing was shown around the set. He was particularly captivated by the wardrobe of Western clothes, trying on the hats and costumes like a kid dressing for a fancy dress party. He looked around for a while and then quietly picked up a guitar and sang a song he’d written about Billy The Kid to Kris and Coburn, and Peckinpah offered him a part there and then. He plays, with the most fitting of poetic justices, the part of Alias. In the public life of the musician he is the man of uncertain identity. In the movies he is the man with no name. Maggie Netter, an MGM publicist, tells me as we drive out on Saturday morning for the location site, El Sauz, that Dylan talks to no one, unless he wishes to. “It’s not just that he’s picking on you, but, he’s...” she searches for the right adjective, “he’s just rude.” Ah! The mucho mysterioso quality. The car pulls into a large open space in front of the preserves of a big, crumbling stone building constructed as a cavalry fort some hundred years ago. In one of the fort buildings, Peckinpah was shooting and rehearsing his actors. He was out of sight, but the authority in the voice left no doubt as to its identity. “Dylan is great,” Rudy Wurlitzer, the writer of the screenplay, told me as filming went on. “He’s come down here to learn, he’s turning in stuff, and it’s been really impressive. I don’t know what he really wants to do but I hope he would do his own film because he’s an artist.” “The really interesting thing,” he continued thoughtfully, “is what’s going on between Dylan and Peckinpah. Sam is really Western, like an outlaw, looking to the wide open spaces. Dylan, you could say, was more Eastern. He brings a different point of view, especially to a Western. The part is small, but it’s important in a funny sort of way. Do the two of them have any common ground? That’s the big question.” On the nightly plane back to Mexico City, I sat across the aisle from Kris Kristofferson and we cradled a bottle of Jameson between us. And there, in the seat right beside him, was a little guy from Minnesota named Bob Dylan. He was a whole era of youth coiled into one man, and now slowly winding down into the years past 30, and the consciousness of this had escaped no-one, least of all him, Dylan in character as Billy The Kid’s with his eyes set straight and stonily to the front lest he be homeboy Alias forced to pick up those curious sidelong glances, just as a

magnet does iron filings. PICTORIAL PRESS/REX FEATURES

122 NME ORIGINALS 1972-1974

Peckinpah and Dylan, on the set of Pat Garrett & Billy “Did you see Hard On?” he said The Kid, 1973 suddenly. “No, but I saw Rape, the one with the girl being chased.” He nodded. “Warhol was making movies like that years ago. I prefer the stuff with actually.” I was trying not to sound smug. He nodded again, then asked “Did you see Lonesome Cowboys?” “No, but I saw Heat.” It was getting to be quite funny. Every time he asked me he looked so intense. “Sylvia Miles?” “Yeah.” Silence once more. “Tell me, how can you stand it down here?” “It’s not too bad because I’m making a film. If I wasn’t…” The sentence was chopped off because the producer had come up and told him he could get in the car. The next day ,nerves on the set were jagged. Dylan was being put through his paces in a crucial scene. As the cameras rolled, Dylan was sitting on a chair surrounded by half a dozen ragged Mexican kids, strumming an acoustic. As the plane was taking off, and I began to speak to nod. “ On the far right of the scene, Kristofferson, he got up jumpily from his seat and went to Is Max Jones still a cowboy was leaning on his sit at the back. working there?” horse. Billy The Kid and his We had begun to climb as he reluctantly dumped himself Sure he was. Dylan gang were around a campfire down again behind Kristofferson. He pulled his hat down gave Max Jones his on the left. There was a lot of right over his face, which was odd, because his body was first ever UK interview, laughing and tomfoolery. rigidly upright in his seat, cocked and attentive. for Melody Maker, ten years before. Then Dylan rises. He’s been playing nervously with a “Listen,” said Kristofferson as we touched down, Dylan talks in this light, soft voice with a husk to it. He knife, turning it round in his hand. He walks a dozen paces “this guy can do anything. In the script, he has to throw is also terribly shy, which he largely masks by an air of towards the campfire as the cowboy on the horse shouts a knife. It’s real difficult. After 10 minutes or so, he could alienation he throws around himself. after him, “Hey, boy, what’s your name?” as if he was a do it perfect.” Disembarking from the plane, I found him in the bar, piece of dirt. He stops and faces round with the knife in I looked back at the crown of the straw hat in engrossed with a camera, at almost eight in the morning. his hand. uncompromising full-frontal. I said I was too scared to talk “It’s not happening in London,” I said, apropos a remark “Alias,” he replies shortly. His knife taps against his leg. to the man right now. made on the plane, “Alias what?” barks the horseman. “Sheeeit, man!,” Kristofferson roared, “You’re scared? “New York’s the place. That’s what John Lennon says,” “Alias whatever you want,” comes the rejoinder. The I’m scared, and I’m making a pitcher with him!” he says, focusing the lens. gang laugh. I began to feel more than ever like the lead in ‘Ballad Of “I saw there at the Whitney,” I offer. “They just call him Alias,” says one. His interrogator A Thin Man’. He looks directly at me. grunts. They recorded until seven the following morning, “Do you know Howard (Alk, who co-edited the film with There’s the sound of muttering – and then, in a flash- Dylan’s ‘Billy The Kid’ and some other stuff he’d written Dylan)?” point that takes you by surprise, Dylan’s arm arcs back with in Durango. On Monday morning, Bobby got on the plane “No. Was it originally supposed to be like Don’t Look the knife, and a seated outlaw gargles in the back of his and sat towards the back with throat, knocked on his side a few empty seats around him. with the force of the knife Kris and were Dylan talks in a light soft voice, and is terribly shy, which he supposedly sticking through right down the other end. his neck. About three-quarters of largely masks by an air of alienation he throws around himself “Cut,” says Peckinpah. an hour out from Mexico “Aaaaaaaaah!” goes all City, he saw a newspaper guy get out of his seat, walk to Back before it was re-edited?” that escaping air in relief. “Print it,” grins Block. Kristofferson and crouch next to him talking. “No, it couldn’t be. We didn’t have enough good He leaves as some kind of musical Messiah, and returns, Kristofferson was saying “…I was just disgusted with footage. There was 40 hours of it, but the camera was years later, as an actor playing a small part in a movie. Yet him. He’d start a song and just keep changing it around. He jumping around all the time. That was the only stuff we even before the film is finished, the questions mount. Will had horn players, trumpets, and they didn’t know a damn could salvage.” Dylan really turn away from music to concentrate more on thing what they had to do because he couldn’t make up his “Would you go back and play in England ever?” ? Will he start making records again? Could he ever mind. I left about three. No, we haven’t spoken today.” Silence. He turned three-quarters and carefully placed return to doing concerts? He’s unwavering, however, in Dylan saw all this, he saw the guy go back to his seat. the cup on the counter. There was no answer. Instead, his refusal to relinquish any part of his private self to his That was when he sidled cautiously down the aisle and taking off at a sudden tangent, he said, “Did you see Fly?” public, and this seems destined to continue. nudged me abruptly in the shoulder. “You mean the one about the fly crawling up the wall for You ask who is Bob Dylan? He is Alias, Alias whatever “You with the Melody Maker?” he demanded. Surprised half an hour? No.” We all laughed. you want. Michael Watts

NME ORIGINALS 123 1972-1974

ROY HARPER BOB DYLAN DONOVAN JOHN MARTYN Pat Garrett & Billy The Kid Harvest CBS Epic Island

MM, 24 February, 1973, page 25 MM, 18 August 1973, page 30 NME, 3 March 1973, page 11 MM, 3 March 1973, page 24 oy Harper scares the life out of me. He ven a little Bob Dylan is worth the wait. od, if you thought Donovan was all ow do you begin to describe a guitarist Rlaughs, and you never quite know if the EIt’s been virtually three years now since Gabout simplicity, pretty tunes and Has sensitive and accomplished as John laugh is aimed at you or not. He keeps you Dylan’s last album (not counting, that is, flowery lyrics this is going to come as quite Martyn? Every new album expands one’s suspended. the greatest hits), and CBS are, apparently, a shock. The point is that Donovan, as the appreciation of his ability. Most guitarists But he’s got a sense of humour – so claiming this to be his next official release. saying goes, has gone heavy, very heavy who fall under the “singer-songwriter” important that. If only more could be like Well, he wrote all the music, plays on all the indeed. brandname, if they even recognise their Harper there’d be just a few singer- tracks, sings a little, but it sounds like a movie And unlike his previous excursions with instrument as anything other than a backcloth songwriters around to make you sit up soundtrack album, which, of course, it is. electricity as in the ‘Sunshine Superman’ era for lyrics, use the guitar to emphasise and listen. Thus, most of these tracks are Dylan-esque or with ‘Open Road’, this is really intense; melody and speed. Martyn is outstanding in On record, or performing, he’s terrifying. instrumentals which probably fit perfectly almost uptight. The first side reveals a side recognising the harmony pertaining to the How can you answer the man when he’s into the context of the film but which, on of Donovan previously unknown. There’s instrument, the shades of tone and volume a shadow on a distant stage or an electric their own, don’t really have the strength to an uneasy tenseness about the title track that can be moulded around the main impulse from a speaker. He’s watching, hold an album together. for example, with a muzzy bass, a rolling, melodic and rhythmic structure. The list of waiting, listening. ‘Lifemask’ is the most There are, in fact, only four vocal numbers slow-riding tune and lyrics dealing with our accompanying musicians and instruments is impressive album I’ve heard this year. It’s – and three of those are different versions of minstrel’s recent problems caused apparently long and impressive, and correspondingly not , it’s not pop and it sure isn’t the same song. It’s a potent song however, by the stars not behaving themselves. there is a concentration upon timbre, jazz, but it isn’t acoustic either. He’s too damn dealing with director Sam Peckinpah’s – and The mood continues right through, with building up into some very extraordinary clever just to rig up a mic and play it live. The Dylan’s – obsession with Western mystique; Donovan often screaming out the lyrics and landscapes. Martyn’s performances, and whole Abbey Road studio comes into life with the West as the last refuge of the individual. a tugging, urging string section adding to also his writing, allow the strong rhythms double tracking slowed tapes, backward bits “There’s guns across the river about to pound the drama. that have characterised past recordings to be – every trick in the book. you/ There’s a lawman on your trail, like to Every artist has to change and develop, and superseded to some extent, or at least over- He’s the downtrodden poet trying to escape surround you/ Bounty hunters a dancin’ all none more so than Donovan. It was the only shadowed, by experimentation with tone. He from his insanity by imposing it on me. Harper around you/ Billy, they don’t like you to be so road open to him to and it’s good to see he has become far more confident about giving of the high screeching voice and the ragged free” sings Dylan on ‘Billy 1’ and ‘Billy 4’. The was brave enough to follow it through. his voice free reign, and the result is greatly heavy handed guitar has put, on ‘Lifemask’, a first version comes with characteristic Dylan If he was to make any contribution in the to his advantage. Finally, a word on behalf of collage of sounds and words, that gets nearer harmonica intro, underpinned by Booker T. ‘70s he had to come back with something the many hundreds (perhaps millions – who to himself than anything on record Jones’ forceful bass lines and Bruce other than the sweet, sugary little numbers knows?) who must currently be waiting with before. ‘The Lord’s Prayer’ is an Langhorn’s lovely, lilting guitar. of before. He has done, with verve and bated breath for John Martyn to record his acid trip into his mind. It splits On The musical theme of the confidence, and it deserves to pay off. awesome experiments with a reverb unit etc: into six moods as it winds song is introduced at the James Johnson Hurry up and do it. Andrew Means through eight pieces, from record, or beginning of the album the original poem to a performing, with the six-minute-long height of electric blowing. instrumental, ‘Main Title A piece of brilliant poetry, Roy Harper is Theme (Billy)’. ‘Billy 4’, its words flow with the terrifying. He’s however, changes the beauty of a clean stream, watching, melody line and pace of and they bite hard. Harper the song – the lyrics remain sings with that unworldly waiting the same. voice and there’s The one absolute gem on the (remember Zeppelin’s tribute to album however, is ‘Knockin’ On Harper) playing guitar and a heavy rhythm Heaven’s Door’. None of the American trade section as well as strings. Side two is more reviews on the album have even bothered orthodox Harper with five songs that prove to mention this track, but for me it’s the how misunderstood he is. Opening with highlight of the record. The number comes ‘Highway Blues’ he brings to mind early complete with ’s immaculate horrors of days spent standing on the kerb drumming and Roger McGuinn and Terry praying for a lift from the man in his fast, Paul, together of course, with Dylan on empty car. Most important is ‘All Ireland’, a guitars. Perfect Dylan and worth the price of song that suggests what’s wrong with the the album. A compulsive melody line and an beautiful country. It’s this song that suggests amazing chorus effect, coupled with Dylan’s Harper’s importance. Having heard every Irish vocals at their best. song from McCartney’s ‘Give Ireland Back To The rest of the album is confined to The Irish’ to the Sutherland Brothers’ latest instrumentals. And here Dylan plays a limited dreadful effort, Harper’s the one with the role, content to remain in the background as understanding. Forget the lyrical qualities of a rhythm guitarist. Most of the instrumentals his numbers and the feeling in them that’s including ‘Cantina Theme (Working For The hard to ignore. He won’t let you, with that Law)’, ‘River Theme’ and ‘Bunk House Theme’ horrible voice splitting to a high pitched sound too obviously like movie themes to scream. One day people are going to realise be entirely satisfactory on an album. They the nearest we’ve ever come to a poet with as are without precise musical identities, more

much perception as Bob Dylan is Harper. But like beautifully performed throwaway cuts. ERNS Roy has persevered with his craft and taken it Background music, without that vital visual to limits that were never realised before. I’ve link. In fact, this would make a great EP. But got a feeling you’re going to “make it” Roy. still, there is ‘Knockin’ On Heaven’s Door’ Dylan‘s Pat Garrett And more important, you’ll make it on – classic Dylan. Every home should have a And Billy The Kid your own terms. copy of that song. era: “Background Mark Plummer Robert Partridge music” REX FEATURES/JIM REX McCRARY–REDF

124 NME ORIGINALS 1972-1974

The superstar who didn’t quite make it, but added his personal panache to The Byrds, The Flying Burrito Brothers and an all-too-brief solo career

NME, 6 October 1973, page 25 The reasons why The Flying Gram liked to wear ram Parsons somehow never his intake on his Burrito Brothers never made it are quite got to be the nationally- sleeve. And his shrouded in mystery. They were touted superstar he deserved to lapels. And trousers simply the fi nest country rock band Gbe, which is possibly as much ever, released one absolute masterpiece his own fault as anyone else’s. of an album ‘The Gilded Palace of However, the general apathy Sin’, and one inferior but still excellent that greeted the various ventures he second album, ‘’. embarked on throughout his career The ‘Gilded Palace’ cover shot seems all the more criminal in times of Parsons grinning, resplendent in when the country-rock schlock Nudie marijuana-leaf design suit fell into the more successful hands with some lascivious cutie entwined of lesser talents ranging from Kris around him established an image of Kristofferson’s tiresomely hokish sorts and the Burritos seemed to have philosophising to Poco’s cherry-pie everything going for them, but their sweetness and light. lack of acceptance left Gram apathetic For those who bothered to listen, towards the whole project. Gram Parsons was possibly the only He started hanging around with truly relevant artist to successfully the Rolling Stones (the FBBs had blend rock and country music with previously recorded Keith Richard’s any real sense of vision and it should ‘Wild Horses’, a song which was be the initiated’s concern that Parsons’ rumoured to be both for and about death doesn’t further obscure that Parsons himself), planned a duet brilliance from reaching its full album with Richards and gained a audience. heavy reputation for an infl ated ego Parsons was born in Waycross, and drug abuse. Georgia, generally accepted as one Many predicted that Gram Parsons of the scuzziest regions of the United would never surface again, but his States – the son of country artiste signing with Warner Bros and the Coon Dog Connor and the heir to an consequent release of ‘G.P.’ displayed a expansive estate which was to keep quite startling comeback move. him in comfortable fi nancial stead Parsons had wanted Merle during his life. Haggard as ‘G.P.’’s producer, but His love of country music and ended up in the studios with Rick desire to perform it drove him at Grech, who did a surprisingly worthy an early age to appear at local talent job. The backing musicians were contests decked out in extrovert satins, particularly splendid – , confronting the rednecks with his Glenn D. Hardin, – Gram talent. Parsons always did things in style. Usually, he won out with his audience and eventually he formed a NME, 29 September 1973, page 2 band in along with ex-Barry And The Remains member, Barry At an early age, Gram appeared at local talent Tashien, called the International Submarine Band. contests decked out in extrovert satins An album was dutifully released, joined the Messrs McGuinn, Hillman though contractual disruptions produced by of all and deputy drummer Kevin Kelly prevented Gram from singing on the people, and featured the fi rst attempts as the ethnic country and western record, is arguably more Parsons’ at contemporary country before injection into the Byrds of 1968. achievement than that of the band. all the redundant psychedelic kids McGuinn was at that time fi rmly into A rift over the issue of touring started desperately getting down to country music, ably supported by South Africa resulted in Parsons’ hasty seeds and stems and learning the Chris Hillman, himself ex-juvenile departure. Chris Hillman left not rudiments of pedal steel guitar. The mandolin player for hillbilly band long afterwards, and he and Parsons record was unfortunately never The Hillmen. set about forming The Flying Burrito released in England, but is worth The Parsons-Byrds alliance was Brothers along with session bassist investigating at import prices. short-lived, but enormously fruitful Chris Ethridge, ex-Byrds steel player Parsons’ real rise from the in that it created ‘Sweetheart Of The Sneeky Pete Kleinow and eventually shadows of obscurity came when he Rodeo’, a bona fi de masterpiece which, ex-Byrds drummer Michael Clarke.

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126 NME ORIGINALS 1972-1974

NME ORIGINALS 127 1972-1974 Gonna rock your

Van the showman rocks , July 1973

Melody Maker witnesses the triumphant return of band together for such a long time? He doesn’t answer, but his guitarist, John Van Morrison the world’s best white blues singer, Platania, explains that they don’t all live near each other. Platania and some of the after seven years away from his British audience others live on the East Coast, while Van and the strings and horns are in California. MM, 28 July 1973, page 9 ‘Blue Money’ gives way to his new more intimate details of a song. When That “big silver bird” brings them together t’s showtime, ladies and single, ‘’. Bill Attwood and Jack you’re singing about certain things, for the gigs. gentlemen! And here’s the one Shroer play a piquant muted-trumpet/alto everybody can hear the words and what Jeff Labes’ rhapsodic blues piano, you’ve been waiting for – The sax line as he sings the lyric, with that you’re saying.” rippling against the strings, introduces Ray “I Caledonia Soul Orchestra with… “when push comes to shove” line so He doesn’t object to waiters circulating Charles’ ‘I Believe To My Soul’, one of the Van Morrison!” reminiscent of . Between and glasses clinking? musical high-points of the entire concert. Birmingham Town Hall, jammed solid, songs, Van stands immobile: left hand on “No, because usually they put their The stop-time breaks, leaving space for bursts into relieved applause as the small, the mike, right hand halfway down the drinks down when they get into it.” Van’s vocals, are incredibly precise and slightly tubby figure slides between the stand, rocking it gently back and forth. For the first time, the strings – two dramatic. While the trumpeter takes a members of the rhythm section and places He’s poised, prepared, riding the growing violins, viola and – pick up their bows showy solo, Van stands at the rear, hands himself between the saxophonist and the mood, unwilling to let the tension drop. for ‘Into The Mystic’. They supply a perfect on hips. They play ‘’ string quartet. exactly as they did at the in “The photographer smiles, takes a break 1970, complete with Shroer’s raucous alto for a while/Take a rest, do your very best, “We tried to do a Christmas album last year but we were under solo – he looks just too damn young to take five honey.” As he sings, against a too much pressure. You have to start making a Christmas play in such a mature, old-time style. The second wave of applause, he jams on a ghosts of a hundred Harlem jump altoists pair of shades, and then pushes them back album on January 1 if you want to get it out” rise and applaud – and the angelically onto his forehead. Time to take care of pretty blonde cellist smiles wide. business. A slappy backbeat from Dave Shaar’s commentary to the line “I want to rock Is it hard for Van to find the right So why has it taken the Cowboy drum introduces Bobby Bland’s ‘Ain’t your Gypsy soul,” and as Van sings “When musicians to play his music? seven years to come back and play to the Nothing You Can Do’, given a solid bar- that foghorn blows,” Shroer’s baritone “Yeah. It’s more difficult when you don’t British? blues treatment with big trumpet-led riffs. answers him with a deep, booming blare. know what you’re looking for. This is not a “There were a lot of complications Jeff Labes switches from grand piano to The sound, over-resonant at first from the singer with a band, or a band with a singer before… the business trip an’ all that. Now Hammond organ for a solo which brings high ceiling, is clearing up now. During the – it’s a whole thing.” seemed like the right time.” back a whiff of the Flamingo days. This songs, the audience is silently respectful; ‘I Just Wanna Make Love To You’ is Any special reason why now? music is meant to communicate feelings. at the end of each, their enjoyment is plain. slow, oozy, menacing funk, and Platania

“No. Everything just came together.” “I like clubs because you can get into How has he kept more or less the same steps out of his normal role as provider FURMANOVSKY/REDFERNSJILL

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Morrison acknowledges of 1001 Unforgettable Fill-Ins to take a Christine Keeler’s stinging solo. Each time he gets to Willie influence on his art Dixon’s title line, Van leaves it open for the audience to join in. At first there’s silence, but by the third time of asking they’ve cottoned on and roar lustily. ‘Sweet Thing’, from ‘Astral Weeks’, is a fleet 6/8 swinger, the strings building soaring climaxes with the aid of Shaar’s quicksilver drums, while Van plays trick rhythmic games against them. It’s perfect – but what a surprise when he follows it with an old Them song, the lovely ‘Friday’s Child (Can’t Stop Now)’. The treatment is full-bodied and satisfying, but somehow properly reticent – nobody in this band wants to be a solo star. Van leaves and somebody announces that there’ll be an interval while the musicians take a drink. After which they roar straight into ‘Here Comes The Night’. At last, the audience starts getting up and clapping along, which is what he wants (although he’s not about to ask for it). It happens first on ‘I’ve Been Workin’’, which is wonderfully fat-sounding, featuring another jagged alto solo shot through with sunshine, and a screaming coda, Van yelling his head off above the band. ‘Listen To The Lion’ brings the mood right down, misty and floating, the trumpet and tenor sax meshing prettily with the strings. He’s made some classic hit singles in the past, both with Them and as a soloist. “I like making them. It’s fun. I think I’m getting away from that, though. I’d like to be able to release triple and quadruple albums, but sometimes it’s really hard to do. A while ago the record company was asking me for singles, so I made some – like ‘Domino’, which was actually longer but got cut down. Then when I started giving the singles, they asked for albums. I don’t mind. As long as they cooperate with me, I’ll cooperate with them.” His next release will be a live double- album. And the next studio album? “A Christmas album, probably. We tried to do it last year, but we were under too “Woodstock was getting to be such a heavy number. People were moving there to get away much pressure. You have to start making from the scene – then Woodstock itself starting being the scene” a Christmas album on January 1, if you want to get it out. We’ll probably do a few sing along with ‘Brown Eyed Girl’, which were moving there to get away from the a nuclear power station: “Turn off your original songs, and some of the old things features a startling acceleration into the scene – and then Woodstock itself started electric light, then we can get down to like ‘White Christmas’ and that thing, second verse. Then, assuming a new stance being the scene. They made a movie what is really wrong, reely-rong rillyrong.” ‘Chestnuts roasting on an open fire…’ All as the master of stagecraft, Van cools it called Woodstock, and it wasn’t even in The world’s best white blues singer? that stuff. Romantic.” right down for ’s ‘Bring It On Woodtsock. It was 60 miles away. Another Maybe – but he’s definitely the world’s He moves back to the stage again for Home To Me’ – and, wonder of wonders, myth, you know. Everybody and his uncle best Van Morrison. The strings make a ‘Green’, which turns out to be the frog’s moves from his rigid pose into a series of started showing up at the bus station, and surprise entrance, with an ethereal four- song from Sesame Street. And then it’s snappy histrionics including back bends that was the complete opposite of what it part invention of great purity and logic. ‘G-L-O-R-I-A’, with a strutting feeling more and foolery with the mike-stand. The band was supposed to be.” The rhythm section lays out, the strings akin to Roy Head’s ‘Treat Her Right’ than stay right with him, adding melodramatic Why California? take it down to pianissimo, and Van smiles to the original Them record. Near the end, punctuations to his gestures. ‘Moondance’ “Well, I heard they had good oranges knowingly. He waits, waits, waits, and he lets the band burn alone until most of passes in a finger-snapping blur, and it’s there. Actually, I’d been sidetracked: I’d then… “TURN IT UP” and he’s slippin’ the audience is on its feet, bellowing the noticeable that his voice is beginning to planned to go there a long time before, but and slidin’ across the stage, bending and chorus. crack. Not surprising – the concert is now I detoured.” kicking. It all hangs out. Suddenly the concert is rushing ahead 90 minutes old. Isn’t it too laid back? The audience have given him help, and on pure adrenalin. After the relatively sober Why did he move from Woodstock to “No, that’s not really where it’s at. That’s now he reciprocates in full measure. It’s the precision of the first half, the hall is ablaze North California two years ago? another newspaper number.” last song, and he pulls the band to a halt with joy. Platania whips the band into a “Woodstock was getting to be such a As he goes into ‘Caravan’, the before disappearing. gale-force ‘Domino’, and many people heavy number. When I first went, people atmosphere feels like it’s wired direct to Richard Williams

NME ORIGINALS 129 1972-1974

NEIL YOUNG JACKSON BROWNE Reprise Asylum

NME, 13 October 1973, page 26 NME, 19 January 1974, page 11 eil Young didn’t really have too ackson Browne’s songs have Nmuch to say after the days with Jalready been covered by enough the Buffalo Springfield. During his respectable people to prove that it’s not reportedly traumatic stay with the band, just a reviewer’s fantasy that the guy he had admirably defined his own talents has real talent. Jackson is easily the best as a song-writer, displaying a unique singer-songwriter in country-rock since penchant for writing genuine rock’n’roll singer-songwriters became songs of innocence and experience, unfashionable. utilizing an effective veneer of a child-like His version of ‘Take Jackson perceptiveness. It Easy’, written is easily the It was around the time of ‘After The with Glenn Frey, best singer- Goldrush’ that I felt Young was starting lacks The Eagles’ songwriter since to unnecessarily trade on his former propulsion, and they became triumphs as yet another victim of the is a shade nearer dreaded superstar disease of self-parody. country. unfashionable The problems got deeper with ‘Harvest’ and Sneaky Pete play where Young’s voice and personality were excellent electric and starting to get tiresome. He sounded pedal steel guitar respectively. Another stunning wimpish at times, free at others – while Pete’s pedal steel swoops and curls like show from Roy his songs were beginning to be built a bird of prey circling its victim as the Wood’s Wizz... oh totally around sentiments of the “Old song segues into the beautifully low key no, it’s Neil Young man look at my life, I’m a lot like you” ilk. ‘Our Lady Of The Well’, in which Jackson After all his self-professed changes Neil sings about his own bad ways – “Across Young had just become another lonely my home has crossed the shadow of pop-star and, what’s more, had lost his a cruel and less senseless hand”. The original credibility in the process. Now instrumentation is excellent and Jackson’s comes ‘Time Fades Away’, which hits vocals haunting in their usual peerless way. rock-bottom for Young at a time when The album stays in a low-key mood his popularity has receded noticeably through ‘Colours Of The Sun’ and NEIL YOUNG LIVE and the critical knives are starting to be ‘I Thought I Was A Child’, the only cut sharpened on his behalf. on which Jackson himself doesn’t play, First it’s live, which means it’s both slack on which Lindley performs a sparkling MM, 10 November 1973, page 17 on acoustic guitar and harmonica and badly recorded – Neil Young is hardly acoustic solo. Then comes ‘These Days’ t was Guy Fawkes’ night on Monday and harmony vocals by Keith. The set the sort of artist who can afford a bad which is slower, more restrained than Ian production job. What we get are murky, Matthews’ version – a beautiful song. but at London’s Rainbow Neil apparently closed with a rambling jam sloppy attempts at rock’n’roll, built ‘Red Neck Friend’ – apparently a hit for Young’s performance was a damp on ‘Tonight’s The Night’, a number around tiresome chord progressions and Jackson in America – is the album’s only squib. There were moments, but which had begun the performance. obscure nonsense lyrics which one can’t slice of rock‘n’roll and the boogie piano I most of the act was frankly tedious. He He came back for another hour solo begin to be bothered to sort out, simply is supplied by ‘Rockada Johnnie’, who because the whole sound happens to be Elton John. talked too much about nothing and and at fi rst, luckily things improved. went on too long – over two hours. He He said he would be making a new Young’s is such a mess. Young’s Jackson’s voice is as effortless as ever, voice sounds more never losing control, never straining to made an ominous comment: “I play album with Crosby, Stills & Nash in voice annoying than ever, reach a note. Even on a rocker his voice more than I talk, so the more I talk the a couple of months and here was a sounds more never quite hitting has a kind of tranquillity which just oozes annoying than the note, screeching out of songs like ‘These Days’. On ‘Ready more I play.” song from it, ‘Misty Mountain’. It was ever, screeching when it has to go Or Not’ he tells of how a lady he met one Some walked out complaining he OK. Then some magic was infused when it has to into a higher register. night in a bar – “It was a real Hollywood was boring, while the majority of the into ‘Helpless’. go higher These criticisms apply scene” – moved in with him without crowd must have been diehard fans When they fi nally got into ‘Don’t Be to ‘Time Fades Away’, him realising it: “I let her do some of the stupidly Dylansome my laundry and she slipped a few meals ‘Yonder Stands The Sinner’, ‘LA’ inbetween/The next thing I remember she and the final track ‘Last Dance’, which was all moved in and I was buying her a It was Guy Fawkes’ night, but Young’s performance was a damp could have been a good song were it washing machine” – and is now feeling not for Young’s frantic vocal excess (ably funny in the morning and having trouble squib. Most of the act was frankly tedious abetted here by buffoons, Messrs fitting into her jeans. He wants to know Crosby and Nash). When Neil Young whether he’s ready or not to be a father. indeed. The show was all but stolen by Denied’, it was a welcome relief. One actually pulls off a good performance The song proves how far we’ve come The Eagles, who played a professional, wished there had been more numbers as in ‘Don’t Be Denied’, we find him since ‘Shotgun Wedding’. relaxed set in support. like that. wailing on about his personal trials from The album’s last two cuts are joined childhood to superstardom. The chorus is together so perfectly that they’re really Three-quarters of Young’s act was The Eagles, four Californians in great but we’ve heard the rest all before, one song. Joni Mitchell plays electric piano electric, backed by the Santa Monica London to record their third album, complete with that turgid ‘Cowgirl on the first half, ‘Sing My Songs For Me’, Flyers, the renamed Crazy Horse. The proved themselves extremely able In The Sand’ beat. ‘Time Fades Away’ and David Crosby adds a line of harmony sound was lazy and loose, featuring Nils musicians with a craftsman-like proves that, like so many others who on the closing ‘For Everyman’, which in get elevated to superstar status, Neil time could prove a better song than Lofgren on piano and lead guitar and attitude towards their rich harmony Young has now got nothing to say for either ‘These Days’ or ‘Take It Easy’. Ben Keith on slide. country music. There was sharp banjo himself. Whatever did happen to This is an excellent album. A desultory hour passed with only picking and neat lead guitar from Glenn Woodstock Nation? Nick Kent Steve Clarke half a dozen numbers. One song, ‘Please Frey and Bernie Leadon. They could

Take My Advice’, stood out, with Young rock, too. Just as well. Jeff Ward REPFOTO

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Can Dylan cure the world’s ills? Or has he been superseded by medical science? Andrew Weiner saw a recent show in Montreal

NME, 26 January 1974, page 8 veryone is hungry for Dylan. Forty- three days, 21 cities, 40 shows, 658,000 tickets, for a reported gross E revenue to Dylan alone of $1.1million. Montrealers are excited. Dylanmania is the fad of the hour. His name crops up everywhere. ‘Knockin’ On Heaven’s Door’ is Number One on the Gazette charts. It’s played all the time on CKGM, the AM/FM complex co-promoting the concerts. ‘Knockin’ On Heaven’s Door’ is a beautiful song from a badly-flawed movie, easily the best thing that Dylan has done in years. But people aren’t going to The Forum to see the hit-maker of the hour, they’re going to see Dylan the Legend, the Cultural Hero of our rock’n’roll youth, The Man Who Started It All. You could call that nostalgia, if you like, and certainly there’s enough of that in the air. But I’d call it faith. It takes quite a lot of faith to believe that Dylan is actually going to deliver, to come through with a passable imitation of his old strength and power, let alone make any significant comment on the way we live today. But people here have that faith. Or at least, they’ve convinced themselves that they do. They’re just puzzled enough and uneasy enough and hungry enough to reach out to Dylan just one more time in the hope of not getting burnt again. People are troubled by the apparent In the days of collapse of the rock culture, by all the fragmentations and progressions and proliferations. They’re getting older, they feel a long way from home, they think maybe Dylan knows the way back. Just lately, the media have been very interested in the coming of the Comet, Kohoutek. Much apocalyptic speculation. It’s the convenient symbol. News is now that the comet is going to be a washout. And Dylan? THEThe Forum is bit ugly, modern. From With theCOMET and the noise and Maybe that’s just ugly rumour, but it Not everyone is excited about Dylan’s the outside, a cross between an airport the smoke you could imagine that you has a certain ring of truth about it. Dylan’s visitation. Some people express strong terminal and a metro station. On the were maybe waiting to see a prize fight, been away a long time. Mere possession in doubts about his motives. They don’t see forthcoming events sign, Dylan is between the return of the undefeated world Montreal, I’m assured, is a criminal offence how they need him anymore – they’ve the ice hockey and the roller derby. . But that isn’t cigar smoke rising on a level with illegal parking. But that’s no moved beyond him. Inside, it’s a regular sports arena. towards the ceiling, hanging there in a reason why Dylan should approve. Maybe Why exactly is Dylan doing this tour? They’ve put boards over the permafrost thick grey smog. he doesn’t park on yellow lines either. To make more money, cashing in on the ice and seats on the boards but it’s still Rumour says that Dylan has been both The lights go down. The Band come on. nostalgia boom, one more revival show? a sports arena. It’s packed out, close amazed and pissed off by the amount of Then Dylan. To get back in the public eye and promote to 20,000 people, the biggest indoor dope being consumed at these concerts. He looks alright: black suit, white shirt, his new album (‘’) to a gig I’ve ever attended. The audience is That he can’t see why people should shortish hair. He looks a young 30, but he

world that forgot him all too easily? predominantly over-20s. need to be stoned to listen to him. still looks 30. GRUEN–STARFILE/WIREIMAGE BOB

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A rocked-up ‘It Ain’t Me Babe’ follows, Worse yet: ‘Gates Of Eden’, gargoyles- mumbles something (from one report, Dylan playing games with his inflexions, and-all-baroque poetic spewings. One “Great to be back in Montreal”) and The Band pumping out a passable forgets too easily how fallible Dylan they’re already into ‘Like A Rolling Stone’. imitation of the Byrds/Turtles. Folk-rock, no always was, how much pure hokum he Last night, when Dylan began this song, less. And very funny. was sometimes capable of. Still, a lot of everyone stood up and sang along. I read ‘I Don’t Believe You’. Acoustic Beatles people seem to like this song. Maybe it’s that in the Montreal Star. Apparently parody from 1964, rocked-up into more me who’s crazy, unable to perceive its real everyone else read it too, because they’re high comedy. Robertson and Danko significance. I don’t think so. all standing up and singing along and harmonising at the microphone like Paul I wonder at Dylan’s choice of songs. Why clapping out of time. and George. Dylan sneering on through. these and not others? Because people Musically, it’s a washout. His greatest “I can’t understand/She let go of my want to hear them? Or because he wants song, reduced to a singalong . hand…” It’s pretty much the same version to sing them? I’m not sure which is worse. And yet this is the first moment of real they used in 1966. Dylan and The Band Dylan goes off. The Band return, contact between performer and audience. play Dylan and The Hawks. sounding stronger, more confident, if It’s phoney, self-congratulatory and forced, ‘’. but it represents real Dylan on piano, eerie and needs. All evening long spiteful as ever. ‘Just Like Tom Dylan had his old speed, but he lacked it’s been unremitting Thumb’s Blues’. The hits just spectacle, Dylan playing keep on coming. the venom, he lacked a real punch and us applauding. Now Dylan goes off. The Band the audience asserts itself, play on. I’d never seen them before, but only by comparison. ‘Rag Mama Rag’, gives Dylan a thank you he’s probably too everything people say about them it true. an excellent ‘Loving You Is Sweeter Than embarrassed to accept. I just wish it had They sound exactly like their records. Ever’. Dylan comes back. All this to-ing and been a different song. Dylan took no real chances and The fro-ing is a mistake, it ruins the community. Dylan and The Band go off. Band don’t either. They stick to very The first new songs of the evening. Two A technical victory, well ahead on points familiar stuff and they even do their Dylan of them. They sound strong enough, I can’t but no real knock-out. Dylan looked in numbers. They’re supremely professional, be sure, I couldn’t make out what they good shape, he had his old speed, but he they play good songs, but tonight at least were about. After so much familiar music, lacked the venom, he lacked a real punch. they don’t look anything like the superstars they’re hard to take in. The clapping and shouting continues. I’m they’ve been vaunted to be. The new album could be great, it could sure they won’t come back, but they do. Dylan comes back, wearing shades. be mediocre, I wouldn’t know. It just They play the song they started out with, He picks up his electric guitar for the depends on the songs. ‘Most Likely You Go Your Way And I’ll Go best music of the evening. A spectacular, After the new songs, very suddenly and Mine’, ending the evening as it began, on heavy electric ‘All Along The Watchtower’. all-too-soon, we hit the Big Finish. Dylan a note of well-rounded uncertainty. A hard-rock ‘Ballad Of Hollis Brown’. A completely stunning ‘Knockin’ On Heaven’s The uncertain Dylan Door’. The Band fill out the gaps on the onstagein1974 soundtrack recording. Dylan sings with all his old power. For just a few minutes, I can really believe that I’m watching the greatest Bob Dylan: still burning brighter than rock’n’roll band in the world. It doesn’t Comet Kohoutek last. The lights go up for the intermission. For the second half, Dylan comes on Dylan picks up an electric guitar. They go alone, with just his acoustic guitar. Howls straight into ‘Most Likely You Go Your Way of anticipation. I fear the worst. I sort of And I’ll Go Mine’. hope that someone will yell “Judas!”, like Echoes of uncertainty. They’re having that crazy man on the Albert Hall bootleg, a little trouble with the sound too, but only this time in reverse. still this is Dylan, Dylan and The Hawks, This acoustic set will actually gain the sounding just like they did on that amazing greatest applause of the evening. I’m not bootleg tape of their 1966 Albert Hall sure why people seemed to prefer Dylan show. Taking up where they left off. without The Band, Montreal FM rock radio Dylan strolls back and forth. He moves comes perilously close to easy listening. well, very casual. His face shows no Maybe people found The Band too noisy. pleasure or pain, just concentration. Dylan Maybe Dylan on his own reminded them is supposed to be a pretty shy guy. This of James Taylor. Maybe they were all closet must be very difficult for him, 20,000 folkies from way back. people, all here to see him. ‘Blowin’ In The Wind’. Enormous ‘Lay Lady Lay’ is next. It’s dreadful. applause. But what dumb, trite, boring, Dylan’s voice, so strong on that first international pacifist conspiracy bullshit. number, goes through strange changes: Not even fit for old Joanie. Peter, Paul moments of Elvis and Everlys and Johnny and Mary were about right. I hope that Cash, but he can’t instill any interest, and Dylan will follow up with ‘Puff The Magic The Band sound stiff and perfunctory. Dragon’, but of course he doesn’t. You don’t get the feeling that Dylan really Some nice ones. ‘Don’t Think Twice, It’s wants to sing this song. Alright’, ‘’. ‘It’s Alright Dylan speaks, his first and last Ma, I’m Only Bleeding’ is embarrassing, comprehensible comment. “That was a Dylan singing his paranoid’s shopping-list love song… this is another love song.” without trace of emotion. They eat it up.

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BOB DYLAN is just breathtaking. The intro to ‘Tough Planet Waves Mama’ has Levon Helm demonstrating Island how to apply lateral thinking to a drum kit before the rest of the band kick into a tough, bouncy riff with Bob’s scratchy harp squawking around the edges. ‘Hazel’ is an unabashed love song, with a melody similar to the traditional tune ‘Alberta’ which Dylan did on ‘Self Portrait’. Hudson and Robertson sound here like Booker T and at their utmost hushed and reverent. If Otis Redding had still been alive he’d have taken this all over both R&B and national charts. The next cut is a ballad too. ‘Something There Is About You’ is one of the album’s least distinguished songs. It harks back to New Morning’s ‘Time Passes Slowly’, though it’s a lot funkier. “Something NME, 26 January 1974, page 16 there is about you recalls a long forgotten he Dylan tape is all over town. Dylan’s truth,” goes the lyric with Bob dragging off T album with The Band has been the the end of the last word in each line. Again, subject of a nearly unprecedented amount the Band does a tight-rope walk between of music business speculation, the volume of Nashville and Memphis. the discussions redoubling with the opening The first side ends with ‘Forever Young’, and of the tour. One faction claimed that ‘Planet a different arrangement of the same song Waves’ would be an unanswerable return to opens the second side also. A lot of folks are greatness: a manifestation of Dylan at his saying that beautiful Bob is trying to pad the best and most stimulating; a true creative album, but the two versions are so different renaissance. The other school of thought that each one justifies its presence here. was, hell, ‘Pat Garrett & Billy The Kid’ hadn’t The side one cut is slow and deliberate caused a exceptional amount of heart with everyone laying back so far that the tremors and that latest CBS release was instrumentation sounds far sparser than no comfort at all. So it was with no small it actually is. Dylan is ostensibly wishing degree of anticipation that I settled down whoever it is that he’s addressing a long and in the Sunset Strip offices of Asylum records happy life, but his vitriolic delivery give the to hear what was for all practical lie to the cordiality of the lyrics. In purposes the first real accept- contrast to the rainy night feel no-substitutes Dylan album ‘Dirge’ of the first version, ‘Forever since ‘New Morning’ way is the song Young 2’ is crisp and funky The Post-crash Bob back in 1970. with some ominous Dylan, reconciling First of all, ‘Planet Waves’ you’ll play to rumbling guitar and cosiness with crusading is not only the best Dylan convince your an almost Bo Diddley since ‘Blonde On Blonde’, rhythm. As ever, Bob’s easily outclassing ‘John friends Bob harmonica solo makes JONI MITCHELL with more vitality than ever before. She hardly Wesley Harding’ in terms didn’t lose all you feel like the harp is ever reaches the shrieking falsetto of, say ‘Big of sophistication of musical falling out from his mouth. his brains Asylum Yellow Taxi’. performance even when it’s You can square dance to The title track opens the record. It’s a love a hair behind in terms of song this one. song (its title is an American colloquialism content: but it’s easily the best ‘Dirge’ is the album’s killer cut, the which means to woo and to have) and opens Band album since ‘Stage Fright’. Indeed, one you’ll play to convince your friends with familiar piano before bass guitar, Robbie Robertson and his hatchet-men that Bob didn’t lose all his brains when he percussion, hovering electric guitar and drums not only capture all the punch of the old Al fell off his Harley. One particularly telling come in and fill the sound. Then it returns to Kooper- backups, but add line: “I’ve paid the price for solitude, but at the sparse opening with just acoustic guitar their own unique combination of genial least I’m out of debt.” You’ll have to go back to fill the sound. She’s never been in better relaxation combined with whip-chord-tough to ‘John Wesley Harding’ to find a Dylan song form vocally. ‘Help Me’, with its neat little denim funk. with as much power and atmosphere. flute phrases and her own back-up vocals is Bobby himself proves once again that no-one ‘You Angel You’ is a necessary upper after charming and lyrically the least enigmatic living could so do much singin’ with such a the intensity and gloom of ‘Dirge’. Just think song on the record. “Free Man In Paris” is ragged excuse for a voice, tempering the of it as an enjoyable interlude, a good time about the artist as seen by the manager or smoothness and facility of his later recording to go to the kitchen and grab another beer. publicist, the guy “Stroking the star maker with a touch of the blurred world-weariness ‘Never Say Goodbye’ is another love song. machinery/Behind the popular song.” The and acid cynicism of the ‘Highway 61 Revisited’ The Carpenters could do it. The closing cut, NME, 2 February 1974, page 20 music really moves along with its delicious and ‘Blonde On Blonde’ stages. Everything ‘Wedding Song’ is weird. For one thing, the layers of acoustic guitars. What her songs lack f all the singer-songwriters, male that Dylan has been has in some way been guitar sounds exactly like early Donovan. in melody is made up for by the arrangements or female, only Joni Mitchell has assimilated in this album; unarguably a new It’s Bobby and his box all the way, and you’ll O which are always stunning. maintained a consistently high standard. While addition to perhaps the most extraordinary be crooning this one to your beloveds until ‘People’s Parties’ is heavier lyrically and the Taylors, Stillses, Youngs, Kings et cetera, et body of work in rock‘n’roll. the end of the summer. “It’s never been my one of those songs where she paints a word cetera have all blown it somewhere along the Dylan ushers you into the album with ‘On duty to remake the world at large/And it’s picture of who she’s singing about. She sings: line, some more often than others and some A Night Like This’, a jaunty country-funk never been my intention to sound a battle “Photo beauty gets attention/Then her eye hardly ever at all, Ms Mitchell is still yet to thing with elements of both ‘I’ll Be Your change,” he announces towards the end of paint’s running down/She’s got a rose in her produce a bad album. Baby Tonight’ and ‘’, but much the cut, almost echoing the sentiments of teeth/And a lampshade crown.” Then she The songs are more honest than on her tougher and harder than that comparison ‘’. reverts to personal comment saying she’s got previous albums, and several indicate a might lead you to believe. “We’ve got a lot ‘Planet Waves’ is a good Dylan album, which no sense of humour and a weak and lazy mind. coming to terms with herself, with the to talk about and much to reminisce/It sure is pretty lucky all round, otherwise David In fact her sense of humour is demonstrated “beauty and the imperfections” as she says feels right on a night like this,” sings Bob, Geffen would have been saddled with elsewhere on the album only too well. in ‘The Same Situation’. The music has also sounding righteously loose and taking a a turkey and a few more of us would’ve ‘Down To You’ is another song of changed. Last album ‘For The Roses’ few outrageous chances with his phrasing. given up on Bobby for good. It appears realisation “Everything comes and had a lot more instrumentation His harmonica playing hasn’t improved any, that Dylan has reconciled his rural seclusion goes/Pleasure moves on too with elaborate brass and though. ‘Going Going Gone’ starts off with and family-man cosiness with his one-time early/And trouble leaves too woodwind. ‘Court And Spark’ Joni’s Bob’s acoustic guitar pitted against some radical crusading. Musically, his self-imposed slow… it all comes down takes it a little further and voice is stunning chickin’-pickin’ from Robertson. retirement has lost him nothing and gained to you.” Whether it’s you- the arrangements are more Pure country melancholy with some nice him much. Unless he vanishes for another mellower, me or you-someone else complex. Her voice, once vocal harmonies and a truly lovely melody. eight years and starts recording the Scott I’m not sure. But surely the voice of a folk singer full yet with more Garth Hudson sounds good enough to McKenzie song book, I think we can all start the enigmatic quality of stop has also changed – it’s allow Bob to forget Al Kooper’s phone trusting him again. vitality than her lyrics makes them all a little huskier, mellower yet number for all time, while Robertson Maximilian Smith ever before the more interesting. The

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back-up vocals are beautiful and the extended BOB DYLAN/THE BAND Likely You Go On Your Own Way...’ Immediate with a folk period interpretation of ‘Just orchestral section is reminiscent of some of the Before The Flood impressions are (1) The Band sound far looser Like a Woman’. It was always a dull song music on ‘For The Roses’. The single, ‘Raised On Island than they’ve been in any circumstances since and doesn’t get anymore interesting here. Robbery’, is in complete contrast. It rocks like a ’66; (2) the energy level is high and And now ladies and gentlemen – wipe out. bitch and the lyrics, in which she plays the part the tempo correspondingly fast and rough, The track that should’ve kicked off side two of a hooker, are good dirty fun as she sings “I’m even aggressive; and (3) Dylan’s vocals are and led the rest of the set straight up to a pretty good cook/I’m sitting on my groceries/ extremely far out – hoarse last chance howls, the sky. ‘It’s Alright Ma, I’m Only Bleeding’ Come up to my kitchen/I’ll show you my best the end of each line bellowed out like a is a truly shattering performance, taken at recipe.” Sleazy brass leads into the old Annie hopped-up football commentator exulting impossible speed, every word crystal clear Ross song ‘Twisted’. Why she’s doing this song over a goal scored from 40 yards out in the and phrased beautifully– the centre of I don’t know. Isn’t there already enough of this 90th minute. the album and Dylan’s finest achievement kind of music being revived without her doing Dylan roars into ‘Rainy Day Women’ with the since the Albert Hall cut of ‘Like A Rolling it! OK, it’s funny, with background voices by same abandon. It’s a total transformation Stone’. Everything is perfect: the way Cheech & Chong but wouldn’t one of her own of the in-crowd downer the song was on Dylan turns the melody upside down, the songs have been a better choice? ‘Blonde On Blonde’. Now it’s theme music supernatural “presence” on his voice, the The album seems to disappear under the old for the global village’s very own pub. The feeling of immense speed (like one of those stylus at amazing speed and leaves the listener first approximately controlled vocal occurs London to Brighton 60-second films) – real wanting more. I don’t want to say whether NME, 29 June 1974, page 19 on ‘Knockin’ On Heaven’s Door’. Last Afternoon Of Earth stuff. And I like this as much as ‘Blue’ or ‘For The Roses’ ‘It Ain’t Me Babe’ is next, when Dylan shouts out “I’ve got itting here in Britain, following since it would be churlish as Joni Mitchell is sounding ’66 instead of nothing more to live up to”, Stateside reports of Dylan’s recent so consistently good. Buy this record, it’s pure S ’64. Dylan’s version of It’s an it’s an expression of absolute American tour, we were all grabbing fist enjoyment. Steve Clarke ‘Another Time, Another triumph, of freedom finally sized pinches of salt for every ecstatic expression Place’ is a riotous rock- achieved. We do have sentimentality the US critics drooled… I out, driven in deep of absolute nothing more to live up to mean, we’d all heard ‘Planet Waves’, we ROY HARPER by Helm and Danko, triumph, of – and isn’t that inspiring? knew the score. Forget it. Valentine and coloured by some On this classic performance To judge from the high spots on this album, freedom finally Harvest amazing organ from it’s completely devastating. the rumours were as near true as doesn’t Garth Hudson, who’s on achieved Despite the many drawbacks much matter. ‘Before The Flood’ is the magical form on nearly of ‘Before The Flood’, it’s still best Bob Dylan album since ‘John Wesley every track. Side one closes one hell of an album. So some Harding’ – and if David Geffen hadn’t made with a sped up, ferocious ‘Ballad of the vocals are overstrained or the managerial compromise of giving over a of a Thin Man’. Great Dylan vocal, dynamite miscalculated, so Levon Helm’s galloping complete side to The Band when reportedly fills. A star track and sore throats all round. drums do begin to pall on side four, so scorching Dylan performances of ‘Gates Of Side two is just The Band. They do ‘Cripple Robertson isn’t on top form. There’s still Eden’, ‘Times They Are A-Changin’’, ‘It’s All Creek’, ‘I Shall Be Released’, and a new two stunning highs (‘It’s Alright Ma’ and Over Now Baby Blue’ and ‘Mr Tambourine number called ‘Endless Highway’ on which ‘All Along The Watchtower’), plenty of Man’ were just lying there smouldering in a Robertson draws applause for a solo that better-than-good performances, dollops of can, this double set could’ve outlived even isn’t really that neat, plus ‘The Night They miraculous Hudson keyboard-work and the the legendary ‘Albert Hall 1966’ bootleg. A Drove Old Dixie Down’ and ‘Stage Fright’. cerebral-overload atmosphere in general. plague upon contractual expediences. They do okay, but okay isn’t good enough If the decision-makers had gone the whole What is here is uneven to say the least, but after the promise of side one. hog and put on all the rest of the reputedly there is a clutch of tracks that reach peaks NME, 23 February 1974, page 41 Dylan’s acoustic set is presented in severely cosmic stuff ‘Before The Flood’ would have even ’66 vintage Dylan would’ve been truncated form on the first half of side three. very probably taken off and gone into orbit his album is going to sell a lot of copies, surprised by: coming from a man who just He takes ‘Don’t Think Twice’ at the speed around Mars or something. Still, never mind. T and not just because Jimmy Page and released one of the lamest albums by a of the average hoot ‘n’ holler stuff from his You can’t always get what you want and are on it either. It’s going to sell major artist in the last five years, the success debut album. Reversing the process applied nothing can take away what we do have because more people are now prepared to rate is positively astounding. to ‘It Ain’t Me Babe’, Dylan follows this one here. Ian Macdonald listen to Roy Harper than ever before, and, last Side one gets off with a storming ‘Most but not least, because it’s a very pretty little album indeed. Pretty little album? Roy Harper? Indeedy. Bored with ‘Valentine’ is an album of love songs, and ‘Acapulco Gold’, though only one of them is silly and trivial, Roy Harper moved onto horse it’s still the most approachable album he’s yet made. ‘The Lord’s Prayer’ from ‘Lifemask’ was brilliant, sure, but its’s not exactly easy to take. Most of this album is very, very easy to take. He opens up with a sweet little song about the joys to be derived from carnality with young girls below the age of consent, but there’s no Dr Hook nudge-nudge gross-out tactics involved. It’s both very delicate and very erotic. ‘Male Chauvinist Pig Blues’, despite the presence of Messrs Moon and Page, is something of a washout, because the milksop production completely emasculates both the guitar and the drum sound. If only Pagey had produced this one himself… Good song, though. ‘Acapulco Gold’ is just plain irritating. So Roy’s getting rolled smoking Acapulco Gold and his lady’s baking the Afghani. So what? Who gives a burnt roach what he’s smoking? Those nudge- nudge songs about dope are very passé, and if Roy wants to write a dope song, he should write one that actually says something more about weed than “smoking rope is crazy”. Everything else on the album, with the exception of ‘Ché’ (another tedious piece of radical chic) is quite startlingly pretty, especially ‘Forever’, recently incarnated as a single. ‘Valentine’ is a nice album, but there’s more to Mr Harper than this. If this album sells, let’s hope that it moves a few copies of ‘Lifemask’ and ‘Stormcock’ in the process.

MIKE O’MAHONY/REDFERNSMIKE

NME ORIGINALS 135 1972-1974 A VAN FOR ALL SEASONS

“The best interview Van Morrison: “And I’ll tell you I’ve ever done,” was another thing I hate... youse.” Van’s own verdict of this marathon session with Ritchie Yorke. Certainly the enigmatic Irish expat has never talked so revealingly

NME, 23 February 1974, page 11 et’s talk about your history. The background bio stuff on you – is it accurate? A lot of it isn’t. I just started playing in groups. It Lwas the late ‘50s, I think. That was the time that skiffle was really big. It didn’t matter what you played, everybody called it a skiffle group. I did that for a while then I went on the road. We had about 20 different names – none of them really meant anyt hing. We played in Germany for a while. I got back from Germany in 1963 and these guys were talking about opening an R&B club in Belfast. They knew I was into R&B – more than anybody else who was around at that time. There wasn’t much media exposure of R&B, was there? No, but it started. You had to go to special shops where they sold jazz records. It started to pick up around the end of ’63, ’64. Who really dug that sort of music? People working in record stores – who didn’t care whether they sold them or not, they were so much . And that’s how I got R&B singles. I’ve been into blues since I can’t even remember how old I was. My father had a collection of blues records. Muddy Waters, Sonny Terry, Brownie McGhee. So I was hearing it constantly. I had Bo Diddley records when people thought Bo Diddley was… nobody knew who Bo Diddley was. I used to play them to people and they couldn’t figure the music out. I used to play musicians Bo Diddley records and Muddy Waters things and they didn’t know how to react to it. And about three years later, an English group would record one of the songs, right, and they’d come along and say, “Did you hear that? What was that? But so-and-so’s done it so it must be alright.” A lot of kids who came up with The Beatles don’t even know who Arthur Alexander is. After that you went to England... Yeah, I guess we moved there for a while. There was more work happening there… There wasn’t a lot happening in Northern Ireland and we got tired of hassling with people who were wrecking themselves – but I guess there’ll always be people wrecking themselves, no matter what… When was Them formed? That was in Belfast. Actually the way I put it is I think Them lived and died at the Maritime Hotel, as a group. Nobody really knew what Belfast meant. It didn’t mean anything. So that’s where we did our thing – at the Maritime Hotel. And we did gigs outside there too, but the Maritime was like a stomping ground.

136 NME ORIGINALS 1972-1974

We ran the place too, the whole show. Even making that I could cut out of a lot of the songs acapella with just records, we were out of the element. The way we did the maybe one guitar. But it didn’t turn out, it got all weird… numbers and all that was more spontaneity, more energy, Somewhere along the line I lost control of that album. more everything… ‘cos we were feeding back off the And somebody else got control of it and got the cover and crowd, off the audience. And it was never really captured all that shit. I mean, I knew what was happening to it, but ‘cos there were no live recordings, not that I knew of. I couldn’t stop it, because I’d given my business thing over I guess the band was never the same after that. People to someone else, and although I had final approval, they were just getting browned off, you know – a couple of just did the wrong thing… It was the sort of thing where Van in arguably the guys left. It was like the whole thing was out of context. only place he was someone was on your back to get something cranked out, And the record company was trying to promote it as ever happy – on even though they knew it was wrong. A couple of the things stage something it wasn’t. They were calling us British when we on it were hits, but the album didn’t sell very well. I’m glad. were really a Northern Ireland group. ‘Tupelo Honey’ is another one that I wasn’t very happy When did you first think of moving to America? road and being hassled by 40 million people, you could with, songs that were left over from before. It wasn’t really I decided by accident actually, because after Them’s second walk down there and there was nobody… fresh. I was really trying to make a country and western album, they’d been digging the West Coast of America. Tell me something about ‘’... album. I never really listen to that one much. I just don’t We’d had a two-month tour booked and the time I had off The title confuses one, I must say that. The title was connect with it. The albums I do connect up with are gave me time to look around, mainly in California. ‘Madame Joy’ but the way I wrote it down – don’t ask me ‘Moondance’, ‘Astral Weeks’, ‘St Dominic’s’ and ‘Hard I really dug California, and I wanted to go back there. why – the song is a stream of consciousness… ‘Madame Nose’. The ‘Street Choir’ and ‘Tupelo Honey’ albums, I’ve Somebody British saying this sounds weird but I think George’ just came right out. It’s basically about a spiritual got a bad taste in my mouth for those. America was more receptive to me, my type of music and feeling. It may have something to do with my great aunt, You’re not a big fan of the ... where I was coming from than anywhere else. As far as whose name was Joy. Apparently, she was clairvoyant. My record company and I have disagreements – there’s no ideas and stuff like that. That may have something to do with it. doubt about that.But I don’t think there’s enough artsists It attracted me because people understood, for probably Are you still happy with the original performance? who help other artists, to make people aware it’s not just a the first time, what I was talking about. For Belfast, my Oh yeah, I mean, that album just stands out. ‘Ballerina’ – free for all. I think one of the few people that is doing that ideas were too far out. In England, I don’t know whether that one, I don’t really know. I had a romantic stage in my is Frank Zappa. they were too far out, or I wasn’t “in” or something like head about the San Francisco outlook and I was sitting in I think Zappa is a very intelligent human being. He’s that, but perhaps I was even ahead of time, you know. this hotel, you know, and I had a flash about this actress in the only person I’ve heard in interviews really say things We used to play clubs and Jimi Hendrix would come up an opera house in a ballet, and I think that’s where it came – about how it works, what you shouldn’t let happen and sit right in front and listen all night. I don’t know, the from. I think the song may also possibly be about a hooker. and what he thinks should happen. I think it’s really good musicians dug it but the general public didn’t know what ‘Slim Slow Slider’ is about somebody who is caught up that he’s outspoken about that. I’d like to hear more we were into. people who are really successful telling it So WB signed you and you went in to do like it really is, instead of pretending about ‘Astral Weeks’? “There was no school for people like me – we were freaks it. The real problem seems to be that the Right, ‘Astral Weeks’ was a whole concept from in the full sense of the word” music means so little in the music industry. beginning to end. It was like all thought out up It’s really amazing. People seem to get to front. It was supposed to be an opera. I mean by opera, in the big city – and maybe dope, I’m not sure. A lot of a certain point and they’re not into the music anymore multiple visual sketches. When I’d written the songs – even these things are not really personal – that’s why I have to – they’re just into gimmicks or something. before I’d done the album – there was talk of a film and all interpret them, you know. A lot are just speculation on a ? Even Mick Jagger? that. We tossed that around for a while, but it didn’t happen. subject. For example, one of the songs, ‘Moondance’, was I just can’t figure them out. Maybe they’re genuine. God ‘Astral Weeks’ itself is a transformation song. It’s the result of a dream about being shot down, knows? I don’t. I always think they’ve got talent, but… transforming energy… or going from one source to and that started off the whole song – things like that. Does music mean a hell of a lot to you? another, with it being born again, like a rebirth or Was the reaction to ‘Astral Weeks’ better than It’s in me, it’s just got to come out. It was really difficult something. I remember reading something somebody said you expected? for me in school because the only thing I could get into about you have to die to be born… it’s kinda one of those Let me tell you something. I don’t think a lot of people was English. There was no school for people like me – we songs where you see the light at the end of the tunnel. know this, but when that album came out I was starving, were freaks in the full sense of the word because we didn’t I don’t think I can elaborate on it any more than that. literally. The critical acclaim was really good. A lot of have the bread to go to a school where we could sit down ‘’ – is there such a place? people I knew really liked that album and I knew they and do our thing. Most of what was fed me didn’t really Yes. Cyprus Avenue is in Belfast. There’s a lot of areas in weren’t just putting me on. help me that much. Like in music class we’d sit and blow Belfast where there was a lot of wealth – and that was How do you feel overall about ‘Street Choir’? recorders or something… and that’s education? one of them. It wasn’t far from where I was brought up. A I really don’t think that album is saying much – there really Do you go to many other concerts? different scene, financially or whatever you call it. To me it isn’t anything. Later on I realised what the song ‘Street No, I don’t go at all. There’s really nothing I want to see, was a very mystical place, a whole avenue lined with trees, Choir’ meant. ‘Street Choir’ was an acapella group. you know. I don’t really think people are saying much as

IAN DICKSON a place where I could think… instead of walking down one I wanted these certain guys to form an acapella group so far as rock‘n’roll goes. To me, Chuck Berry was saying more

VAN MORRISON NME, 9 March 1974, page 15 summary of his work to date, while including But what makes the album special It’s Too Late ver since Van Morrison moved out to the useful notes on background listening. are the “new” songs. Morrison’s roots To Stop Now... E West Coast to do his own things in his ‘Into The Mystic’ is an important success as it in R&B, soul, gospel and jazz are revealed Warner Bros own way, he’s produced a series of albums of demonstrates that he has new things to add as he performs them with understanding exceptionally high quality and maintained a even to his own classics. He changes and respect for the originals. His mercurial standard of performance, though at it from a brass-based to a string- interpretation of the his best he’s second to none. based song. Indeed, the string The song song,‘IJust Wanna Make Love ‘It’s Too Late To Stop Now’ is the distillation of four play a consistently leaves the To You’ can take its place of the finest moments of his concerts at the important role–‘Caravan’, audience alongside both the original London Rainbow, the Los Angeles Troubadour especially, features an in a hushed and the Stones version. His and Santa Monica Civic Hall on his 1973 tour. extraordinary solo by the first timing is immaculate, and It comprises two tracks each from ‘Hard Nose state of violinist, Nathan Rubin. perceptible his rapport with an excited The Highway’, ‘St Dominic’s Preview’ and An eight-minute track, ‘Listen audience is ‘Street Choir’, one from ‘Astral Weeks’ and To The Lion’ is also thoroughly awe the kind of thing that three from ‘Moondance’. In addition, there are successful. The song moves to a makes this album worth ten two tracks from the heady days of Them, and beautiful cadence which leaves the times what Warner Bros are six of his past favourite songs. It thus acts as a audience in a hushed state of perceptible awe. asking for it. Bob Woffinden

NME ORIGINALS 137 138 1972-1974 NME ORIGINALS millionaire through a businessman’s eyes businessman’s a through millionaire D release Neil Young records – and Young, “ Young, – and records Young Neil release to wanted who company record his been making music. Alternatively, it might have and alive still was he that know public his let something assembled relatively quicklyto out put to preferred instead and again studio arecording into himself getting of afraid was Young though as look did really It soundtrack. amovie essentially was song), studio outtakes (including only one new and material live of ahotch-potch Past’, The Through ‘Journey while live, recorded songs new of acollection was Away’ Fades since neither were studio ‘Time albums; it was just about possible to excuse them but status superstar his befit didn’t albums two last His record. good another make to Days. In the opening of ‘Walk On’, released released On’, ‘Walk of opening the In Days. Old Good the as it, made he’d before past, his he More once, to than refers world-weary. and cynical hopeless, bitter, consecutively sounds he here but cut; strongest the Rain’, To About Sky The ‘See with along is, which Blues’ ‘Revolution in sings he as laughs, of abarrel exactly never was Young Neil playing as well in their former days. aren’t Beach’ The ‘On on musicians the of rest the and he –and genius isn’t pain case is preventing him from creating; in Young’s him surround to seems now that gloom of sense overwhelming the –perhaps to used he as well as writing isn’t Young Neil because depressing also it’s But evokes. album the that depression is the mood that much of in adowner It’s record. adepressing it, at look you way whichever is, Beach’ The ‘On LP. Young Neil new the of title the be would Beach’ The ‘On that announced then was It later to High’. abbreviated ‘Human replacement, its was Highway’ ‘Human and atitle for dropped was Night’ The ‘Tonight’s Beach’. The ‘On to on it made has set that from songs, ‘For The Turnstiles’, the of one Ithink but be seen on this album, The Night’ is nowhere to album. Actually, ‘Tonight’s next the of title the be would that Lofgren Nil member band to according and Night’, The ‘Tonight’s called asong with concert the closed and opened He material. new of up made entirely almost set abum sang slightly-tragicslightly-comic, figure as he will remember Neil Young as a very drunk, November, last Rainbow the at him saw who Anyone wane. the on was creativity Young’s indicated that album the only wasn’t it But who demurred. as a single in America and the only cut cut only the and America in asingle as that could possibly be described as an an as described be possibly could that rather hoped Neil Young had it in him him in it had Young Neil hoped rather Istill contrary the to signs all espite upper, he “ sings: good old days, I stayed up all night night all up stayed I days, old good NME. 20 July 1974, page 14 1974, page July 20 NME. NEIL YOUNG On The Beach Reprise I remember the the remember I way you look Beach’, it’s a Whichever depressing depressing at ‘On The The at ‘On ”, record A getting crazed getting them in their cars their in them I hate them worse than lepers and I’ll kill kill I’ll and lepers than worse them hate I cutting “ the sings Young When particular. in thing one any about is songs three the of None Blues’. ‘Ambulance of strangeness dropping silver into a tambourine adds to the ‘Ambulance Blues’. What sounds like somebody on blend violin and mouth-harp way the overwhelming sense of melancholy – like the increases only Blues’, ‘Ambulance and Picture’ ‘Motion Beach’, The ‘On two, side on cuts the all of instrumentation The bad taste clinging to your epiglotis). a with you leave probably (and something feel you make it’ll but it like not You may ignore. to difficult is that music powerful it’s time same the At corpse. ayodelling to emanates from side two. It’s like listening that death-vibe the feel to not impossible Without any kind of exaggeration it’s was magic when we played we when magic was of eyes of lies lyrics: “ similar singing him has Blues’ ‘Ambulance song downer complete and closing The Steve Clarke Steve good, but we still did the best we could we best the did still we but good, and he spits out the words: “ words: the out spits he and urgency of full It’s well. play band the where cuts few the of one is and Dylanesque very is song The Blues’ ‘Revolution on time same the at angry and bitter alive, most sounds Young her children. are Neither Blues’. ‘Ambulance in happy isn’t imagery) Goose(fairytale Mother Old even and rain the in crying waitresses about on, make-up her has she when real only who’s awoman about sings He down. all they’re except out throws Young images various the to connection any be to seem doesn’t There strong line. politicians? Either way it’s a viciously American of brands his of one any Or Nixon? three albums and forget he ever made this. first his to listening on keep to going I’m Me, Beach’. The ‘On like you’ll then own, late at night with just a candle for light, your on records Cohen Leonard to listening likes who person of kind the you’re If sloppy. is it of is there what and inspired isn’t playing guitar Young’s simple. over are arrangements the and sparse is sound the Overall does it reek of impeding doom. neither Christmas’; ‘Merry exactly isn’t Rain’ To About Sky The ‘See while that significant It’s evoked. lyric the which solitude the enhanced accompaniment acoustic Young’s recorded at The Music LA Centre in ’71. There abootleg on included is version superior far a and back years a few written was song The rhythm. broken Horse Young/Crazy Neil familiar the into goes Molina Ralph drummer and piano electric reverb plays Young the arrangement. by spoilt is –but song best album’s the is To Rain’ About Sky The ‘See disintegration. of verge the on always playing band’s the and Laurel Canyon is full of famous stars famous of full is Canyon Laurel / He had a different story for every set set every for story different a had He That statement, coupled with the fact ”, is it intended as a reference to Back in the old folkie days, the air air the days, folkie old the in Back I never knew a man tell so many many so tell man a knew never I nod-out boogie with Young’s voice voice Young’s with boogie nod-out that he regards the old folkie ‘Vampire Blues’ is the ultimate / days better than present times Then the money wasn’t so so wasn’t money the Then means being publicly owned. publicly being means indicates that Young isn’t too too isn’t Young that indicates .” like being well known if it keen on stars being a star. astar. being stars on keen the point that he doesn’t In ‘Walk On’ he sings: he On’ ‘Walk In around, “ up my name my up talking me down me talking I hear some people bin bin people some hear I .” ” which makes makes ” which I’ve heard heard I’ve , pass it it pass / But But / Bring Bring .” I’m Ido. that detail careful the twice in of Neil Young. Probably knows the man’s work adevotee Steve’s evokes.” album the of most is the mood which downer in that depression a It’s record. adepressing it, at look you way as too negative too –“whichever self-pitying Beach’ The ‘On attacked Clarke Steve issue, And that’s the catch, really. In our July 20 beginning. investigation of personal pain from the very the stock-in-trade artistic his made has Young Diamonds’ With Sky The In ’Lucy like pieces and includedfrom in ‘Help!’) its course really, (starting, gradual both was change of his earlier work but, whereas Lennon’s rejection and to areaction being of terms in album Band’ Ono ‘Plastic Lennon’s of no longer sugared –either by Sweet Melody or or Melody Sweet by –either sugared longer no is pill The Beach’. The ‘On into get won’t fans main reason why the majority of Neil Young to be still believable. And that could be the pill just the correct distance into commerciality Really Like Love’). Leonard Cohen. A sugared ICan You Dance ‘When (eg lush deliciously too alittle just got thing whole the times other Why’); Me ‘Tell (eg manufactured or dishonest ashade it Ifelt Sometimes focus. creative a as self-pity of employment his accept R grumbling practices his Young named The ironically- not position. ‘On The Beach’ is his equivalent equivalent his is Beach’ The ‘On position. ight Neil Young is in kind of an invidious a Young devotee. I could never totally totally never Icould devotee. aYoung NME, 17 August 1974 , page 12 he because inevitable the postponing was Young that is supposition The 1972. in ‘Harvest’ since effort studio serious first his was Beach’ The ‘On out-takes; studio, and cuts “live” of arag-bag was Past’ The Through ‘Journey and “live” Away’ Fades ‘Time done He’d recording. supposed disenchantment with studio- Young’s of result the was Beach’ The ‘On Steve, in his original review, suggested that Neil Young’s best so far. be to clearly seems me- –for that album An itself. album the from evidence documentary the provide to me to up now it’s –but know Idon’t CSN&Y, with States the touring now Young revived totally reportedly the for account you else How period. primal Lennon’s of bracket Realism Merciless the in work of piece positive aquite actually but rejection, with romance Young’s Neil of fag-end the interpreted, previously as isn’t, Beach’ The ‘On he’s Woken Up. suggests turn, in Which, deal. the on welched simply, quite has, Young posies. of garlands by about to say, he’d hold off just the same. the just off hold he’d say, to about – and, if he didn’t quite know what he was off hold he’d anymore, himself in faith no accurate and it both supports cases. If he had The “postponement” guess is probably fairly times. four changed alone title The of. dither over what the new album would consist apparent evidence for this lies in his seeming knew knew he couldn’t cut it anymore. More

REDFERNS 1972-1974

It’s still supposition, though. On the other with that outlaw-avenger attitude, even hand, if we’ve “supposed” so far, we might as if he’s laughing about it while he’s pulling well keep on supposing. triggers in his head. The mode is prime ’65 Suppose Neil Young was getting towards his Dylan. Militant psychotic-surreal. wits’ end, what with all that’s expected of him ‘For The Turnstiles’ is about how everybody and fatigue and drugs and directionlessness- gets nailed by The Business Of Fame sooner or made-a-virtue and all. Suppose it was time to later, underlined in an extraordinary closing make a new album and he had the material verse in which Young sees all the baseball ready, just like he had six times before, but stars “left to die on their diamonds” (batting somehow didn’t believe in it anymore – didn’t bases) while “in the stands the home crowd believe himself, didn’t believe his audience scatters/For the turnstiles.” were picking out what he regarded as On side two we get to the real meat: the tale important in his songs. He’s stymied and he’s of Young’s personal experience in the last few going down fast. Then something happens years and the story upon which this whole that Opens His Eyes. Someone says something interpretation hangs. In successive verses, to him, something happens –whatever. He Young find himself alone at a microphone suddenly realises where he is and what he’s after a radio-interview and interjects the doing. Perspective. Reality. He writes a new image of being “out here on the beach” bunch of songs fast. Out comes ‘On The Beach’. where “the seagulls are still out of reach”; The precise nature of the occurrence which he resolves to get out of town, head for changed Young’s head, will be looked the sticks with his bus and his friends, at later. For now, let’s keep that and follow the road, although supposition in mind and begin he doesn’t know where it looking at the album. Young ends – the song closing ‘Walk On’ walks the album now sounds with a repeat of the on. Gently rocking, very solitary line “The world “live” sound, but very actively is turning/I hope it clear too. At once we get don’t turn away” and dangerous, Young: “And this Perspective: “I remember while Dylan just a beautiful guitar solo one’s called ‘Free the good old days...”. And over a slow fade. ‘Motion Symbionia’...” straight after we get the sings his own Pictures”, dedicated Reality available from that gospel to his girlfriend, Carrie, star vantage-point: “Sooner or later of Diary Of A Mad Housewife, keeps getting its shoes caught in the mud, means, Young blows some more, now rather it all gets real/Walk on.” is the work of a man who had a Ralph Molina pats hand-drums almost deflated harp. Only it isn’t a breather. It’s a Say the person he’s talking to here is shrewd suspicion that The Business inaudibly, Joe Yankee chinks an “electric Dramatic Pause. Young slams back with the his current lady, Carrie Snodgrass, and the was doing him in, and only just found out tambourine” (sounding, as Steve said, “like rebuttal and a clear statement of where he’s “them” in question is Young’s audience. how. It covers this ground with the impressive somebody dropping silver” into it), and at now: “I never knew a man could tell so Ze pieces begin to fit together, nein? economy which characterises the whole Rusty Kershaw’s violin sounds like the hillbilly many lies/He had a different story for every A lyrical bitterness about “the man” (and album: “All those headliners, they just bore cousin of Robin Williamson’s creaking gimbri. set of eyes/How could he remember who he’s you can take it straight as Big Business or me now/I’m deep inside myself, but I’ll get It’s raining. Obsessively so. talking to/’Cos I know it ain’t me and I hope vend it towards the Drug Connection) is out somehow/I’ll bring a smile to your eyes.” The lyrics open with a direct reference to the it isn’t you…” reiterated constantly through the record, Which has, in turn been arrived at via a verse Perspective outlined at the beginning of the That certainly doesn’t sound like the work of from his showbiz/high society aspect in ‘For that represents The Young Policy Statement album: “Back in the old folkie days, the air a depressed, negative man to me. It sounds The Turnstiles’ (“Singing songs for pimps with For The Past: “Well, all those people, they was magic when we played…” extremely positive, actually – and note that tailors/Who charge ten dollars at the door”) think they’ve got it made/But I wouldn’t buy, The verse again, and a crucial one: “I guess ‘Ambulance Blues’ is the only track thus listed to industrialise magnates in ‘Revolution Blues’. sell, borrow, or trade/Anything I have to be I’ll call it sickness gone/It’s hard to say the which isn’t any kind of blue at all. There’s It’s hard to say whether ‘Revolution Blues’ like one of them/I’d rather start all over again.” meaning of this song/An ambulance can only scattered evidence for A Dylan Experience is meant to be seen from Young’s point of Note the echo of the last line of ‘Stage Fright’ go so fast/It’s easy to get buried in the past/ in many tracks from ‘On The Beach’, but view or from that of a persona. Manifestly he and the deadly seriousness of the proposition. When you try to make a good thing last.” the more important thing is that, though doesn’t live “in a trailer at the edge of town” All the loose strands are woven together Which supports the case for the Traumatic Dylan and Young may have taken a parallel or possess “twenty-five rifles just to keep the in the final track, ‘Ambulance Blues’ – a Change Theory quite admirably. Now it’s just path recently, Young now sounds actively population down”. Manson’s lot, maybe – or, beautiful song, possibly Young’s best ever. a case of (a) What caused the change?, and dangerous, whereas Dylan’s just singing his more relevantly, the SLA. But not our Neil. On Young picks an aged acoustic and blows (b) What does the change involve? own peculiar gospel. Ian MacDonald

RETNA the other hand, he evidently identifies strongly smeary harp, Ben Keith slaps a bass that While we’re mulling what this character (Piss off – S Clarke)

rodeo, pure‘n’simple. Steel guitars; Johnny Gram by name, GRAM PARSONS lots of grammes Cash, June Carter vocals (provided with the by nature Reprise help of songstress Emmylou Harris). The title song is as down-home as an old Ford pick-up sitting on cement blocks in the backyard. Love in a plaid flannel shirt, brought to you by the same folks who’d sooner milk a pig than listen to some pretty boy crooning about Max Factor and tight assholes. ‘Heart’s On Fire’, cannot be heard by anyone who’s ever been broken hearted without provoking a long pensive gaze out the window. I don’t like to be sentimental but ‘Brass Buttons’ almost had me in tears. “The sun still comes up without her/It just doesn’t know she’s gone”. That buckeroo, is a love song broken down NME, 23 February 1974, page 41 to its most common denominator. hen you’re sitting in a trailer at 2 am ‘Las Vegas’ assures me that under all that W somewhere out in ‘Last Stopsville’, sweet sorrow lies an active sense of humour. and there’s just you, one more hit of apple “Well the Queen Of Spades is a friend wine, the chick on the calendar, and a radio, of mine/The Queen Of hearts is a bitch/ consider yourself lucky if you can find a Someday when I clear up my head/I’ll find country and western station. out which is which”. The next time you feel a little humility If you like country music, get this album. inching up your rock-ravaged brain, play If you don’t like country music get this your cards right and saturate yourself with album, and if you still don’t like country the late Gram Parsons. On ‘Grievous Angel’, music, go back to Black Sabbath and try his last recorded LP, Parsons makes no Gram again next year. country-rock compromises. It’s all straight

NME ORIGINALS 139 1972-1974

140 NME ORIGINALS 1972-1974

How a Hippy Hero became a sultry Sex Object efforts went crazed astronaut on ‘Starsailor’. It was the type of statement great artists always seem to make just and had a simply devastating effect on the before they freak out, OD or fade into obscurity. For two years it looked like Buckley had taken the last glands of a certain CHRISSIE HYNDE course, and then, in 1972, he reappeared with ‘Greetings From LA’, and if his fans were unhinged by ‘Starsailor’, NME, June 1974, page 42 their own way. Still getting compensation from pop and ‘Greetings...’ had them upside down with confusion. t’s a summer night, Anytown USA, 1969. We’re mom, but ‘living the blues’ as it were. Bullshit! So now At least I sure as hell was, when I saw his LA set over a sitting in a loosely constructed circle , a concert consists of 13-year-olds passing coffee cans of year ago. I trotted dutifully to some bowling alley dive to passing around a gallon jug of cheap Californian red pills around and listening to . And they don’t see him, and felt my brains drip outta my ears when the I wine. The river stinks of detergent and oil, but the respond! But I have to stay in tune with the whole thing virginal innocent of my dreams got on stage and started smog has lifted and the full moon splashes us with ribald ’cause I’m a writer and it’s America.” belting out “Get on top of me darlin’ woo-maan!/Let me ideas. A few chicks plunge into the greasy water labelled At this point I realise I could talk to him for hours before see what you learned!” a fire hazard by the city council as the whistle of an even touching on his musical interests. I’m still feeling dizzy What brought on this change to overt sexuality?’ oncoming train is heard from a few miles away. at just meeting the guy whose singing sends me into raptures. “Oh well. After ‘Starsailor’, I took about a year off and Someone throws the now empty jug downstream and I’ve often thought (when listening to, for example, ‘Strange started a book – movie scripts which will be turned into it’s a quick scramble up the river bank and over the bridge Feeling’ from the ‘Happy Sad’ album) that if sound could books – and I’m told, ‘Well, you better make another railing. Stumbling drunk, we simultaneously leap onto the create orgasm, Buckley’d have to have his throat registered album’. And I said OK and I was just sitting there… and passing train and clutch those iron ladders for dear life, as a dangerous weapon. I can’t help but ask about some I hadn’t touched the guitar in a long time and I thought, sliding between the moving cars like pros, of those songs that led me through my teenagehood when well, I have to get up-to-date. making a flying dismount onto Main Street. Holding a the going got … like, he seems to have gotten well “I saw nine black exploitation movies, read four black piece of sandstone in her hand, Colleen points to one of away from the idealism of the ‘Goodbye Hello’ days. ‘sock-it-to-me-mama’ books and read all the rock criticisms. the box-cars. Under the large stencilled I took a week off, read all the Rolling letters B&O (Baltimore-Ohio) is scribbled Stone things, and finally realised that all of a name: Tim Buckley. If sound could create orgasm, Buckley would have to the sex idols in rock’n’roll weren’t saying Seems like a long time since that waif anything sexy. countenance gazed down at us from its have his throat registered as a dangerous weapon “Or had I learned anything sexually from lace on the altar-like mantle of a hundred a song? Or for that matter pornographic? hippy novels. See, Tim wasn’t just a musician, he was In fact that album was pretty much a statement of youth So I decided to make it human and not so mysterious, and spokesman for the love-in generation, an ultimate being as a whole, old hating young, young hating old and not to deal with the problems as they really are, so I guess that everybody wanted to be and go down on at the same getting each other into their worlds. that’s where the innocence went.” time. Boys… girls… didn’t matter, and his wasn’t an AC/ “What makes somebody kill for their country? It’s a And if go you must, go in style, say I. And, of course, DC appeal, rather one of that gentle wandering minstrel little easier to understand in an alley, when you’re being Buckley always does. The song he mentions as his we all fancied ourselves as. Nobody’s ever looked prettier attacked, but then you’re paid and fed to become a personal favourite, ‘Sweet Surrender’, is cruel and poignant, – and that image combined with one of the most sensual, professional soldier, where’s that at – right? That’s what a walk right through the jungle. multicoloured voices ever… well, how could any underdog that was about, so the album wasn’t idealistic. It came out ‘’, the latest edition to Buckley’s recorded resist? of an idealistic period of time – the acid days and all that. achievements, is more or less a pot pourri of his own and But times change. Here I am interviewing him, and And I think it was probably understood to mean things it other people’s compositions. Unusual for him since in the the Indian moccasins, sweet expression, and even the didn’t mean. But everything’s like that”. past he’s pretty well stuck to his own material, often co- windblown locks which once crowned him in curls and Look at the Buckley of today and muse over the written with poet . became his trademark, are now gone. In fact, Tim’s burly developments that have evolved in his music over the We talk about the state of the States with the pseudo- and aggressive – an American’s American. The cleft years. 1970 saw him at his most avant-garde with the apathy and lethargic concern. Tim manages to assure me chin and shorn hair provide the very looks sought out release of ‘Starsailor’, beyond category and with dazzlingly that the place isn’t going to fall, but… by the advertising world to sell toothpaste, razor blades, innovative content. The mountain boy of his previous “It’ll get more moronic. The ’70s haven’t been too aftershave and sporty cars. I’m even tempted optimistic, have they? But it’s going to be to ask his stud fee, but don’t. great for the avant-garde. Warhol’s going Tim Buckley: playing I do ask him, whatever happened to the havoc with some nuts! The problem with the avant is that lonely hotel room image? more youthful it happens too quickly and by the time it’s glands, no doubt “Well, when you’re working that’s all there happened commercially, it’s all been done. is. I was on the road since 1964 to ’71.” There’s basically an artistic resentment by the How old were you in ’64? establishment ’cause they don’t get the idea “16 or 17.” fast enough.” So you really were an innocent youth, huh? And Buckley seems to hold a bit of artistic “Well, when you’re 18 you’re sorta still right resentment himself for the establishment. outta the choir aren’t you? And you have to The fact that he’s apparently chosen to lead consider the year. Kids now that are 14 are a life with some semblance of anonymity, as strung out on reds and heroin and pregnant a working artist opposed to the glam bag maybe a couple of times. I mean, really been of stardom, shows it. He’s certainly had through it by 16. Before, you didn’t get laid ‘til opportunities on end to be a bopper idol. 17, 18, maybe, if you were lucky and got the In a 1974 issue of NME, Buckley states: cheerleader drunk at the right time. “Well, my life does not depend on the Top “Whether it’s good or bad I’m really at odds 40. It’s so anonymous, it always has been, with it. I got an 11-year-old boy and a 15-year- and that’s not where it is, that’s not where old sister, and she’s just about washed up, all people are.“ the shit she’s done. I don’t know if the body So next time you turn on the radio you will be there by 23. I’m ready for the ass to fall may not hear him – but wander outside your any minute. insulated world of rock newspapers, Top Of “You’ve seen the acid casualties of ‘66. The Pops and all the safety of home, and Whereas kids five years old are now experiencing the music you hear will surely include

WIREIMAGE/REDFERNS down-home problems without having to make the songs of Tim Buckley.

NME ORIGINALS 141 Nick Kent and Charles Shaar Murray join 72,000 folk-heads for Britain’s biggest ever concert, as the titans of the folk rock boom take over Wembley Stadium for one amazing day

NME, 21 September 1974, page 21 and straw-coloured pork pie hat – which ’know, Crosby, Stills, Nash looks at first like it could have been stolen & Young just aren’t liable to from a horse – elevates his appearance “Y have a bad night because into a realm akin to that of a character who of the personalities. Even deals in stolen watches all set for a cameo if the music isn’t happening, the fact that walk-on in Hawaii Five-O. This figure, by those guys are there makes it cool” – Neil the way, is Neil Young. He was joined by Young, Rolling Stone, April 30, 1970 other spectators – both Stephen Stills and David Crosby, the latter more than ever “We lucked out” – David Crosby, resembling a benign bison swaddled in a exclusive interview with the authors, 3am yachting anorak, took their place to the left September 15, 1974 of the stage at one point, while there was always some tow-haired Laurel Canyon 1.30pm sun-child leaning provocatively on the There are some weird-looking fellas amps taking a Polaroid or two of the action a-lolly-gaggin’ around behind the amplifiers onstage or else focusing her lens over that and speaker cabinets. One of them morass of “beautiful people” spread out possesses the shabby exterior of a deck- like flies in a reservoir. z chair attendant, though the mirror shades Still, it’s Neil and Steve you tend to ero in REPFOTO

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having dumped the old cowboy duds for jacket. Though at times during the first half a Sunset Blvd suede hipster-deluxe jacket, of her set she had to compete with Scott’s while Robbie Robertson, sans facial fair and rather over-amplified horn, the rest of the as a result looking almost frighteningly like LA Express didn’t get in the way overmuch. a ‘70s reincarnation of Buddy Holly, was She opened up with ‘Free Man In Paris’, well into the reserved rocker stance, legs seeming just a tad ill at ease. slightly apart not unlike those early stills Most of her material came from of , the fingers constantly ‘Court And Spark’ and ‘For The Roses’, whittling out that arch-wiry style of lead with ‘Woman Of Heart And Mind’ guitar played like a far more metallic and particularly outstanding. She made regular generally off the wall-oriented James peregrinations between keyboard and Burton. The vigour of much of the music acoustic guitar, her voice becoming stronger was often untouchable, thundering along and stronger and her phrasing more and like some diesel express propelled by Levon more confident almost from number to Helm’s almost militaristically-impelled sense number. She even closed out the first of rhythmic dynamics. section of her set with ‘Woodstock’. Despite The numbers, though, were somehow a rather ill-judged back-up job from Mr too predictable in their sequence – ‘Just Scott and his associates, we owe her a vote Another Whistle Stop’, ‘Across The Great of thanks for including the song, because Divide’, ‘Stage Fright’ (in fact The Band that meant that CSN&Y wouldn’t be singing appeared to be very much infatuated it. The Scott treatment worked admirably with the songs from the ‘Stage Fright’ for ‘Big Yellow Taxi’, though. album in particular that day), a particularly “We’re going to be taking a five minute invigorating ‘The Shape I’m In’ which break to re-arrange some microphones,” showcased Danko’s fingers leaping all over she announced after ‘Woodstock’. It was his fret-board. Hudson, for once, was a more like 15, but when she returned she letdown, though this may have had more to performed solo for a while, which was more do with the sound system which more often than welcome. It would be very easy for Ms than not tended to submerge his playing. Mitchell’s somewhat fragile charm to fail to S, C, N & Y; “And Still, even when it sounded like they were make the journey from the stage out to the if you think this is just churning ‘em out, it was hard not to be 72,000th person in the audience, but it was good, you should A B D taste our broth” impressed. nd ob ylan was nowhere heartening to note that her solo segment, to be seen. dulcimer and all, seemed to communicate

on simply because they’re the most agitated impeccably dour – not to mention the fact 3.15pm even better than the full weight of the LA – bouncing up and down on their canvas that they really haven’t made any personal A sizeable crowd has blossomed dubiously Express. ‘Rainy Night House’ and ‘The Last seats, miming to the thrusting deliberation advances in the last four years. The outside the dressing room entrance. The Time I Saw Richard’ in a particular were of the music being played. The music, mind musicians involved appear to be only too audience on superficial ‘spec appears just fine, and ‘This Flight Tonight’ seems you, because this is The Band and The Band aware of this, sticking almost exclusively to to be a fairly tame cross-section of the to have recovered quite satisfactorily from play The Music (‘on and material culled from their first three albums, suburban denim long-hair out for a lark the heavy-metallisation it received tapes’ as large numbers of slogans written a state of affairs which at the same time and the music. There are also a lot of girls from Nazareth. on balloons and paper sun-hats given has helped iron out the starch formerly in long skirts sporting that lank benign Eventually, the LA Express steamed back out during the set testified to); The Band omnipresent in their live performances. I look of confused femininity which is rather in, playing waaaay too fast on ‘Raised On are the ones you always have this urge to mean, some of the boys even move around synonymous with the younger Joni Mitchell Robbery’, and she ended up with a fine unerringly respect, even if their supreme now – principally Rick Danko, who was bedsitter aficionado. performance of Annie Ross’ ‘Twisted’. professionalism often ends up as sounding even jumping up and down at one point, At a guess, at least three-quarters of this How unfortunate, therefore, that she audience, possess a CSN&Y album, a half should decide to do her best to blow the own a Joni Mitchell album, and maybe a whole thing with a singularly unfortunate Another era- fifth can boast one Band album. monologue. “Are you crazeee?” she defining moment as inquired of the assembled gathering. J M tch j s oni i ell oin W ? J M CSN&Y 3.30pm hat is this oni itchell performing the The promise of Joni Mitchell and her cream- collected speeches of Noddy Holder? coloured Bill Blas summer wear… “When you were two years old, did the But first, & The LA Express, little girl down the road tell you that you who run through a non-pleasant had a bear in your basement?” she said. extrapolation of main stream hep-jazz, Puzzled silence. There are no bears in sucking up stock quotes from the Hancock England, darlin’ – this ain’t Saskatchewan. and McLaughlin schools of frenetic “All right,” she continued undeterred, “now expression. did the school system make you crazy?” In due course, the Lady Of The Canyon Yeah! “Now, was it your teachers or your herself glided out, toothily immaculate peers who drove you crazy?” in white shirt, cream-coloured jeans and There was a lot more in the same

NME ORIGINALS 143 1972-1974

Themomentsomeone told Joni Mtchell there vein, but since it was both rather wasabear in the embarrassing and somewhat depressing, drum riser we’ll spare you the details, except to add that Annie Ross herself was trotted on for a cameo at the climax of ‘Twisted’. Still, four minutes of excruciating lameness can’t destroy an hour and a half of genuine excellence, though it can sour things slightly. 5.45pm Like a good record company should, Atlantic had set up a bar behind a set of screens so that the exalted could booze apart from the sprawled-out multitudes. A full complement of Zeppelins were in attendance, with resplendent in tweed jacket and hat and a quite awe-inspiring paunch, looking quite the gentleman farmer. , and his lady, apparently had some kind of a brush with security men as they attempted to watch The Band from the Cut My Hair’. Boy, David Crosby For this he was given a standing ovation photographers’ front-stage can write a lame song when not simply by his dewy-eyed cohorts but area. Jimmy Page, who was he wants to! Not to mention by the whole audience. Now this is when later to distinguish himself compounding the felony with the event started to become aesthetically during the after-hours jam, a most heinous display of vocal questionable at least in our eyes. The was proclaiming his undying overkill which stopped just audience went on to snap up ‘Our House’ love for Ms Mitchell at quite short of out-and-out comedy. and one of those quintessentially wimpy high volume, thought he had One should add though that paeans to confusion found on ‘Wild Tales’ found her recent Victoria Crosby has toned down his act like horses knocking back sugar cubes, and Palace gig more arousing. “It bashful boyish Graham was the hero of at was more – uh – intimate,” he opined. Crosby has toned downs his act impressively. Not one utterly least that hour. Stephen Stills was starting to get a touch morose by this time. At 6.30pm facile stoned quasi-political consciousness rap to his one point he responded to concentrated Graham is wearing a Buddy Holly T-shirt shouts to “sit down” aimed at members of and a Telecaster. He is very thin. David is dubious credit during the whole set. the audience around the barricades with wearing a white T-shirt under a denim shirt – principally a rather moving united quite impressively. Not one utterly facile “I’ll tell ya once and I’ll tell ya one time and a Gretsch 12-string. He is not very thin. rendition of Young’s great ‘Don’t Be Denied’ stoned quasi-political consciousness rap to only – Siddown!” bearing the earmarks of Stephen is wearing a military shirt and a and the last encore, some three hours later, his dubious credit during the whole set, and that thoroughly obnoxious style of artistic Gibson Firebird. He is not very thin either, ‘Ohio’ – they stand out as the only real even his cosmic grin had its own charm. macho – “Don’t mess with me, I’m a poet except around the scalp. Neil is dressed as moments that CSN&Y meshed thoroughly Crosby, it was again, who set the acoustic and a musician, buddy!” before, and he finds his way over to the as a group. set a-rolling with ‘The Lee Shore’, followed Still’s piece was delayed for a while organ almost as if he knew it was there. ‘Helpless’ was Young’s first shambling by a new ponderously ‘mellow’ (sorry about though, by Neil Young, who was great. He is very tall, and lean to boot. A writer spot-light gambit and even when he was that) work which somehow survived even The usual shambles over what key his of third-rate westerns might describe him joining in the festivities musically, he the appearance onstage of Stills, holding harmonica should be in and the like – Neil as “rangy”. seemed the most aloof. a baby, to inflate the ‘goo’ quotient. Just. has obviously been watching JJ Cale of late With minimal delay they pitch into Ah, that aura – those legs – that hat! Crosby left his fatuous leanings for an – but once he’d set firmly into a number, ’Love The One You’re With’, and at Already Young was having problems with introduction to Graham Nash. “One of my things were just swell. ‘Hawaiian Sunset’ once displaying a sense of vitesse and his harmonica holder – he was in fact very best friends and one of the few people made a few cringe, though at least one of cocaine purposefulness that is none-too- wearing two instead of one and hadn’t in the word to win my respect”. Ouch! This us thought it bore a pleasing reminder to unimpressive even when confronting noticed the difference – not to mention is where things begin to plummet towards some of Brian Wilson’s post-‘’, the most rigid veneer of cynicism. Stills periodically dousing the reeds of his the ‘bland-turns-to-grim’ quagmire. pre-’Surf’s Up’ whimsical wanders – ‘Love/ is particularly athletic, fairly savaging his numerous harmonicas in tequila – “The Nash, seated piously behind the piano, Art Blues’ was straight plodding country fretboard, while Crosby is plumping more show’s movin’ right along here,” he mutters looking like he had been constructed out with great lyrics. Young even threw in ‘Old for the energetic full-tilt strum. This, you at one point, displaying a matchless dead- of straw and pieces of twine – “Uh… this Man’ and ‘Only Love Can Break Your Heart’ mutter to yourself, is going to be rather good. pan timbre to his voice attained previously is the first time in a number of years that (again with Ms Mitchell on slightly dubious The whole band sound good and Neil only by James Stewart. I’ve been able to let myself get involved in a harmony part) not to mention a thoroughly Young hasn’t even stepped out into the Young’s subsequent musical statement, love affair.” Do tell us more, Graham, do. inspired ‘Don’t Be Denied’, again with main spotlights yet. ‘Wooden Ships’ goes though, was easily the best new song of the “Uh… this is dedicated to Cally.” Fair Mitchell and Stills playing some fine lead someway further to compounding the sense evening. Titled ‘Traces’ it was one of those enough, except that after this gargantuan work. “Now” Nash announced, “We’re of controlled frenzy that literally held sway perfect Buffalo Springfield-like distillations heart-worn-on-the-sleeve number our going to leave you alone with Stephen during ‘Love The One’. Events again even of the early Beatles sound circa ‘Ask Me Graham simpered his way through one Stills.” His first was entitled ‘Legend Of up during Nash’s ‘’ – Nash Why’, complemented by Young’s wry sense of those utterly drippy “Goodnight-sleep- Something Or Other’, but Stills’ diction was on piano and Young on guitar and chorus of arch-simplicity in the lyric content. tight-when-you-awake-I’ll-be-there-beside- not at its best at that moment. vocals, stamping his leg clumsily to the Then came Nash’s bounding ‘Military you” efforts, exhibiting at the same time Ms Mitchell joined the ensemble for beat. These numbers are important because Madness’, followed unfortunately by an alarmingly clumsy piano technique and ‘Change Partners’, and she and Young

with the exception of one or two instances Crosby’s epic paranoid anthem ‘Almost sense of melodic inventiveness. added their participation to ‘Suite: Judy RETNA

144 NME ORIGINALS 1972-1974

NME, 21 September 1974, page 24

Blue Eyes’. While Young’s guitar- scratching helped to fill things out somewhat, Joni was more of a hindrance than a help, seemingly unsure of both the lyrics and of a viable fourth harmony part. When she got it right, it was just fine. When she didn’t it was musical toothache. “I’d like to dedicate this to a man who I befriended a few days ago – and have been wanting to for years,” Stills murmured. Surprise, surprise – it was McCartney’s old pick and croon special, ‘Blackbird’. You could almost smell the sense of occasion – the Fab Four sing the Fab Four! Unfortunately, the harmonies were again somewhat shaky and Stills’ guitar could have done with a quick tune-up, but it was almost pretty. The same could not be said for ‘Word Game’, a staggeringly offensive attempt at a retread of ‘It’s All Right, Ma’, with Stills mingling mock-Indian with mock-blues at a positively frenetic rate of knots. It was prefaced with a brief mumble about South Africa (“I’m from thuh Saouth – and it kinda makes me mayud”) and it even incorporated a line about glitter shoes. Such is the scorn that Stills reserves for mere creatures of fashion. Out of all of them, it seemed that Stills was the one most anxious to stamp his presence as an individual over the set. Where Young’s exuberant rocking back and forth seemed merely like a man getting off and enjoying himself, Stills gave the impression more of posturing, as he flayed a pair of congas on ‘Face To Face’, one of his new songs, stalked dramatically back to his amp on the last chord, or grimaced with just the right touch of intensity. His worst moment, however, came on ‘Black Queen’. The song’s original appearance was through a tight, efficient version of ’Déjà guitar duels that take up three quarters under control, driving remorselessly, all as an endearingly overblown parody of an Vu’, with Young producing some quite of its length in performance – had Nash four channelling their energies straight into old country blues singer on ‘Stephen Stills I’ commendable jazzy doodles from the piano. wandering about disconsolately banging the song. – you know the anecdote about him and Crosby seemed to sense that Stills and Young assorted percussibles while Crosby It was the finest possible ending, giving Clapton getting totally bombed on tequila were the ones that the audience were most anchored down the rhythm section and full play to CSN&Y’s strengths and completely and Stills recording it after El Cappo had to interested in, and so he fronted the band Stills and Young fired off guitar salvoes at eliminating their weaknesses. They finished be carried to his car. but infrequently. Though his always loose each other from across the stage. And all as they had begun – powerful, unified and Here the number has metamorphosed lead singing often verged on the sloppy, his the time, folks were howling (in vain, as it genuinely impressive. Y’know, leave ‘em into full-blown heavy metal – Young laying wanting more even after three and a half down the riff, stomping like a madman hours. Despite their recent impassioned and grinning through his stubble, while Young was laying down the riff, stomping like a madman and statements to the contrary, most of the Stills rampaged all over the stage blowing grinning through his stubble show was a case of waiting for Your Fave demented, incoherent solos and pulling to do his stuff. Out of the four, it was Young the most God-awful faces while running harmonising was always the mainstay of turned out) for ‘Southern Man’. Three and who provided most of the high points. through the basic library of “killer axeman” the backing vocals and yes, Virginia, David a half hours and they didn’t do ‘Southern Crosby and Nash – curiously enough, the poses. He stuck the guitar into his crotch, Crosby is a great rhythm guitarist. Shame he Man’. Boo. In its place was a new Young two who had most commercial success held it in the air, dropped into squats, couldn’t be persuaded to resuscitate ‘Lady song, entitled ‘Pushed It Over The Edge’, prior to the formation of CSN&Y – seemed waved his arms about as if the strings of Friend’, his last Byrds song, and in our joint which is indeed part of the ‘Southern Man’/ to feel a need to step back and allow the his guitar had suddenly become electrified opinion, his finest recorded moment. ’Cowgirl In The Sand’ canon, featuring as it other two to do most of the fronting. and generally ponced about. It seemed The last lap also included Nash’s ‘Pre- does that basic Neil Young Guitar Figure. But everybody got what they paid for; fairly ludicrous coming from a short balding Road Downs’, a lively but intrinsically trivial The closer was ‘Ohio’, a wise choice for an nobody got burned. It was a definite case gentlemen with an impending pot belly and piece and a pleasant enough way to kill ending, since it presents CSN&Y as a united of Something For Everybody – everybody baggy trousers. a few minutes while waiting for the final front in a manner seen only intermittently got off on something, and most people on The second electric segment had begun spasms. ‘Carry On’ – a song far too slight since the beginning of the set. ‘Ohio’ was everything. For us, though, Neil Young was with David Crosby leading the ensemble to bear the burden of the high-intensity great; raging but deliberate, fiery but fully The Man.

NME ORIGINALS 145 BACK PAGE

Don’t be fooled, Dylan had a copy of Razzle hidden in his Melody Maker in this scene from Don’t Look Back

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