It's Psychedelic Baby presents: Red Lama - Dreams Are Free premiere

Refreshing album from Denmark. Atmospheric-space-psychedelia which takes you on a journey with a singer that at times reminds me on David Gilmour of Pink Floyd. 

Red Lama premières debut album Dreams Are Free. After four years of writing Red Lama's debut album is now out exclusive on It's Psychedelic Baby Magazine. 

Until now, Red Lama is best known for live appearances in venues in Copenhagen, Danish festivals, including a couple of appearances at Copenhagen Psych Fest. Indeed, the foundation for Dreams Are Free is the vivid sensation of being a band that plays together and make music together. The album is made collectively through numerous jams in the band's rehearsal room, and during summer trips to more scenic parts of Denmark

"To release a record with seven songs, that we are proud of, is surely a milestone for each one of us. We are very honoured to finally have all things in place and can't wait to show the finished work. The process has been fantastic and for us the end of a long and beautiful chapter in the Red Lama life. We love making music, so the album has only created even more appetite for new unexplored dream worlds." 
- Johannes Linnet lead singer of Red Lama.

Dreams are Free will be officially released digitally April 15 through the Danish/Norwegian record label, All Good Clean Records. The vinyl release follows a couple of weeks later and can be pre-ordered here: www.allgoodcleanrecords.com/store

Facebook: www.facebook.com/redlamadk 

JAZZ CORNER Presents: Oscar Pettiford & Attila Zoller - The Legendary Oscar Pettiford Featuring Attilla Zoller (1959/1975)

Man-o-Man... there’s one sure way to know that you love a record, and that’s instantly wanting more as soon as it’s over. Case in point, this 1959 gem from cellist and bassist Oscar Pettiford, sounding for all the world like a Joan Miro painting come to life, swinging ever so gracefully and warmly, refusing to knock you back, yet smoothly holding your attention like a loving parent lulling a child to sleep... and more, to dream.

Dying young, and often overlooked, the man is a virtual who’s who when it comes to artists he’s played with. Yet ask nearly any jazz aficionado for a top ten, or even a top twenty-five list, and I seriously doubt that Oscar Pettiford will be among them. And that’s a down right shame. Certainly one could make the argument that bassists don’t gain the attention or notoriety, they seldom have scorching solos, or manifest a demanding stage presence, nor does their instrument get the respect it deserves. Most people only think of baselines as holding down the foundations of the rhythm, an aspect that merely moves the music forward, relying on more well known instruments to shine and command the adulation. But you need to forget all of those concepts, you need to spin on your heels, you need to hear Oscar lay down solid lines of brilliant eloquence and a musical movement that any musician would aspire to. 

In a word, this album is “understated” and “brilliant”. Alright, that’s two words, and I would love to write thousands, anything to get you to hear this quiet restrained masterpiece, where a true genius does so much more with so much less. Had Oscar’s life not been so short, we might find him rubbing shoulders with the likes of Ray Brown or Milt Hinton... but the truth of the matter is that we have been graced with mere moments of music from this great artist. So please, don’t miss a single one of them.

And as to a partial list of artist he’s played with, consider Duke Ellington, Louis Armstrong, Charlie Parker, Bud Powell, Miles Davis, Billie Holiday, Thelonious Monk, Dizzy Gillespie, Art Tatum, Django Reinhardt, Les Paul, Charlie Christian, Gil Evans, Sonny Rollins, Art Blakey, Woody Herman, Coleman Hawkins, Ray Charles, Stan Getz, Lucky Thompson, Charles Mingus, Zoot Sims, John Coltrane, Sonny Stitt, Julius Watkins, Ben Webster, Sammy Price, Ruby Braff, Mel Powell, Ellis Larkins, Max Roach, Shelly Manne, Billie Holiday, Red Norvo, Clifford Brown, Buddy De Franco, Phineas Newborn, Kai Winding, Roy Eldridge, Ray Brown, Lionel Hampton, Don Byas, Clyde Hart, Earl Hines, Budd Johnson, Joe Thomas, Pee Wee Russell, Jimmy Giuffre, Martial Solal, Attlia Zoller, Lee Konitz, Warne Marsh, Billy Eckstine, Cozy Cole, Shadow Wilson, Charlie Shavers, Johnny Hodges, Rex Stewart, Cootie Williams, Ed Hall, Lawrence Brown, Sonny Greer, Maxine Sullivan, Dick Hyman, Eddie Bert, Joe Derise, Ike Quebec, Jonah Jones, Buck Clayton, Helen Humes, Benny Harris, Boyd Raeburn, Serge Chaloff, Howard McGhee, Sir Charles Thompson, Wynonie Harris, Vic Dickenson, Red Rodney, Tal Farlow, Denzil Best, Jo Jones, Leo Parker, Al Haig, Al Hibbler, Nat Pierce, Bill Harris, Howard McGhee, J.J. Johnson, Art Taylor, Wynton Kelly, Lockjaw Davis, Jackie McLean, Kenny Clarke, Dave McKenna, Milt Jackson, John Lewis, Chris Connor, Hank Jones, Earl Coleman, Thad Jones, Tommy Flanagan, Donald Byrd, Billy Taylor, Chuck Wayne, Roy Haynes, Art Farmer, Gigi Gryce, Al Cohn, Frank Wess, Jimmy Cleveland, Barry Galbraith, Joe Morello, Joe Wilder, Harry Lookofsky, Jimmy Jones, Urbie Green, Ernie Royal, Herbie Mann, George Barnes, Clark Terry, Dave Schildkraut, Helen Merrill, Jimmy Raney, Horace Silver, Doug Mettome, Quincy Jones, Duke Jordan, Hank Mobley, Kenny Dorham, Cecil Payne, Toots Thielmans, Red Garland.

Review by Jenell Kesler/2016

© Copyright http://psychedelicbaby.blogspot.com/2016

Interview with Bill Madison

Bill Madison’s privately pressed album “Sunday Mornin’ Hayride” has recently received some attention - being included in the new “Cosmic American Music” compilation by the Numero Group as well as listed as one of the “50 lost singer-songwriter albums” in Flashback Magazine. The interested in the album is not without good reason as it is an excellent manifestation of ‘70s rural singer-songwriter music. Bill Madison draws inspiration from many different directions and on the album he incorporates jazz, country and downer folk in an interesting blend, creating a range of expressions - from haunted and moody singer-songwriter tunes to uptempo country folk. Below is an interview with Bill Madison regarding the album and the music he created in the ‘60s and ‘70s.

You have previously said that your musical career started out by playing in Folk clubs in the Boston, Montreal and New York City area. Could you tell us a little bit about that time? Were there any specific folk venues that you played in?

Bob Dylan changed the musical climate during the early 60’s. As did the Newport Folk Festival. It seemed the acoustic guitar was the instrument of the day. Even the Beatles had a major influence in the changing styles of music. At that time I had a band called the Loose Ends and we covered the Beatles, the Stones, the Kinks and most music from the British Invasion. There was a feeling of being liberated – a focus on the more abstract elements of life – a change in the traditions that proceeded the time.

When I moved to Boston in 1967, the Folk revival was in full swing. There were several coffee houses on Charles St. at the base of Beacon Hill – a very old and esoteric area with a lot of antique charm, etc.

They were; The Turk’s Head, The Sword In The Stone, The Loft and there were coffee houses starting up in churches as well. Plenty of places to play. Across the river in Cambridge was the Club 47 in Harvard Square. This is mostly where the musicians who were fortunate enough to have recordings (albums) would play. Guys like me never got hired to play because we were not that well known. They had an open mike on Sundays which I played at quite often.

I played in several basket houses in NYC. Basket houses were when you did a set, a basket was passed around to collect tips. There were some in Montreal as well. Eric Andersen and I became friends – he was also a major influence on my music at the time – during the summer of 1965, he invited me to play at an open mike at the Gaslight Café in Greenwich Village. On the bill that night was David Blue, Ritchie Havens, Bob Dylan, Eric Andersen and me! Next door was The Kettle Of Fish – a bar where everyone hung out. I had a nice conversation with Dylan over a beer there. Eric’s manager asked me if would stay on in the city and said he would manage me. At that time I was attending The University of Rhode Island and refused the offer – probably a mistake, but I have no regrets. After graduation in 1966, I took off to Montreal and from there ended up on a long road trip from there to Toronto, St Louis, Kansas City and ended up in Austin, Texas. I am now writing a book – still in progress called “Road Trip”and I have been publishing it in my blog – Bill Madison Music – where you can read a lot more about that time and era from my point of view. After that trip I moved to Boston and from there to Newburyport, Massachusetts.

Was it during this time you started to write music?

I actually started writing songs in college – I took a few courses in creative writing and actually graduated with a BA in Creative Writing.

Could you tell me a little bit about your early recordings together with Kenny Girard and Ed Richman (as “The Trio”)? Did you try to release those recordings?

As The Trio, we were fortunate to become quite popular and ended up with a manager in Boston and another in New York, who paid for the recording sessions that are the songs on The Trio recording that I released a few years ago. At that time, they served as demos that we took around to the labels trying to get signed without success. We were told that our music could not be fit into a saleable category – the word genre didn’t exist back then. This led to the birth of Sunday Mornin’ Hayride – a totally independent project. That was very unusual at the time but I was determined to record an album no matter what. I was always that way – if I couldn’t get it, I’d build it myself!

Kenny Girard and Bill Madison at Allen’s Diner in Newburyport.

Both of them also played on “Sunday Mornin’ Hayride”. How did you get to know each other?

We got to know each other as part of the Boston scene, although I knew Kenny from Rhode Island. He actually showed up at my door one morning – guitar in hand – ready to go to work!

“Sunday Mornin’ Hayride” was recorded in Newburyport. Why did you decide to move there?

I was looking for a change of scene and a place where the rents were cheaper. After visiting, I fell in love with the place. It was like a time capsule that kept it in the 1800’s somehow. A lot of antiquity and charm. It was a major shipbuilding port during the 1700’s – and during my time there, a lot of neat old buildings got restored and became shops and cool restaurants – where we ended up playing.

Bill performing during an open mike session at Stone Church in Newmarket, New Hampshire in 1971. Performing together with Bill that evening was Bob Frost (banjo) and Jeff Lind (upright bass). The song “Old House” from “Sunday Mornin’ Hayride” was recorded at the Stone Church. 

Could you describe the folk scene in Newburyport during that time?

It was blossoming! A lot of the folkies followed me to Newburyport. This led to a lot of collaborations and it became an artists’ colony as well. Last fall a multimedia presentation was created to commemorate the history of Newburyport. Here’s the YouTube video:

Could you tell me a little bit about how the recording of the album? Are there any particular moments that you would like to share?

I think the most amazing thing about recording the album was the ingenuity we had to employ just to record. Musicians in separate rooms playing simultaneously – the “miles” of mic cords going everywhere. Logistically it was quite a feat. And don’t forget, all the songs were live mixed – there was no post mixing. That we can thank Chris Biggi for – he was the recording engineer. He had quite an ear!

How was the album distributed?

By hand – I made copies available at various local record stores and sold copies from the stage while performing. There were only 1000 copies pressed. I’m amazed at how it became available practically around the world over the years.

Local newspaper ad for the release of “Sunday Mornin’ Hayride”

You have said that “I Don’t Know Why” was the most popular song on the album. Do you know why?

That song was the most requested when I was playing live. Even in later years, I would be asked to play it.

A favorite of many is “Buffalo Skinners”, which for me evokes a psychedelic feel. What are your thoughts about that song?

At the time I thought it was unusual to take an old traditional folk song and play it in a band setting. When I first brought it to the attention of the other musicians – while we were recording – most thought, why do you want to do that song? I said – hey let just try it! Low and behold the first take of the song is on Hayride.

There are some jazz influences on the album, e.g. “I Rather Be the Devil”. Where did those influences come from?

Mostly from Charlie Bechler who played piano on the album. His roots were deep in jazz and it certainly overflowed into the songs he played on.

How was the album received when released?

Very well. The Dennis Metrano review in the Boston Real Paper came almost immediately. And it sold steadily. I paid off the loans after a few months.

Dennis Metrano’s review ofthe album in The Real Paper, Oct. 1973. 

After the release of the album you formed Them Fargo Brothers. How did the music of Them Fargo Brothers differ from “Sunday Mornin’ Hayride”? How did you develop as a songwriter during this time?

The band happened so spontaneously and became a totally different direction. I moved to New Hampshire because of the band. We became almost instantly popular in the Northern New England ski resorts and we rode the wave with the “mechanical bull’ clubs that popped up in the late 70’s that increased our touring. We toured from New England to the south shore of New Jersey and as far west as upstate New York and Pennsylvania. I could write a book just on the stories about the band!

I wrote a few songs with our bass player Bill Rost for the band – but mostly we played covers. We had to in the places we were playing – covering Willie Nelson and Waylon Jennings, Merle Haggard, etc.

I wrote one song called “It’s Just Time” which we recorded as a demo and we did release a 45rpm record in 1982 called “Ain’t No UFO Gonna Catch My Diesel” which I wrote. Those songs are available on a release I put out called “The Studio Recordings” at my web site. 

Them Fargo Brothers in 1974.

I know that you’re still writing and recording music. What are your future plans?

To continue doing just that. I’m writing primarily to license songs however I can. And I enjoy streaming live on line with my Street Jelly show – Bill’s Happy Hour. There are more venues like that on line now to keep me busy! I also like creating albums which I will continue to do – hoping to sell some CD’s and downloads as I go. I’m doing that through my web sites – 

http://www.Billmadisonmusic.com

http://billmadison.bandcamp.com/

https://plus.google.com/u/0/+BillMadison/

https://www.facebook.com/Billmadisonmusic/

https://twitter.com/BillBillsong

https://www.youtube.com/user/Madisonmusic1

Please visit Arkivet Podcast- Psychedelic, Prog And Folk Music for more interesting articles by Martin Dahl.

Interview by Martin Dahl/2016
© Copyright http://psychedelicbaby.blogspot.com/2016

Guttersnipe

Like staring into the sun

Guttersnipe is the Leeds duo of Xylocopa Violacea and Bdallophytum Oxylepis and they rock. They rock hard. Xylocopa talks. 

I saw Guttersnipe live in Brussels. Even two days after the gig, back at work, I felt like I could jump on my desk, put both of my fist in the air and scream: "GUTTERSNIPE!". I didn't actually do that of course. But to come to my question: does playing live give you the same energy boost? 

Wow, thanks so much, we’re really pleased to elicit such a reaction! Yes, playing live really gets us feelin’ the wacky buzz! I am a very high energy person generally so it kind of comes naturally to me to get into a frenzied state, but it is also the aim of the music in a way and a necessary component for its performance.

Before I saw you live, I only knew one Guttersnipe record, which was the demo on bandcamp. 

That is our only release as yet. We are hoping to put out a couple of new things this year, but progress has been slow as last year I was finishing a masters degree, then I had a major operation and a month ago I broke my arm so I can’t even play guitar again 'till May which fucking sucks. Hopefully by summertime we should have some new recordings on the go as we have made plans with a few different people in that regard. 

When I heard that demo, I thought: this is heavy. But when I saw you live, I thought: it's heavy but not dark, it's actually big fun. 

Absolutely. For a while I wondered whether this would come across as our music is very extreme and highly dissonant, but a few people have said similar things to what you say in this question when they talk to me after a gig, which is satisfying! No, we don’t make our music with the intention of being “dark” or creating an oppressive/depressive mood, it's more hysteria/mania that we’re channelling, which I guess can go either way, but broadly speaking I don’t see what we are doing as dark, if anything the intended effect is to be like staring into the sun! There’s the notion that if there is screaming vocals and harsh discordance in music then it must have a negative aesthetic, but bands like Tunnel Canary who were very sonically violent, were actually complete hippies who wanted to induce a really “spiritual” experience in the listener that would open people’s minds in the classic “psychedelic” tradition. And going even further back to 20th century classical guys, who deployed cacophonous dissonance to extents that are still, to my ears at least, shocking today, were not making “dark” music. I mean, we’re both mentally unstable people and our music is intentionally berserk, but it's not supposed to be like Whitehouse or early Swans or something, which is pretty mean-spirited and seems intent on harming the listener. With us it’s closer to that cartoon psychedelic lunacy where everything is really strange and in neon colours, all incredibly saturated and hyper-stimulated, which can certainly spill over into a fucked-up zone, but with regards to the audience and ourselves, it’s only violent in a very positive way, like, puncturing the murky veil of post-modern boredom and attempting to induce abstract rock CPR, haha. I think Robert once said something like “being punched in the face by a rainbow”. I do make what I’d call “dark” music in some of my other projects, but that is not where my inspiration comes from with Guttersnipe. 

Knowing you're from the UK, I can't help but see Guttersnipe as a continuation of a British free noise rock tradition of acts like Sunroof and Astral Social Club.  

We’re good friends with Neil from Astral Social Club and the others in Vibracathedral Orchestra as well as Mel and Phil from Ashtray Navigations, which came about through living in Leeds, but while we’re huge fans of what they do musically and of them as people, I don’t really feel like we have any right to say that we’re part of the “tradition” that those guys developed, plus our approaches and sound are very different. 

I also hear Harry Pussy, must be screaming female vocals.

Harry Pussy are really excellent, though admittedly I haven’t given them enough attention. 

Harry Pussy's Bill Orcutt said: "People always saw Harry Pussy as one big chaotic noisy mess, but it was actually all very structured and planned out. There was no improvisation involved in Harry Pussy live".

It’s much the same in Guttersnipe. There are improvised sections or elements but it is always at specific points and based around particular constraints. 90% of what we do is totally composed and we’re definitely playing songs that are basically the same each time we play them. I’ve used the term “fuzzy structures” before, which means that while everything is written out and rehearsed, the elements are kind of volatile and somewhat fluid, so for example a guitar part might have the same overall shape every time I play it but there are parts where I go off on a tangent. There is some uncertainty or elements where the execution is more according to a rule rather than being a totally fixed sequence of notes, etc… We’re big into free jazz and so we love playing blazing improv but I don’t think either of us have much interest in being an “improv band”, it’s more fun and challenging to have a strong compositional approach which makes room for intense pockets of improvisation, but even then, for both of us to be on the same page so we can snap back in sync when required. It always blows my mind when you hear a free jazz record and after 20 minutes of seemingly untethered blow-out, suddenly there’s a final 30 seconds of some precisely executed bebop figure, so you know that somehow they were all totally with it the whole time! Plus that focused discipline of having to play it right every time is really enjoyable for me, it makes me feel more unhinged, and more consistently, than just playing completely free and loose where that wild radiance tends to ebb and flow. 

Is there a link to metal, specifically black metal? 

Yes, I used to be a full time metalhead, black metal mainly, so it is definitely a part of my playing style in Guttersnipe, stuff like the guitar solos from Carcass’ “Reek of Putrefaction” and other death/thrash records, as well as of course, black metal like Belketre and many others… Plus I suppose the overall “thanatos” characteristic of extreme metal music, the obliterating intensity, particularly the stuff where the composition/performance becomes so wild that it kind of “breaks through” into insanely abstract, avant-garde territory. There’s this tape “The Dark Bleeding” by an obscure UK weirdo called Emit which is hugely inspiring to me as a guitarist… I’ve never been a “technically” competent player and always hated/avoided learning scales or any of that Steve Vai bullshit, but have always loved really deranged metal. Plus I love high frequencies and weird chords, which is probably where my black metal roots show through, though I think that also comes from my deep love of shoegaze/ethereal/dreampop. However, in Guttersnipe my influences besides metal are mainly AIDS Wolf, Orthrelm, Tunnel Canary, Fat Worm of Error, MARS, Sonny/Linda Sharrock, Chrome, U.S Maple, Sightings, Butthole Surfers, Diamanda Galas, Sun Ra, music from North Africa and Indonesia, Stockhausen, God is My Co-Pilot… all with a heavy dose of autistic, queer, cartoon energy. 

Is what you are doing a celebration or a destruction of rock music? 

It’s definitely a celebration of rock music! What we do isn’t “anti-rock” or “noise”, it’s an attempt to see how far we can abstract the “rock music” concept, taking cues from the avant-garde and so doing away with all the exhausted bullshit which still dominates most rock music like boring chords, 4/4 beats, symmetrical playing, etc… Preserving the formal structure in the most rudimentary sense, but replacing all of the content and expressive language with progressive and experimental ideas that are focused on abstraction of musical elements and gestures, so that rather than making straight up avant-garde music like say, Iannis Xenakis or Pauline Oliveros or the most “out” free jazz, which we are in no way talented enough to play/compose, which is totally alien and rejects all features of “popular music”. We’re trying to somehow project towards that otherworldly space using the “rock music” language of loud guitar/drums/vocals…. like, for the formula to still rely crucially on the axiom of “kick-ass heavy riffs and beats” but to totally embrace atonality, asymmetry, dissonance, conceptual composition, non-human sonic systems, etc. The “pure” avant-garde is super important and we love that stuff, but we feel that the obtuseness and air of academic sophistication that often surrounds it sort of relegates it to this concert hall-ghetto of decorum and intellectual poise that actually prevents it from having a “progressive” or powerful effect on most listeners. It's sort of the same with the “noise” avant-garde, where the gigs are like this room with 20 people in it all stood still carefully observing someone scrape a contact mic with a balloon hahaha! I mean, don’t get me wrong, we’re usually among that cadre of weirdos and we fully support and enjoy it, but I think rock music really needs to get back in touch with all that, because it is such an excitatory medium that has this intrinsically hysterical component which is such a powerful medium for all-out weirdness to be transmitted through. Why does avant-garde music have to be so well-behaved and classy? I know when the thirteen-bar freakout in Stockhausen’s “Gruppen” kicks in, I’m overcome with the same feeling of mad energy as when I’m listening to something like “Morbid Visions”! I guess it’s mostly to do with class, that European high-art stuff and its respective institutions are geared towards a “civilised” middle/upper class audience, which projects itself in a way that is really intimidating/alienating to anyone outside of that circle. We aren’t even working class and we still feel uncomfortable in those environments. I suppose rock music is (in the most complimentary sense) pretty low-brow, it aims for the pelvis rather than the brain haha… I often say that rock is stupid or idiotic but I don’t use those words in a derogatory way, rather in a totally affectionate way, as I am a total idiot and a lot of the riffs I write and sounds I hear in my head are completely stupid… I’ve always been very much about absurdity that is also very serious. I hate the idea of progressive music entirely being intellectual and high brow, I feel that it is incredibly important for that vulgarity, the primitive/sexual/destructive/hip-shakin’ area of human emotion and experience to be included in avant-garde music/art, that it is punk in some way. We want our music to be accessible to people from all backgrounds, we’re a pair of weirdo rock losers so we don’t want to make music that is only enjoyed by well dressed Guardian readers… But ultimately we are trying to bring more people over to the difficult, abstract realm.

How did both of you actually meet?   

I met Bdallophytum when I moved to Leeds in 2013 as I was really into his old band who were kind of no wave. At that point I thought no wave had ended with the original late 70s NY bands, so I’d never even heard of any of the 90s Skingraft bands or anything like that. Naturally I was incredibly excited about the fact that people were still playing no wave music, so I went to all their gigs and we started to hang out a lot as we only lived about 10 mins from each other. He introduced me a lot of the 90s no wave revival bands and others that were still active at the moment. 

What do you have in common?

We both have high enthusiasm for the more extreme and bizarre end of that spectrum, a position we were mostly alone in, especially when it came to actually wanting to play that kind of music. At the start of 2014 we became a couple and did a lot of intense improv jams which included my best friend who lived with me at the time. Eventually those jams morphed into what we do now... you get the picture. 

What are the differences between you two?

I can’t exactly cover our entire personalities, but I suppose we’re sort of an odd couple, in some ways we are real opposites, like I’m a total goth and will be in our flat dramatically waltzing around to Clan of Xymox whereas he will walk in and laugh at me, then go listen to Ponytail. Also he’s really quiet whereas I’m a complete motormouth… I like it though, the way we are dissonant, I think it is a big part of why we sound the way we do. 

Why is it just the two of you? 

I guess it’s just the two of us because we’re a couple who live together, so I don’t think it would be practical to work with someone else as our way of working is fairly intimate. Besides, we don’t need anyone else. 

Interview by Joeri Bruyninckx/2016

© Copyright http://psychedelicbaby.blogspot.com/2016

It's Psychedelic Baby presents: The Third Sound - "Never Catch Her Again" premiere

“Never Catch Her Again” is the second single from Gospels of Degeneration, the upcoming third album from the Berlin group described as ‘Anton Newcombe protégés.’ The album will be released by Fuzz Club and follows their self-titled debut album which was released on A Recordings, and their second LP The Third Sound of Destruction and Creation which was recorded in Newcombe’s studio and released on Fuzz Club in 2013.

“Never Catch Her Again” follows down the same murky paths as “You Are Not Here”, the first single from the LP featuring Tess Parks on vocals. However it replaces the country-inspired sultriness described by the UK’s Clash Magazine as “a languid smoky piece of psychedelic rock”, with a compulsive amalgamation of post punk and lethargic psychedelia. 

Fuzzed-out guitars wash through a wall of feedback, underpinned by churning bass and languid percussion. It shows a shift for The Third Sound, toning down the shimmery psychedelia in favour of something a little cleaner, but still retaining their hypnotic layering and itching guitar riffs that keep whispering through your mind for hours after listening.

ABOUT THE ALBUM

What began as the project of Icelandic frontman Hakon Aðalsteinsson (ex Singapore Sling), The Third Sound is now stretching its definition with deeper levels of collaboration between band members and the influence of a new character in its story, the city of Berlin where the group are now based. 

Aðalsteinsson says, “The album explores different sides of life in a big city, and seeking the beauty found in strange places and within unusual characters. Although it wasn't meant as a theme initially, somehow the album turned out to be very much inspired by Berlin and my experience in the city.”

The shift in direction is matched by a confident disregard of contingency as the band flicks between waltzing post-punk cuts and country lilts with seeming indifference. It feels as if their assuredness has provoked them to go on the hunt for new sonic niches that they can confidently take reign of. 

The Third Sound will be touring the UK and Europe in June including a performance at Fuzz Club’s new monthly mini-fest Under The Arches on June 4th. 

Gospels of Degeneration is available in deluxe edition vinyl which is limited to 250 copies of 180g coke bottle clear vinyl with black haze, with printed inner sleeves and a heavy gatefold silver laminate cover complete with hand numbering and emboss. The standard edition comes on heavy 180g coke bottle clear vinyl with heavy silver laminate cover (600 copies). Also available on CD. Pre-order from fuzzclub.com

  

ABOUT THE THIRD SOUND

Since forming in 2010, The Third Sound have enjoyed the support of psych godfather Anton Newcombe, who released their self-titled first album, on his label ‘a’ recordings, and chose the group to support The Brian Jonestown Massacre on tour in Europe. He also provided the studio for recording their second album The Third Sound of Destruction and Creation which was released on Fuzz Club in 2013. Most recently they’ve shared members with Anton Newcombe and Tess Parks’ band, which has led to Parks’ appearance on “You Are Not Here.”

Founded by Icelandic frontman, Hakon Aðalsteinsson - an ex-member of Icelandic group Singapore Sling, who are often hailed as the founding members of the new psych scene - The Third Sound came into being in Rome and have since relocated to Berlin. 

The Third Sound is Hakon Aðalsteinsson, who creates the concept for each song and writes the lyrics, guitarist Robin Hughes who develops the guitar parts, Leo Kaage on drums. The trio co-produced the album, which was recorded in Berlin in Kaage’s homebuilt studio with gear that was begged, borrowed and stolen from friends and collaborators.

www.facebook.com/The-Third-Sound

Rowland S. Howard - Pop Crimes (2009) review

Rowland S. Howard - Pop Crimes (Liberation Records, 2009)

Passing away in 2009, Rowland S. Howard, like Ian Curtis of Joy Division, has left us with a darkly unsettling body of work that will no doubt be poured over for years to come by fans of Birthday Party, Nick Cave, and The Boys Next Door, for hints at his demise, his tentative hold on his personal being, mysterious choice of covers, and the distillation of his lyrics, to etch out any hint as to who the man behind the man actually was.

Sounding dark and devious, as if he was perpetually pondering on a soapbox, ignored by all passerby's, guitar in hand, preaching of the final days, and the lack of human immortality ... in that who we are, and what we leave behind is a mere blurred vision of what we do and whom we effect.

Essentially, Pop Crimes is flawless at painting a perverse and askew image of pop culture in all of its subversive faded glory, complete with covers by both Talk Talk [“Life’s What You Make It”] and Townes Van Zandt [“Nothin”].  He tenders nether of these songs as one might expect, but then Howard seldom did anything by the numbers, leaving us to cypher the reasoning behind these choices.  Listening to Pop Crimes is no easy task, it’s painful, it’s heartbreaking, it’s tar on your new shoes from summer heated city streets and the lack of breathable air, laboriously rolling on and on, like a man searching his pockets over and over, knowing he’ll never have the correct change for the subway to take him someplace more bearable.

If nothing else, Rowland S. Howard has managed to show us a presence, and in the world of rock n’ roll, that’s saying something.

Review by Jenell Kesler/2016
© Copyright http://psychedelicbaby.blogspot.com/2016

Psychedelic Attic #22

Vinyl
State Records
The Optic Nerve
The Baron Four
The Galileo 7

Already Dead Tapes
Problems That Fix Themselves
Lore City
Yeesh

Bart De Paepe
The Citradels
Ron Geesin

Pseudonym Records

Speedtwins
Mayfly
Les Baroques
I don't Care
Burning Plague
Group 1850

Innova Recordings
Chris Campbell 'Things You Already Know'
Chris Campbell and Grand Cutler
Chris Campbell 'Sound The All-Clear'
Bora Yoon Sunken 'Cathedral'

3 AM - Farflung
Tim Chaplin
Sound of Ceres
The Bleu Forest
Los Mundos
Stay
Lord Kesseli and the Drums

King Goblin
The Striped Bananas
Ozric Tentacles
Holy Wave
Young Hunter
Scrap Dealers
Telstar Sound Drone

CDs
Fuzzcrafter
The Straight Suits
The Galileo 7
Thee Jezeebels
Tess Parks
Metro Varlaine
Arrayan Path
Fuzztrated
Error Command
Soft Hearted Scientist
McGough & McGear

The Striped Bananas
The Wheelers Of Oz
Reverieme
We Are Bandicoot
CombineHarvester
Staraya Derevnya
Delta Will
Psychic Lemon
Hermetic Delight
Manos Fui Au Ceu E Volte
Juhani Silvola

Innova Records

Gordon Beeferman

Chris Campbell

Jason Kao Hwang

John Yad Quintet

Creative Music Studio Archive Selections, Vol. 1 Innova

MoonJune Records
Vasil Hdžimanov Band
Beledo

More Jazz...

Daphna Levy

Christina Braga

Phyllis Blanford

Unseen Rain Records
Rocco John Quartet

Matt Lavelle

Steve Cohn

Lafayette Harris Jr.

Native Sons

Hendrik Meurkens

Matt Criscuolo

Jeff Guthery

Ernie Watts Quartet

Renato Braz Saudade

Roger Davidson Trio
Rex Cadwallader

Tapes
Already Dead Tapes

No Monster Club

mu vonz clase

A.M. Stations

Filthy Fuckers

In The Shit Records

Black Panties

Natural Causes

Lloyd Braun
Crystalline Roses with the Yankee Entrtainer

Blue Lily Commision "Four Journeys"

Blue Lily Commision "Four Journeys" 

By Steve Palmer

When I begin a new album, I usually have a concept or ‘sound design’ in mind before I start recording. For example, for “Undrugged” I used only acoustic instruments, having been challenged by a friend many years before the recording to make an entirely acoustic album. Part way through the recording I wondered if it would be possible to use every instrument in my collection… Afterwards, because the title of the album was a version of the word ‘unplugged’ – ie acoustic – there had to be a “Drugged” album to follow, in which I brought in synthesizers and other electric instruments.

For “Four Journeys” I wanted to record an album of lengthy tracks. Some of my fans had mentioned that they preferred longer pieces to really get into, and so the ‘sound design’ was set: four pieces each around seventeen to eighteen minutes. I wanted each piece to reflect how physical journeys involve changes of landscape. Each therefore would use a rich, complex palette of sounds, which I knew right from the beginning had to involve many of my world-music instruments.

I’ve been collecting unusual, non-Western musical instruments since the early 1990s, beginning with an mbira (thumb piano) that one day I spotted for sale in an art gallery. Intrigued, I bought it, and used it in the recordings taking place for my psych/space band Mooch. I was hooked at once, and began buying everything I came across – in head shops, at festivals, from friends. I’ve been collecting since then, and it has become a bit of an addiction, so I have to be careful, as some instruments can be very expensive… 

The track titles were all versions of the title concept, but I had the artwork too in mind before I began recording. I wanted to use animal shapes to create a multi-levelled patchwork, reflecting the creatures a traveller might see on their journey but also the possible exotic nature of such a journey.

The first track “The Journey” uses one of my recent purchases, a laouto. Thirty five years ago, when I was at university, a friend gave me the LP “Earth” by Vangelis, which he remarked he didn’t like. I immediately loved the album, and it has remained – as has Vangelis’ entire ‘Greek psychedelia’ period – very influential to me for all the years since. Recently a friend of mine, the bouzouki player Andy Shankara Bole, told me the instrument used on the tracks “Sunny Earth”and “He-O” was a laouto, so I looked into acquiring one, and eventually decided to commission the Cretan virtuoso Stelios Petrakis to make me a left-handed one. It’s a truly beautiful instrument. I also used (in a very amateurish way) a kora. This first piece utilises natural sound recordings too, which seemed to me when I devised the album concept to be an important part of evoking the ideas of landscape and travel. At the end of the track the mood becomes strange and gothic, as the listener ascends into mysterious territories of the ancient skies…

The second track “The Trip” I wanted to be a little more uptempo. On the Mooch album “Mrs Silbury’s Delicious Mushroom Flavoured Biscuits” there is a track called “The Great Retsina Jam,” which was the main inspiration. Again I used the laouto, but also my Turkish saz, which is lighter in timbre and which complemented the laouto. This is the only track on the album which employs a ‘circular’ motif, in that the musical phrases at the beginning occur at the end also; the listener returning from their trip to home territory. There is a freaked-out African section where I used the mbira and many African drums and percussion items. I also used a lovely old keyboard that my long-time musical colleague Jez Creek sold to me, the Yamaha SK20, which has a terrific range of organ sounds. I played this live, then added various improvised synth solos and sounds, giving the track a space rock flavour, a little like some of the classic British festival jam bands.

The third track “The Voyage” is where it all got deep and cosmic. For this track the main instrument is an Indian harmonium, which I stumbled across on eBay last year. After the opening musical essays using my xylophones and the MiniBrute synth, the piece soars away into a massive Indian drone, using the two drone notes of the harmonium as a foundation for the improvised solo. I liked the sound of the clacking keys, so I made no effort to quieten them – they add to the atmosphere, I think. As the piece builds, various tarb string (sitar) and tanpura sounds arrive, adding to the intensity. Then the piece floats off into a choral and drone section, using a Balinese flute as the thread of the music. At the end I played a bawu, which is a little known Chinese instrument played by the Yunnan minorities to the south of the country. Although it’s played like a cross-blown flute, it is in fact a free reed instrument – there is a copper reed set into the bamboo at one end. I first encountered this instrument on the amazing “Vetvi” album by the Russian group Theodor Bastard, which inspired me to buy one from an American dealer.

The fourth track “The Excursion” opens with more natural sounds. One evening during the album recordings a huge thunderstorm passed over Shropshire (the county in Britain where I live), and not being one to waste such an opportunity I recorded it on my mobile phone, using the sounds to make a foundation for a trio of virtual Tibetan voices. I came across these voices when Merv Pepler (Ozric Tentacles/Eat Static) linked to the voice-app on his Facebook page. Rather than directly use the app however I recorded myself making three improvised takes, beginning with the lower voices and moving up to the higher ones. This gave the section more of a chorused sound when I merged them. The piece then drifts off into a flute section. I wanted a gentle, chilled ‘come-down’ at the end, but for a while I couldn’t find the right style or arrangement – or even instruments. In the end I remembered a work I had self-released a few years previously, a four album set based on the four seasons. The “Autumn” album featured a string orchestra part which I particularly liked, so as sales of the set had been almost zero I decided to re-use it, extending the end into a lighter conclusion, again with more vocal parts. I think it works well to bring the listener back from their travels.

I really enjoyed making this album, and I hope to try another using the same concept. Generally I don’t re-use old ideas, and I very rarely re-tread my own old styles or material, but I think this is one worth revisiting.

I knew from the beginning that sales of the album would be low – they always are. As an independent musician, I have to battle against millions of others in the same position all trying to interest the listener in their wares. I have an additional problem in that, because I’ve never had any commercial success, I can write, record and release whatever I like – I follow my muse in whatever direction that happens to be. So I do feel slightly sorry for my fans, as they never know what they’re going to get next – I’ve lost many of my old fans along the way because of this. But what my listeners can guarentee is that I will approach every album with absolute sincerity and authenticity, giving the work everything I can. In fact, I think my total lack of commercial success has been a great advantage, as most musicians feel that the moment they ‘achieve’ commercial success they have to replicate it.

The word psychedelia comes from the Greek, meaning “soul” (Psyche) “to show or manifest” (delos). Although I would passionately argue against any notion of individual human beings having a spirit or a soul (that being a prehistoric hangover of religion), I do think the notion of psychedelia has much value, since although we don’t have a soul we do each have a unique, irreplaceable character, that comes in part from within and in part from the circumstances of our upbringing. Psychedelic music is one way of displaying character, and it could perhaps be argued that psychedelia in general is its cultural form. I do think the run of thirteen Blue Lily Commission albums since 2000 manifests my character. I think this notion could be applied to psychedelic bands such as Ozric Tentacles, who had a recognisable sound that, when they started out, was unique and immediately recognisable, but it could also be extended to most non-psych musicians. Examples that come to mind at once are people like Klaus Schulze and Kate Bush, both of whom have followed their muse to generate unique and exceptional careers in music (Kate Bush is on record as saying she expects her fans to follow her wherever she goes). But music, sincerely created, is a form of emotional expression, and so it comes from very deep inside us.

Because my band Mooch is currently in song-based mode, all my instrumental music is being channelled through the solo project Blue Lily Commission. Following the very positive fan response to “Undrugged” I’ve decided to try another acoustic-only work, but this time it will be with the digital string orchestra. I have some new instruments too, which will make their debut appearances, including another lovely Chinese instrument, the hulusi. This forthcoming work is called “The Undrugged Orchestra.”

Blue Lily Commission is the solo project of Mooch founder Steve Palmer, making world-influenced music that also fuses synthesisers into the swirly mix...
https://bluelilycommission.bandcamp.com/

https://soundcloud.com/blue-lily-commission

Blue Lily Commission

Mooch

Mountain Witch

Mountain Witch appeared in 2011 when their début album Scythe & Dead Horse was released. It was a free bonus to 5th (digital) issue of Doom Metal Front magazine. It was a good instrumental album performed in traditional doom rock way. I'm always curious about albums with artistic covers so burning skull with village on its top attracted my attention and I laid my hands on Mountain Witch latest release Burning Village and was stroke by band’s new image! René Sitte (guitars, vocals), René Roggmann (drums, vocals) and Tobert Knopp (bass) nowadays play groovy heavy rock with proto doom touches! So I’m really glad that René Sitte found some free time to answer my questions about Mountain Witch.

Mountain Witch just released third album “Burning Village”. I remember that Mountain Witch first full-length “Scythe and Dead Horse” was attached as bonus to one of Doom Metal Front magazine issues. How did you get there?

To be honest.. we just asked if they want to have it as a bonus to their magazine and they agreed.

“Scythe and Dead Horse” is an instrumental album, but your latest album “Burning Village” contains vocals. When did you turn away from instrumental music?

Well, “Scythe and Dead Horse” already had some sparse vocals on 2 tracks. The following self titled EP had none. At the time we started working on “Cold River”, we realized that we actually want to write songs and not instrumentals and so we did. You should really give “Cold River“ a listen. There is a good chance you may like it if you think “Burning Village“ is strong.

Well, now that’s my duty to taste “Cold River”. Okay, Rene, new release “Burning Village” has the killer artwork and intriguing name, what’s the concept behind it?

The album title was chosen long before any proper lyrics were written. We liked the timeless, archetypical imagery it conjures and it seemed to fit all the different song themes pretty well, so we kept it. The artwork is inspired by the Suhrkamp books they’ve put out in the 70s/80s. It’s minimalistic yet very strong. 

So there’s no cool stories behind it? Nor old school horror movie or conceptual stuff about burnt witches, living dead and ancient curse?

“Burnt witches, living dead and ancient curse”, sure! But there is no overall concept, like just Lovecraft or just war related or whatnot. It’s a collection of songs that have mostly a “weird tales” kinda vibe or setting, but it’s not limited to that. 

“Burning Village” was released by This Charming Man Records that previously released “Cold River”. How did you get in touch with the label?

Our bassist knew Chris of This Charming Man from way back and just talked him into it. 

The sound, the very vibe of “Burning Village” is something special, and it’s obvious that you worked on Mountain Witch individuality. How did you create that specific sound in the studio?

Hauke Albrecht of Rekorder Studios in Hamburg, the guy who recorded, mixed and mastered “Cold River” and “Burning Village” has lots of cool analogue gear and classic microphones, and he knows his craft! We showed him some references and he hit the nail on the head, its pretty much what we had in mind. We didn’t want the sound to be huge or utterly heavy. We wanted it to be gritty and have the music breath some air. Lots of nowadays music is way to overproduced.

What kind of perspectives do you see now having “Burning Village” at hands? Mountain Witch probably have invitations for one or two big festivals in Europe?

Well first of all I have to say that I think it’s our best and strongest album to date and I’m proud about it. We get invitations from time to time but often we cannot make it for different reasons. We all have jobs and two of us also have kids. But we really enjoy playing live when we can!  I hope we will gain some popularity with this album and people dig what we do. That’s all what we want. Play the music we like and put it out to the world. 

What can you tell us about album making process?

The bulk of the material was composed and put together over the course of 1 year, though some songs were already fleshed out. “Forbidden Forest” song for example is a pretty old, which didn’t fit the ”Cold River“ album to well so we’ve recorded it for the new one. 

One of most attractive song’s titles on the album is “Mountains of Madness”. It's Lovecraft inspired work. Did you put an emphasis onto its unearthly horror atmosphere or just wanted to retell the plot itself?

We did the music first and it had some icy, majestic feel to it. In order to have something to sing along while practising, Roggmann came up with the line “deep in the mountains of madness, the outer reaches of ...” and it did fit, so he decided to do a song around the novel.

The lyrics don’t retell the plot though, so no spoilers to be feared. It uses some poetic moments of the original text and own verses to describe the scenery and the struggles of the protagonists. 

Was there a special moment when H.P. Lovecraft inspired you?

That was in the bus on tour. Tobert said hey let’s listen to some Lovecraft audio book on from that point I was kind of infected. I knew about him before but never read any story by him or anything else. Sometimes I’m kind of on a bubble. 

I know two more great variations on theme of “Mountains of Madness” – one is performed by Gates of Slumber and another one – by Arkham Witch. May you point your favorite Lovecraft-influenced songs?

For Roggmann it’s Metallica ”The Thing That Should Not Be“ and I have to add that I totally hate Metallica, haha. Personally I don’t have a favorite Lovecraft influenced song, but I do have Tolkien inspired albums that I really adore. Bo Hansson – “Lord of the Rings”.

There are promoters and booking agents today who are ready to help bands with spreading their tunes all around the world. Do you use their service or do you promote the band and organize gigs strictly in DIY way?

We know a very good booker who sometimes organizes gigs or small tours for us. Sometimes we are asked directly. Other things like features here and there came through talking to supportive people who like what we do. 

Rene, I bet that you know Witch Mountain band from States? Did you ever get it touch with them?

Actually I did not, though they once played here in our home city and I had the idea to go to the concert and give them a shirt of our band as a gift. In the end I did not go and to be honest I don’t enjoy their music at all. But I guess they are nice people… so what.  

Ha-ha, such a cool story! Let’s finish the interview with one last question – how would you resume Mountain Witch plans for 2016?

Write new songs and play some concerts. Maybe across the border of Germany as well. Would be cool!

Oh, sorry – one more thing! How did you come up with a name Mountain Witch?

We wanted something that everybody could connect to certain style of music and at the same time a name that is a little bit dumb and simple. We actually got a mountain here in Germany that looks like a sleeping witch. so that is another connection to the name. 

Thank you Rene – that’s all. I thank you for your time, it was nice to know more about the band and just to talk. Good luck mate! Wish you all the best on your way with Mountain Witch!

Thank you for being interested and asking good questions!

http://mountainwitch.bandcamp.com/

https://www.facebook.com/mountainwitch/

Interview by Aleksey Evdokimov/2016

© Copyright http://psychedelicbaby.blogspot.com/2016

Help Yourself interview with Malcolm Morley

Their albums artwork reflects English pastoral surroundings but music is way more influenced by American groups of the time. It's a mixture of hippie country flavoured rock with some hints of pastoral - like their artwork. Quite unique in its own way and especially when there are moments of psychedelic west coast guitar sounds. They managed to record five albums. Their last one was not released in its time. We talked with member of Help Yourself, Malcolm Morley. We are sorry to report that some time ago Richard Treece left us (RIP).

Shagrat Records released a new album entitled 'Raw' awhile ago. This 10″ vinyl contains some of your recent songs. You and your guitar are the main characters on the album. What's the story behind making these songs?

There are four songs so in a way it is like the old vinyl EP format, though larger in size since it is a 10". The recordings aren't just me and my guitar, I must also give a mention to a friend's sister Caitlin who played some excellent fiddle and bandoneon on the recording. 

After a set at a Sunday musical event organized by Nigel, the owner of Shagrat Records, I was approached by Nigel and asked if I would be interested in recording three or four songs to be released on vinyl. Nigel chose the songs that he wanted ("Poor Man", "Summerlands" and "Where the River Bends") and stipulated that they be just me and the guitar. So when I played him the recorded songs with "East Virginia" added and Caitlin's fiddle I wasn't sure how he would respond. I had placed the string parts fairly well back in the mix so they weren't obtrusive and hoped he would hardly notice. As it happened, Nigel really liked Caitlin's part.

Are there any songs from older days that never got released until recently?

As far as I am aware there are not any studio recorded Help Yourself songs not released. We pretty much covered that with the half finished tracks recorded at Chipping Norton in 1973 that were finally released by Hux Records several years ago.

There are one or two BBC Radio John Peel show recordings knocking about with songs on that were never recorded in the recording studio for United Artists. As far as songs that have never seen the light of day, there are quite a few... "Momma Touch The Earth", "Humber Song", "Harleycorn House'" spring to mind.

Now let's open some other chapters from your extensive music career. I would like to start with some basic questions. When and where were you born?

I don't know for sure, I am not from this planet originally. I was quickly moved to Walthamstow I guess so the USA Area 51 boys would not notice one got away.

How old were you when you began playing music and what was the first instrument you played?

Around 5 years old. It was a piano. I dinked around on the piano and sang "Daisy, Daisy / Give me your answer, do. / I'm half crazy / all for the love of you".

What inspired you to start playing music? Do you recall the first song you ever learned to play?

That is hard to know. The radio was on a lot and I used to listen to Ella Fitzgerald, Frank Sinatra, Nat King Cole, who I used to confuse with 'Old King Cole' who was a merry old soul in a nursery rhyme. Doris Day, 'The Third Man' theme played on the Zither by Anton Karas which my cousin Babs had on a 78 record... Jimmy Brown, "Mack the Knife" (Louis Armstrong or Bobby Darin) "Zambezi" (Lou Busch and his Orchestra), Jerry Colonna, "Blow the Wind Southerly" (Kathleen Ferrier), "Three Little Fishes' (Frankie Howard), "There Once Was An Ugly Duckling' (Danny Kaye) to name but a few.

My cousin Babs took me to the pictures (movies) twice a week. She was a real film fan. I saw a lot of the then famous musicals 'Seven Brides For Seven Brothers', 'Calamity Jane,' South Pacific,' 'Singin' in the Rain' and many others. I always enjoyed singing 'Introducing Henry Miller... he's as busy as a fizzy Sarsaparilla' (from Calamity Jane sung by Doris Day).

The first song I learned to play was possibly "One Night" by Elvis Presley... though I never fully learned the words. I just sang drivel where I did not know the words. My cousin Babs had bought me a guitar for Christmas when I was 10 or 11 years old and I attempted "One Night" because I thought it was in the key of E major and my fingers would stretch to that. C major was a step too far then. Later on I took on "Don't be Cruel" and am still convinced that Elvis sings 'Don't start behinkin' umba' on one of the verses.

One of the very first bands you were part of was Hoodoo Blues Band. Would you like to recall some memories from being part of this band?

This is an extremely fond memory. Dave Charles the drummer of Help Yourself was my next door neighbour. We played 'Cowboys and Indians' and football together as kids. After the 11 plus exams at school and early teenage years I did not see Dave very much. Then one evening as I was returning from work at my first job at W.Williams and Sons I bumped into him in Chingford Road where we both lived. He asked me to join his band as their organist. So I bought a Farfisa Organ on Hire Purchase and joined The Hoodoo Blues Band, sometimes called 'Those Hoodoo.' 

They were made up of Dave's school chums. Alan Clements (vocals), Roger Smith (lead guitar), John Manning (bass guitar), Bob Cater (rhythm guitar) and of course Dave on drums. They were/are a great bunch of blokes. We played weddings, the odd pub and hall. I remember playing in a hall Harlow (Essex) one of the new towns because some kid came up to me saying "My mate.....my mate see...he's got Concrete fingers" I think I replied "Oh .....well done" or some such. Certain things stick in the mind.

We used to spend Friday and Saturday mostly at the 'Bell Corner' pub. They had bands at the weekend and nearly everybody did "Midnight Hour" for some reason. Friday nights would invariably end in a punch up among the 'Johns.' These were the smart suited guys that would stand at the bar with one hand behind their back holding a cigarette and a drink in the other. Mostly we got out before it kicked off. I had a nose for such things and would suggest we beat a hasty retreat as the 'vibes' got tense.

Roger Smith and Bob Cater were both tall, very good looking young blokes that everybody, especially the girls seemed to know. Walking down Walthamstow High Street on a Saturday with Roger was a string of "Alright Rog" queries followed by a nodding cheesy grin from Rog' and ....' Yeah alright doll' retort. 

The whole band (including me) and their friend Del went on holiday together to Woolacombe in North Devon. We stayed in caravans. Happy days.

How was the scene in your town? Any other bands you shared stages with?

You've got me here. Possibly Sam Apple Pie.

When did you begin writing music? What was the first song you wrote? What inspired you and did you ever perform the song live or record it?

About 19 years at a guess. I used to imagine myself playing to large crowds of people and would sit at the piano making things up. The first song I wrote was called "Goodnight Jane" and it never saw the light of day. I remember it because many years later I met my longtime partner of 23 years whose name was Jane.

Hoodoo Blues Band member (Dave Charles) left to join Sam Apple Pie. What happened next?

I think the band broke up... a natural progression. I lost contact with Dave for a time.

You knew guys from Eire Apparent and Sam Apple Pie. Did you ever play with any of them before forming Help Yourself?

I did one recording session for Sam Apple Pie where I played harpsichord on one track of their record. I remember doing some keyboard overdubs at Olympic Studios in Barnes for an American singer songwriter named Jim Ford. Dave Robinson who later managed us and The Brinsley Schwarz Band was producing the session and there I first heard Henry McCullough who did some guitar parts for Jim Ford. Up to then I had only ever played an acoustic guitar. After hearing Henry I was inspired to try the electric guitar. There is/was nobody like him. I remember chatting with him and found that we both loved "Brown Skin Woman" by Snooks Eaglin.

You also played on a solo album of Eire Apparent singer, Ernie Graham in 1971?

Yes I did.

Next step was formation of Help Yourself. Originally it was you, Dave Charles and Richard Treece. John Eichler became your manager and had connection to Dave Robinson (ex-roadie for Hendrix and also the manager of Eire Apparent) and there was also an editor of early James Bond movies named Stephen Warwick. What can you tell us about this?

How long have you got, because their is a book here. Firstly, John Eichler was a great pal. Where as I was then an 'unworldly' dreamer with little self confidence, John was gregarious and was able to make connections with many different kinds of people. He got married and ran a little off Licence in Barnes in South West London with his wife Sue. Some of his clientèle just happened to be in the music and film world. Stephen Warwick was one, Dot Burn-Forte another. Dot worked for the Brian Morrison Agency who promoted music acts for live performance. Her then boyfriend was Dave Robinson who managed Eire Apparent and had recently completed a tour of the USA with Eire Apparent and Jimi Hendrix.

Much of the ensuing wondrous mayhem was initiated by Stephen and John getting there heads together and making dreams come true.

Did you play any shows as Help Yourself before recording your first album?

Not sure.

You got signed to Liberty Records and started recording your debut. What can you tell us about music material and where was it recorded?

Some of the songs were influenced by people I loved to listen to then... Snooks Eaglin, Neil Young, Buffalo Springfield, Jefferson Airplane, The Beatles, Bob Dylan to name a few. It was hard. I have never been a prolific songwriter. It is like getting the proverbial 'blood out of a stone'. I often felt I was 'in over my head' as it were, that I would get found out and the whole dream would disappear in a puff of cannabis. Yet we still bounded on.

The first album was recorded in Olympic Studios in Barnes and produced by Dave Robinson. He did an excellent job and encouraged us all.

They were amazing times. Yes we were young, yet there was positive energy in the world at that time that is not so absolute today as the realization has dawned on our species (some of them anyway) of the consequences of our continued industrial plunder of the Earth and the general collective failure to get along. Then, we felt we could really 'change the world' and all would be hunky dory. Ho hum. Must have been the drugs.

Who made a beautiful cover artwork for your debut?

Jeff Powell. Jeff is a lovely guy and we met him through Ken Whaley. They were sharing a flat in the Golborne Road in the Notting hill area. We lost touch over the years. 

What was the writing and arranging process within the band?

That would be me, with occasional assistance from Dave Charles. Luckily Ken and Richard would usually say "Yeah that seems OK'. Then someone would say "Shall I Roll Another Joint?".

How did critics receive the album?

Reasonably well I think. John Mendelsohn of Rolling Stone Magazine gave us some good mention in his reviews. We were somewhat surprised and pleased.

A year later in 1972 you released your second LP 'Strange Affaire', on United Artists. There was some lineup changes, including the departure of original bass player Ken Whalley. He was replaced by Ernie Graham and lead guitarist JoJo Glemser. Album was recorded at Dave Edmund's Rockfield Studios.

Actually I think it was mostly Kingsley Ward's Rockfield Studios, with some assistance from his brother Charles, though I believe Charles mostly looked after the farm. I could be corrected here as I am guessing Dave Edmunds may have had a share in the ownership. Dave recorded his music there and did some producing too. As he, like us, was signed to United Artists the link would have been U.A.'s A&R man Andrew Lauder. As we had been part of "The Downhome Rhythm Kings" with the Brinsley Schwarz Band and were renting a country house in Headley Down I think Andrew Lauder liked the idea of getting us out of London and out 'in the sticks' to record. Plus the recording rates per hour were very friendly compared to Olympic Studios.

What's the story with 'Beware the Shadow' album, which was made with former bassist Paul Burton?He was filling in for JoJo Glesmer and Ernie Graham after they left during the previous sessions. This was self produced and I didn't find anywhere the mystery behind it...

I am a little hazy myself about this period hence Beware The Shadow. There is some mystery about this record for sure. I remember Pete Townsend of The Who liking "She's My Girl" when he came in to one of the mixing sessions in Olympic studios. Also two guys came in to the Mixing Studio who looked like 'Bigwigs' in the Record business and stood listening, nodding sagely and making the occasional pertinent comment. As they left, Anton the engineer asked us who they were. We said "We don't know, we thought you had invited them".

Turned out they were just two guys who had been curious about what went on in the building and wandered in to have a look. Something John Eichler and I might have done ourselves in earlier days.

Two more albums were recorded, but only one was released in its time. Your fifth album got shelved. What was happening at the time?

I ran out of steam. The songwriting dried up. I had enough and needed break. The weight felt too big.

It's really interesting, that you are British, but the sound was closer to American West Coast bands of the time. Did you ever manage to tour there?

Not with Help Yourself. I managed to get there with Man later and that was a thrill.

What bands influenced you the most?

Well I can only speak for myself for certain but from memory can say what Rich, Ken and Dave also liked. Rich was very fond of early Fairport Convention, Led Zeppelin, Santana, Spirit with Randy California, Jeff Beck, Peter Green, a lot of the Blues players... Buddy Guy, Junior Wells... that is to name a few. Dave loved the organist Jimmy Smith, Credence Clearwater Revival and we used to love going to the Cooks Ferry Inn to see the Fleetwood Mac line up with Peter Green, Jeremy Spencer, Mick Fleetwood and John McVie. I am not sure if Christine Perfect was playing there at that time or not.

Ken brought some new elements to our listening when he joined the band. The Grateful Dead, Velvet Underground and others that don't spring to mind.

I liked Buddy Holly, Eddie Cochran, Bob Dylan, Snooks Eaglin, Muddy Waters, Buffalo Springfield, Jefferson Airplane, John Lennon... The Beatles, The Rolling Stones (Ken loved the Rolling Stones)...I could roll on and on. Mostly all of these and many more crossed over between us. I know if the others see this they are likely to say 'What about ............? How could you leave them out?

Would you discuss some of your most memorable moments in Help Yourself and what made them so?

Doing our first gig ever because I was utterly terrified. It went really well. There was a big crowd who stamped their enthusiasm at the end. I thought we were about to be the next Beatles. I remember Dave Robinson (our then overall manager) saying "Well done... but they wont all be like that".

The next gig had about 20 apathetic people who managed the odd stuttering clap. Not the next Beatles then.

Moving into Headley Grange. We were so lucky to have lived in a beautiful country mansion with grounds and wooded walks at the back.

Getting an electric shock when I started to grab the microphone during a performance on tour in Scotland when we were supporting Family. Luckily I managed to let go and this caused me to rock back in strange dancing movements shouting "OOH AAH" and suchlike. The rest of the band who had no idea what had happened gazed at me in bemusement. I heard Sean Tyla who was in the audience in front of the stage shout "Look at Malc, he's really getting off tonight".

I could go on but you'd run out of paper.

You were part of many other projects, including making albums with Ernie Graham, Deke Leonard, Man, Wreckless Eric, The Tyla Gang, Ian Gomm, Kirsty MacColl and others. Is there a certain moment you would like to remember from your collaboration with other musicians?

I am going to make a slight correction to your question. As far as my memory serves me I never made an album with The Tyla Gang. Ian Gomm produced my record Lost and Found and saved the tapes and converted them to CD and some 25 years later was instrumental in finally getting it released (so you can blame him). I don't remember being on any of his records though.

The 'Be Stiff 78' tour by British Rail that Dave Robinson organized featuring Lena Lovich, Wreckless Eric, Jonah (You'll always find me in the kitchen at parties) Lewie, The Records, Rachel Sweet and Micky Jupp. Six acts, half an hour each set. On one of the gigs Elton John suddenly appeared and I did a duet with him on the Yamaha electric grand piano that we used. He played the lower end I played the top half. I remember him grumbling when he learned what key the song was in (Emaj). He said "I normally only play in C". I think it was probably the Rachel Sweet set that we were augmenting with the piano.

Also there is a vivid memory of the panic on Jonah Lewie's face when the extremely elaborate keyboard that he had didn't work. He's a very good performer but knew little about the working of the keyboard so relied on the road crew to set it up just right. He would bound on stage sometimes and hit the keyboard with his outspread hands in dramatic fashion and nothing would happen.... no sound... Now because the rest of the band had started up anyway, Graham the chap that prepared his keyboard (and was crouched at the back of the stage like a sprinter ready for the 100 yards gun) had not realized the keyboard had failed to function. Meanwhile Jonah was turning round making the most extraordinary grimaces towards Graham who sometimes just smiled back until he realized something was afoot. It was hard to play my piano part from laughing. In the end sometimes I would have to shout at Graham 'THE EFFING KEYBOARD'S NOT WORKING!!!

What lies in future?

Bop 'til you drop.

Thank you so much for taking your time. Last word is yours.

Well thank you for allowing me to ramble on. It took me to one or two unexpected places.

http://www.malcolm-morley.co.uk/

Interview by Klemen Breznikar/2016
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