BRIT ROCK BY THE BAY

ERIC CLAPTON: JULY, 1974

2011-12-01T12:56:00.000-08:00

Eric Clapton
Cow Palace, Daly City
July 21, 1974

(All photos by Dan Cuny)

Eric Clapton

Eric Clapton was born in 1945, in Surrey, England, and began to play the guitar as a teenager. He was especially drawn to the earthy sound of American music, particularly the blues of Robert Johnson, Freddie King, B.B. King, Muddy Waters, and Buddy Guy. At the age of seventeen he joined The Roosters, and later played with Casey Jones and The Engineers. In October, 1963, he joined The Yardbirds, staying with them until March, 1965, and appearing on their first album, Five Live Yardbirds, which was recorded during a performance at the Marquee Club in London and released in 1964. (It was during this time that Eric Clapton gained the nickname of "Slowhand.") When The Yardbirds had a hit in both the United Kingdom and America with "For Your Love" (written by Graham Gouldman), Eric Clapton became unhappy and resolved to quit the band, saying that he wanted only to play authentic blues.

George Terry, Eric Clapton

After Eric Clapton left The Yardbirds, he accepted an offer to play with John Mayall, another strong-minded musician who shared his fervent and unyielding dedication to the blues. The piercingly sharp tone of Eric Clapton's guitar was a pronounced highlight on John Mayall's Blues Breakers with Eric Clapton (1966), an uncompromising album of honest blues that also featured Eric Clapton's first track as lead vocalist, Robert Johnson's "Ramblin' on My Mind." Eric Clapton quickly established a singular reputation as a peerless guitarist during his stint with John Mayall, and one fan was moved to write the words, "Clapton is God," on the wall of a station in the London Underground.

Yvonne Elliman, George Terry, Eric Clapton

In July, 1966, Eric Clapton parted ways with John Mayall and formed a new band, Cream, with Jack Bruce (vocals, bass, harmonica) and Ginger Baker (drums). By the end of that year, Cream had released two singles, "Wrapping Paper" and "I Feel Free," and their first album, Fresh Cream. Three more albums followed: Disraeli Gears (1967), which featured "Sunshine of Your Love," one of their most famous tracks, Wheels of Fire (1968), a double LP that included four tracks recorded at performances in San Francisco, and Goodbye (1969), their final album. (In 1968, Eric Clapton also added his talent to "While My Guitar Gently Weeps," one of George Harrison's tracks on The Beatles.) Cream had a brief lifetime, but their loud style of electric blues, played in a heavy and extended manner with each of the musicians forcefully pushing the collective sound into new realms, set an unprecedented standard of performance in rock'n'roll.

Eric Clapton, Carl Radle

When Cream ended, Eric Clapton and Ginger Baker joined with Steve Winwood (The Spencer Davis Group, Traffic) and Ric Grech (Family) in Blind Faith. In June, 1969, Blind Faith gave their first performance in public at a free concert in Hyde Park, London, followed by a tour of the United States. After the release of their first and only album, Blind Faith (which included one of Eric Clapton's most eloquent compositions, "Presence of the Lord"), in August of 1969, the band broke up. After Blind Faith, Eric Clapton toured and recorded as a guitarist with an American band, Delaney and Bonnie and Friends, and also made two appearances with The Plastic Ono Band. (He also played on a single by The Plastic Ono Band, "Cold Turkey.") His first album to be recorded under his own name, Eric Clapton, was released in August, 1970. In addition, his guitar could be heard on George Harrison's All Things Must Pass.

After releasing Eric Clapton, he formed a new band, known as Derek and The Dominos, with three of the musicians (Bobby Whitlock on keyboards, Carl Radle on bass, and Jim Gordon on drums) who had worked on the album. Their first album, Layla and Other Assorted Love Songs (which also featured the guitar of Duane Allman), was released in November, 1970. The most impressive track on the double album was "Layla" itself, a song that Eric Clapton wrote to express his anguished love for George Harrison's wife, Pattie. Among the other tracks on the album were "I Looked Away," "Bell Bottom Blues," "Keep on Growing," "Anyday," and "Tell the Truth." Derek and The Dominos toured the United States and attempted to record a second album, but the band dissolved in 1971.

By the early 1970s, Eric Clapton was at loose ends and had fallen into a reckless habit of using hard drugs, particularly heroin. After the breakup of Derek and The Dominos, he chose to hide himself in the privacy of Hurtwood Edge, his country house in Surrey, and apart from an appearance with George Harrison at the Concert for Bangladesh in New York City on August 1, 1971, he did not engage in any musical activities. He finally returned to action in January, 1973, when he gave two performances (with a band of celebrated friends, including Pete Townshend, Steve Winwood, Ron Wood, Ric Grech, and Jim Capaldi) at the Rainbow Theatre in London. Eric Clapton's Rainbow Concert, a live recording drawn from both performances, was released in September, 1971.

In 1974, having turned away from the harmful burden of heroin (and having finally succeeded in enticing Pattie Harrison away from her husband), he released a new album, 461 Ocean Boulevard, and commenced another tour of the United States. 461 Ocean Boulevard was recorded in Miami, Florida, and among its best tracks was a faithful cover of Bob Marley's "I Shot the Sheriff," which became a hit (#1 in America) when it was released as a single. The album and the single marked the beginning of Eric Clapton's rise to worldwide stardom, not merely as a guitarist in a band, but as an eminent performer in his own right, as he became more assured of his skills as a singer and a songwriter.

At the Cow Palace in July of 1974, Eric Clapton performed with a band that include Yvonne Elliman (who had become well-known as Mary Magdalene in Jesus Christ Superstar) on vocals, along with Carl Radle, George Terry (guitar), Dick Sims (keyboards), and Jamie Oldaker (drums). "Legs" Larry Smith of The Bonzo Dog Band also made an appearance, holding a toy guitar and providing an element of offbeat comedy. During much of the performance, it seemed that Eric Clapton, wearing a hat and sunglasses, was not fully at ease being in the spotlight. He tended to keep to himself while he was onstage, but in spite of his withdrawn demeanor, there still were moments when the feeling that he conveyed with his guitar was as strong and as true as ever.

David: It was very exciting news when my friends and I learned that Eric Clapton was going to perform at the Cow Palace, near San Francisco. When I first heard his new single, "I Shot the Sheriff," it sounded strange. I was not familiar with the music of Bob Marley and The Wailers. Eric Clapton was back, but with a new sound.

I remember going to the basement of the J. C. Penney department store to buy tickets with my friend, Gary. There was a small crowd already lined up when we arrived. I overheard an older man talking to his wife and saying, "These kids are all here to buy tickets for some guy named Clampett."

I don't remember if the opening acts were announced before the concert. I recall that it was a surprise when "Legs" Larry Smith, from The Bonzo Dog Band, was introduced. He bounce out onto the stage in a polka-dot outfit. I don't remember much of his performance, but I did enjoy getting to see an original Bonzo!

Eric Clapton casually walked onto the stage to loud cheers and opened with some acoustic numbers. I think the opening song was "Smile" by Charlie Chaplin. Not what I expected. Buried in the vast audience on the Cow Palace floor, it was difficult to stand through the slower numbers. The show picked up with some classic numbers from Cream, Blind Faith, and Derek and The Dominos. When he announced that the next song was "Layla," the audience went wild. He said the the guitar part by Duane Allman would not be played. That was a touching tribute, but left the song missing some of its power and was a bit of a disappointment.

The whole concert was a mix of great moments with some letdowns. At times Clapton seemed to be uncomfortable with his star power and tried to step back, not really taking the lead. Yvonne Elliman performed very well, as did the rest of the band. They all seemed to have a good time playing together.

The end of the concert is the part that I remember best. When the band left the stage, instead of the usual stomping and clapping for an encore, the audience held up cigarette lighters as a silent tribute to the late Duane Allman. I cannot verify this, but I believe that is when the tradition began.

When the band returned, I looked at my watch. It was just one or two minutes "after midnight." Eric had not performed that song. I felt that this was the moment I had waited for. What could be better than that song, performed at that moment? Unfortunately, he finished with another song, and the evening ended with disappointment.

Gary: As I remember, this Cow Palace concert was one we arrived late for, and it seemed like we were way in the back of the hall. I remember not enjoying this concert so much, although I liked Eric Clapton, and I really liked the 461 Ocean Boulevard album, with "I Shot the Sheriff" that was all over the airwaves, and especially the change in style, combining some reggae and country influences and putting a lot of rhythm guitar percussive effects into the music, which was very different from his other periods. From John Mayall's Bluesbreakers to Cream to Blind Faith to Delaney and Bonnie to Derek and The Dominos to George Harrison, a lot of pretty amazing periods, and I really liked all of it. He probably had crammed more lifetimes into his eventful career than most performers, and was no doubt searching for a real change.

Recently I turned up the car radio listening to "Layla" on the oldies station, and was still very impressed by that piece of music and the teaming with Duane Allman. The slide work was incredible and the long buildup of the piano just soars. I guess any music would pale in comparison, and his new album at the time was very laid back, with his guitar almost taking a backing role.

I remember Eric Clapton's career being managed by RSO, because I remember listening to Ross as one of the opening acts at the Cow Palace, and Yvonne Elliman singing backup for Eric Clapton. (I liked Ross, who were kind of rhythm and blues, with soulful singing.) All these artists were signed to RSO, and this was a big push in a new direction.

It also was great to see "Legs" Larry Smith, a member of the spectacular Bonzo Dog Band. My memories of the actual music at this concert are a bit dim, but I didn't think it was one of the better concerts that we went to, although in retrospect I am glad to have seen Eric Clapton at least once in my life.

"Legs" Larry Smith

Dan: I have always been a big fan of Eric Clapton from his Cream and Blind Faith days, but after that, when he was with Delaney and Bonnie, I lost some interest in him and his music. I liked Derek and The Dominoes, but I wasn't a big fan of Duane Allman, so I had mixed emotions in regard to that album. I remember that when "I Shot the Sheriff" came out, I liked the song, but it seemed very odd, and I wasn't familiar with reggae or with Bob Marley. Nonetheless, Clapton was coming to town, and I didn't want to miss an opportunity to see him.

Walking up to the Cow Palace, which was considerably larger than Winterland, the venue where we saw the majority of bands, I remember taking a photo of the marquee with Clapton's name. I wanted to remember this night for a long time. I was very excited to see the "best rock'n'roll guitarist in the world," who at that time was "God" in the eyes of many people.

The band Ross opened for Clapton. I had never heard of them, and to this day I still have no idea who they were or who was in the band. (Editor's Note: Ross released two albums in the 1970s and served as a showcase for the guitar and vocals of Alan Ross.)

I can remember when Eric Clapton came onto the stage. He was dressed in very baggy overalls, a floppy white hat, and sunglasses. I thought this was odd. I really wanted to see Clapton at his best. I don't remember Clapton playing lead on any songs. His band included George Terry on guitar, and to this day I'm convinced that George Terry played all the leads. Eric Clapton looked like he was either drunk, or stoned, or both, but in any case he was very laid back, and from what I remember he never took the lead, musically or emotionally.

They played "Let It Grow," "Can't Find My Way Home," "Badge," and "Layla," which sounded pretty odd, as Clapton only played his own part and was silent for the part originally played by Duane Allman, who had recently passed away. It was a disappointing show for me. I have seen Eric Clapton a few times since then, and he's really shined, but at this show, he was not at his best.

"Legs" Larry Smith in polka dots

Michael: Because I never saw Cream, Blind Faith, or Derek and The Dominos, this show was my first experience of seeing a performance by Eric Clapton. After listening to his music for many years, and reading about him in Melody Maker and Rolling Stone, I had high hopes for the concert at the Cow Palace. Eric Clapton had just become active again, after several years of being sidelined by drugs, and he had a current hit ("I Shot the Sheriff") on the radio, so his tour in 1974 was regarded was a major happening, with a lot of interest from the public and the press.

When he stepped onto the stage at the beginning of his performance, with his face hidden under a hat and sunglasses, and started to sing "Smile" while playing an acoustic guitar, it was quite surprising. I remember thinking, "Is that actually Eric Clapton?" He certainly did not look as he usually looked in photographs. For a minute or two, as I watched in confusion, I suspected that some kind of mischief might be afoot. Was it someone pretending to be "Slowhand," while the guitarist himself lurked out of sight? It slowly became clear that the figure onstage was, indeed, Eric Clapton. (The hat finally came off toward the end of his set, but the sunglasses remained.)

Things became more lively (and much louder) after he exchanged his acoustic guitar for his Telecaster. He proceeded to perform some of his strongest songs, including "Let It Rain," "Badge," "Tell the Truth," and "Blues Power." He also performed a handful of songs ("I Shot the Sheriff" among them) from his new album, 461 Ocean Boulevard. When Eric Clapton played the introduction to "Layla" in the middle of the show, the crowd roared with unbridled delight. As he played the famous riff (with Duane Allman's part omitted as a tribute to the late guitarist), a huge wall of lights lit up behind him. That song was undoubtedly the highlight of the evening.

For the most part, it was an unusually low-key performance for a such a famous musician. Eric Clapton, for his own reasons, did not want to come across as a "star" at that time. He said only a few words while he was onstage, and he appeared to go out of his way to diminish his own stature as a performer (I presume that is why he chose to have Yvonne Elliman share the vocal duties with him), but as the familiar tones flowed from his electric guitar, he could not diminish the overwhelming effect that his music had on the audience.

More about Eric Clapton at David's Rock Scrapbook

A review of a performance by Eric Clapton in Portland, Oregon, in 2011 here

Next: Elton John

MARK-ALMOND: APRIL, 1973 & AUGUST, 1973

2011-10-17T15:30:00.000-07:00

Jon Mark (Maples Pavilion)

Mark-Almond
Maples Pavilion, Stanford University/April 6, 1973
Winterland, San Francisco/August 11, 1973

(All photos by Dan Cuny)

Geoff Condon, Johnny Almond

Jon Mark first established his name in the world of British music during the middle of the 1960s, mainly as a result of his work as a guitarist and arranger for Marianne Faithfull. (He can be heard on her album, Come My Way, released in 1965.) In the late 1960s he formed a band, Sweet Thursday, with Alun Davies (guitar) and Nicky Hopkins (keyboards). Their only album, Sweet Thursday, was released in 1969. (Alun Davies later became renowned for his work with Cat Stevens, while Nicky Hopkins played on recordings with The Beatles, The Rolling Stones, The Kinks, The Who, The Jeff Beck Group, and many others.) Also in 1969, Jon Mark was asked to join a new band being formed by John Mayall.

Johnny Almond (saxophone, flute), a British musician who had made himself known playing with Zoot Money's Big Roll Band and The Alan Price Set, also was a member of John Mayall's band in 1969. He and Jon Mark appeared together on two albums with John Mayall: The Turning Point (1969), which was recorded during a show at the Fillmore East, and Empty Rooms (1970). The two musicians then decided to form their own band. In addition to Jon Mark and Johnny Almond, the first lineup of Mark-Almond included Tommy Eyre on keyboards and Roger Sutton on bass.

Mark-Almond, the first album by the band, was released in 1971. It featured five tracks (four written by Jon Mark, and one by Roger Sutton) that tastefully combined folk music with jazz and blues, creating songs of unusual depth and strong poignancy. In particular, "The Ghetto" and "The Tramp and the Young Girl" were sad and heartfelt compositions that touched on the dark side of life, with Jon Mark using his breathy voice to express the painful depths of anguish and regret. "The City" conveyed a more upbeat mood, with a loose and rhythmic feel that showed the musicians to their best advantage.

In 1972, when Mark-Almond released their second album, Mark-Almond II, they had expanded their lineup and enhanced their sound with the addition of Dannie Richmond, an expert drummer known for his extensive work with Charles Mingus. Among the seven tracks contained on Mark-Almond II were "The Sausalito Bay Suite/The Bridge," on which the band shared their musical impressions of the Bay Area, and "One Way Sunday," a catchy song in which Jon Mark pensively described the wayward life of a musician who is constantly on the road.

When Rising, the third album by Mark-Almond was released (also in 1972), the lineup had been further expanded to include Kenny Craddock on keyboards and Colin Gibson on bass. One of the main highlights on Rising, and arguably one of the strongest tracks in the entire output of Mark-Almond, was "What Am I Living For?" It was a rueful song of clear-eyed acceptance, in which Jon Mark, offering a forthright vocal that had a particularly yearning quality, attempted to resign himself to the common inequities of human existence.

Johnny Almond, Jon Mark (Winterland)

By 1973, the lineup of Mark-Almond had undergone more changes. Tommy Eyre and Roger Sutton had departed, making way for Wolfgang Melz (bass), Geoff Condon (horns), and Bobby Torres (percussion). Alun Davies, Jon Mark's friend from the days of Sweet Thursday, also became a member of the band for a brief period. In this particular lineup, the jazz element of their music became even more pronounced, which resulted in exciting performances. When these photographs of Mark-Almond were taken at performances in April and August of 1973, the band was arguably at its peak as a musical unit.

David: My friends and I were excited to see John Mayall with Mark-Almond as the opening act. We had high hopes that they would reunite at the end and play songs from The Turning Point.

The concert was at Maples Pavilion at Stanford University. An unusual place for a concert, at least for us. We wanted to be up front and arrived early in the day, only to find that no one else showed up until shortly before the doors opened. As it turned out, there was some sort of preferential seating that allowed students to go in before us, even though we were first in line, so we had to sit back a few rows. I was not close enough to take decent photos. Luckily, Dan had his telephoto lens.

I remember Mark-Almond's music being more intense than I had expected. Their sound had expanded with more percussion. Being in a seated venue, instead of a larger hall with standing room only, made for the best environment to enjoy the delicate songs written by Jon Mark and the long instrumentals. Jon Mark looked dashing with his flowing red hair and white puffy shirt. Mark-Almond did not return to the stage to perform with John Mayall, which was the only disappointment of the whole evening.

We saw Mark-Almond twice after that, both times at Winterland. In August of 1973, we arrived early in the morning to secure a spot in front. During the long wait, Gary and I took a walk through the nearby Japan Center. I heard Gary say, "Mr. Mark!" to a passerby. I looked up and was surprised to see that it was, in fact, Jon Mark. He was not as recognizable with his hair pulled back. He graciously stopped and signed autographs for us.

The concert billing for that night was David Blue with Graham Nash, Robin Trower, Mark-Almond, and Poco as headliners. We had seen Poco before and left before they came on stage. While we were waiting outside the stage door, I met Graham Nash. He came out of the door with his arm around his girlfriend (not Joni Mitchell), and walked up the street into the foggy San Francisco night.

We saw Mark-Almond again just three months later. They were headlining the bill over Wishbone Ash and Robin Trower. Both opening acts were powerful rockers and put on tremendous performances. Mark-Almond had a hard time topping those acts. Toward the end of their set, Jon Mark announced that it would be the last time they played together. I remember hearing the audience around me calling out in disappointment. It made for an emotional and sad end to a great concert.

Gary: One of the really classic concerts we went to was John Mayall with Mark-Almond second on the bill, at Maples Pavilion on the campus of Stanford University. We only went to Stanford this once (they rarely had rock concerts there). We went early and were the only people waiting for the concert, until just before the doors opened. Stanford is a nice campus, and the many students with bicycles made it seem like a friendly place.

Maples Pavilion was where they played basketball, and I remember that the hardwood floor had a "give" to it, with the audience seated on temporary chairs. This was a remarkable concert, because both of the British bands had American jazz stars playing with them. (Mark-Almond had Dannie Richmond, who played with Charles Mingus, on drums, and John Mayall had Blue Mitchell, who played with Cannonball Adderley and Horace Silver, on trumpet.) John Mayall's band also had one of our heroes, Keef Hartley, on drums. The music of both bands had intertwining roots, because Jon Mark and Johnny Almond had played on The Turning Point, one of John Mayall's best albums.

Mark-Almond was always one of my favorites. They had a strong musical approach and sensitive lyrics, with great arrangements (Tommy Eyre and Johnny Almond were amazing arrangers). Jon Mark was a gifted songwriter, as well as being a solid nylon-string guitar soloist. I always admired Jon Mark's writing. I remember listening to the first Mark-Almond album at Michael's house (he told me about an article in Melody Maker, in which Jon Mark explained that he wrote "The Tramp and the Young Girl" after reading a newspaper report of two apparently unrelated bodies, presumably resulting from suicides, being found in a river). That song, with its melancholy melody and gentle descriptions of lives spun out to the bitter end, is a true masterpiece.

That type of writing, with jazz and blues overtones, is unique in rock music, and again shows the complexity and greatness of the music of that time. What Jon Mark brought to rock music greatly added to its depth and quality. Songs like "The Ghetto," "The City," "The Sausalito Bay Suite," "One Way Sunday," and "What Am I Living For?" were simply incredible creations, with very distinct viewpoints and amazing melodies.

The concert at Maples Pavilion was great. Jon Mark had a new, curved-back Ovation guitar. I remember that at the end of a drum solo by Dannie Richmond, Dannie shouted, "Down with the Ku Klux Klan, goddamn!!" Then the band stormed back in. Johnny Almond's playing on sax and flute was fantastic. I remember that he wore a kind of dark velvet jacket that contrasted with the white long-sleeved shirt that Jon mark wore. Dannie Richmond was dressed to the nines. We were lucky to see such a great jazz artist in any context, let alone with one of our favorite bands.

Several months later, we saw Mark-Almond again, this time at Winterland. When we were waiting in line for the evening's concert with Robin Tower, David and I went walking toward Japantown (near the Miyako Hotel where the bands usually stayed), while Michael and Dan held our place. I remember seeing Jon Mark walking by, and I shouted out, "Mr. Mark!" Unfortunately, I became tongue-tied and couldn't even stammer anything after Jon Mark stopped and said, "Yes?" It was very embarrassing. The Winterland concert had extended improvisation from all band members. Jon Mark had put on some weight, and Johnny Almond was wearing a denim shirt.

Both concerts were great. Mark-Almond in all their formations were always interesting, and I miss their music. Jon Mark's 1975 solo album, Songs for a Friend, is good, too. He had many friends in Marin County and his poetic, melancholic, yet analytical nature put him in good stead in this Northern California area that he loved. Now I want to take some time and listen to those LPs. It'll probably bring me to tears.

Dan: There are many things that I remember about this show (April 6). It was at a venue that I hadn't been to in the past, and it was with two bands that I wanted to see. Mark-Almond was the opening act for John Mayall at Maples Pavilion on the Stanford campus near Palo Alto. I had some of the Mark-Almond albums, and I knew their music pretty well. I didn't think it was odd that these two bands were on the same bill, as Jon Mark and Johnny Almond had been in John Mayall's band.

I remember the Mark-Almond set was fairly short, maybe forty-five minutes or so, and I can certainly remember the two of them standing together when they were playing. Jon Mark was taller, with wavy, blond hair, while Johnny Almond was shorter, with dark hair. I remember their music was softer and more melodic than some of the other bands that we were seeing at the time, but I liked their more acoustic based songs.

Another odd thing that I remember about this show is that, since we were sitting on a basketball court watching them at one end of the pavilion, when they played some of their more upbeat music, the floor was moving up and down as the crowd was getting into the music. It was a great show, and although we never saw another band there again, what took place on that night was magical.

The show at Winterland (August 11) was the second time we saw Mark-Almond in a few months. They must have been on the same tour and came back to San Francisco because of their fondness for the area. One of the things I remember about this show was noticing that Jon Mark was playing a different sort of guitar. He played an Ovation, a guitar with a rounded back, on many of the songs. Johnny Almond was a bit more visual this time, or it might have been that I was just watching him more. He played his sax and flute with a bit more flare, while Jon Mark seemed more subdued.

If I remember correctly, they played the "The Sausalito Bay Suite," which had a great response from the crowd. I also remember listening to Jon Mark's voice, which was very smooth, with an almost velvety tone. He is a great musician and singer to this day. I don't remember the other musicians as well, because I was generally fixed on watching Mark and Almond, and taking their photos. I still enjoy listening to many of their songs.

Michael: I had closely followed the music of Mark-Almond from the release of their first album, so I was greatly pleased to see them perform. I had always liked music that was on the downbeat side (Cat Stevens, Nick Drake, Leonard Cohen, Tim Buckley), so Mark-Almond was right up my alley. I regard Jon Mark as one of the most gifted songwriters of that time. He had a particular ability to write songs (such as "The Tramp and the Young Girl") that were painfully honest, engagingly thoughtful, and deeply moving. He had a beautiful and unusual talent.

The lineup that we saw in 1973 was a bit more lively than the lineup that had been heard on their early albums. Mark-Almond had added a number of other musicians when we saw them, which resulted in the band having lot of power on stage, and their performances could be quite intense. The songs themselves were full of strong feelings, and Jon Mark sang them with the utmost conviction. Hearing Mark-Almond perform their music was not a lightweight experience.

I remember that at Winterland, where we were closer to the musicians than we had been at the Maples Pavilion, it was easy to see that Jon Mark was working hard and sweating profusely. Johnny Almond also was a hard worker, blowing a solid stream of hot sounds out of his saxophone. I did not know a great deal about Dannie Richmond in those days, but even without having any direct knowledge of his musical history, it was clear that he was a cut above the usual sort of drummer.

The music of Mark-Almond, with its blend of different textures and subtle shadings, was far outside of the mainstream even in the early 1970s, when rock'n'roll was considerably more pliant than it is currently, and it probably would have a hard time being heard nowadays. It seems that music of high quality is not valued as much as it used to be, particularly by young listeners. Mark-Almond represents a time when music and audiences were different in many ways. I count myself lucky that I was able to see Mark-Almond perform not once, but several times.

More about Mark-Almond at David's Rock Scrapbook

Next: Eric Clapton

JOHN ENTWISTLE'S OX: FEBRUARY, 1975

2011-09-01T15:59:00.000-07:00

John Entwistle

John Entwistle's Ox
Winterland, San Francisco
February 22, 1975

(All photos by Dan Cuny)

Jeff Daly, John Entwistle

John Entwistle was born in 1944, in Chiswick, London. As a child, he learned to play trumpet, french horn, and piano, and was a member of the Middlesex Youth Orchestra. He later took up the bass guitar, and during his teen years he played in two bands, The Confederates and The Scorpions, with Pete Townshend. In the early 1960s, John and Pete joined with Roger Daltrey in The Detours. In 1964, the Detours became The Who, and Keith Moon joined as drummer. Shortly after, The Who fitted themselves to mod style and became known as The High Numbers. They released their first single as The High Numbers, "I'm the Face," on Fontana Records in 1964, and then became The Who again.

The Who, with the sterling musicianship and unassuming personality of John Entwistle always providing a steady foundation, went on to become one of the preeminent bands of the 1960s and 1970s. The unbeatable lineup of Daltrey (lead vocals, harmonica), Townshend (guitar, keyboards, synthesizer, vocals), Entwistle (bass, brass, vocals) and Moon (drums, vocals, general mayhem) recorded a string of peerless albums (My Generation, A Quick One, The Who Sell Out, Tommy, Live at Leeds, Who's Next, Quadrophenia, The Who by Numbers, Who Are You) between 1965 and 1978, and appeared before frenzied audiences at top venues around the world, becoming particularly known for the vehement power and unfailing excitement of their performances.

John Entwistle, Robert Johnson

John Entwistle had a major part in creating the thunderous sound of The Who from the beginning, and his distinctive bass was a strong feature on one of their first and most famous hits, "My Generation," released in 1965. He also wrote and sang his own songs on albums by The Who, starting with "Boris the Spider" and Whiskey Man" on A Quick One in 1966. Over the following years, his songs with The Who included "Silas Stingy" (The Who Sell Out, 1967), "Cousin Kevin" and "Fiddle About" (Tommy, 1969), "My Wife" (Who's Next, 1971), "Success Story" (The Who by Numbers, 1975), and "Had Enough" and "Trick of the Light" (Who Are You, 1978).

In 1971, John Entwistle released Smash Your Head Against the Wall, his first album (with help from Keith Moon, Jerry Shirley of Humble Pie, and Viv Stanshall and Neil Innes of The Bonzo Dog Band) under his own name. It contained a collection of sly and mordant songs, including "My Size," "Heaven and Hell," "You're Mine," and "I Believe in Everything," that showcased both his musical prowess and his dark humor. Smash Your Head Against the Wall was followed by Whistle Rhymes (1972) and Rigor Mortis Sets In (1973). In the meantime, he continued to carry out his duties as stalwart bassist with The Who.

Graham Deakin, Robert Johnson

When John Entwistle performed with his own band, John Entwistle's Ox (Robert Johnson on guitar, Mike Deacon on keyboards, Jeff Daly on saxophone, and Graham Deakin on drums), at Winterland in February, 1975, he was promoting the release of his fourth album, Mad Dog. His performance offered a rare opportunity to see a true legend of rock'n'roll at fairly close range, playing in a venue that was considerably smaller than the big arenas and enormous stadiums in which The Who usually appeared.

David: Since I didn't see The Who when I had the chance (because scalpers bought all the tickets), it was the next best thing to see John Entwistle's Ox. I remember that we went only to see Ox, and not the opening act, Joe Vitale's Madmen, or the headliners, The J. Geils Band. (On an interesting side note, Peter Wolf, the singer with The J. Geils Band, was married to Faye Dunaway at that time, and I saw her jump out of a limo and run in the stage door shortly before we were let in.)

We didn't arrive early enough to be at the very front of the stage, as we had in the past, but Dan did, and he got some nice close ups with his camera. His photos captured the performance very well.

I remember that when we saw them setting up the equipment for Ox, one of the roadies was a dead ringer for Pete Townshend! Gary and I looked at each other in amazement, and couldn't help but think that Pete Townshend was going to join John Entwistle on stage. This was not to be, however, and it was just a weird coincidence.

John Entwistle put on a great show. He did several of his best known songs from The Who, "Boris the Spider" and "My Wife." He also did some favorites from his solo albums ("Heaven and Hell, "Gimme That Rock'n'Roll," "Cell Number 7"), and a rock standard ("Not Fade Away").

I was not familiar with his band, but they were very competent. Overall, it was a great performance, and I was glad to see John Entwistle's Ox.

After the performance, we waited outside and were able to meet John Entwistle. He was very composed and politely signed his autograph on our little paper pads. Once that was done, he looked up at our gazing faces and asked, "Is there was anything else?" No one had any further questions or comments, so he shrugged his shoulders and walked away.

Gary: John Entwistle was an amazing musician. The Who were arguably the greatest of all rock bands, and with Roger Daltrey, Pete Townshend, and Keith Moon all having manic, powerful stage presences, John Entwistle in his matter-of-fact silent way was the Rock of Gibraltar that anchored them. I was (and still am) a big Who fan.

One of John Entwistle's songs with The Who was "The Quiet One," which included the lyrics, "It only takes two words to blow you away." He had that kind of power: he didn't move much, but his hands on the bass were a blur of intricate patterns and strong rhythms that provided a lot of the real thrust behind The Who's music. He was a superior musician, and even being quiet, he provided songs that were outgoing, funny, and ironic. "Boris the Spider" (with his incredible low baritone voice) and "My Wife" were very funny songs.

His French horn work, which added great variety to Who records, also deserves credit. On Tommy and Quadrophenia his musical input was essential to the overall sound. I suspect that his hand was strong on the arrangements of those two masterpieces. I'm sure that Pete Townshend valued him as a fellow composer and musical expert, as well as a friend.

Oddly, I can't remember too much about the performance at Winterland. Maybe the music was not that memorable because I was unfamiliar with his new record. The music was competent and interesting that night, but not spectacular. It was more a group of musicians performing in a solid, workmanlike manner. It was good to see them, and to meet them outside Winterland after the show.

Dan: I can remember going to this show mainly to see John Entwistle. I had all of his previous albums (Smash Your Head Against the Wall, Whistle Rhymes, Rigor Mortis Sets In), and I liked his music. Mad Dog, his fourth album, had just been released, and while I thought it wasn't his best album, I was looking forward to seeing him perform live. In my opinion, he was one of the top two or three bass players in rock'n'roll, and having the opportunity to see him was very exciting. At this time I hadn't seen The Who, but I did get to see them with Keith Moon at the Oakland Coliseum in 1976.

John came out on stage, larger than life. A very big and tall man who didn't do a lot of jumping around, but his set was solid and the band was tight. He opened with "My Wife," and then went into "Boris the Spider," which I thought was great. I remember him doing "Cell Number 7" from Mad Dog, and a few numbers from Rigor Mortis Sets In. I didn't know his band mates, except for Mike Deacon who also played keyboards in Vinegar Joe, another great band.

I do remember mostly watching John Entwistle play his bass like the master that he was. Since they were the second act, they just played nine or ten songs, which was enough for me to want to see more of them. I also remember leaving after I saw them, as I wasn't a big fan of The J. Geils Band.

Michael: I never saw The Who perform during their heyday in the 1970s, much to my regret (although I did finally attend one of their performances, with Zak Starkey on drums, at the Shoreline Amphitheatre in 2000), but in 1975 I figured that seeing John Entwistle at Winterland was better than nothing. (Much better, actually.) Also, I knew that seeing him at Winterland, where we could be close to the front of the stage, would afford me a chance to get a good look at him.

It seemed odd to see such a major star as the middle act, supporting another headliner. Apparently John Entwistle's membership in The Who, as impressive as it was to us, was not enough to put him at the top of the bill. In any case, we all regarded it as a great thrill to see him perform his own songs (particularly "Boris the Spider," "My Wife," and "Heaven and Hell") with his own band. It was the closest that we had ever been to someone of his musical stature.

John Entwistle was famous for standing quite still while he was performing, so it was left mostly to his guitarist, Robert Johnson (a musician who was unknown to us at the time), to provide a bit of visual interest. The band gave solid backing to John Entwistle and his eccentric compositions, but even without any overt actions from the impassive bassist, it was clear that he was firmly in charge of the situation. In his quiet way, he appeared to enjoy having his own time in the spotlight.

After the performance, we left the hall and ran out to the stage door, feeling extremely excited at the prospect of meeting John Entwistle. I tended to be reasonably calm when I met famous musicians in those days, but meeting John Entwistle, one of The Who, was different. I remember being in awe of him. When he came out, he was friendly and readily signed autographs. I think that, although he generally was loath to make an exhibition of himself on stage, he actually liked the experience of being treated as a star.

More about John Entwistle at David's Rock Scrapbook

A review of a performance by Roger Daltrey in Portland, Oregon, in 2011 here

Next: Mark-Almond

FREE: JANUARY, 1973

2011-07-26T16:53:00.000-07:00

Tetsu Yamauchi, Paul Rodgers, Simon Kirke

Free
Winterland, San Francisco
January 26, 1973

(All photos by Dan Cuny)

Paul Rodgers, Wendell Richardson

Free began to make music in 1968. Paul Rodgers (vocals, piano, guitar), Andy Fraser (bass, piano), Paul Kossoff (guitar), and Simon Kirke (drums) were still in their teens when they joined together in London, but the depth of their talent was abundantly evident. Paul Kossoff and Simon Kirke already had played together in Black Cat Bones, Andy Fraser had played with John Mayall, and Paul Rodgers (who started out with The Roadrunners, later known as The Wildflowers, in his native Middlesbrough) had been a member of Brown Sugar. Their collective name was given to them by Alexis Korner, an eminent figure in the world of British blues.

The first album by Free, Tons of Sobs, was released on Island Records in 1969. It featured a driving sound that was hard and bluesy (as heard on "I'm a Mover," one of the best tracks), and proved that the young musicians were musically mature beyond their years. In particular, the sturdy voice of Paul Rodgers and the eloquent guitar of Paul Kossoff were singled out for glowing praise. Their second album, Free, also released in 1969, featured another collection of solid tracks (most of them written by Andy Fraser and Paul Rodgers), including "I'll be Creepin'," "Songs of Yesterday," "Lying in the Sunshine," and "Mouthful of Grass."

Everything changed for Free with the release of their third album, Fire and Water, in 1970. One of the tracks, "All Right Now," was released as a single and became a worldwide hit, transforming Free into a major band. In addition to "All Right Now," the album featured a number of other excellent tracks, including "Fire and Water," "Oh I Wept," "Heavy Load," and "Mr. Big." Fire and Water was quickly followed by Highway, which was less favorably received by the public, but did contain a handful of strong tracks, with "The Stealer," "Be My Friend," "Ride on a Pony," and "Soon I Will Be Gone" standing out.

After the release of Highway, the story of Free took an unfortunate turn for the worse, becoming fraught with trouble and tragedy. Paul Rodgers and Andy Fraser, who together wrote most of the songs for the band, were starting to be at odds with each other, and Paul Kossoff was becoming a heavy user of drugs. As a result of those problems, and in spite of having another hit, "My Brother Jake," in the United Kingdom, Free broke up in 1971. A fifth and seemingly final album, Free Live! (recorded at performances in England during 1970), was released in September of that year.

In 1972, the four musicians had second thoughts and decided to revive Free. A new album, Free at Last, was released, but Paul Kossoff frequently was too unhealthy to perform. Andy Fraser grew tired of the unstable situation within the band and quit in the summer of 1972, but Free continued without him, releasing another album, Heartbreaker (which included "Wishing Well" and "Easy on My Soul," two of their greatest tracks), at the beginning of 1973. Unfortunately, Paul Kossoff still was seriously burdened by the injurious effects of his ongoing abuse of drugs, and could not take part in the American tour that followed. (His short life came to an end in 1976, when he was twenty-five.)

When Free appeared in support of Traffic at Winterland in 1973, only Paul Rodgers and Simon Kirke remained from the perfect lineup that had recorded "All Right Now." Tetsu Yamauchi was on bass, Wendell Richardson of Osibisa had joined as the new guitarist, and John "Rabbit" Bundrick was on keyboards. Paul Rodgers performed heartily that evening, doing his best to vigorously bring the songs to life, but it was nearly a lost cause. Without the special abilities of Paul Kossoff and Andy Fraser, the music of Free was undeniably diminished. Several months after the performance in San Francisco, Free dissolved again, and never returned to action.

David: This concert was an amazing event. It was the first time that all four of us arrived early in the morning at Winterland, so that we could be close to the stage. It opened with John Martyn, who played solo acoustic guitar. His echo effects were mesmerizing. At one point he broke a string on his guitar. He did a sort of scat singing while he pulled new strings out of his pocket, found the right one, restrung and tuned his guitar, all in a matter of seconds. I was stunned by his speed and skill at dealing with what must be one of the worst things that can happen to a musician onstage.

The top act on the bill was Traffic, but the arrival of Free was highly anticipated by myself and, I am sure, many others. I had become a huge fan of their music, mainly due to the LPs Fire and Water and Highway. Their new album Heartbreaker was just being released, so I had no knowledge of the changes in the band.

When they appeared on stage, I was shocked. There was a keyboard player with a top hat, a Japanese bass player, and West Indian musician on lead guitar. No Andy Fraser or Paul Kossoff. Paul Rodgers and Simon Kirke were there, so I knew it was Free, but obviously there were major changes. I realized that the original lineup of Free had disbanded, and other musicians had been brought in to complete the tour. This was an immense disappointment.

I remember that at times the keyboard player, John "Rabbit" Bundrick, would clap his hands over his head and call for the audience to clap along. I found that to be very annoying. The guitarist was playing chunky chords in a style that would have been more suited to a funk band. (I found out later that he was Wendell Richardson from Osibisa.) This was all very disappointing, but Paul Rodgers really made up for it.

Paul Rodgers was tremendous. I definitely got the feeling that he was carrying the weight of the whole band and its legacy on his shoulders, and was determined to give it his all. He gave the performance of a lifetime, with power and confidence. I remember that for one song, he was on the stage alone and played an acoustic guitar. I thought to myself what courage it took to be up there in front of thousands of fans, without a band. Rodgers was the ultimate pro.

Surprisingly, the new album, even with a fractured band, was outstanding. The title track and "Wishing Well" were great songs. I was glad to catch Free before they completely disappeared, but I was left with a hollow feeling that it could have been much better.

Gary: I think this Winterland concert was Traffic headlining, Free as second act, and John Martyn opening. What a concert! I was pretty mesmerized by John Martyn's use of echo electronics with his acoustic guitar. A marvelous opening act.

Free during their career was a really tight band. On the "All Right Now" single, the subtlety is there even in that full-throated rocker. When Paul Kossoff is soloing, Andy Fraser's piano is what anchors the sound. Very tasteful, with great chording and rhythms binding it together. Simon Kirke could be powerful or reflective in his drumming, whatever was called for. I think the moody, reflective songs were what made Free great, and the melodies could be very well thought out.

Free at Winterland was not really Free as they were on most of their recordings. Without Paul Kossoff and Andy Fraser, I think we all felt a bit disappointed, as I remember. However, the performance was powerful enough, with Paul Rodgers, one of the classic rock vocalists of all time, in fine form. He was bouncing around the stage, driving the music, stomping with menace, holding the microphone stand in a pointing, leading way. I remember him playing acoustic guitar and singing the minor key ballad, "Soon I Will Be Gone" from the Highway LP.

The Winterland set had a new guitarist playing with Free, who was actually the guitarist with Osibisa. I remember a guitar with a lot of wah-wah pedal, which didn't fit too well, though it was advanced playing. I was used to Paul Kossoff's long, incredible, sustained-note solos, not funky, rhythm and blues based playing. Tetsu's bass playing seemed very competent (a solid studio musician), but the keyboards by John "Rabbit" Bundrick seemed not a perfect match. I recall him shaking a couple of tambourines together and trying to get the audience to clap in time for a song or two, and this, in my mind, destroyed what I loved so much in Free's music. I felt that the only clapping should be at the end of a song. I thought the audience should listen intently to the carefully written and dynamically performed songs, and then clap at the end only.

Other than these complaints, I enjoyed the set. Paul Rodgers carried the whole thing with his energy, and the other musicians fed off that. I feel lucky even to have seen this patchwork version of the band. Their last album, Heartbreaker, had that same patchwork feel, but it's still a very good record. I value all my Free recordings to this day.

Dan: This was one of the all-time great shows that we went to see. Traffic headlining, Free the second act, and John Martyn the opening act. John Martyn put on a short, and very nice, set to start the show off. I didn't know much about him at the time, but I did buy a few of his albums afterward, as I liked his acoustic style.

We only got to see half of Free, however, which was disappointing, personnel-wise. I was a very big fan of this band. I really liked Paul Kossoff and his long, sustained notes when he played lead, and the rhythm section of Andy Fraser on bass and Simon Kirke on drums always laid down a strong beat. Paul Rodgers was a very distinctive singer with a powerful voice.

I remember that their album Heartbreaker was released that month, so we might have known that there were new members. Paul Kossoff was ill, and Andy Fraser was forming a new band, Sharks. John "Rabbit" Bundrick was on the new album, and they had a new bass player, Tetsu Yamauchi.

I can remember the anticipation of seeing a band that I had always liked. When the lights came on, all I kept thinking was, this is not the band I had anticipated seeing. The guitarist (Wendell Richardson) played heavily on the wah-wah pedal. The guitar solos were not what I had expected. I really liked seeing Paul Rodgers, who had a very strong stage presence. His vocals were in top form, and he really was the focal point that night. Simon Kirke laid down a great beat. It was just odd seeing Tetsu, but we also saw him later with The Faces.

I did get some pretty good photos, primarily focusing on Paul Rodgers. I was pretty upset that they weren't the original band when we saw them at this show. I remember talking to Michael, Gary, and David about how much better the older band would have been. Nonetheless, Paul Rodgers was great.

Michael: Free appeared in the middle of one of the best shows that we ever saw at Winterland. John Martyn was the first act, followed by Free, and Traffic were the headliners. We were quite excited at the prospect of seeing Free, but it turned out to be something of a letdown. The absence of Paul Kossoff and Andy Fraser meant that it was not the same band that we had hoped to see. I had a special feeling for the music of Free, and I was particularly fond of Paul Kossoff's wonderful musicianship, so I could not help being extremely disappointed by the different band that we saw on the stage.

In spite of the letdown, it still was a thoroughly enjoyable performance, mostly because Paul Rodgers was a formidable showman. He actually was short and slight, but he was a human whirlwind on stage, strutting and posing in the spotlight as he sang, displaying all the spirited moves that marked him as one of the best performers in his generation of British singers. His voice sounded just as amazing as it did on the recordings. It was not surprising that he later became an even bigger star with Bad Company.

The main problem with the band was Wendell Richardson, the new guitarist. His funky style, which (in my opinion) was overly dependent on the use of wah-wah, had absolutely nothing in common with the more expressive style that Paul Kossoff had brought to the songs, and was completely unsuited to the music of Free. He ruined their rendering of "All Right Now," playing the famous riff much too fast.

Paul Rodgers did give a stunning performance, one that I have never forgotten, but there were a few moments when he also seemed ill at ease. He certainly must have known that the band behind him was not what it should have been. At the close of the set, he picked up an acoustic guitar and sang "Soon I Will Be Gone," the final song on Highway. It was a fitting end, and redeemed the entire set for me.

More about Free at David's Rock Scrapbook

Free website (allrightnow.com) here

Photos and memories of Traffic at Winterland here

A memory of John Martyn at Winterland here

Next: John Entwistle

THE SENSATIONAL ALEX HARVEY BAND: APRIL, 1975

2011-06-29T16:57:00.000-07:00

Hugh McKenna, Chris Glen, Alex Harvey, Zal Cleminson

The Sensational Alex Harvey Band
San Francisco Civic Auditorium, San Francisco
April 4, 1974

(Photos 1-6, 8, 22-25, 34, 41 by Dan Cuny)
(Photos 7, 9-21, 26-33, 35-40, 42-44 by David Miller)

Alex Harvey was born in Glasgow, Scotland, in 1935. He grew up in a rough neighborhood, and tried his hand at a number of things before turning to music. His first musical activities were centered on Dixieland jazz, and he later became involved with skiffle, a homespun style of music that swept through the United Kingdom in the 1950s, providing a foundation for the subsequent growth of British rock'n'roll. In common with many British musicians of the period, he also felt a deep affinity for the rhythm and blues that came from black performers in America.

By the late 1950s, Alex Harvey was leading his own band, Alex Harvey's Big Soul Band, making frequent appearances in Scotland and also performing regularly at the Top Ten Club in Hamburg, Germany. It was in Germany that Alex Harvey was given the opportunity to make his first recordings. An album, Alex Harvey and His Soul Band, was released on Polydor Records in 1964.

Alex Harvey's next album, The Blues, was a low-key recording made with the assistance of his younger brother, Les Harvey, on guitar. Alex Harvey then briefly attempted to perform under his own name, recording and releasing several singles, until he found a steady gig in London, working in a production of Hair. By the early 1970s, he had been a member of three more bands (Blues Council, Giant Moth, Rock Workshop) and had released another album, Roman Wall Blues, on Fontana Records.

In 1972, Alex Harvey joined with the members of a Scottish band, Tear Gas, and together they became known as The Sensational Alex Harvey Band. Alex Harvey was leader and vocalist, with Zal Cleminson on guitar, Chris Glen on bass, Hugh McKenna on keyboards, and Ted McKenna on drums. The first album by The Sensational Alex Harvey Band, Framed, was released on Vertigo Records at the end of 1972. (Also in 1972, Les Harvey was killed in an electrical accident on stage, while performing with his own band, Stone the Crows.)

Next, The Sensational Alex Harvey Band's second album, was released in 1973. It featured a number of standout tracks, including "Gang Bang," "Next," and "The Last of the Teenage Idols." It also featured "Faith Healer," a compelling song that would become a strong element in their live performances. In 1974, Next was followed by The Impossible Dream, which included "Hot City Symphony, Part 1: Vambo," and "Tomahawk Kid," two songs that also were featured in their performances at that time. 1975 brought the release of two more albums by The Sensational Alex Harvey Band: Tomorrow Belongs to Me (with "Action Strasse," "The Tale of the Giant Stoneater," and "Give My Compliments to the Chef" among its tracks) and Live (recorded during a performance at the Hammersmith Odeon in London).

When The Sensational Alex Harvey Band appeared in San Francisco in April, 1975, they had built a formidable reputation in the United Kingdom and Europe, but were not widely known in America. Their daring combination of heavy rock and glam rock, along with Alex Harvey's outsized personality and his undisputed flair for turning every performance into a striking piece of theater, made it difficult to pigeonhole their music. Alex Harvey truly stood apart from his peers in rock'n'roll. To describe the music that he and his band played as "sensational" only begins to convey their unsparing power as performers.

David: I have to admit, I never fully understood The Sensational Alex Harvey Band. I enjoyed their music, which was a mix of hard-driving rock and cabaret. Alex Harvey acted out the characters in the songs, and with great humor and gusto. He had a charisma about him that made it hard not to love him and his antics on stage.

His character "Vambo" was fascinating and curious at the same time. He pulled out the "Book of Vambo" and read from it, in a heavy Scottish accent, "In the beginning, Vambo Rool!" He continued, "Vambo is like Santa Claus and Captain Marvel!" The band took off into a hard-driving tempo, singing "Vambo, comin' to the rescue." Alex Harvey then jumped up to a fake brick wall and spray painted "VAMBO ROOL!" on it.

To make it all the more curious, the guitarist, Zal Cleminson, had his face painted to make him look like a joker or a fool. He was dressed in a green and yellow striped, one piece outfit, and stretched his face as if it was made of rubber. Hugh McKenna (keyboards) was in a bath robe, and Chris Glen (bass) was dressed in a sharp blue Swede jumpsuit. He scowled and curled his lip throughout the performance. It all made for great theater and music, but it did leave me scratching my head a bit.

I was impressed with their musicianship. Zal Cleminson used a lot of wah-wah pedal effects and chunky chords, which were underlined by Hugh McKenna's more lyrical keyboard work. Alex Harvey was a commanding presence, and had a strong and moving voice.

I believe that we saw them at their peak. Their third album, The Impossible Dream, had been released and was selling in the USA. They had been on American TV and were getting some airplay on FM radio. It was unusual for us to see a concert at the San Francisco Civic Auditorium. It had red plush seats, which was much different than the usual cow corral, standing only, Bill Graham venues that we were used to.

Their last song, "Anthem," was a slow military march. Alex Harvey stood on top of a monitor and swayed back and forth, waving the peace sign with both hands, while two Scottish bagpipe players appeared on stage. It was a very memorable performance, and nothing like any other that I have seen, before or since.

Gary: This was toward the end of our concert going, in 1975. I remember driving around looking for (very scarce) parking in this area of SF. The Civic Auditorium was not a normal venue for rock music. Styx headlined, but we only saw The Sensational Alex Harvey Band and left between acts.

It was a great performance by one of the truly amazing, unique bands in the history of creative music. They certainly were "sensational," and though the band was comprised of very talented musicians, it was definitely Alex Harvey's band. With "Rubberman" (Zal Cleminson) playing some of the hottest guitar licks on the planet, and Chris Glenn and the McKennas all providing mood swings, sass, and a rhythm and blues backing (as well as progressive music with a blues element), Alex Harvey was free to be himself: looning, philosophizing, cajoling, and threatening. A half-mad Scotsman, part pacifist, part barroom brawler. Alex Harvey definitely went his own way. VAMBO ROOL!

I really enjoyed the band. They did cabaret-style songs with mime and character parts. I remember "Vambo" ("comin' to the rescue"), "Faith Healer" (with a suspended guitar chord that never quite resolved, very irritating and hypnotic at the same time), "Framed" ("I was FFFFFRAMED!!"), "Tomahawk Kid" (a great catchy song), and "Delilah" (which I knew from Tom Jones on AM radio).

The image of Alex Harvey, with Zal Cleminson on one side and bassist Chris Glen on the other, all with their feet propped up on top of a monitor, with sarcastic looks on their faces, has stayed with me through the years. The Sensational Alex Harvey Band was a one of a kind coalition. When life gets too depressing, The Sensational Alex Harvey Band is the right antidote.

Dan: This is a show that I went to see with Greg Copeland, one of my good friends from high school. Gary, Michael, and David went to the show together, and although I didn't see them at the show, I know from looking at the photos that we must have been sitting close to them.

My recollection of this show is not as strong as my recollections of some of the other shows that I've discussed in the past, but I do remember several moments. Not being as close to the front of the stage as I would have liked (to get good photos) was disappointing. I remember Alex Harvey wearing a very bold striped shirt, and the guitar playing of Zal Cleminson was great. Zal Cleminson had a very strong presence on stage, especially with his painted face, which made him look oddly clownish. I remember bagpipes being played during one of the songs, which I had never seen at a rock concert. The other very striking and bold visual for me was was when they had a brick facade in the background, and Alex Harvey painted "VAMBO ROOL!" on it with spray paint.

Alex Harvey's strong vocals still stand out for me from this show. Zal Cleminson's sizzling guitar and stage presence made this a great show. I still look back at this concert with fondness, as I think this band was under appreciated, especially in the USA. I'm very happy to have seen them, and to have photographed them, more than thirty-five years ago.

Michael: Seeing a performance by The Sensational Alex Harvey Band was not something that could easily be forgotten. Their act was absolutely extraordinary. Alex Harvey himself was one of the two or three most impressive performers that I have ever seen. He clearly was born to be a showman. He took over the stage and boldly engaged with the audience, forcing them to surrender to the raw strength of his talent.

Alex Harvey and his band were not actually the headliners when we saw them in San Francisco, but they certainly were worthy of being at the top of the bill. They had to play a fairly short set, but they seemed determined to make the most of it, and they undoubtedly startled many members of the audience, most of whom probably had never heard of them. They gave a fearless and provocative performance, with a hard-edged feeling that was more than a little sinister.

The moment that I remember best was the one in which Alex Harvey assumed the character of Vambo, using a spray can of paint to write "VAMBO ROOL!" on a wall behind the band. With a crooked smile and a wicked gleam in his eyes, he addressed the audience in the sly voice of a street tough, looking as if he had used both fists to fight his way up from the gutters of Glasgow. He was as much an actor as a singer, showing himself to be an expert at creating a dark mood with props and gestures. Zal Cleminson, with white makeup covering his face, also made a distinct impression. His forceful style on guitar was a major element in the adventurous sound of The Sensational Alex Harvey Band.

Alex Harvey was, by any reckoning, one of the most gifted performers in the history of rock'n'roll. It is a shame that his powerful music was not known to a wider audience in his brief lifetime. He never achieved the high degree of fame that his abilities warranted, particularly in America, but anyone who ever had the opportunity to see him on stage, as we did in 1975, could testify to his undeniable greatness.

More about The Sensational Alex Harvey Band at David's Rock Scrapbook

Next: Free

CARAVAN: NOVEMBER, 1974

2011-05-19T15:21:00.000-07:00

Pye Hastings

Caravan
Keystone Berkeley, Berkeley
November 9, 1974

(All photos by David Miller)

Geoffrey Richardson

Caravan began in Canterbury, England, in 1968, with Pye Hastings on guitar and vocals, David Sinclair on keyboards, Richard Sinclair on bass and vocals, and Richard Coughlan on drums. (Jimmy Hastings, the brother of Pye Hastings, was never an actual member of Caravan, but he played flute and saxophone on many of their recordings.) All four musicians of Caravan had, at one time or another, been members of The Wilde Flowers, a band that also included three future members of The Soft Machine: Kevin Ayers, Robert Wyatt, and Hugh Hopper. The first album by Caravan, Caravan, was released on Verve Records in 1968, and featured eight tracks written by the band, including their first single, "Place of My Own."

Richard Coughlan

If I Could Do It All Over Again, I'd Do It All Over You, the second album by Caravan, was released on Decca records in 1970. Among the tracks featured on the second album was "For Richard," a long piece written by David Sinclair and dedicated to his cousin, Richard Sinclair. "For Richard" quickly became a standard element in performances by Caravan, and was regularly featured as a showpiece at the end of their usual set. By the time of their second album, the band had received strong praise in the musical press and was working steadily, appearing at clubs and universities throughout the UK.

Geoffrey Richardson, David Sinclair

In 1971, Caravan released a third album, In the Land of Grey and Pink, on Deram Records. It featured "Nine Feet Underground," another long piece written by David Sinclair, which took up an entire side of the LP and joined "For Richard" as a frequent offering in their performances. In the Land of Grey and Pink was highly regarded by critics and dedicated fans, and further enhanced the musical standing of Caravan as one of the leading bands in the field of British prog rock, but it failed to push them into the big time.

Pye Hastings, Mike Wedgwood

The lack of wider acceptance caused a certain degree of frustration among the members of Caravan, and David Sinclair chose to leave the band in August, 1971. (He soon teamed up with Robert Wyatt in a new band, Matching Mole, and briefly played with another band, Hatfield and the North.) The loss of David Sinclair, whose advanced talent on keyboards (especially his skill on the organ) had been a key part of the particular sound for which Caravan had become known, was a major setback for the band. Steve Miller, another musician from Canterbury, and formerly a member of Delivery, was brought into Caravan to play keyboards. His jazzy style, which favored piano over organ, set the tone of the fourth album by Caravan, Waterloo Lily, which was released in 1972.

The lineup heard on Waterloo Lily did not last, and by 1973, when Caravan released a fifth album, For Girls Who Grow Plump in the Night, Richard Sinclair had departed, David Sinclair had returned, and Geoffrey Richardson (viola) and John G. Perry (bass) had joined. Also in 1973, Caravan gave a special performance with the New Symphonia Orchestra at the Theatre Royal, Drury Lane, in London, which was recorded and released as Caravan and the New Symphonia in April of 1974.

When Caravan appeared at Keystone Berkeley in November, 1974, during their first tour of the USA, the lineup included Pye Hastings, David Sinclair, Richard Coughlan, Geoffrey Richardson, and Mike Wedgwood on bass. They were barely known to most audiences in America, where their records had received little airplay on the radio, but their music was of the highest quality. Keystone Berkeley was a tiny venue that allowed a small and fortunate crowd to see an excellent performance by one of the finest bands ever to come out of England.

David: A friend of mine recently asked me if I had ever heard of a song titled, "The Dog, the Dog, He's at It Again," by a group called Caravan? I jumped at the opportunity to tell him that not only did I know of the band and that song, but that it is from one of my favorite albums and I had seen them perform live!

I remember how thrilled we were when we found out that Caravan would be playing at the Keystone, a club in Berkeley. Bands like that usually opened for the big acts that played the giant halls. That is how we saw Gentle Giant and King Crimson, among others. The bad news was that they were playing the very next night after George Harrison did two concerts in Oakland. We saw both shows that George Harrison performed. Caravan also played two sets, one at 11 PM and another at 1 AM! We saw Fairport Convention the night after Caravan, so it was a real marathon.

The Keystone was a small club. It was standing room only on the main floor, so we were able to get close to the band. It wasn't crowded, so I could move around a bit and take photos from different positions. That was a real treat. The only problem was that the stage had a pole right in the front that blocked the view. I remember having difficulty maneuvering around people to get some shots without the pole.

Caravan played a lot of music from For Girls Who Grow Plump in the Night, which I was very happy about. I was impressed with how polished they were, and the power of their live performance. Richard Coughlan worked up a real sweat. David Sinclair's organ playing was loud, and dominated at times, but the guitar of Pye Hastings was just as powerful. It was an excellent show.

My memory of the event has faded, but I do remember that we went to the back of the club, where the band was waiting behind a closed door. We saw Geoff Richardson and asked him for his autograph. He was extremely friendly and invited us into the dressing room to meet the band. I remember feeling nervous as we walked in and saw the rest of the band sitting around with some girls. I saw Pye Hastings sitting on a bench. I watched him unstring his guitar, wipe it down with a cloth, and put it away in its case. I was struck at how carefully he did this. We went around the room and got their autographs. The overall silence was a bit uncomfortable. I felt that maybe we weren't all that welcome.

At some point later, I remember that we were talking to Geoff Richardson again, just before the band was ready to go on for their second set. Geoff was very talkative and kept the conversation going as he made his way to the stage. I was afraid that the band might get mad at us for delaying him. He was every bit the gentleman, and finally excused himself by saying, "Sorry, mates, I gotta go to work." We stood in amazement as they launched into their second set of the evening. It was just as powerful as the first.

Their next album, Cunning Stunts, had a song titled, "No Backstage Pass." I wonder if we were the inspiration for that song?

Gary: Caravan is a great group, probably the most pop-sounding compared to other groups in the Canterbury area, such as The Soft Machine and Egg, and they are a big favorite of mine. I love In the Land of Grey and Pink, and For Girls Who Grow Plump in the Night is a truly amazing recording. Their version of Mike Ratledge's "Backwards" is beyond description. The early albums, such as If I Could Do It Again, I'd Do It All Over You and Waterloo Lily (with Steve Miller on piano), are great records, and the big orchestrated tracks ("For Richard," "The Love in Your Eye") on those albums were recorded with great skill and detail. The spirit of the lyrics is important: sometimes wistful, sometimes sarcastic, often hilarious with puns. Very intelligent and fun, sensitive and analytical.

I was looking forward to this concert. We saw them at Keystone Berkeley during their first USA tour. I remember watching Caravan from the right side of the stage, and then later in the evening wandering over to the left side (actually dancing my way over during "Hoedown," which was in an odd time signature like 7/4). They were brilliant. David Sinclair was very impressive in the way that he played the keyboards, at times really driving things with his solos which were were grounded in classical and jazz theory. You could tell that he had listened to a lot of great music (and created it, too). The long "Nine Feet Underground," which he wrote, is a brilliant multi-layered piece with a couple of sung parts, but is mostly like a moving vehicle shifting gears, and sometimes flying in slow motion as a distant synthesizer appears on the horizon. I really got the feeling of how it might feel to fly like a bird. The contrast between nearness and distance really made this band sound amazing.

The writing of Pye Hastings was emotionally very strong, with wonderful words, and his singing really put a unique imprint on their creativity. He also was powerful when he cut loose with his electric guitar solos. Richard Coughlan was a powerful anchor and a nonstop drummer. Although I was a bit disappointed that John G. Perry was no longer in the band, Mike Wedgwood was an equally strong bassist who sang well and also played congas.

"For Richard" was a highlight, as were all the tracks from the recently released For Girls Who Grow Plump in the Night (or as Geoff Richardson jokingly mispronounced it, "For Girls Who Grow Plums in the Night"). Geoff Richardson's viola playing (he also played a guitar) was a wonderful addition to the sound. Caravan always had great melody lines played on viola, flute, or saxophone in strategic places, and each instrument had room to stretch out at times. The improvisation element was very prominent. Canterbury bands had so much inventiveness, intellect, and chops. Precise, but when it was called for, they could hang loose as well.

The Caravan performance was over the top wonderful, and after a long, cathartic set (or two?), they left the stage and went back toward the dressing room. We kind of ambushed Pye Hastings to ask for an autograph, and he actually invited us into the tiny dressing room. I wanted to ask him about the history of his twelve-string guitar that only had six strings strung, but I felt that it might be a bit forward to ask him about it. Geoff Richardson was extremely friendly and talkative, and I remember that they all joked when we asked whether Hatfield and the North were going to tour in the USA. They said, "How come everyone is always asking about Hatfield and the North?" Richard Coughlan and David Sinclair were drenched with sweat and not in the mood to talk, but they did sign autographs.

This was a great concert and I sound like a broken record, but I feel lucky to have had the chance to see them. Caravan never settled into a stale formula. (I remember one reviewer describing them as "craftsmen.") I appreciated the friendly, playful, yet emotionally serious moods they conveyed. The way they could shift from heart-wrenching minor key melodies to dissolve or modulate into blissful major keys took true skill and talent. It was a pleasure to hear them.

Michael: Keystone Berkeley was, without question, the smallest venue that we ever visited in those days. Seeing a performance there was almost the same as seeing a performance in your own living room, which made it thoroughly special. It turned out be a good venue for Caravan. They were straightforward musicians, not generally given to any overt displays of showmanship, so a small venue was completely suitable for their music.

Because the club was so small, and because the crowd on that evening was so scanty, we were able to stand close to the stage. We were only several feet away from the musicians. (Which was advantageous for David and his camera.) It was quite different from most of the shows that we attended, with hardly any feeling of separation between the band and the audience. Being so near to the action in that situation, I probably felt slightly less awe than usual toward the musicians, but it was much easier to see how they actually played their music, which was an interesting experience.

The members of Caravan were not showoffs, but they did offer a high degree of musicianship during their two sets. They clearly were strong players, each one with a particular talent, but they also played extremely well together. It seemed that every song was a kind of adventure, musically exciting and endlessly inventive. Their music was fluid, witty, and thoughtful, and had a certain quality that was distinctly English. The long pieces, such as "For Richard," were extraordinary.

When the musicians left the stage, we followed them back to the dressing room (I do not remember whether it was at the end of the evening or after the first set), and to our surprise, they allowed us to come inside. In keeping with the general smallness of the club, the dressing room was diminutive. There barely was enough space for all the members of the band, and with the three of us also in there, it got a bit crowded. I remember talking to Geoff Richardson, who gently corrected me when I referred to his viola as a "violin." I also remember seeing Pye Hastings, quietly sitting with his guitar, cleaning it thoroughly with a cloth. He and the others appeared to be totally spent from their performance.

More about Caravan at David's Rock Scrapbook

Next: The Sensational Alex Harvey Band

FAIRPORT CONVENTION (WITH SANDY DENNY): NOVEMBER, 1974

2011-04-19T15:46:00.000-07:00

Sandy Denny

Fairport Convention (with Sandy Denny)

Berkeley Community Theatre
November 10, 1974

(All photos by David Miller)

Dave Swarbrick

Fairport Convention was formed in North London, when Simon Nicol (guitar and vocals), Richard Thompson (guitar and vocals), and Ashley Hutchings (bass) began playing together, giving their first public performance at a church hall in May of 1967. (The name of the band was taken from "Fairport," the name of the house in which Simon Nicol's family lived.) They soon began to appear at UFO, Middle Earth, and other clubs in London, and swiftly gained the support of Joe Boyd, who produced their first album, Fairport Convention. (Joe Boyd also is known for his work with Pink Floyd, The Incredible String Band, John and Beverley Martyn, Nick Drake, and Nico.) The album, released on Polydor in June, 1968, featured twelve tracks of folk rock from a lineup that included Simon Nicol, Richard Thompson, Ashley Hutchings, Martin Lamble (drums), and two vocalists, Judy Dyble and Ian MacDonald (later known as Ian Matthews, and now known as Iain Matthews).

Trevor Lucas

When Fairport Convention's second album, What We Did on Our Holidays (also produced by Joe Boyd), was released on Island in early 1969, Judy Dyble had departed, and Sandy Denny (formerly with Strawbs) had joined. With the addition of Sandy Denny, Fairport Convention took a great stride forward musically. Her extraordinary voice, and her ability to write songs of depth and beauty, put them in the first division of British rock. Among the tracks on the second album were several songs ("Fotheringay," "Nottamun Town," "She Moves Through the Fair") that prefigured their future sound. Another track on the album, "Meet on the Ledge" (written by Richard Thompson), became one of their most well-known songs.

Trevor Lucas, Sandy Denny, Jerry Donahue, Dave Swarbrick, Dave Pegg

In May of 1969, when members of the band were returning to London from a performance in Birmingham, the van in which they were riding ran off the road in the middle of the night. Martin Lamble and Jeannie Franklyn (Richard Thompson's girlfriend) both were killed. The other musicians (apart from Sandy Denny, who was not in the van) all were injured. The accident nearly brought Fairport Convention to a sorrowful end, but after allowing time for grief and recovery, they finally resolved to continue with their music.

Jerry Donahue, Trevor Lucas, Dave Pegg, Dave Swarbrick

Unhalfbricking, the third album by Fairport Convention, was released in July, 1969. Ian Matthews was no longer in the band, and was heard on only one track. (He later formed his own band, Matthews Southern Comfort, and had a major hit in 1970 with a cover of Joni Mitchell's "Woodstock.") Unhalfbricking included three songs written by Bob Dylan (with one of them being sung in French), as well as "Who Knows Where the Time Goes," a gracefully reflective song that was written and sung by Sandy Denny. Also included was "A Sailor's Life," a traditional song that featured Dave Swarbrick, a British folk musician, on violin.

Trevor Lucas, Dave Mattacks, Jerry Donahue, Dave Pegg, Dave Swarbrick

The fourth album by Fairport Convention, Liege and Lief, has come to be regarded as one the great masterpieces of British rock. Dave Mattacks was now on drums, and Dave Swarbrick also had joined. Liege and Lief followed the course that had been set by "A Sailor's Life," offering a standout collection of mainly traditional songs, deftly rendered in a groundbreaking style that honored the history of the tunes, but also was boldly electric. Two tracks in particular, "Matty Groves" and "Tam Lin," were utterly breathtaking, with Sandy Denny expertly using the power and clarity of her voice to spin moody tales of murder ("Matty Groves") and magic ("Tam Lin"), against a musical framework that was richly compelling.

Although Liege and Lief raised the stature of Fairport Convention, both Ashley Hutchings and Sandy Denny soon quit, preferring to have bands of their own. Ashley Hutchings formed Steeleye Span, and Sandy Denny formed Fotheringay. (Sandy Denny also found time to sing with Robert Plant on "The Battle of Evermore," a track on the fourth album by Led Zeppelin.) Fairport Convention carried on without them, choosing Dave Pegg as their new bassist and releasing a fifth album, Full House, in the summer of 1970. After the release of Full House, Richard Thompson also quit, with the intention of seeking more time in which to write his own songs. (He soon released Henry the Human Fly, the first of many albums that he has recorded.) Over the next several years, Fairport Convention continued to release albums (Angel Delight, Babbacombe Lee, Rosie, Nine), and continued to tour in the UK and the USA.

By November, 1974, when Fairport Convention performed at the Berkeley Community Theatre, Simon Nicol had dropped out, but Sandy Denny had returned, joining two other musicians from Fotheringay who already had been enlisted: Trevor Lucas (her husband) on guitar and vocals, and Jerry Donahue on lead guitar. With Sandy Denny back in the fold, and Dave Swarbrick still in the band, Fairport Convention reclaimed much of the glorious sound that had defined their heyday. Unfortunately, it did not last, and after an extensive tour and an album, Rising for the Moon (released in 1975), the lineup that performed in Berkeley broke apart, with Sandy Denny, Trevor Lucas, and Jerry Donahue all departing from the band. Only a few years later, in 1978, Sandy Denny fell down a flight of stairs and suffered a head injury that ended her life at the age of thirty-one.

David: It was a concert marathon when we saw Fairport Convention. My friends and I had seen Caravan play two shows the night before. We saw George Harrison do two shows the night before that. We saw Renaissance three nights before that. Three days after Fairport we saw Deep Purple and ELO. Including opening acts, we saw eleven acts in nine days.

My main interest in Fairport Convention was the early albums with Ian Matthews, Judy Dyble, and Sandy Denny. The three with Sandy Denny in the late 1960s were, and are, my favorites. I was thrilled to learn that she was reuniting with members of Fotheringay and Fairport.

The Berkeley Community Theatre is a great place. I once read that it was Bill Graham's favorite theater. Large enough, but not too large to enjoy an act from any seat. We were lucky to get front row seats for Fairport Convention.

I remember how polished the band was. They didn't look like the scruffy hippies from the early days. Dave Swarbrick put on a powerful performance. He seemed to be the leader of the band. Trevor Lucas took front stage for his vocals. Jerry Donahue played rock riffs on his electric guitar, while Trevor Lucas filled in with acoustic guitar.

Sandy Denny played piano and added vocals. She was to my left, but I could not see her at all behind her piano. I was disappointed and worried that I might never get a chance to see her properly. Toward the end of the concert, she came out from behind the piano and took front stage with a tambourine. I took photos of her until I ran out of film. In one shot she is looking at me and smiling. In another shot she and her husband, Trevor Lucas, are looking into each other's eyes. The look on her face is very poignant. She sang "Who Knows Where the Time Goes." The beauty of that song, with her voice and the mournful look on her face, was breathtaking. I think they ended with a rousing version of "Matty Groves."

After the concert we walked behind the auditorium. we saw the band's truck being backed up to load their equipment. To my amazement, Sandy Denny was standing there, giving instructions to the driver. She was calling out to the driver and laughing, with some comment like, "Where did you learn to drive a truck?" I was standing right next to her as she chided the truck driver, and she patted me on the stomach with the back of her hand, as if to say, "Watch me give this guy a hard time!" I remember looking down at my stomach and thinking, "Wow! Sandy Denny is hitting me on the stomach!" She did sign my paper pad, but never took her eyes off the truck backing up, so her signature is almost illegible. Dave Mattacks and Dave Swarbrick (with cigarette hanging from his lips) also signed for me. It was a great concert, and all the more memorable due to the wonderful Sandy Denny.

Gary: I remember this concert with great admiration. We were starting to choose concerts that were not big rock productions in the big venues, preferring smaller venues where we could sit down, not have to wait all day, and be treated with respect for a change. (Led Zeppelin at Kezar Stadium and The Faces at the Cow Palace had really burned us out.) Fairport Convention was, and is, a great favorite of mine. To this day, I am a solid Richard Thompson fan, and I am interested in the projects of all the other ex-Fairport members.

At Berkeley Community Theatre, the tone was very relaxed and intelligent. I liked the opening band, The Ozark Mountain Daredevils, with their charming brand of hippie music. They played a very enjoyable, thoughtful set. I remember that I was pleasantly surprised, not knowing their music before the concert. "Jackie Blue" was their only hit, I think. A fitting opening act.

Fairport Convention came on, and their music really impressed me. This was a band that was a blend of Fairport and Fotheringay members. We were so lucky to see all those amazing musicians on one stage at the same time. I remember Sandy Denny singing at the piano, Trevor Lucas on guitar and vocals, Dave Pegg on bass, Dave Mattacks on drums, and Dave Swarbrick on blazing fiddle. No Richard Thompson, but the amazing Fender Telecaster playing of Jerry Donahue really blew me away, with his intricate and assertive, country-tinged yet jazz influenced, way of playing. Similar to a Chet Atkins approach, his style floored me. I had never witnessed that kind of playing. In retrospect, his playing was similar to Memphis or Nashville studio musicians that no one knows by name, but are on countless recordings, and are heard on radios all over the world. Listening to him play that night is still with me decades later.

Dave Swarbrick really pushed some of the songs with his amazing energy, his folk/Celtic country fiddling reaching a fever pitch at times. I think "Matty Groves" almost blew the roof off. Sandy Denny sang "Who Knows Where the Time Goes," and her piano was a big part of the overall sound. She was such a great talent, her life tragically cut short to the world's loss. Dave Mattacks always played with great taste and imagination, and could really cut loose when required. A wonderful drummer, very creative.

This was a great show. We got some autographs afterward, but for some reason I can't remember most of what happened then. (David's story of seeing Sandy Denny after the show is really amazing and funny.) I still have the autographs, but I must have been mesmerized by the music. This concert changed the way that I thought about music in those days, and I was learning about how amazing true creativity can be. How could music be so good then, but so dismal today?

Michael: Taking into account all of the many performances by different musicians that we attended in the early 1970s, this is among the ones that I remember most clearly and most fondly. I was a longtime fan of Fairport Convention, going back to the days of Liege and Lief, and I had the highest regard for the exquisite talent of Sandy Denny. Even though we saw George Harrison (Friday) and Caravan (Saturday) on the same weekend that we saw Fairport Convention (Sunday), this one still stands out in my memory.

I had missed out on seeing the most famous lineup of Fairport Convention in the late 1960s, so I was greatly excited when I heard that Sandy Denny was touring with them again. Dave Swarbrick was still on hand, which meant that with his violin and Sandy Denny's voice, they had two of the key elements that had created the sound of Liege and Lief. Richard Thompson was long gone, of course, but I knew that with Sandy Denny on the boards, it would be close to the true spirit of Fairport Convention.

We were lucky to be sitting near the front of the stage in the Berkeley Community Theatre, a venue that provided a good setting for their music. It was wonderful to see Sandy Denny up close, after years of seeing photos of her on the covers of LPs and in Melody Maker. I was surprised to see that she actually was quite short. It seemed funny that such a small woman could have such a powerful voice. To hear that voice in a live performance was extremely thrilling. In addition to being enthralled by Sandy Denny, I also was impressed by Dave Swarbrick. His manner on stage was casual, as if he was merely a country fiddler playing random tunes in the dusty corner of a rustic pub, but the tones that came from his electric violin were fluid and forceful.

The audience clearly was made up of serious fans. There was a charge in the air that evening, probably because we all knew that being able to see Sandy Denny sing with Fairport Convention again was a special thing. When someone in the crowd called out "Matty Groves!" during the performance, Sandy Denny cocked her head and smiled, saying, "You've got it," as the band rolled smoothly into the familiar rhythm of the song. It was an unforgettable moment.

After the show we waited at the stage door and had the great pleasure of meeting Sandy Denny. She was friendly and gracious to us, but I remember that she appeared to be a bit tipsy, and she kept saying to the person with her, "Where's Trevor?" When I asked her if she would be doing any further recordings with Led Zeppelin, she laughed and replied, "They still haven't paid me for the track that I've already done!" My friends and I had the opportunity to meet many musicians in those days, but having the chance to speak with Sandy Denny is a memory that I particularly cherish.

More about Fairport Convention and Sandy Denny at David's Rock Scrapbook

More about Joe Boyd here

Official Fairport Convention website here

Next: Caravan

RICK WAKEMAN: SEPTEMBER, 1974

2011-03-21T17:10:00.000-07:00

Rick Wakeman

Rick Wakeman
San Francisco Civic Auditorium
September 28, 1974

(Photos 1, 2, 6-12, 27 by Dan Cuny)
(Photos 3-5, 13-26 by David Miller)

Rick Wakeman was born in Middlesex, England, in 1949. He had lessons on the piano as a child, and quickly displayed a high degree of musical talent. By his early teens he was regularly winning awards for his musicianship, and soon began to perform with local bands, playing with The Atlantic Blues, The Concords, Curdled Milk, The Green Dolphin Trio, and The Ronnie Smith Band. In 1968, he began to attend the Royal College of Music in London.

In 1969, Rick Wakeman chose to leave the Royal College of Music, and joined another band, The Spinning Wheel. He also began to work as a freelance musician at recording sessions. His services soon were in great demand, and during the next few years he played keyboards on recordings by David Bowie, Cat Stevens, Elton John, Mary Hopkin, Cilla Black, Lou Reed, Al Stewart, Ralph McTell, Harry Nilsson, Strawbs and many others. In 1970, after working on sessions for Dragonfly, the second album by Strawbs, he was asked to join the band.

Rick Wakeman appeared on two more albums by Strawbs, Just a Collection of Antiques and Curios and From the Witchwood, and then, in August of 1971, he left the band to join Yes. His extensive abilities helped Yes to move forward musically, allowing them to expand the range of expression in their sound. He played piano, organ, mellotron, and synthesizer on their next four albums: Fragile, Close to the Edge, Yessongs, and Tales from Topographic Oceans.

It was during his time with Yes that Rick Wakeman began to be seen as a major star in his own right. His extraordinary facility on different keyboards brought a response of universal praise, dazzling listeners and inspiring other musicians. In addition, his long, flaxen hair, which flowed over his shoulders and down his back, and his friendly demeanor endeared him to audiences around the world. In 1973, he released the first album of his own music, The Six Wives of Henry VIII. It featured six pieces of music, each named for one of the wives of Henry VIII: "Catherine of Aragon," "Anne of Cleves," "Catherine Howard," "Jane Seymour," "Anne Boleyn," and "Catherine Parr."

On January 18, 1974, Rick Wakeman gave a performance of Journey to the Centre of the Earth, a new composition derived from the famous novel by Jules Verne, at the Royal Festival Hall in London. The keyboardist was joined by two vocalists, a guitarist, a bassist, and a drummer, as well as the London Symphony Orchestra and the English Chamber Choir. David Hemmings provided the narration. The entire performance was recorded, and was released as Rick Wakeman's second album later that year.

In May of 1974, after openly expressing his unhappiness with the music of Tales from Topographic Oceans, he resigned from Yes, intending to pursue a future under his own name. (Although he returned to Yes in 1976.) Later in 1974 he set out on a worldwide tour with Journey to the Centre of the Earth, offering a performance in San Francisco on the evening of September 28. By that time Rick Wakeman had attained the highest peak of fame and musicality, having gone from being an unknown musician to being a superstar of prog rock, all in a period of several years.

These photos of Rick Wakeman were taken backstage, after the concert:

David: When my friends and I saw Rick Wakeman perform his epic Journey to the Centre of the Earth at the San Francisco Civic Center, it was more of an event than a regular concert. Rick Wakeman had achieved a status playing keyboards that was usually given to guitarists like Eric Clapton and Jimmy Page.

There was no opening act. Unlike Winterland or the Cow Palace, it was a seated venue. When the lights dimmed, a spotlight followed Rick Wakeman across the stage to his keyboards. He was wearing the same long white robe that he wore as a member of Yes. He immediately started the concert with a piece from his first solo album, The Six Wives of Henry VIII. It was familiar to the audience and received loud applause.

He would talk to the audience between songs. At one point he said that touring across the country meant having to sit in hotel rooms and watch TV. He explained that he saw a lot of American TV shows and commercials that were not shown in England. So to pass the time, he put together a piece of music that was made up of commercial jingles strung together. That gave the show some levity. I enjoyed the sense of humor that Wakeman displayed on his albums and in concert.

The show took a turn when a spotlight focused on a man seated in a big chair on the stage. He announced in a booming voice, "Journey to the Centre of the Earth!" There was an orchestra and a chorus, but not as large as on the live album. It was interesting to see two male lead singers. There were other musicians on the stage, but Wakeman was generally in the spotlight.

During the concert I saw that people were walking up to the stage and taking photos. I left my seat and walked to the front of the stage, and took a few closeups of Wakeman. He was very difficult to photograph, buried behind a fortress of keyboards. I did get a chance to photograph him as he spoke into a microphone. The bright spotlights reflected off his pale complexion and his shiny white outfit, so he was almost washed out in the photos.

At some point during the performance of Journey to the Centre of the Earth, I became aware of something moving to the left of the stage. It turned out to be a dinosaur that was being inflated like a balloon. It towered over the musicians and gave another bit of levity to the show.

We waited outside after the show to meet Rick Wakeman. He finally appeared with an entourage, which included my friend, Dan Cuny! After I was over that shock, I got to speak with Rick Wakeman. He was very friendly and easy to talk to. I am a fan of early Strawbs music, and I asked him, "Whatever happened to Tony Hooper?" He told me that Tony Hooper was running a record company or production company. I don't recall his exact answer, but I was glad that he was willing to respond to my question and give me an autograph. Rick Wakeman was a great showman, but also very down-to-earth.

Gary: I liked Rick Wakeman's work, mostly early on with The Six Wives of Henry VIII. I remember reading, in Melody Maker, his response to a critical review. He said that he went back and listened to the album again after the bad review, and was generally satisfied with what he had done. He seemed very hurt by the review, yet he stood his ground.

Rick Wakeman was a brilliant keyboard player. I liked his early work a lot (Just a Collection of Antiques and Curios and From the Witchwood by Strawbs, and Fragile and Close to the Edge by Yes, were all amazing recordings, as well as his session work with Cat Stevens and others) and I was looking forward to seeing him on his own in San Francisco. This was right around the release of the Journey to the Centre of the Earth LP, which I didn't like as much as The Six Wives of Henry VIII, but I was still interested. He had a big rock band with orchestra, which was dynamic and impressive in scope. I don't remember much of the music. They played mostly from those two albums, with the new album in its entirety being the highlight of the show.

Dan went to this show with one of his new friends, and we were wondering whether we would run into him there. We did see Dan later, and he had been backstage. We waited out near the side entrance afterward, and I remember that when we were getting autographs from Rick Wakeman, David asked him what Tony Hooper (from Strawbs) was doing, and he really got interested. He was in the middle of all the hoopla and glamor, and trying to get to the car after the show, but that question really caused him to stop and look up, and really talk to David personally. I think the question might have eased the stress of the moment and pulled him back to earth. It was a huge rock media event. (We saw one of the actors from My Three Sons coming out of the stage door... was it "Robbie"?... I know it wasn't "Ernie" or "Uncle Charley.")

Dan: My recollections are going to be different from those of my good friends, Michael, David, and Gary, as I went to this concert with another close friend, Greg Copeland. Greg and I had very good floor seats for the show, and when we arrived and found our seats, I told Greg that I needed to use the restroom, which was on the side of the venue. As I was heading toward the restroom, I passed a door that led to backstage. I turned the handle of the door, and to my surprise, it was unlocked, with no one guarding the entrance. So, like any good concert fan, I walked in and found myself backstage!

I was just wandering around with my camera hanging from my neck, about twenty minutes before show time, when one of the guards came up to me and asked to see my backstage pass. He suddenly was distracted for a moment, so I turned around and saw, right there in front of me, a violin case with a pass on it. I grabbed the pass and pressed it to my chest. I had made it, I was backstage at a show for the first time. Nervous as heck, I crept onto the side of the stage and saw my friend Greg in the audience. I waved at him, and he looked at me with an expression of "Oh, my God!!! How did you do that?" I think he was upset that he wasn't with me backstage, but I couldn't think of how to get him in, too, as there now was a guard at the door.

The lights dimmed, and I found that being on the side of the stage isn't the best place to take photos, especially when there's an orchestra and tons of equipment in front of you. This wasn't my most productive show to photograph, but the music was outstanding. Halfway through the concert there was an intermission in which the band took a break, and I followed the band into the dressing room and had a great time talking to one of the singers, who I thought was Gary Pickford-Hopkins, but wasn't certain. I can still remember that when all of the band members were walking back to the stage, I was standing on the side as the band started the second half, and the singer almost missed his cue because we were talking.

When the show ended, I had the opportunity of hanging out with the band afterward, talking to many of the band members and taking a few photos backstage, which was fun to do. Then it was time to leave, and I got to walk with the band out of the stage door, where I saw my good friends waiting to get autographs from Rick Wakeman and the other band members. I stopped and talked to them for a moment, but then had to explain to my other friend, Greg, what had happened.

I really liked Rick Wakeman's music, and this show was outstanding, with the orchestra, singers, and his brilliant keyboard work. It was something that I'll never forget.

Michael: For some reason, my memories of this concert are not nearly as distinct as my memories of other concerts that we attended in those days, but as can be seen from the photographs, it was an impressive performance. Prog rock was in its full glory at that time, and Rick Wakeman himself had become quite a star. He was not afraid to think big and take chances, probably because he knew that his broad talent would enable him to follow through, and he had a flair for combining rock'n'roll with symphonic music.

Journey to the Centre of the Earth was an extremely ambitious undertaking. It was the kind of grand production, performed with an orchestra and a choir, that nowadays would be regarded with unreserved scorn by self-appointed hipsters, but my friends and I thoroughly enjoyed it. Rick Wakeman, who had departed from Yes, clearly was in his element, and with his long hair and white cape, he looked as if he belonged in a fairy tale. The music was serious and weighty, telling Jules Verne's story of fantasy and adventure, but there also was a spirit of fun. I particularly remember the inflatable monsters that rose up at the side of the stage. (One of them is shown in the photo below.)

After the concert was over, we headed outside to wait at the stage door with a handful of other fans. We were able to meet Rick Wakeman when he came out. He was charming and outgoing (and quite tall), signing autographs and chatting freely with everyone. When someone asked him how he kept his hair looking so good, he shrugged and replied, "Oh, there's a guy in London who takes care of it for me." In spite of his fame, he came across as a "nice bloke."

More about Rick Wakeman at David's Rock Scrapbook

Photos and memories of a performance by Yes in March, 1974, can be seen here

Next: Fairport Convention (with Sandy Denny)

STRAWBS: MAY, 1973

2011-02-17T16:39:00.000-08:00

Dave Cousins

Strawbs
Winterland, San Francisco
May 24, 1973

(All photos by Dan Cuny)

Dave Lambert

Strawbs were first known as The Strawberry Hill Boys, three British musicians who played bluegrass in London during the first years of the 1960s. Dave Cousins (vocals, guitar, banjo) and Tony Hooper (vocals, guitar) were the founders of the band, which became known as Strawbs in 1967, with Dave Cousins remaining the only constant member up to the current day. Sandy Denny also belonged to the band for a brief period in the late 1960s, before she achieved lasting fame with Fairport Convention.

Dave Lambert, John Ford

In 1969, Strawbs released their first album, Strawbs. With Gus Dudgeon (later to become well-known as a result of his extensive work with Elton John) as producer, and a strong collection of sophisticated songs (mostly written by Dave Cousins and including two early compositions that are among his finest, "The Man Who Called Himself Jesus" and "Where Is This Dream of Your Youth?"), Strawbs easily made a favorable impression on those who heard it.

Blue Weaver

The second album by Strawbs, Dragonfly, was released in February, 1970. Tony Visconti (an American who gained renown for his production on albums by David Bowie) had stepped in as producer, and his sharp approach brought out the best in the songs written by Dave Cousins, particularly "The Weary Song" and "I Turned My Face into the Wind." Shortly after the release of Dragonfly, Dave Cousins brought Rick Wakeman, a young keyboardist and a former student at the Royal College of Music, into the band.

By the time Strawbs released their third album, Just a Collection of Antiques and Curios (recorded during a performance at the Queen Elizabeth Hall in London) in October of 1970, Dave Cousins, Tony Hooper, and Rick Wakeman had been joined by John Ford (bass and vocals) and Richard Hudson (drums and vocals), two former members of Elmer Gantry's Velvet Opera. The next album by Strawbs, From the Witchwood, was released in 1971, and confirmed that the band was moving away from folk music and toward electric rock'n'roll. From the Witchwood contained a number of excellent compositions by Dave Cousins, including "A Glimpse of Heaven," "Witchwood," "The Hangman and the Papist," and "Sheep."

When Grave New World was released in 1972, Rick Wakeman had departed to join Yes. Blue Weaver (formerly with Amen Corner and Fairweather) came into the band to play keyboards. "Benedictus," "Queen of Dreams," and "New World" were among the songs that Dave Cousins wrote for the album. Tony Hooper left Strawbs before they recorded their next album, Bursting at the Seams (released in 1973), making way for the guitar and vocals of Dave Lambert (a former member of Fire), whose musical flair and vigorous showmanship added a powerful element to the band. Bursting at the Seams was a breakthrough for Strawbs, and featured some of their strongest tracks, including "Part of the Union" (written by John Ford and Richard Hudson, and a major hit as a single in the UK), "Lay Down" (also a hit in the UK), "Down by the Sea," "The River," and "Tears and Pavan."

When Strawbs appeared at Winterland in 1973, they were not yet widely known in America. In their sound (which generally was serious, with a touch of prog rock) and their look (which was close to glam rock) they were distinctly British, but it would be several years before they began to catch on with American audiences to the same degree as other British bands such as Yes and Genesis. Nevertheless, they gave a marvelous performance on that evening, offering exquisite music that had richness and depth, with Dave Lambert (who clearly had learned a few things from Pete Townshend) particularly standing out.

David: With the release of Bursting at the Seams, Strawbs quickly became a favorite of mine. Grave New World was a tremendous album, but this one was through the roof. Even with the loss of Rick Wakeman and Tony Hooper, they seemed to have it all. Then I started to hear about a rift between Dave Cousins and two other members of the band, John Ford and Richard Hudson, over "Part of the Union." Apparently, Dave Cousins hated the song, but it gave Strawbs their biggest hit in the UK. When we saw them at Winterland, I remember having heard that the band was on the verge of breaking up, and I wondered what they would be like or if they would even be the same band. I don't think they even performed "Part of the Union," which seemed to support rumors of a rift.

When they came on stage, I was surprised to see that Dave Cousins no longer had his usual beard. He was very trim, and dressed very casually in jeans and black T-shirt. Richard Hudson was on drums, so I never saw much of him from my position. John Ford stood in the background and occasionally contributed vocals. Dave Lambert was giving it his all, while Dave Cousins stood in the forefront, but never acknowledged the others. I definitely got the feeling that the band was playing together only to fulfill a contractual agreement.

It was sad to see a favorite band dissolving right in front of me, but it also made for a very emotional concert. Listening to Dave Cousins singing, I could feel what he must have felt. He had lost both Sandy Denny and Rick Wakeman to other bands, then Tony Hooper departed, and now Hudson and Ford were ready to leave, just as the band had reached a level of success that had taken years to achieve. I felt that Dave Cousins was pouring his heart out with every song. Looking at Dan's photos of him, I can see it in his face.

As it turned out, Richard Hudson and John Ford did leave Strawbs shortly after we saw them, and formed their own band, Hudson-Ford. I saw Strawbs one more time, thirteen months later at the Cow Palace. Dave Cousins and Dave Lambert were the only ones left from the old lineup. Dave Cousins was dressed in a white suit, and the music had more synthesizer and lacked the emotion of the previous show. I felt very lucky to have seen them the first time.

Gary: I've seen Strawbs four times, the first time being at Winterland in 1973. Wasn't this a Procol Harum/Strawbs/Terry Reid show? Terry Reid was very interesting, and Procol Harum (the Grand Hotel lineup) was amazing as well. What a bill!

Bursting at the Seams by Strawbs is an amazing record, and the ones before it, Grave New World and From the Witchwood, as well as the first two albums, all were masterpieces. Dave Cousins was (and is) a powerful songwriter, more unrecognized than he should be. The band, with Richard Hudson and John Ford manning the drums and bass (as well as writing songs themselves), was brought to great heights by Blue Weaver, a masterful keyboard player, and Dave Lambert, who added a Who-style power electric guitar influence to the acoustic approach of Dave Cousins, who was grounded in bluegrass and folk music. With all these strong musicians with different styles, I guess it was inevitable that there would be clashes, and this performance was driven by personality tensions that made the music all the more fragile and beautiful.

I remember Dave Cousins barely looking at Hudson and Ford (who soon after left Strawbs to form their own band), and sarcastic comments occasionally erupting between songs. Dave Lambert delivered a powerful rock performance, savagely attacking the strings of his guitar (accompanied by tense facial expressions), and the rhythm section was very solid. Blue Weaver was showcased with his multiple keyboard technique which rivaled Rick Wakeman's, and was very strong on piano and mellotron. The arrangements of "Down by the Sea," "The River," and "Tears and Pavan" (a real favorite of mine, with its two opposing parts with harpsichord break), made this a spectacular performance.

The music was very precise throughout. With the acoustic element being pierced by Dave Lambert's electric guitar, and Blue Weaver's mellotron soaring to the heavens, braced back on earth by John Ford's subtle bass playing and galloping thuds from Richard Hudson's drums, this configuration of Strawbs was an amazing thing to witness. Dave Cousins sang in a voice that ranged from lullaby soft to a growling, razor-edged outpouring of emotion, showing him to be a true force of nature. There is no one else quite like him.

Dan: This is a performance that I remember visually more than from a musical standpoint. Strawbs were second on a three act bill that included Terry Reid, the opening act, and Procol Harum, the headliners. I think at this point I only had two of their albums, From the Witchwood and Grave New World. I was an instant fan of their music the first time I heard "Sheep," which I really liked. When we saw Strawbs, Dave Lambert had just replaced Tony Hooper, and they were promoting their latest album, Bursting at the Seams.

I can very distinctly remember Dave Cousins, with his curly hair, playing acoustic guitar and dressed in plain T-shirt and jeans, while Dave Lambert, who was right in front of me, was dressed in much more flashy attire, like a typical member of a British band. Dave Cousins had a vocal style that was smooth and soothing. Dave Lambert's guitar gave the band more of an edge, as his guitar licks were very precise and much more "rock" than had been heard on past albums by the band.

The set list is vague to me, but I do remember them playing "The Hangman and the Papist," as well as "Sheep," which made me very happy. I also remember them playing "Lay Down" from Bursting at the Seams, which I bought soon after the show. I also remember watching Blue Weaver on keyboards, especially on "Sheep" when he was really getting into playing the organ, bringing the eeriness of the song to life. A great performance, from a great band.

Michael: It was an absolute thrill to see Strawbs at Winterland. I had a high regard for Strawbs and their beautiful songs, which were full of earnest thoughts and honest feelings. It was clear that they took great care in creating their music. I was extremely impressed by Bursting at the Seams, which was their current album at the time, and I knew that seeing them perform would be a special treat.

I was particularly excited at having a chance to see and hear Dave Cousins, someone who I viewed as being more than merely a singer and a musician. To me, he had the rare talent of a true poet, the ability to perceive and express the deepest elements of human experience. His songs had a spiritual quality that was unusual in rock'n'roll. It seemed that many of his songs came directly from his own life, and he sang them as if he meant every word. I remember that his rendering of "Tears and Pavan" was quite affecting.

Dave Cousins may have been the leader and the main songwriter of the band, but it was Dave Lambert who showed himself to be an out-and-out rocker. He certainly had the look of a star, with his eye-catching outfit (white shirt and white trousers, under a long robe of red and gold) and his perfect hair, and he knew how to wield his guitar to advantage. In the middle of "Lay Down," he fell to one knee for a moment, right at the front edge of the stage, and let loose with a roaring riff, much to the delight of those of us who were standing there and looking up at him.

More about Strawbs at David's Rock Scrapbook

Next: Rick Wakeman

SLADE: MAY, 1973

2011-01-18T13:29:00.000-08:00

Noddy Holder, Dave Hill

Slade
Winterland, San Francisco
May 5, 1973

(Photos by Dan Cuny)

Jim Lea, Noddy Holder, Dave Hill

Slade started out as The 'N Betweens, in Wolverhampton, England, in 1966, with Noddy Holder on vocals and guitar, Dave Hill on lead guitar, Jim Lea on bass, keyboards, and violin, and Don Powell on drums. The 'N Betweens played regularly throughout the Midlands and recorded one single, "You Better Run," produced by Kim Fowley and released on Columbia Records.

In 1969, The 'N Betweens became Ambrose Slade, and began to record tracks for Phillips Records. The first album by Ambrose Slade, Beginnings, was released in April of 1969. At the same time, Chas Chandler, a former member of The Animals and the manager of Jimi Hendrix, assumed the duties of manager and producer for the band. He firmly believed that Ambrose Slade had the potential to make it to the top. Their name soon was shortened from Ambrose Slade to Slade, and at the behest of Chas Chandler, the four musicians had their long hair cut off, briefly taking on the look of skinheads as a means of promoting their music. Their first album as Slade, Play It Loud, was released in 1970.

Although Play It Loud did not sell in great numbers, it did establish the musical style that later would make Slade famous. Slade let their hair grow long again and finally broke through in November of 1971, when their newest single, "Coz I Luv You," swiftly became a hit in the UK. It was the first in an unbroken string of hit singles from Slade, being followed in 1972 and 1973 by "Look Wot You Dun," "Tak Me Bak 'Ome," "Mama Weer All Crazee Now," "Gudbuy T' Jane," "Cum on Feel the Noize," "Skweeze Me, Pleeze Me," "My Friend Stan," and "Merry Xmas Everybody," all written by Noddy Holder and Jim Lea.

When Slade appeared at Winterland in May, 1973, they had fully conquered the UK and were working hard at becoming bigger in the USA. In the UK they had reached fame mainly through their singles, but in the USA, their singles and their current album, Slayed?, had mostly gone unheard. Although they were headliners in their own country, playing to sizable crowds in major venues and frequently being featured on radio and television, they still were generally unknown in America, which meant that they usually opened for other bands. (At Winterland, they were second on the bill, between Humble Pie and Steely Dan.)

Any discussion of glam rock requires a mention of Slade, more as a result of their appearance than their sound. Dave Hill, in particular, gained a reputation for taking the gaudier aspects of glam rock to a cheeky extreme. He always went out of his way to appear as colorful as he could, adorning himself with shiny outfits, platform boots, and plenty of glitter. The other members of Slade were slightly less colorful, but still quite flashy. Their songs, however, were completely down-to-earth: loud, driving, and cheerful, with an impudent tunefulness that was hard to resist.

David: I saw Slade twice at Winterland in 1973, on May 5 and October 20. They were very hot in England at the time, with the release of their album, Slayed?, the year before. It had their hits, "Gudbuy T' Jane" and "Mama Weer All Crazee Now."

The first time I saw them was with Humble Pie and Steely Dan. I remember not liking Steely Dan. My friends and I even sat down with our backs to the stage during their performance. We jumped up when Slade hit the stage. They were the flashiest band that I had ever seen. Dave Hill had glitter glued to has face and hands, and wore a glittery jumpsuit with the words, "SUPER YOB," on his chest. Noddy Holder announced each song and bounced the spotlight off his mirrored top hat, so the light would hit the audience in the face. I thought that was a good effect. I remember getting hit in the eyes with the light a couple of times. They dressed in bright clothes and stomped around in giant platform boots. I could tell that they were enjoying themselves as much as we were enjoying them.

The glitter look seemed trendy to me. I had heard about it being popular in England, but I had my doubts about how well it would be received in the States. David Bowie had experienced a poor turnout in San Francisco the year before. His music, and the music of other glam stars like Marc Bolan, was not popular here at that time. I felt that San Francisco was behind the times when it came to flashy rock bands. The Bay Area was the home of The Grateful Dead and other bands who dressed in old jeans. Slade did go over well with the crowd, mainly due to the hard rock sound that they had perfected playing in clubs all over England.

We waited outside to get autographs after the show. Since Slade were not the last act, I wasn't sure that they would still be around after Humble Pie's performance. I was surprised when the stage door opened and all four popped out, and started down the street toward their hotel. I remember running after them to get their autographs. They were very friendly and seemed to be regular guys off stage.

Gary: Slade was LOUD. I am trying to remember the glam rock fad... Slade, Gary Glitter, David Bowie, T. Rex, maybe Elton John for a moment, early Roxy Music, The Sweet, maybe Queen (maybe not). Were there more? Roy Wood was putting glitter in his hair and his beard, but he wasn't making music for kids. Did someone mention Jobriath? It seemed that the glam rock fad was aimed at the preteen crowd.

Slade was a great band, and more than a fad. They had an interactive act and could really rock. They also were a real funny band. Noddy Holder had his stovepipe hat with mirrors that reflected the spotlights back into the crowd, giving him a tool that he used to mess with people. (Dan's autograph from him, with a drawing of a dog pissing, is a classic.) Dave Hill had a custom made, glittering gold uniform with "SUPER YOB" on it. Noddy Holder and Dave Hill were the front men. Jim Lea seemed to be the most serious musician of the bunch, but even he jumped around and wore a glittery jacket. He and Don Powell, the drummer, mostly remained in the background, churning out a solid barrage of support for the two front men.

Dave Hill played a mean, stinging lead guitar, and Noddy Holder (in John Lennon style) churned out chunky riffs that were real catchy. Slade really pushed for sing-along audience participation. "Mama Weer All Crazee Now" and "Cum on Feel the Noize" were strong rock anthems, like Queen wrote in the later days. Slade had lots of action and jokes, very loose (though tight musically) and fun. And they were LOUD.

Dan: The opening act for this show was Steely Dan, who at the time were just starting out. Slade was the second act, preceding Humble Pie. I was pretty excited to see Slade, as I had their album, Slayed?, and really liked their song, "Mama Weer All Crazee Now." I can remember them hitting the stage. Their stage presence was pretty electrifying, with Dave Hill dressed in a blue/gold spacesuit with winged sleeves and "SUPER YOB" across his chest. He had glitter on his face, and his very short bangs gave him a distinct look. Noddy Holder had a top hat with mirrors on it, which reflected the spotlight all over the place. He was very 70s glam rock, with plaid pants and suspenders.

They all took the stage like madmen, with Dave Hill jumping off a pedestal, and Jim Lea rocking around the stage. I remember them playing some of the songs from Slayed?, such as "Gudbuy T' Jane" and "Mama Weer All Crazee Now," with a lot of enthusiasm. They were great to photograph, and one of the more entertaining bands that I saw. I got some good shots of the band, and the memory of that show will definitely be with me for a long time.

Five months later, we saw Slade at Winterland again, and waited at the stage door after their performance. I had brought with me a 5x7 matted photo that I had taken at the previous show, hoping to have the band autograph it for me. One of their roadies saw the photo and took it to them to sign. I was extremely pleased to have it returned with all their signatures. Noddy Holder had drawn a little picture on the mat, which I couldn't make out. When they all came out of the stage door, I asked Noddy what he had drawn. He said, "It's a dog pissing on a tree!" I was a bit taken aback at first, but then I laughed. We got to talk with them for a while, which is always one of the fonder memories that I have from going to those shows.

Michael: I have fond memories of seeing Slade perform at Winterland. I had followed their progress in the copies of the Melody Maker that my grandmother sent to me every week from England, and I was eagerly looking forward to seeing them on stage. Their music was not particularly sophisticated, but it was filled with exuberant melodies, and it conveyed a happy feeling. It was clear that they enjoyed performing.

Steely Dan (an American band who did not interest me at the time, but whose music I later came to enjoy) was a poor fit for that particular show, but having Slade open for Humble Pie, a British band whose music was hard and bluesy, was a good match. Although Slade probably was not known to most of those in the audience at Winterland (in spite of being superstars in the UK), they bounded onto the stage with good cheer and gave their all throughout their performance. They clearly were determined to make a strong impression on the crowd.

Noddy Holder took control of things as soon as he opened his mouth. His voice was so awesomely powerful that he probably did not actually need a microphone to be heard, and his hat, which was covered with small mirrors, was quite eye-catching. Dave Hill, with his glittery appearance and his broad smile, had everyone in a state of open-mouthed wonder. He looked as if he had stepped out of a comic strip. Jim Lea also was an active figure, and Don Powell kept up a relentless beat on his drums.

It must have been strange for Slade, then at the full height of their considerable fame in the UK, to be playing to an American audience that hardly knew them. They never did establish themselves as major performers in the USA, which is unfortunate, because they were one of the great bands of the period, with a strong collection of appealing songs.

More about Slade at David's Rock Scrapbook

Next: The Strawbs

TRAFFIC: JANUARY, 1973 & OCTOBER, 1974

2010-11-23T15:51:00.000-08:00

Steve Winwood

Traffic
Winterland, San Francisco
January 26, 1973/October 3, 1974

(Photos 1-21 by Dan Cuny)
(Photos 22-62 by David Miller)

Jim Capaldi

Traffic was formed in 1967, a year of propitious happenings in British music, when Steve Winwood (keyboards, guitar, vocals) joined with Dave Mason (guitar, sitar, vocals), Chris Wood (flute, saxophone, keyboards, vocals), and Jim Capaldi (drums, vocals). Steve Winwood already was known to the public, having gained a considerable amount of fame as a teenage member of The Spencer Davis Group, singing (with an authentic soulfulness beyond his years) and playing on "Keep on Running," "Gimme Some Lovin'," "I'm a Man," and other hits.

Chris Wood

When Steve Winwood left The Spencer Davis Group, he and the other members of Traffic moved into a cottage in Berkshire, England, where they wrote songs and rehearsed for the next six months. Their first single, "Paper Sun" (featuring Dave Mason on sitar), was released in May of 1967, and was followed several months later by another single, "Hole in My Shoe." Their first album, Mr. Fantasy, was released in December of 1967. "Dear Mr. Fantasy," the track from which the album took its name, quickly became their most famous song, and frequently served as a rousing highlight of their appearances on stage.

Traffic released their second album, Traffic, in 1968. It featured some of their strongest tracks, including "Feelin' Alright?" (written and sung by Dave Mason, and later covered by Joe Cocker), "Pearly Queen," and "(Roamin' Thro' the Gloamin' with) 40,000 Headmen." Dave Mason was in and out of Traffic during 1967 and 1968, and at times the band recorded and performed without him. In 1969, after Traffic had released a third album, Last Exit, with tracks that included "Shanghai Noodle Factory" and "Medicated Goo," along with two songs recorded during a performance at the Fillmore West in San Francisco, the musicians went their separate ways. It seemed that, all too soon, Traffic had come to an end.

Steve Winwood then formed a new band, Blind Faith, with Eric Clapton and Ginger Baker, the guitarist and the drummer of Cream, and Rick Grech, the bassist of Family. When Blind Faith came to an end after releasing one album and doing one tour of the USA, Steve Winwood began recording songs with Jim Capaldi and Chris Wood, resulting in a new album by Traffic, John Barleycorn Must Die, which was released in 1970. In 1971, Traffic expanded to seven members, with Winwood, Capaldi, and Wood being joined by Dave Mason (who by that time had established his own name with his first album, Alone Together), Rick Grech, Jim Gordon (drums, formerly with Derek and The Dominoes), and Rebop Kwaku Baah (percussion) for a live album, Welcome to the Canteen.

The live album was followed by The Low Spark of High Heeled Boys, also released in 1971. (The band was now at six members, with Dave Mason having departed once again, never to return.) When Traffic appeared at Winterland in January, 1973, Rick Grech and Jim Gordon had left the band, making way for three American musicians from the Muscle Shoals Sound Studio in Alabama: David Hood (bass), Roger Hawkins (drums), and Barry Beckett (keyboards). The new lineup had recorded an album, Shoot Out at the Fantasy Factory, at Strawberry Hill Studios in Jamaica.

In October, 1974, when Traffic performed at Winterland again, the band had scaled down to four members: Winwood, Capaldi, and Wood, along with Rosko Gee, a new member, on bass. This lineup released only one album, When the Eagle Flies (featuring a song, "Dream Gerrard," with lyrics by Vivian Stanshall of The Bonzo Dog Band), and then split up after a tour in 1974, effectively bringing Traffic to a conclusion. (Although Steve Winwood and Jim Capaldi did join together for an album, Far from Home, and a tour under the name of Traffic in 1994.)

Traffic was, without question, one of the most talented, most inventive, and most adventurous bands of the 1960s and 1970s. Their sound always was utterly distinct, with the masterly contributions of Chris Wood on flute and saxophone, in particular, giving a rich and varied texture to their songs. In addition, the voice, keyboards, and guitar of Steve Winwood endowed their recordings and their performances with a full quantity of stalwart excellence. They took inspiration from blues and jazz (and in the case of one song, "John Barleycorn," from the rural tradition of folk music in the United Kingdom), combining the different elements with a skill, an ease, and a maturity that put them well ahead of other bands. The music of Traffic, which sounds as good now as it did then, represents the best and highest potential of rock'n'roll.

David: Traffic was one of my favorite bands in the 1970s, and still ranks high with me today. I saw them twice at Winterland. The first time was in January, 1973. John Martyn opened, with Free second on the bill. This was the first concert that all four of us attended together. It was also the first time that I had gone early and waited all day to be at the front of the stage, a practice that continued for almost two years.

Traffic had just recorded a new album, Shoot Out at the Fantasy Factory, the follow-up to The Low Spark of High Heeled Boys. They were now an expanded version of the earlier threesome. Roger Hawkins was behind the drums, leaving Jim Capaldi free to be at the front of the stage, singing and playing tambourine. He seemed very comfortable doing that. Rebop was on percussion. He broke a drumstick, and it landed right in front of me. I still have it today.

The second time I saw them was in October, 1974. Lindisfarne opened that show. (I forget if there was another opening act.) I was glad to see Traffic return as a smaller band, with Jim Capaldi playing drums again.

I was impressed by Steve Winwood's musical agility. Seeing him go from guitar to organ to piano, from one song to the next, was amazing. Even though he is best known for his organ playing, I was more moved by his electric guitar. I would put Steve Winwood up with any rock guitarist. Jim Capaldi was very much the showman, and was in fine form, singing and on drums. Chris Wood seemed to be floundering at times during the show in 1974. Knowing that he died nine years later as a result of substance abuse, I suspect that he was having drug problems at the time. It was sad to see, and it did give me a sense that we were not seeing Traffic at their very best.

I remember having to look past obstacles to get good photos of the band. Chris Wood had a stand with electric cords that held his sax and other instruments, which blocked some of my view. Also, a couple of balloons had made it to the stage, just in front of me. I tried to blow them aside a few times, but they refused to move. Even with the obstructions, I was in a great position to get photos of the musicians. Seeing Winwood and Capaldi singing side by side is one of my favorite concert memories. I remember, too, the crush of the crowd around me, calling out for their favorite songs. Traffic certainly was able to excite an audience.

Gary: I feel lucky to have seen Traffic on three occasions, all three times at Winterland. The first time was in 1972, with Jo Jo Gunne and J.J. Cale also on the bill. Three great acts for $3.50. (Editor's Note: We only have photos of Traffic from performances in 1973 and 1974.) I was just out of high school, and everything was new. It was my first rock concert, and might be my favorite, not only because it was the first, but because it was Traffic, one of my absolutely favorite bands in the world. It was around the time of the release of The Low Spark of High Heeled Boys. When Dan and I were waiting in line, someone mentioned having seen Traffic a year earlier, and that Steve Winwood played bass with his feet. (I thought it meant that he had played bass guitar with his feet, not organ bass pedals!)

At the end of that first concert, they brought out a special guest for the encore... Dave Mason. It was incredible to see all of the original group on stage together. After that encore, for a second encore they bought out Carlos Santana, dressed in black. It was amazing.

The second concert at Winterland was Traffic, Free, and John Martyn in January, 1973. Free was great (although they were about to split up at that time), and Paul Rodgers was a powerful performer. John Martyn opened with his guitar echo electronics with acoustic guitar. Very inventive and very well-made songs. A pleasure to hear.

Traffic was a big band then, which provided a solid foundation for the layers of keyboards, guitars, and vocals. They did both old and new songs. I remember that "Glad/Freedom Rider" really rocked strongly, and Jim Capaldi's "Light Up or Leave Me Alone" was great. Traffic's live sound was better than the recordings, I thought, with very strong attention to detail. I also enjoyed the shifting of the pace with "John Barleycorn," when Steve Winwood sang with simple folk acoustic guitar.

During "Dear Mr. Fantasy," Steve Winwood played an incredible guitar solo that we still talk about to this day. It built and built, with Steve Winwood moving gradually to shift the notes ever higher, with runs and chords and bent notes, until it built to an even higher plane! Without a doubt, one of the best electric guitar solos I have ever heard, before or since. Steve Winwood gets a lot of attention for his keyboard work and his singing, but he was one of the major guitarists of his time, and still is. With the great sax and flute of Chris Wood, the music was very special. No one else ever accomplished what Traffic did, back then. Jim Capaldi's great gypsy spirit added a lot to the band as well.

The third concert was in 1974. This time Traffic was a four piece, with Capaldi back on drums and a new bassist, Rosko Gee, who was a good addition to the band. KSAN had been playing "Walking in the Wind" and "Dream Gerrard" from their new album, When the Eagle Flies. A very artistic effort, perhaps a bit weaker than their previous releases, but they had been on the road a lot and were probably burned out. It was a great concert, but different from the others. Steve Winwood had shorter hair and a khaki shirt, and seemed to just want to be "one of the band," rather than a star.

Dan: I first saw Traffic in 1972, when I went with Gary to see one of his favorite bands (Traffic, on a bill with Jo Jo Gunne and J.J. Cale) at Winterland. It was my first concert ever, and to be honest, I didn't know much about Traffic, other than being aware of Steve Winwood, who I had liked in The Spencer Davis Group. I had heard some of John Barleycorn Must Die on the radio, but I didn't know the album as well as I do now. Traffic was touring on the strength of The Low Spark of High Heeled Boys, which I remember hearing at Gary's house. Because it was my first concert, I didn't know what to expect. The show opened with J.J. Cale, whose music I hadn't really heard. I knew that some of the members of Jo Jo Gunne were from Spirit, a California band. They were pretty good, with upbeat songs.

When Traffic hit the stage, the crowd was quite excited to hear them. I remember seeing Chris Wood play sax on some songs, and flute on others. Rebop Kwaku Baah, in his African garb, played congas. Jim Capaldi was singing, and Steve Winwood was going between organ and guitar. The thing I remember most from that show was the encore. The band brought out Dave Mason, and the crowd went wild. Then, for the second encore, Carlos Santana came out to play with them. I thought the place was going to explode. It was a real treat, one that I'll never forget.

By January of 1973, when I saw Traffic at Winterland again, heading a bill with Free and John Martyn, I felt like a seasoned veteran. The four of us had become close friends and were going to concerts together. We also had begun to take photos at shows. Gary had taken photos at some of the earlier shows we attended, and David, the real photographer of the bunch, was starting to take photos at shows, too. I used a camera that I had borrowed from my older brother, Tim.

The concert in 1973 opened with John Martyn, a British singer who played a fairly short set with his acoustic guitar. I remember thinking that he wasn't going over very well, on a bill with Free and Traffic. Free was great, but Paul Kossoff, their first guitarist, was no longer in the band. Paul Rodgers, their singer, had great stage presence.

Traffic was outstanding. (You can hear their performance at Wolfgang's Vault.) They were touring with Shoot Out at the Fantasy Factory, which I didn't like as much as The Low Spark of High Heeled Boys or John Barleycorn Must Die, but I still regarded Steve Winwood as a musical genius. My future wife, Eve, attended this show, too, but we didn't know each other then. Traffic is one of her favorite bands. I can remember taking many of the photos shown here. I was really enjoying taking photographs of bands at this point.

Michael: I have been a fan of Traffic since 1967. I had enjoyed Steve Winwood's work with The Spencer Davis Group, and I was greatly pleased when I heard that he was forming a new band. I can remember purchasing the first album by Traffic as soon as it was released, and listening to the music with deep interest. I was especially impressed by the strong hints of jazz that could be heard on many of the tracks.

Several years later, when I saw Traffic perform twice at Winterland, the experience on both occasions was every bit as good as I had hoped it would be. For the first performance, in 1973, Dave Mason was gone, but the band had expanded in overall membership. Jim Capaldi had moved out from behind his drums, and was now up front, singing and shaking a tambourine. The stage seemed crowded at times, but the seven musicians appeared to be of one mind, creating a sound that was united in its moods and directions. During "Dear Mr. Fantasy," Steve Winwood stood with his head tilted down and his long hair covering his face, playing his Stratocaster with a fiery grace that was unforgettable.

When I saw a second performance by Traffic at Winterland, in 1974, it was quite different. The band had lost three members, and Jim Capaldi was back behind his drums. With fewer musicians on stage, their sound had changed, becoming spare and straightforward. I also noticed that Steve Winwood's hair was shorter. He was no longer able to hide his face behind it, as he had during the first performance.

The one thing that I remember most clearly about the performance in 1974 is the shaky demeanor of Chris Wood, who appeared to be in an extremely unsteady condition. (In other words, he was heavily drunk, or heavily stoned, or both.) It does not show in the photos, but he was in a bad state. He swayed uncertainly at the side of the stage, sometimes looking as if he could barely stand upright, and his musicianship was ragged throughout the set. We were at the front and therefore close to the musicians, so it was easy for us to see that something was wrong. During one song, Steve Winwood and Jim Capaldi both glanced at Chris Wood, and then exchanged a look of worry with each other, showing their unhappiness at the way things were going. It was a painful moment to observe, and one that has stayed with me all these years.

More about Traffic at David's Rock Scrapbook

Coloured Rain (Traffic E-Zine) here

More about British music in 1967 here

A memory of John Martyn at Winterland here

Next: Slade

HUMBLE PIE: APRIL, 1972/SEPTEMBER, 1972/MAY, 1973

2010-10-07T15:54:00.000-07:00

Steve Marriott (Winterland, 1973)

Humble Pie
Berkeley Community Theatre, Berkeley/September 8, 1972
Winterland, San Francisco/April 22, 1972/May 5, 1973

(Photos 1, 2, 5-18, 22-29 by Dan Cuny)
(Photos 3, 4, 19, 20, 21 by Gary Hodges)

Greg Ridley, Clem Clempson (Winterland, 1973)

When Steve Marriott of The Small Faces and Peter Frampton of The Herd departed from their bands to join a new band, Humble Pie, in 1969, the two British musicians were hoping to put their days as "teen stars" behind them. As guitarists, singers, and songwriters, they both were seeking to play music that better expressed their talents. In addition to Steve Marriott and Peter Frampton, the new band had Greg Ridley (formerly of Spooky Tooth) on bass and Jerry Shirley on drums.

Humble Pie (Winterland, 1972)

Humble Pie quickly signed with Immediate Records (founded by Andrew Loog Oldham, former manager of The Rolling Stones), and released their first album, As Safe As Yesterday Is, in August, 1969. Many of the songs on the album had a decidedly hard sound. On their second album, Town and Country, released in November of 1969, they mainly used acoustic guitars, creating a softer sound that was rustic and folksy.

Steve Marriott (Winterland, 1972)

In 1970, Humble Pie released a third album, Humble Pie, followed by Rock On (featuring one of their most famous songs, "Stone Cold Fever") and Performance Rockin' the Fillmore (recorded during sets at the Fillmore East in New York), both in 1971. By that time the band had settled into a bluesy style of hard rock, with the powerful voice and spirited personality of Steve Marriott firmly at the forefront, and had gained a deserved reputation for their exciting shows.

Steve Marriott (Berkeley Community Theatre, 1972)

Also in 1971, Peter Frampton left Humble Pie to seek his own musical fortune, and Clem Clempson (formerly of Colosseum) was soon brought in on guitar. The next album by Humble Pie, Smokin', was released in 1972 and included "Hot 'n' Nasty" and "30 Days in the Hole," two of the strongest tracks that they had ever recorded. The band toured relentlessly in those years, particularly in the USA, and their lusty performances were among the best that any band of the period had to offer. In the Bay Area, Humble Pie appeared at both the Berkeley Community Theatre and Winterland during 1972.

Steve Marriott (Berkeley Community Theatre, 1972)

When Humble Pie appeared at Winterland again, in May of 1973, their seventh album, Eat It (comprising two LPs, including one side of live tracks), was their current release. The band now included a threesome of female singers (Vanetta Fields, Clydie King, Billie Barnum) known as The Blackberries, who added a distinctly soulful flavor to the music. Humble Pie also used their own setup for the stage during that tour, with special lights and a runway that extended into the center of the audience, lending a touch of Las Vegas to their performance.

Greg Ridley (Clem Clempson, Winterland, 1973)

It was more than merely a run-of-the-mill gig. It was a full-scale production of boisterous rock'n'roll, with Clem Clempson, Greg Ridley, and Jerry Shirley playing as ardently as they could, and The Blackberries singing in tones that were both spicy and sweet. Above all, Steve Marriott proved himself to be a master showman. He strutted and sweated through every song, making an all-out attempt to push the audience, the other musicians, and himself to the farthest end of joyful endurance. Steve Marriott may have been small in size, but he truly was a giant figure as a performer.

Steve Marriott (Winterland, 1973)

Clem Clempson (Winterland, 1973)

Greg Ridley, Clem Clempson (Winterland, 1973)

Clem Clempson (Winterland, 1972)

David: I saw Humble Pie for the first time in May, 1973. Their opening act was Steely Dan, with Slade second on the bill. It was an exciting show with two hard rock bands. Steely Dan didn't seem to get the audience on its feet. Great as they were, it was not the audience for their style of music.

When we entered Winterland, we saw that a runway at the front of the stage had been added. That meant we could not be in the center, and we quickly had to choose which side of the runway to be on. We went for the right side, which put us very close to Steve Marriott when he performed later.

After hearing about Humble Pie from Gary, Dan, and Michael for months, I had high expectations. I was not disappointed. Steve Marriott was an amazing performer, and was very much at home on stage. He had an incredibly powerful singing voice that was gritty and soulful. He actually sang the introductions to each song, sounding like a Southern evangelical preacher. I don't remember him using a speaking voice even once.

Steve would walk out on the runway, playing his guitar right next to us, which can be seen in Dan's photos. The rest of the band also were powerful musicians. Greg Ridley played his bass like he was firing a machine gun. Jerry Shirley's drumming sounded like artillery shells, and Clem Clempson churned out lead guitar like a blitzkrieg.

Humble Pie's music seemed to take a different course after Peter Frampton left, especially with Eat It, which had a more soulful feel, with songs like "Black Coffee" (written by Ike and Tina Turner) and "I Believe to My Soul" (written by Ray Charles). That sound was complimented with the addition of female backup vocals by The Blackberries, who were on stage at Winterland.

Near the end of the concert they went into "I Don't Need No Doctor," one of their standards. I remember the push of the crowd behind me, and the bodies bouncing up and down all around me. Sweat streamed down Steve Marriott's face and arms. It was the perfect end to a long and tiring day.

We waited outside the stage door afterward, in hopes of meeting the band. There was some commotion from a drunk who managed to get into the band's limousine and got tossed out. I wasn't able to get Steve Marriott's autograph. I don't recall exactly, but I think I was on the wrong side of the line, or he just wasn't stopping to sign autographs. I did get an autograph from Clem Clempson.

Steve Marriott (Winterland, 1973)

Gary: If I had to name one band that best matched the feel of Winterland, the raw openness of the hall and the gritty atmosphere of the area outside, it would have to be Humble Pie. Maybe it was the number of times I saw them there, and all the sound checks I heard before the gigs, that impressed themselves on my thinking through the decades, but somehow I always think of that turf as belonging to Steve Marriott. Humble Pie was a rock band of the first order.

As I remember, I saw Humble Pie at least four times. The first time was at Winterland, shortly after Clem Clempson had joined, and then later that same year at Berkeley Community Theatre, and twice again at Winterland. For the show at Winterland in 1973 (at the time of Eat It), they had a big runway coming off the stage, traced by accent lights, and The Blackberries were singing backup.

The first show I saw at Winterland in 1972 was stunning. Steve Marriott, as always, was dynamic, an open-valved force of nature. I'd never seen a human being with that much energy before. Clem Clempson, just starting in the band, was young, almost angelic looking, but his playing was loud and crisp. He solidly supported the band, adding elements that were different from those of Peter Frampton. (Although I'm sure the Frampton-era Humble Pie must have been something great to witness also.) Few bass and drum foundations meshed into a tight rhythm section in the way that Greg Ridley and Jerry Shirley did. They seemed to be in total sync, and rocked hard. Greg Ridley was a muscular man who looked as if he was about to split his pants. His playing was intense, with driving runs and unrelenting repetitive rhythms. There was no messing around with that guy.

No one in that band held anything back. Jerry Shirley's drumming matched Greg Ridley's energy. At one point, with Marriott, Ridley, and Shirley playing an unstoppable medium-slow deliberate blues groove, Clem Clempson advanced to the edge of the stage, and began to build a solo over the top with his dark sunburst Stratocaster. His solo built, slowly but surely, with runs and twisted feedback, and musical sparks flying off in all directions, until suddenly, with a smile on his face, he started quoting a Blind Faith riff (I think it was "Had to Cry Today"). He did it twice, and I was floored. He was showing the similarity of the chord structures and made the rhythms fit in a very clever way. He then calmly went back into his solo, and the band pushed things to a climax. Before you could catch your breath, they had suddenly shifted gears again, and Marriott was ripping out the chords to "I Don't Need No Doctor" and bouncing across the stage in such a fury of energy that the photos we took were just a blur. That was how rock music was meant to be.

At Berkeley Community Theatre, the band was in top form. I could tell from the physical appearance of the band that they had been on the road a lot. Steve Marriott was all skin and bones, but cocky as hell. What an amazing character and performer that man was! His cheeks were gaunt and his weight was down (probably below a hundred pounds), but he was unstoppable.

At Winterland in 1973, it was a very different Humble Pie. It seemed that they had been taking better care of themselves. Steve Marriott looked healthier. I remember him wearing blue overalls with no shirt, looking relatively well-fed and groomed. The runway they had was almost like a runway used by models, and Marriott used it to good effect. The music on Eat It was more rhythm and blues oriented, and The Blackberries were a beautiful vocal backup group. The rest of the band seemed more carefully dressed than before, and the playing was as great as ever.

When we waited outside at the stage door after that show, there was a drunken man with a beard who was being very stubborn in trying to get either through the door or into the limousine that was parked nearby. At one point he even pissed into the gutter. The security guards kept escorting him away, but somehow he made his way into the limousine and had to be dragged out. After a long delay, Steve Marriott came out, intending to enter the limousine, but he had to stop. The chauffeur discovered that once again the drunken man had gotten into the limousine, and had to be dragged out again so that the band could get in. As the man was being removed, he addressed Steve Marriott in a drunken slur: "Remember, we're all stars!" Then he declared, to both Marriott and the onlookers, "Remember the All Stars!" Steve Marriott responded with a look of pure joy and amazement, as if he actually identified with the behavior of the drunken man who persisted in challenging authority. Shortly after Humble Pie broke up, Steve Marriott formed a band called Steve Marriott's All Stars.

I really miss Humble Pie. Their music was a type of rock that is rarely heard nowadays. Those Winterland concerts had an amazing feeling, especially after waiting all day. The band would come for a sound check that we could hear outside, echoing behind the doors as the sun started to set and the weather started to get cold, with maybe a little San Francisco fog, and the marquee lights would be turned on, signifying that we were about to be let in. Humble Pie somehow summed up all those feelings, which have remained lodged in my memory more than thirty-five years later, and channeled them into intense music that was a true release. I'm glad we were there, and I'm glad I was there with my friends.

Humble Pie (Winterland, 1972)

Greg Ridley, Clem Clempson (Winterland, 1972)

Steve Marriott (Winterland, 1972)

Greg Ridley, Clem Clempson (Winterland, 1972)

Steve Marriott (Berkeley Community Theatre, 1972)

Dan: Here are my memories of seeing three performances by Humble Pie:

Winterland, 1972 (Humble Pie, Edgar Winter, Osibisa) To be perfectly honest, I think Gary and I went to this show mostly to see Edgar Winter. I personally didn't know much about Humble Pie, apart from my older brother, Tim, saying that they had released an album, Performance Rockin' the Fillmore, the previous year. I hadn't heard any of their music, so I was very green to them. Smokin' had just come out, but I hadn't heard the album. At Winterland in 1972, I remember Greg Ridley and his bushy mustache, and Clem Clempson playing lead guitar right in front of me. The thing that really stands out to me was the excitement that Steve Marriott had on stage. That man could not only play guitar, but his voice was extremely dynamic. I remember leaving the show thinking that we had seen a band that had outperformed the other acts, and I wanted to hear more from them. I believe the next day, or soon after, I purchased Smokin', which was played heavily on my stereo. An outstanding show.

Berkeley Community Theatre, 1972 (Humble Pie, Frank Biner Band) Now this was a show that I was very excited to see. Steve Marriott and Humble Pie were one of my favorite bands by this time. I had been listening to Smokin' and their earlier albums. This show ROCKED!!! Steve Marriott was in true form that night. One of my fondest memories of the show is of Steve Marriott getting angry with the sound because his microphone wasn't working properly. He slammed the mic to the stage and belted out the song with just his voice. We could hear him loud and clear. That was amazing. This little man in stature, with a huge voice and such stage presence, was one of my favorite performers. One of the sights I'll never forget is Steve Marriott with one hand on his hip and the other hand on the mic, singing his heart out. I know that Greg Ridley, Clem Clempson, and Jerry Shirley also were on stage, but Steve Marriott was the person I watched ninety percent of the time. "Hot 'n' Nasty," "C'mon Everybody," and "I Don't Need No Doctor" were among the highlights. It was truly a smokin' show.

Winterland, 1973 (Humble Pie, Slade, Steely Dan) I really liked seeing Humble Pie at this show, as we were right next to the stage, which is where we were for the majority of the shows that we saw at Winterland. Steve Marriott was in true form at this show, too. This show also had something different, as Humble Pie now had three backup singers, The Blackberries. I was surprised to see them, but they added another layer to the music. Humble Pie was touring on the Eat It album, so there were a few new songs played, but the old Humble Pie energy wasn't lacking. Many of the songs were the same as the other shows, as this was the third time I had seen the band in just over a year. Humble Pie was tight that night, and the crowd was eager to hear them. Slade and Steely Dan were great warm up bands. I think the photos I took of Humble Pie at that show are some of my favorite shots of the band. We were very close to the stage, and most of the time Steve Marriott was standing right over us.

Steve Marriott, Clem Clempson (Berkeley Community Theatre, 1972)

Steve Marriott (Berkeley Community Theatre, 1972)

Greg Ridley, Clem Clempson (Berkeley Community Theatre, 1972)

Jerry Shirley (Berkeley Community Theatre, 1972)

Steve Marriott (Berkeley Community Theatre, 1972)

Michael: Humble Pie, and Steve Marriott in particular, always provided a great show. I saw them perform on two occasions, at Berkeley Community Theatre in 1972 and at Winterland in 1973. They were known for never holding anything back in their performances, playing music that was loud and rough, and playing it with a raw vigor that was staggering. No audience could fail to respond when Humble Pie was on stage.

Steve Marriott was the main force in Humble Pie, and he was a born performer. He was a diminutive fireball, a pint-sized cockney with a roaring voice, and he easily took over any stage on which he appeared. It seemed that he could not stand still for even a moment. He was always moving, always working himself to the fullest of his abilities.

When I saw Humble Pie for the first time in 1972, I was completely stunned by the brazen strength of their performance. I had never seen a band play with such fierce power. I would not have been surprised if they had actually blown off the roof of the Berkeley Community Theatre. In comparison with Steve Marriott, most other performers seemed lame and lazy. From the first song to the last, he never stopped performing, apparently determined to give everything that he had to give.

As was usual when we went to Winterland, at the show in 1973 we were at the front of the audience, and I remember Steve Marriott running up and down the length of the runway throughout the performance, clearly enjoying the opportunity to be especially close to his fans. As the audience responded more strongly, his active demeanor became even more lively.

After that show we waited at the stage door. When Steve Marriott finally came out, he had a blond girl nearly twice his height by his side, and he puffed on a small cigar as he cheerily greeted us. He lived too fast and too hard, and his impetuous life was far too brief, but I am compelled to smile whenever I think of him.

More about Steve Marriott here

Photos and memories of a performance by Peter Frampton at Winterland in 1974 can be seen here

More about Humble Pie at David's Rock Scrapbook

Next: Traffic

SAVOY BROWN: JUNE, 1974

2010-09-09T15:14:00.000-07:00

Stan Webb, Kim Simmonds

Savoy Brown
Winterland, San Francisco
June 1, 1974

(All photos by David Miller)

Miller Anderson

In 1965, The Savoy Brown Blues Band (later shortened to Savoy Brown) was formed in Battersea, London, with Kim Simmonds as leader and main guitarist. His older brother, Harry, served as manager for the band. After The Savoy Brown Blues Band had played gigs at a number of clubs in London, including the Flamingo and the Marquee, their first LP, Shake Down, which included covers of songs by Willie Dixon, Albert King, and John Lee Hooker, was released (in the UK, but not the USA) on Decca in September, 1967.

Jimmy Leverton

The second album by Savoy Bown, Getting to the Point, was released in 1968, followed by Blue Matter and A Step Further in 1969, and Raw Sienna in 1970. All four albums featured the unusual voice of Chris Youlden, a bluesy singer and gifted songwriter whose deep and distinctive tone added greatly to the unvarnished appeal of the music. "Train to Nowhere" (from Blue Matter) and "I'm Tired" (from A Step Further) offer examples of Chris Youlden at his best, and are regarded as being among the best tracks that Savoy Brown ever recorded.

In the years that followed, there were frequent changes in the lineup of Savoy Brown. When the band appeared at Winterland in June, 1974, Kim Simmonds was joined by Stan Webb (guitar and vocals, formerly a member of Chicken Shack) and Miller Anderson (guitar and vocals, formerly a member of the Keef Hartley Band and leader of his own band, Hemlock). That particular lineup, which also included Jimmy Leverton on bass and Eric Dillon on drums (both former members of Hemlock), lasted less than a year and released only one album, Boogie Brothers.

Any band that contained the proven abilities of Kim Simmonds, Stan Webb, and Miller Anderson could not be anything other than extraordinary. The three guitarists, who collectively represented much of the history of British blues, created a powerful sound together, inspiring and challenging one another from one song to the next. Although Kim Simmonds still was seen as the leader of Savoy Brown, Stan Webb and Miller Anderson both were given plenty of musical space in which to express themselves. They all came across as keen musicians, performing with an earthy and straightforward showmanship that reflected their many years of hard experience on the road.

Although the five musicians who combined their abilities to perform under the name of Savoy Brown in 1974 did not stay together for long, they did make a lasting impression on those who were lucky enough to hear them. Their performance at Winterland provided a valuable opportunity to see not merely one, but three of the greatest guitarists of the period, all playing on the same stage at the same time.

David: One week after we saw Golden Earring and Robin Trower at Winterland, we were back for another great concert: Savoy Brown with Kim Simmonds, Miller Anderson, and Stan Webb. The opening act was Kiss. I had not heard of them at the time and was an instant non-fan. I considered them to be a parody of a rock band, and I still do. Manfred Mann's Earth Band played second and put on a great performance.

I had seen Savoy Brown nearly two years earlier at the Berkeley Community Theatre, with a different lineup. I believe Dave Walker was the vocalist. He soon quit to join Fleetwood Mac. Miller Anderson's band, Hemlock, with Jimmy Leverton on bass and Eric Dillon on drums, was the opening act. All three later joined Savoy Brown for the Boogie Brothers album and tour. I always wondered if the connection was made on that earlier tour.

I was a big fan of Stan Webb's band, Chicken Shack. I owned most of their albums, but I had never seem them perform. I also was a big fan of the Keef Hartley Band, which featured Miller Anderson on vocals and guitar, and I felt that Miller Anderson was underrated and overlooked. He had a long history in British rock, and was respected by other musicians, but he was not into self-promotion.

With three lead guitarists and two lead vocalists, I wondered how they would balance it. Kim Simmonds was the foundation that held the house up, while Stan and Miller took turns being up front. Stan Webb seemed to be more of a showman than the others, and took the spotlight quite often. I had heard about how he would climb down from the stage and continue playing, as he made his way through the crowd with a very long cord on his guitar. When he did this at Winterland, disappearing into the mass of cheering fans, I desperately wanted to get a photo, but I was not close enough. All I could see of him was his head, bobbing up and down in the crowd. I regret now that I didn't get a photo of the looks on the faces of the fans.

Miller Anderson gave a strong performance with his vocals and his guitar. He seemed to be enjoying himself, and even gave me a bit of a smile when I clicked off a picture. Kim Simmonds stood still in front of a wall of Fender amps that blasted out a powerful sound from his guitar. He seemed oblivious to the loudness, concentrating on every note that he played. Jimmy Leverton came out from behind with his bass and took the front of the stage for one song. It was great to see the spotlight being shared by everyone.

This was one of my favorite shows to photograph. With so much action on the stage, it was easy to get great shots. These photos are some of my best and I feel lucky to have been able to get them.

I remember that during our wait in front of Winterland before the show, Stan Webb pulled up in a rented car and unloaded some equipment from the trunk. We briefly talked to him and got his autograph. He was very polite. After the concert we also got to meet Kim Simmonds and Miller Anderson. I had to run after Miller Anderson as he was walking down the street. He stopped and gave me his autograph. When I told him that I loved his music, he replied, "I wish more people felt that way." Knowing what a great artist he was, it was a bit sad to hear that. Not being able to think of anything more to say, I thanked him, and then got Kim Simmonds to sign an autograph. He seemed very happy, and on the piece of paper he wrote, "Boogie!"

It was disappointing that they only did one album and one tour. I would like to have seen and heard more, but with three leaders, it was no surprise that they split.

Gary: I remember that Kiss played before Savoy Brown, and that we risked our lives being close to the stage, with all their fake blood and fire displays. Kiss was in outrageously bad taste, but Savoy Brown was amazing.

The opportunity to see three of the great British blues guitarists at the same time was unbelievable. Stan Webb was very entertaining. We all liked Chicken Shack. David had a lot of their albums, even the ones with Christine Perfect, before she joined Fleetwood Mac. Miller Anderson, who I had loved hearing on the classic Keef Hartley Band albums and on Two Weeks Last Summer, the first solo album by Dave Cousins of The Strawbs, gave a solid instrumental and vocal performance.

Kim Simmonds, a brilliant blues musician, played piercing blues licks... piercing all the more because he had what looked like four Fender pre-CBS Twin Reverb amps, all wired together in a two on two stack, with all amps turned to 9 or 10. I had one of those amps myself, and I knew from experience that just ONE of them turned up that loud could damage a person's hearing. Kim Simmonds having four of them, and having them turned up to that volume and being so close to them, must have been painful for him. (I know it was painful for me that night - I had to put my fingers in my ears many times, to protect myself.) Great playing, though.

The thing that stands out in my memory was when Stan Webb walked to the edge of the stage, and the roadies cleared out the audience in that area. Stan Webb jumped down into the audience, followed by a roadie holding an enormously long guitar cord. As the band churned out funk/blues patterns, he played as he walked the length of the Winterland floor, or at least until the cord ran out. I thought he might try to go upstairs into the balcony! He was scraping out blues patterns with deadened strings all the way. We could just barely see where he was by the commotion in that part of the audience - we couldn't actually see him or the roadie. He eventually made his way back to the stage, with the crowd parting and people cheering him on. What a performance!

Miller Anderson, a vastly underrated guitarist and songwriter, was great that night. It confirmed what we all thought, that he was a true gem of a performer. He wrote much of the music on the Boogie Brothers LP, and his songwriting is a treasure.

We stayed by the stage door afterward and got their autographs. They all were nice and thoughtful people - very different from the raw blues music that they had been blasting out.

Michael: I always had been a fan of Kim Simmonds and Savoy Brown, so seeing the band at Winterland was exciting enough, but having a chance to also see Stan Webb and Miller Anderson made it even better. I could hardly believe it when I heard that all three of them had joined together. For any fan of British blues, it was something not to be missed.

Having three guitarists on stage meant that the performance was quite loud, even by the extreme standards of rock'n'roll. The music itself was down-to-earth, played with plenty of raw feeling, in keeping with the unaffected characters of the musicians.

Kim Simmonds was the primary figure in Savoy Brown, and Miller Anderson also was a strong musician, but at Winterland it seemed that Stan Webb was the star. He had a bit more flair than the others, and he played directly to the audience. The highlight of the evening came when Stan Webb stepped down from the stage and wandered through the crowd, while still playing his guitar, which was connected to his amplifier by an unusually long lead. A roadie followed behind him, holding the lead and making certain it did not get into a tangle.

When we met the band after the show, someone mentioned to Miller Anderson that Robin Trower's band had played at Winterland the week before, and he quickly brightened up, saying, "Jimmy Dewar was here?" (James Dewar was the bassist and vocalist with Robin Trower.) Miller Anderson and James Dewar both were musicians who had started out in Scotland, and probably knew each other from the old days.

At the time, the performance by Savoy Brown at Winterland appeared to be merely one of the many shows that we attended in those days. Looking back, however, I can see that with Kim Simmonds, Stan Webb, and Miller Anderson all sharing the stage, it actually was quite a special happening.

In 2007, I saw a performance by Kim Simmonds and the current lineup of Savoy Brown, at the Waterfront Blues Festival in Portland. He was in fine form, opening the set with "I'm Tired" and never letting up.

More about Savoy Brown at David's Rock Scrapbook

Next: Humble Pie

LED ZEPPELIN: JUNE, 1973

2010-08-17T12:23:00.000-07:00

John Paul Jones, Robert Plant, Jimmy Page, John Bonham

Led Zeppelin
Kezar Stadium, San Francisco
June 2, 1973

(Photos 1-8, 16-26 by Dan Cuny)
(Photos 9-15, 27 by David Miller)

The four musicians of Led Zeppelin first played together during the summer of 1968, when they assembled for a rehearsal in a small room in Gerrard Street, London. Jimmy Page, a British guitarist known for his standout work as a player on many well-known recordings and as a member of The Yardbirds, had joined with Robert Plant (vocals, harmonica), John Paul Jones (bass, keyboards), and John Bonham (drums) to form a new band. They briefly started out as The New Yardbirds, but soon became Led Zeppelin. At the time, Jimmy Page expressed broad ambitions for the band, saying, "We can do all kinds and styles of music, so we're not restricted to any one thing."

The first album by Led Zeppelin, Led Zeppelin, was produced by Jimmy Page and released in January, 1969. Although it brought forth varied opinions in the press, particularly in the USA, it was favorably received by the public. With hard-hitting tracks such as "Good Times Bad Times," "Babe I'm Gonna Leave You," "Dazed and Confused," "Communication Breakdown," and "How Many More Times," the first album offered a forceful combination of heavy blues and sledgehammer riffs, skillfully fashioned into a vigorous sound that was dense and overpowering.

Led Zeppelin was followed by Led Zeppelin II (which featured "Whole Lotta Love," a frenzied track that served as a definitive summary of their unrestrained style) in October, 1969, and Led Zeppelin III in 1970. Led Zeppelin was constantly on the road during this period, spending much of their time on American stages, where they won over audience after audience and were regularly hailed as superstars.

Led Zeppelin released their fourth album (which did not have a name, but is commonly known as Led Zeppelin IV) in November of 1971. It helped to confirm their reputation as one of the most formidable bands in rock'n'roll, putting them into the elevated company of The Beatles, The Rolling Stones, and The Who. The album, whose tracks included "Black Dog," "Stairway to Heaven" (which became a universal anthem of the early 1970s, with continual airplay on FM stations), "The Battle of Evermore" (with Sandy Denny sharing the vocals), and "When the Levee Breaks," was seen as an enormous accomplishment, garnering widespread praise and selling in the millions. Over the years it has retained its standing as one of the preeminent landmarks in the history of hard rock.

When Led Zeppelin appeared at Kezar Stadium on June 2, 1973, in a concert promoted by Bill Graham, they were at the pinnacle of their fame, riding higher than ever with the release of their fifth album, Houses of the Holy. They toured the USA in a regal manner, with no expenses spared, grandly flying from one city to another in a private jet, performing for worshipful audiences that numbered in the tens of thousands. They generally were regarded as musical gods who had graciously deigned to descend from the heights of Mount Olympus, with flocks of teenage groupies following their every step, ardently seeking to engage in carnal festivities with them.

On that day in San Francisco, approximately 50,000 fans gathered to see Led Zeppelin perform. The band, having flown up to the Bay Area from Los Angeles, arrived on stage in the late afternoon and proceeded to play for two and a half hours, delivering a high-powered set that included five songs from their new album. From the frantic beat of the drums at the beginning of their first song, "Rock and Roll," to the last note of their final song, "The Ocean," they displayed the complete range of their extraordinary abilities.

All four members of Led Zeppelin were in strong form throughout the afternoon, showing themselves to be totally in command of their music and their audience. They pulled out all the stops, clearly wanting to give the crowd their money's worth, in a sweeping display of showmanship that was overwhelming in its total effect. Jimmy Page used a bow on his guitar and also played a theremin. In the middle of "Dazed and Confused," Robert Plant paid tribute to the city, singing the famous hit from 1967, "San Francisco (Be Sure to Wear Flowers in Your Hair)." During "No Quarter," smoke rolled over the stage, and a number of doves were let loose during another song. It was a performance, and a collective experience, to be remembered for a lifetime by those who attended.

50,000 fans

"No Quarter"

Close-up of Robert Plant and Jimmy Page with dove

David: Led Zeppelin playing in San Francisco was a major event in 1973. They were riding on the crest of a wave after the release of their fourth album in 1971. The release of their fifth album was long awaited and much anticipated.

Gary, Dan, and Michael were determined to be first in line and slept overnight in front of Kezar Stadium. They were in a photo that appeared in a local newspaper under the heading, "The Led Freaks." I went with other friends on the day of the show. I figured that since it was at a stadium, there would be no reason to go that early. When I arrived with my friends, they decided to sit up in the stands, away from the stage. I wasn't interested in joining them, and instead carved my own path on the ground, as close to the stage as I could get. Since I was alone, I was not sure how I was going to get home. It turned out I was only a few yards behind Gary, Dan, and Michael.

I spread out on the ground to secure as much space as I could. I thought I might even take a nap. As the fans filled in around me, the space got tighter. Three girls wandered by, looking for a spot to sit down. I heard one of them say, "Let's sit here," which they did, right on top of my legs, as if I was a log. It then became apparent that I had to make a visit to the restroom. I pulled myself out from under the girls and spread my jacket on the ground, in the hope that it would still be there when I returned. Amazingly, it was.

The ads for the concert stated, "Supporting Acts to Be Announced." That left a lot to the imagination of 50,000 stoned "Led Freaks." I heard rumors that David Bowie was going to open the show, and even that The Beatles were going to do a reunion performance.

Instead, Roy Harper was introduced. The wait already had been long and uncomfortable under the overcast San Francisco sky. I remember Roy Harper sitting on a stool with his acoustic guitar. He mumbled something about just breaking up with his ol' lady. That didn't exactly bring the fans to their feet. In fact, I recall a few catcalls.

After that, The Tubes were introduced. It may sound cool today, but at the time they were just a local club act that no one had heard of, including me. Fee Waybill stomped out in giant platform shoes, pretending to snort from a huge bag of cocaine. No one got the joke, and the catcalls turned into actual boos. Then Lee Michaels played. He did his hit, "Do You Know What I Mean."

OK, almost two o'clock. Time for Led Zeppelin. It was another hour and a half before they appeared on stage. That left a lot of time for fans to indulge in various kinds of substance abuse. I sat alone and watched drug deals going on all around me. One happy fellow kept clapping his hands and shouting, "Feel the day!" I wondered what sort of drug he was on.

Finally, Led Zeppelin walked on stage and we all stood up. That made for more room, and everyone moved forward, closer and closer to the stage. The excitement was in the air. They launched into some of their standards before introducing a few new songs. Robert Plant was very animated and obviously enjoying himself. At one point, between songs, he pulled out a newspaper and read something to Jimmy Page. It sounded like it was a negative review, which claimed that the new glitter band, Slade, was taking Led Zeppelin's place. Robert Plant laughed so hard that he actually fell down and rolled on the stage. I could tell that Led Zeppelin were at the top of the heap and knew it.

I could see people standing on the tops of buildings outside the stadium, trying to get a free show. It was loud enough for most of San Francisco to hear. During "Stairway to Heaven," when they got to the line, "There's a feeling I get when I look to the west," Robert Plant pointed at the crowd and smiled. The audience let out a cheer. Another memorable moment was at the end of "Stairway." They brought out a large box and released some white doves. The birds were not that eager to leave and some had to be coaxed out. One dove flew up, but then flew back and landed on Robert Plant's hand. Jimmy Page put his guitar down and walked over. Plant and Page stood there petting the bird, which seemed very much at home in Robert's hand.

There some negative moments, too. A girl in front of me, one of the girls who had sat on my legs earlier, was clearly on psychedelics. Every few minutes she would point to the sky and yell, "Look!" and then collapse into the people next to her. This happened a few times until one guy caught her and began kissing her. He removed her clothes and had sex with her right in front of me. Afterward, she wandered naked into the crowd. When the people around me left, I saw her clothes on the ground and a bottle of pills that she apparently had been taking. I always wondered what became of her.

Musically, it was a great concert. Led Zeppelin were at their best, but it was also an ordeal that I did not want to repeat. One last memory I have is of Robert Plant talking to the enthusiastic crowd of 50,000 "Led Freaks" and asking us, "Do ya feel it? Do ya feel the buzz?" We did.

Gary: First of all, I would like to acknowledge the generosity of Dan Cuny's older brother, Tim, for three things that made the Led Zeppelin concert possible for us: (1) He loaned Dan the camera with the expensive close-up lens that enabled Dan to take the great photos, (2) He vouched for us to Dan's parents (Dan later revealed that Tim had told his parents we were "good people" and that is was OK for Dan to go with us, and, amazingly, (3) He loaned us the use of his green and white VW van to get us to Kezar Stadium (I was used to driving a stick shift, and was elected by default to drive us there). Without Tim's generosity, we would have had a much worse time.

This was a big event, the biggest concert that we had ever attended. My sister, Sandra (a strong Led Zeppelin fan), also was there with us. When we got to Kezar on Friday, we set up the sleeping bags. I think the beginning of the line was vague and ill-defined. It was hard to tell who was first or where the line began. The crowd was rough. I stayed deep in my sleeping bag when we were in line. Kezar was near Haight-Ashbury and was definitely in a challenging area, with raw behavior and more drugs. I didn't feel comfortable at all there. We stayed in the van at times, to get away from it. This was the dawning of Bill Graham's "Day on the Green" concerts that were popular at the Oakland Coliseum in later years.

Once the gate was opened we ran to the stage, but it was very high, so if you got up close, you couldn't see the band. It was effective as crowd control, because you had to back away from the stage. David came on Saturday, not wanting to wait in line at Kezar overnight, but he was able to get pretty close to us on the grass. I think the best place to see Led Zeppelin might actually have been behind the band. Some of Dan's photos show relaxed people enjoying the show from the stands to the rear of the stage, as the sun was setting behind them. There were no crowds there, and the lighting was probably perfect.

Lee Michaels played before Led Zeppelin (he was the loudest act I had ever heard at Winterland, the year before - in fact, if I tilt my head just right, I can still hear "Stormy Monday" on his shrill Hammond organ), but I don't remember his performance at Kezar at all.

The Tubes were funny with twin guitarists dressed up in bumblebee or butterfly costumes (with insect wings), and Fee Waybill was a clever performer. This was during their "What Do You Want From Life?" period, when they were very sarcastic and outrageously funny. I'm not sure, but Roy Harper might have been the first act of the afternoon. I had heard that he was a good friend of Led Zeppelin ("Hats Off to Harper" on Led Zeppelin III was great). I remember that his acoustic guitar and vocal mike were amplified very loudly, and he was very confrontational. At one point he argued bitterly with a heckler. His set at Kezar was impressive - enjoyable and different. His albums were mostly on import and expensive, so I didn't have any, but I'd heard some tracks on FM radio. I liked his outspokenness and his strong songs.

Led Zeppelin were late coming on, and the crowd was restless. The sun was starting to get lower in the sky, eventually setting behind the stage. Suddenly Led Zeppelin stormed on, opening with "Rock and Roll." The sound was huge and crisp - it almost felt warm. They were at the peak of their career - relaxed and confident, solid and tight, yet also taking chances. They did "Black Dog," "No Quarter" (with John Paul Jones playing moody electric piano), "Whole Lotta Love," and a very psychedelic "Dazed and Confused." Jimmy Page played his red Gibson EDS-1275 Double Neck guitar during a monumental version of "Stairway to Heaven." John Bonham's drums were powerful, and I liked the strong musicianship of John Paul Jones. Robert Plant, in an open shirt and tight jeans, was an even match for Jimmy Page in a flamboyant white suit.

The second half of the Led Zeppelin set at Kezar was performed as the sun set directly behind the stage, so we had to look straight into the sun to see the band. We were fried! Michael and I were very light-skinned, and we both burned red. David did much better with his olive complexion. By the end we were zombies. We had gone through the trials of misbehaving crowds, seeing more drug activity and human foibles in one place than probably we have seen in our lifetimes. We were absolutely burned out, figuratively and literally.

I like led Zeppelin more in retrospect. Led Zeppelin II is a true classic. I'm not sure how they got those sounds - the reverse echo effects that Jimmy Page came up with are unlike anything before or since. The band had a great variety of musical styles. An acoustic and soft side tempered the throttle-open hard rock, which was grounded in blues guitar. They truly loved blues musicians like Willie Dixon, Howlin' Wolf, Sonny Boy Williamson, and Bukka White. Led Zeppelin was Jimmy Page's vision of creating the greatest of all rock bands, and he largely succeeded in making it a reality.

Dan: Wow!!! What memories I have of the Led Zeppelin show. I had wanted to see what in my mind were the "gods of rock" for quite some time. It was announced that Led Zeppelin would be playing at Kezar Stadium, in an outdoor setting. This was what would later become known as a "Day on the Green." We wanted to see Led Zeppelin so much that I remember we arrived at the ticket outlet extremely early in the morning, or possibly even the night before, to make sure that we were first in line to get tickets. We did get the tickets, which was a huge relief.

We planned on going to Kezar Stadium on the day before the show, so that we could assure ourselves of being right up against the stage (where we usually were when we went to Winterland) and seeing Led Zeppelin in our customary way. I had asked my older brother, Tim, if we could borrow his '64 VW bus, so we could rest and sleep in it, since we were going so far ahead of the show. I'm sure he did it reluctantly, but like the great brother that he is, he did let us borrow it. I remember that the show was on a Saturday, and I believe it started in the late morning. We arrived at Kezar Stadium early on Friday morning, and we were among the first to get there. There was even a newspaper photo (which I still have) of us in our sleeping bags being first in line.

When the gates were finally opened, the gate we were at wasn't the first gate to open, but nonetheless we were among the first few hundred people to be let in. As we ran into the stadium, we looked at the stage (which at most shows was about five and a half feet tall) and saw that it was very tall. Maybe about fifteen feet tall. We knew that we couldn't be right against the stage, or we wouldn't be able to see the band. We put our blankets down about thirty feet from the stage, right in the center... perfect.

As the day rolled on and more people arrived, it made a show at Winterland look like peanuts. There were thousands and thousands of people at this concert. The opening act was Roy Harper, and then The Tubes, who I thought were pretty funny, especially when Fee Waybill came out in his platform shoes. Lee Michaels also played a short set.

Now it was time for Led Zeppelin. I had my camera primed with film, and I was ready to shoot their performance. They finally walked onto the stage, and the crowd went crazy. Then, it was a sound issue or something else, but the band suddenly walked off. I was wondering what in the heck was going on, but they soon came back out and played an amazing set.

One of the most odd memories I have of their performance is that, about a third of the way into it, I started to feel sick. It must have been the sun, the lack of food, and being among so many people, but I can remember going down on one knee to rest. Then I heard Jimmy Page start to bow his guitar, and instantly felt better. Throughout their set, I was mesmerized by the showmanship of the band. It was truly one of the best performances I have ever seen, and I'm glad I have the photos to prove it.

Michael: Seeing Led Zeppelin at Kezar Stadium was one of the major highlights of my youth. I was nineteen years old when they came to San Francisco in 1973. I was a devout fan of their music, having followed them from the release of their first album, but had I never seen them perform, so I was greatly excited by the prospect of their appearance in the Bay Area.

We began our adventure weeks before the concert, by waiting all night on a sidewalk, so that we could be among the first to buy tickets. Although the concert was on a Saturday, we joined hundreds of other fans in arriving at Kezar Stadium on Friday, in order to be first through the gates and close to the stage. (David wisely declined to wait overnight at the stadium, but the next day he ended up being near us in the crowd.) I must admit that, from the perspective of middle age, we probably put ourselves through more trouble than was necessary, but the show was general admission and we were determined not to let anything keep us from our goal. It helped that we were young and eager.

The show was opened by Roy Harper, a British singer and songwriter who was a friend of Led Zeppelin. He came out on his own, sitting on a chair with his guitar, gamely singing his songs to a crowd that mostly had no interest in him. (Which was a great shame, because he was an excellent musician.) Roy Harper was followed by The Tubes, a local band who were becoming known for their humorous song, "White Punks on Dope." Their singer, Fee Waybill, wore outlandish clothes and was extremely funny. After The Tubes came Lee Michaels, but for some reason I have no particular memory of his set.

While Roy Harper, The Tubes, and Lee Michaels were performing, most members of the audience were occupied with their own activities, which centered mainly on getting themselves drunk and stoned. My friends and I abstained, choosing to remain completely sober. Once the alcohol and drugs had taken hold, the general situation began to get a bit depraved, with many people around us acting in an objectionable manner. I had not witnessed so much excessive behavior since December, 1969, when I attended the infamous performance given by The Rolling Stones at the Altamont Speedway. (My account of that concert can be found here.)

When Led Zeppelin finally appeared, there was a feeling of excitement throughout the stadium, but the band had a problem with their sound as soon as they started to play, forcing them to stop before they had finished their first song. After an awkward delay, they started again, quickly kicking into high gear with "Rock and Roll," played loud and fast. Robert Plant, standing at the front of the stage, looked as he always did in those days, with abundant hair and tight jeans, while Jimmy Page was sharply attired in a white suit and two-tone shoes. John Paul Jones and John Bonham were less showy, but they made essential contributions to the music. It was an absolute thrill to see all four of them on stage.

For several hours, as Page, Plant, Jones, and Bonham charged through one famous song after another, I was utterly enthralled by the electric majesty of Led Zeppelin. When I got home that evening, I wearily fell into my bed and slept until the next afternoon. It had been an overwhelming day, long and hot and uncomfortable, but also a day that I would never forget.

After the concert

More about Led Zeppelin at Kezar Stadium here

More about Led Zeppelin at David's Rock Scrapbook

A review of a performance by Robert Plant in Portland, Oregon, in 2011 here

Next: Savoy Brown

MANFRED MANN'S EARTH BAND: JUNE, 1974

2010-07-20T16:10:00.000-07:00

Manfred Mann

Manfred Mann's Earth Band
Winterland, San Francisco
June 1, 1974

(All photos by David Miller)

Mick Rogers

Editor's Note: Photos and memories of an earlier performance by Manfred Mann's Earth Band at Winterland can be seen here.

David: I saw Manfred Mann's Earth Band perform twice at Winterland. The first time was February 10, 1974. They were second on a bill under Uriah Heep. The next time was only four months later, on June 1, when Kiss opened the show. Manfred Mann's Earth Band was, again, second to appear, and Savoy Brown topped the bill.

Colin Pattenden, Mick Rogers

In those days it was not unusual to see a rock band more than once within several years. I saw Peter Frampton and Robin Trower three times each, and many others twice. The performances tended to be very much the same, from show to show. The only difference being new songs that were introduced to promote a new album. Occasionally, a member or two had left and had been replaced with new blood, but most bands had a certain look and sound and stayed with it.

Manfred Mann's Earth Band was no exception to the rule. They seemed to be wearing the same outfits in both of the shows that I saw. Mick Rogers had his sharp white suit. Chris Slade was in the same Asian outfit with head band. Colin Pattenden wore the same flowery tunic. Manfred Mann had the same steel mesh vest and short-sleeved shirt. I couldn't help but think about the logistics of them having their clothes cleaned and pressed in time for the next show. Maybe they rotated their outfits and we just happened to catch the same ones twice.

I enjoyed their albums and thought the band was tremendous live. They had obviously polished their act. I probably considered not photographing them a second time, but I think I wanted to try and get better shots. It was always a bit of a crap shoot taking pictures at concerts. There were always obstacles, like bulky stage monitors, or a singer who never pulls his face away from a microphone or sits behind a piano. Some musicians never stand still for a second, and sometimes the lighting seemed to be designed more for a funeral than a rock concert.

Then there were the great concerts, where the band was well lit and stood in one place, close to the edge of the stage. I would feel like Cecil B. DeMille, framing a shot of my lead actor. The photos I took the second time I saw Manfred Mann's Earth Band are among my favorites. One particular shot of Mick Rogers, eyes closed, leaning forward with a leans flare off the back light, is iconic.

Chris Slade

More about Manfred Mann's Earth Band at David's Rock Scrapbook

Next: Led Zeppelin

ROBIN TROWER: NOVEMBER, 1973 & MAY, 1974

2010-07-01T16:18:00.000-07:00

Robin Trower

Robin Trower
Winterland, San Francisco
November 3, 1973/May 25, 1974

(Photos 1-6 by Dan Cuny)
(Photos 7-36 by David Miller)

Robin Trower started out as a guitarist with The Paramounts, in Southend-on-Sea, Essex, England, in the early 1960s. He later came to fame as a member of Procol Harum, a British band known for "A Whiter Shade of Pale," one of the biggest hits of 1967. (Although Robin Trower had not yet joined the band when that particular track was recorded.) Procol Harum played music that usually featured piano and organ in the forefront, but Robin Trower's distinctive tone on the guitar became a key element of their early songs.

James Dewar

In 1971, Robin Trower left Procol Harum. He soon formed a trio under his own name, with James Dewar, formerly a member of the Scottish band, Stone the Crows, on bass and vocals, and Reg Isidore on drums. Their first album, Twice Removed from Yesterday, was released in 1973, and was produced by Matthew Fisher, who also had been a member of Procol Harum. The three musicians toured relentlessly, frequently playing in the USA, and quickly garnered a sizable following.

Robin Trower's second album, Bridge of Sighs, with Matthew Fisher as producer again, was released in 1974. It sold extremely well, received extensive airplay on FM radio, and transformed the guitarist into a major name in rock'n'roll. In addition to "Bridge of Sighs," it featured "Day of the Eagle," "The Fool and Me," "Too Rolling Stoned," and other strong tracks. The hard-working trio became even more widely known than Procol Harum.

Robin Trower, James Dewar, and Reg Isidore were not particularly showy musicians, but their performances at Winterland had a sweaty directness that was undeniably exciting. The wild and unearthly sounds that Robin Trower achieved on his Stratocaster, combined with the bluesy voice of James Dewar and the heavy drums of Reg Isidore, had an overwhelming power. They connected with audiences through the sheer force of their talent, without reliance on tricks or distractions.

Although Robin Trower had to endure repeated (and quite unnecessary) comparisons between his musicianship and the astonishing musicianship of Jimi Hendrix, his careful mastery of the guitar proved, beyond any doubt, that he was a worthy and strong-minded musician in his own right. He succeeded by steadfastly dedicating himself to following a musical path that required equal parts of boldness and inspiration.

David: I saw Robin Trower three times at Winterland. He was third on the bill, under Mark-Almond, the first two times. The third time he was second on the bill under Sha Na Na. (I felt he should have been the top act.) Each time I saw him, he wore similar clothes. His performance didn't change much, but it was great music each time.

Even though Robin was the star, I loved James Dewar's vocals. He filled the air effortlessly with his smooth, deep voice. Robin's guitar and James' voice were a perfect match. I liked that they were a three piece and could reproduce the songs from the albums without adding other musicians. On "Man of the World," Robin would fill in the extra vocal ("I want to be, I got to be"), but I had to cringe a bit because, as great as his guitar playing was, his vocals were not so great.

A lot has been said about Robin Trower being influenced by Jimi Hendrix. I admire Robin for acknowledging that and not trying to cover it over. I felt that Robin and his band mates had developed their own sound. I remember at one point during one of the performances someone behind me held up a poster of Jimi Hendrix for Robin to see. I saw him look down at the poster, with a smile and a nod. I thought that was great and wished I could have been in a position to get a photo of the moment.

We waited outside Winterland with a few other fans, and were able to meet the band and get their autographs. Both Robin Trower and James Dewar were extremely nice in person. They chatted with the crowd and thanked us all for the compliments that we heaped on them. I remember how frail James Dewar looked. He was soft-spoken and had an accent that made it impossible for me to understand anything he said.

Gary: I remember we saw Robin Trower three times at Winterland - in 1973, after the band had first formed, and in 1974, when Bridge of Sighs was out and filling the FM airwaves. Once at third on the bill, and then the next two times at second on the bill. James Dewar sang and played bass, and the powerful Reg Isidore was on drums.

I remember hearing tracks from the great first album, Twice Removed from Yesterday: "Man of the World," "Daydream," the title track, which was wonderful, and "I Can't Stand It," which I remember being a real burner. I really love Side One of the first album - it's masterful. Although I was a big Procol Harum fan, I appreciated Robin Trower leaving and forming his own band. He was, and still is, an amazing guitarist. I remember feeling a bit of pride, like a father, when Matthew Fisher did the production and played organ on the first album. It was like they were kids, doing things on their own, following their own talents instead of lending those talents to Procol Harum. They had liberated themselves.

James Dewar was a great man. I loved his work on the early Stone the Crows albums. He had an incredible voice with great expression. I have a video of him playing and singing with Stone the Crows, with Les Harvey and Maggie Bell - what a band!

Robin Trower was strongly influenced by Jimi Hendrix. I remember at one of the concerts, one of his fans rushed the stage with a big blown up picture of Jimi Hendrix surrounded by a garland of flowers, and put it at Robin Trower's feet. Robin Trower was all smiles and nods - he appeared to appreciate it.

Dan: I can remember wanting to see Robin Trower the first time we saw him at Winterland, in August, 1973. I had purchased his first album since he left Procol Harum, Twice Removed from Yesterday (recorded with his band mates James Dewar and Reg Isidore), and had played it many times. That first time, Robin Trower was the third act on a bill of four bands, appearing ahead of Poco (not a big fan of that band) and Mark-Almond (who we had seen four months earlier, opening for John Mayall), and after David Blue.

I can still remember when the band took the stage. Dewar to the left, and Trower right in front of me, playing his Fender Stratocaster. I don't remember all the songs they played, but I do remember them playing "Twice Removed from Yesterday" and "Daydream," which were two of my favorite songs from the album.

The second time we saw the band was in November, 1973. I can't remember too much different from the first time we saw them. I do remember that the band was always very tight. Robin Trower's solos, with him holding notes for a long time, came across extremely well. James Dewar's vocals were just as clear as they were on the albums. I can also remember looking in the viewfinder of my camera and thinking I had caught some pretty good images of the band. Looking back at the images reminds me of what a tight band they really were. I am very happy to have seen them in what I feel was their heyday.

Michael: I had been a fan of Robin Trower for a long time, going back to his years with Procol Harum. Even then the sound of his guitar stood out. When he formed his own band, much was made of his musical debt to Jimi Hendrix, but I felt that such comments were overdone, and I never took them too seriously. He certainly owed something to Jimi Hendrix, as most guitarists of that period did, but he clearly had a style that was his own.

We had the opportunity to see Robin Trower perform several times at Winterland, when he was working his way to the top after leaving Procol Harum. He did not jump about in the manner of Pete Townshend and other guitarists, but his skill on the guitar, and the fire of his music, always made a deep impression. When he played "Daydream," a slow and sleepy song from his first album, it seemed that time stood still.

We met the musicians outside the stage door after one of the performances. Robin Trower seemed fairly reserved, but he was gracious about signing autographs. Reg Isidore was more outgoing and seemed surprised by our interest in him. James Dewar was an affable fellow, but his Scottish patter was utterly impenetrable to my ears, so I merely smiled and nodded as he chatted with me, without knowing what he actually was saying.

More about Robin Trower at David's Rock Scrapbook

Next: Manfred Mann's Earth Band (a second performance from 1974)

GOLDEN EARRING: MAY, 1974

2010-06-17T13:55:00.000-07:00

Barry Hay

Golden Earring
Winterland, San Francisco
May 25, 1974

(All photos by David Miller)

George Kooymans

(Editor's Note: Although the members of Golden Earring are from the Netherlands, not the United Kingdom, we are happy to feature these photos and memories of their performance at Winterland.)

The Golden Earrings (later changed to Golden Earring) were formed by George Kooymans (guitar, vocals) and Rinus Gerritsen (bass, keyboards) in the Netherlands, in the early 1960s. Several singers and drummers passed in and out of the band during the next few years, but at the beginning of the 1970s, there was a steady lineup of George Kooymans, Rinus Gerritsen, Barry Hay (vocals, guitar, flute), and Cesar Zuiderwijk (drums).

Rinus Gerritsen

Golden Earring, in common with most bands in Europe, started out by looking to the UK and the USA for musical inspiration, before finding their own direction. Their first album, Just Earrings, was released in 1965, followed by Winter Harvest in 1967 and Miracle Mirror in 1968. In 1969, after establishing their name in the Netherlands, they undertook their first tour of America, supporting Led Zeppelin and other famous bands. During the early 1970s, they toured Europe in support of The Who.

Cesar Zuiderwijk

In 1973, Golden Earring finally achieved a strong breakthrough with "Radar Love," a single taken from their latest album, Moontan. "Radar Love" became a major hit in Europe, the UK, and the USA. On the strength of that hit, they quickly became more widely known to new audiences and toured extensively, particularly in America.

Golden Earring had sharp abilities as performers, displaying the sort of practiced showmanship that results from spending many years on the road. Barry Hay was an active figure on stage, singing and playing his flute with vigorous flair. George Kooymans was an expert guitarist, slick and forceful, but careful not to overplay. The bass of Rinus Gerritsen and the drums of Cesar Zuiderwijk provided a strong underpinning for the overall sound.

David: We waited all day and, once again, were able to be right at the front of the stage at Winterland. Golden Earring was the opening act. Robin Trower followed, with Sha Na Na topping the bill. We left before Sha Na Na came on stage.

Golden Earring had hit the charts with "Radar Love." That was the only song of theirs that I had ever heard, so I didn't know what to expect from a Dutch rock band. They were dressed slick. They played very tight and rocked hard. I remember the intensity they displayed and the sweat streaming down their faces. The vocals sounded English. It was difficult to believe that they were from the Netherlands. Barry Hay was very lively and versatile. I was surprised that he also played the flute. I found that to be different than most other bands. I only knew of one other, Jethro Tull.

I remember the crowd cheering when the drummer and bass player started off "Radar Love." The crowd surged forward and pressed me up against the stage. They were bouncing to the beat. Between singing and playing his flute, Barry Hay would pantomime driving a car. At the end of the set, the drummer leaped up in the air over his drums with an explosion behind him. That was very exciting. I managed to photograph part of him as he was airborne. I thought he was going to land on top of me!

They were an excellent live band and very professional. I had a great time photographing their performance. They looked sharp and the lighting was perfect. The photos turned out to be some of the best that I ever got.

Michael: Golden Earring put on a great performance at Winterland. Although they were Dutch, they had many of the same qualities that I had seen in British bands. They were flashy and exciting, making the most of their time on stage, and they clearly knew how to engage an audience.

Barry Hay, the singer, worked hard to keep things moving from one song to the next. He frequently did a funny sort of dance, playfully moving from one side of the stage to the other, and with his curly hair and flute, he made me think of the Greek god, Pan. George Kooymans also worked hard with his guitar, and looked particularly good in his leather pants and stylish jacket.

After their final song, there was a burst of light and smoke behind the drummer, Cesar Zuiderwijk. At the same moment, he jumped forward, over his drums, and landed on his feet at the front of the stage. It was an amazing thing to see.

More about Golden Earring at David's Rock Scrapbook

Next: Robin Trower