Music Legends - The Queen Special Edition 2019

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2 Music Legends
CONTENTS
Issue 1
6 Features
6 Queen
A Bohemian Rhapsody
18 The Clash
From Early Days to the Punk Explosion
38 Bruce Springsteen
From Asbury Park to E Street
50 Fleetwood Mac
The Making of Rumours
62 Eagles
Joe Walsh on the Making of Hotel California
70 David Bowie
18 When Ziggy Played Guitar
78 U2
The Road to War – In Their Own Words
REGULARS
28 The Big Questions
What is the Greatest Album of All Time?
FILM
62 70 14 Bohemian Rhapsody
The Global Film Sensation
83 Subscribe
78
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Editor’s Welcome
Music Legends Welcome to Music Legends the interactive magazine for music lovers.
Music Legends brings the magic of the digital age to the world of
Editor Harriet Carruthers music magazines.
harriet@musiclegendsmagazine.co.uk
Just as the title suggests, Music Legends features a great range of articles featuring
Subscriptions new insights into the biggest names in the history of rock music. Sure, the music is
Warners Group Publications plc. powerful, but so too are the tales of the darker underside of fame and fortune; the
subscriptions@warnersgroup.co.uk booze, the fights, artistic differences, the drugs, the splits, the lawsuits, the politics and
so much more. With Music Legends there is a whole new digital dimension for you to
Advertising Adrian Clay enjoy. Today, the modern reader is no longer limited to simply what can be conveyed
adrian@musiclegendsmagazine.co.uk on the printed page, so check out what treats are on offer inside this issue below.
Reviews and Gigs
info@musiclegendsmagazine.co.uk Video Podcasts
Design Matt Hicks Music Legends breaks the mould of music magazines with a fantastic suite of
companion video podcasts. These free podcasts complement and expand upon the key
Podcasts Steve Averill articles in the magazine and provide an extra dimension to your reading experience.
Publisher We at Music Legends are proud of our ability to get right under the skin of the music
Coda Publishing Ltd. to discover what makes the greatest moments happen. We have teamed up with some
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While every effort is made in compiling Music
exclusive video content featuring Queen on Freddie
Mercury with interviews of Freddie’s mum and his sister,
QUEEN
Legends Magazine we can not be held responsible ONE VISION
for errors or omissions. All rights reserved. Linda Ronstadt on the birth of the Eagles, Angie Bowie on
No part of this publication may be reproduced
the early days of David Bowie, and U2 reflecting on the ups DIG DEEPER INTO THE STORY
or transmitted in any form or by any means,
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Orchestra and performed by the London Symphonia.
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4 Music Legends
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Music Legends 5
6 Music Legends
QUEEN A Bohemian Rhapsody
One of the most flamboyant, outrageous and best-loved bands of
all time – Queen is nothing if not bold. It is this boldness that made
the band superstars, and secured a legacy that sees them selling
out arenas to this day. Here we look the story of Queen from their
infancy to the release of the classic album A Night at the Opera.
On 5 September 1946, Jer Bulsara boarding school near Bombay, and Clapton at the local club – they were
gave birth to a handsome baby finally moved to England when Freddie really hot news!’
boy in Zanzibar, an African Island was seventeen, as a result of the 1964 Roger Taylor was born on 26 July
situated just off the coast of mainland Zanzibar Revolution. 1949, in King’s Lynn, Norfolk, and also
Tanzania. Farrokh Bulsara was the Nearly 5,000 miles away in England – recalled an early fascination with music,
first of two children born to Jer and her long before Freddie had even set foot on reminiscing, ‘I remember when I was a
husband Bomi, a civil servant working its green and hallowed land – three other really young kid, I was inspired by Jerry
for the British government. Living a boys were born between the years 1947 Lee Lewis, Little Richard, all the really
fairly restricted childhood, Farrokh and 1951. Brian Harold May was born early rockers. I didn’t even have a record
stated years later, ‘I was a very insecure at Gloucester House Nursing Home to player at the time! My cousin had one
young boy, probably because I was a bit Ruth and Harold May, and soon became though. Later on, my big all-time heroes
sheltered.’ fascinated by the music industry: ‘When became: Jimi Hendrix, John Lennon
Raised a Zoroastrian, a devotee of a I was a boy, we used to play a lot in and Bob Dylan. Archetypal influences I
philosophical religion based upon the the lunch hour in the cycle sheds. We suppose, but why not?’
idea of one true Creator, Farrokh (also weren’t allowed to play in the school Three years later, on 19 August 1951,
known as Freddie) grew up alongside his ’cos rock music was unacceptable, not John Deacon was born in Leicestershire,
sister Kashmira, and the two of them, cultural, so it was kind of underground. completing the foursome that would
along with their parents, moved to We’d go and see bands around become one of the biggest British rock
India when he was just seven years old. Richmond and Twickenham, and I saw bands of all time. The seeds of Queen had
They were later educated at an English people like the Yardbirds, the Stones and been sown, and this is their story…
Music Legends 7
likes of Ibex and Wreckage. Freddie
John Deacon and Freddie Mercury setting out on the road to superstardom.
was becoming closer and closer with the
Smile boys – as Staffell drifted further
and further apart from them – and it
wasn’t long before Staffell decided that
Smile was not for him, and Freddie was
brought in as lead singer in his place.
Smile also began the long search for
a new bass player, initially settling on
Barry Mitchell. Freddie quickly stamped
his authority on the band, changing
the band’s name from Smile to Queen,
stating, ‘Years ago I thought up the name
Queen… it’s just a name, but it’s very
regal and it sounds splendid. It’s a strong
name, very universal and immediate.
It had a lot of visual potential and was
open to all sorts of interpretations. I was
certainly aware of the gay connotations,
but that was just one facet of it.’ Deciding
his own name also needed a makeover,
Freddie Bulsara found inspiration for
a new one when writing the song My
Fairy King, which contains a verse with
the lyrics ‘Mother Mercury, look what
they’ve done to me.’ Bulsara was quick
to latch on to Mercury as a name, and
subsequently took the stage name Freddie
Mercury; a name better suiting the stage
persona that Freddie described as an
‘extroverted monster’.
When bassist John Deacon joined
the group in 1972, the band was finally
complete. Queen began to rehearse
for their first full-length release – the
eponymously titled Queen – but struggled
to find a label to market the finished
product. Roger Taylor later recalled the
trying time reflecting, ‘We had quite a
difficult genesis. It was very difficult for
us to get a contract, to be accepted in any
way. But many groups went through that,
and it does engineer a kind of “backs to
the wall” feeling in a band. So we felt
As a young man Roger Taylor formed Queen’s soon-to-be bassist John very strong together.’
a band called Johnny Quale and the Deacon, was also in a mildly successful When they were eventually picked up
Reaction. The future Queen drummer band at the time, and with Deacon’s by EMI, it had been eight months since
travelled the length and breadth of the group getting booked most weekends in Queen had completed their debut album;
country with his band, competing in The New Opposition, it was clear that all by which point the group had almost
various talent contests. Eventually they three artists were on the rise. grown out of it. Years later, Brian May
downsized their name to Reaction, and In 1966, Brian May was busy studying talked about the lengthy process, stating,
became a constant on the music scene for a degree in astronomy at Imperial ‘The album took ages and ages – two
throughout the mid-1960s. College in London. As well as performing years in total, in the preparation, making
At the same time, Brian May had with 1984, May was playing in a band and then trying to get the thing released.’
taken inspiration from author George called Smile with singer and bassist Tim The press barely paid any attention to
Orwell, and was playing in a band named Staffell; a band that Taylor also joined Queen at first, yet the album did succeed
after one of Orwell’s most famous novels after answering an advert on a notice in giving the band their first radio hit
– 1984. They enjoyed even more success board at the Imperial College. through Keep Yourself Alive, which, as
than Taylor’s Reaction, played sold out Freddie Bulsara was Staffell’s Mercury himself remarked ‘… was a very
gigs across the country, and even picked roommate at the time, and followed good way of telling people what Queen
up a support slot with Jimi Hendrix in Smile closely – turning up to rehearsals was about in those days.’
1967. Unfortunately this success was as well as most of the band’s gigs. At A mixture of mostly Led Zeppelin
short lived as conflicts within the band the time, Freddie was also big on the inspired rocking numbers, as well as a
meant they split soon after. scene in his own right, singing with the hint of glam rock, Queen slowly bubbled
8 Music Legends
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on 11 December 1977, recorded during the Buenos Aires on 28 February 1981, when the
News of the World tour. band were busy promoting The Game.
Featured tracks include: Featured tracks include:
Somebody to Love, Death On Two I’m In Love with My Car, Save Me,
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Music Legends 9
Queen in 1976. From left: Freddie Mercury,
Brian May, Roger Taylor and John Deacon.
under the radar, and the album was Reflecting on the success of Queen people like the band.’ Speaking a few
passed over by the critics and the band II Roger Taylor remarked, ‘We took so years later Taylor added that, ‘It’s very
alike. Roger Taylor, for example, recently much trouble over that album, possibly difficult to choose one album I prefer out
recalled, ‘There were lots of things on the too much, but when we finished we felt of all of them. But I do like a lot of the
first album I don’t like, for example the really proud. Immediately it got really work on the second album, second side.
drum sound. There are parts of it which bad reviews, so I took it home to listen to It all runs into one – very epic. Musically
may sound contrived but it is very it’s quite daring because we did lots
varied and it has lots of energy.’ of counter seven part harmonies
Touring the album in support
of Mott the Hoople, Brian
“I thought up the name and things.’
Later that same year, the third
May quickly became infatuated Queen… it’s just a name, studio album Sheer Heart Attack
with the glam-rockers from was released. Killer Queen – the
Hertfordshire, England, and but it’s very regal, and it first single – proved to be the
there are clear signs of the band’s album’s standout track, and a
influence throughout his own sounds splendid. It’s a strong major jumping-off point for the
writing career.
In 1974, Queen quickly
name, very universal and band. Shooting into the Top 10
of the UK Single Charts, as well
followed up the small success of
their first studio outing with two
immediate.” as peaking at No. 11 in the US
Billboard Single Charts, the track
new releases, the first of which was
Queen II, featuring hit single Seven
Freddie Mercury combined the Led Zeppelin-esque
sound of their first two albums,
Seas of Rhye. The album garnered along with Mercury’s grandiose
the band a plethora of new fans, and and thought, “Christ, are they right?” But music hall stylings. Brian May quickly
despite the album as a whole being highly after hearing it a few weeks later, I still picked up on the track’s importance:
experimental and gaining little critical like it. I think it’s great. We’ll stick by it. ‘Killer Queen in 1974, was the turning
acclaim, Seven Seas of Rhye went to No. 5 Considering the abuse we’ve had lately, point. It was the song that best summed
in the charts, and Queen were more than I’m surprised that the new LP has done up our kind of music, and a big hit, and
pleased with the results. so well. I suppose it’s basically because we desperately needed it as a mark of
10 Music Legends
something successful happening to us.
We were penniless, you know. Just like ’39
another struggling rock ’n’ roll band. All An acoustic number, ’39 features
sitting around in London bedsits, just like Brian May on lead vocals, and really
the rest.’ showcases his talents to great effect.
Sheer Heart Attack proved to be a ‘Sci-fi skittle’ in nature, the track also
big success all over Europe, and even features some pretty good double bass
managed to go gold in the United States from Deacon. ‘In the land that our
– a sure sign that Queen was a band to be grandchildren knew…’
watched. Speaking about the album, John
Sweet Lady
Deacon commented, ‘I have the feeling ‘You call me up and feed me all the
that the whole thing is getting a bit more lines, You call me sweet like I’m some
professional all round. We are, after kind of cheese, Waiting on the shelf,
all, on our third album. I’ve got more You eat me up, You hold me down,
confidence in the group now than ever I’m just a fool to make you a home.’ A
before. I was possibly the one person who Brain May penned heavy metal track,
could look at it from the outside because Released on 21 November 1975, A Sweet Lady is loud and riff-heavy.
I was the fourth person to join the band. Night at the Opera was the fourth Nothing spectacular, this is regarded
studio album from Queen. This was by many as the album’s worst track.
I knew there was something there but I
the release that launched Queen in
wasn’t so convinced of it. Till possibly to superstardom, and provided the Seaside Rendezvous
this album.’ band with their first UK No. 1 in the With their voices alone, Taylor and
Mercury expanded on this after form of Bohemian Rhapsody. Freddie Mercury imitate piccolos, flutes,
harsher critics described the album Mercury personally designed the trumpets and tubas on this one. They
as nothing more than a collection of band logo featured on the cover, also imitate tap dancing sounds with
singles, in spite of it generally being seen which is typically overstated and their fingers. Ridiculously innovative,
as a cohesive long-player with a wide regal, whilst a Marx Brothers film Seaside Rendezvous is another Mercury
variety of musical genres, including of the same name inspired the title high society track.
of the album. Widely regarded as
ballads, ragtime and heavy metal: ‘Not
Queen’s magnum opus, A Night at The Prophet’s Song
a collection of singles, dear – although the Opera was justifiably the most A Brian May epic: The Prophet’s Song
we might draw another one off later for a expensive album ever recorded at the features some stunning guitar work,
single. I’m not absolutely sure about that, time of its release. and complicated production. Multi-
though. No, not all the numbers last for layered and multi-tracked all over the
ages. There were just so many songs we Death On Two Legs (Dedicated to…) place, this track still doesn’t feel too
wanted to do. And it makes a change to A hate song aimed at Queen’s ex- over-produced. Well thought through.
have short numbers. It’s so varied that we manager, Death On Two Legs is a
were able to go to extremes. I only had snarling rocker, opening this classic Love of My Life
album up with an admirable bang – One of Mercury’s most covered songs,
about two weeks to write my songs so
‘You’re just a sewer rat decaying in a Love of My Life is a tender piano and
we’ve been working fucking hard.’ cess-pool of pride.’ harpsichord number, influenced by
It was at this point that Queen started Chopin and Beethoven.
to make a name for themselves with their Lazing On a Sunday Afternoon
onstage theatrics, in particular those of The Mercury penned Lazing On a Good Company
front man Freddie Mercury, who had Sunday Afternoon is the polar episode With vocals and ukelele by May, Good
fast become a remarkable entertainer – to Death On Two Legs, switching Company is another Brian May classic
dressing in satin, sequins and leaping all mood to one of over-the-top silliness. to rival The Prophet’s Song. The jazz
Lazing On a Sunday Afternoon shows break at the end involved the complex
over the place.
Mercury’s penchant for songs about recording of May’s guitar in every
Following the dismissal of Norman
high society to good effect. possible way imaginable. The lyrics,
Sheffield, the follow-up to Sheer Heart too, are particularly poignant here.
Attack arrived a year later under new I’m In Love with My Car
management. The opening track of A A Roger Taylor stalwart, I’m In Love Bohemian Rhapsody
Night at the Opera, Death On Two Legs, with My Car also features Taylor on The crown jewel track of (arguably)
proved to be a reference to the whole lead vocals. Filling in the gaps with Queen’s crown jewel album, Bohemian
sordid affair, and Mercury later stated, squealing race-car impersonations on Rhapsody couldn’t get anything other
‘As far as Queen are concerned our old his guitar, May’s work is admirable than five stars. In the style of a rock
here. It should come as no surprise opera, and with the most unusual
management is deceased. They cease to
that this was a live favourite for many, structure for a piece of popular music,
exist in any capacity with us whatsoever. the track’s six different sections
many years.
One leaves them behind like one leaves feature both a cappella and heavy
excreta. We feel so relieved!’ Queen’s new You’re My Best Friend metal arrangements. Nothing short of
manager was John Reid, who also handled John Deacon’s first credited single incredible. ‘Shall we do the fandango?’
Elton John’s career at the time – an artist – You’re My Best Friend is a song
that the band later collaborated with. written for his wife, with piano and God Save the Queen
Considered by many to be the band’s overdubbed bass lines. A simple, yet A possible homage to Jimi Hendrix’s
strongest ever outing, A Night at the beautiful song of love and devotion, version of The Star-Spangled Banner.
with some great electric piano. Overt. Pure Queen excess.
Opera featured what is also widely
considered to be the group’s greatest ever
Music Legends 11
In real life Freddie was rather shy and introverted.
He described his on-stage alter ego as ‘an extroverted
monster’. Queen are seen here on stage in March 1977.
track in form of the massive worldwide on, stating, ‘Well, Freddie didn’t like the all over the world, proved that Queen had
hit, Bohemian Rhapsody. The song reached electric piano, so I took it home and I finally made it big on the popular music
No. 1 all over Europe, and even hit the started to learn on the electric piano and scene.
Top 10 in the United States. Bohemian basically that’s the song that came out
Rhapsody earned Mercury an Ivor Novello you know when I was learning to play This article is an extract from One Vision,
award, was promoted by a revolutionary piano. It was written on that instrument the Queen Special Edition of Music Legends.
Available now at issuu.com.
music video, and is the second most and it sounds best on that. You know,
played song on British radio. Years later, often on the instrument that you wrote
Mercury tried to explain the appeal of the song on.’
the track reflecting, ‘It’s one of those Throughout this period, the band
songs which has such a fantasy feel about spent much of their time promoting and
it. I think people should just listen to it, gigging the album, including a huge free
think about it, and then make up their gig at Hyde Park in front of over 150,000
own minds as to what it says to them. people. Brian May later ruminated on
Bohemian Rhapsody didn’t just come out the concert’s importance to the band DO YOU WANT SOME MORE...?
of thin air. I did a bit of research although remarking, ‘I think that Hyde Park
it was tongue-in-cheek and mock opera.
Why not?’
was one of the most significant gigs in
our career. There was a great affection CLICK HERE FOR THE
The album also featured another major
hit in John Deacon’s, You’re My Best
because we’d kind of made it in a lot of
countries by that time, but England was COMPANION PODCAST
QUEEN
Friend. Peaking at No. 14 in America, still, you know, we weren’t really sure if
it was unlike anything Queen had done we were really acceptable here. So it was
up to this point, and proved to be a a wonderful feeling to come back and see
forerunner for the myriad hits that the that crowd and get that response.’ ONE VISION
band became famous for. Deacon later A commercial and critical smash hit,
talked about how Mercury originally A Night at the Opera went three times DIG DEEPER INTO THE STORY
hated the track, especially the Wurlitzer
organ that the bassist had composed it
platinum in the United States, and this
success, as well as playing sold out venues
WITH OUR COMPANION PODCAST
12 Music Legends
QUEEN – GREATEST HITS FOR CHAMBER ORCHESTRA

Limited Edition CD
Also Available On Limited Edition White Vinyl
Get ready for some Baroque ‘n’ Roll – introducing the greatest music in the history of rock
as you’ve never heard it before… These limited edition releases feature the music of Queen
arranged for chamber orchestra. The outstanding quality of Queen’s music can be found in
the brilliant combination of melody and form that underpins the works and allows Queen’s
music to be presented in a challenging new shape.
Featured tracks include:
We Are the Champions, Killer Queen, Under Pressure, The Show Must Go On,
Crazy Little Thing Called Love, You’re My Best Friend, Don’t Stop Me Now,
Somebody to Love, Bohemian Rhapsody and God Save the Queen.

Music Legends 13
BOHEMIAN
RHAPSODY
The Global Film Sensation
14 Music Legends
Released in October 2018, Bohemian The acrimony did not end there, with It proved to be another two years
Rhapsody has been proving a Queen hitting out at Baron Cohen, before Bohemian Rhapsody finally found
controversial hit ever since. stating that it was in fact their decision the star they were looking for in the form
The British/American venture was to let the star go from the project. When of popular American actor Rami Malek.
initially announced back in 2010, with questioned about the departure Roger Known for his breakthrough role on the
Borat star Sacha Baron Cohen attached Taylor remarked, ‘We felt Sacha probably television series Mr. Robot, Malek proved
to play Mercury. Unfortunately this wasn’t right in the end. We didn’t want to be the perfect man to play Mercury,
partnership was short lived with Baron it to be a joke. We want people to be bringing the star power such a large
Cohen soon leaving due to creative moved.’ Brian May also added that he had production requires, and the acting chops
differences. It was speculated at the time found the comedy star to be ‘distracting’. to portray the nuanced eccentricities of
that this is due to disagreements with English actor Ben Wishaw was the Queen front man.
the band members of Queen, who had brought in as a replacement lead in 2013; Changes to the cast were by no means
both script and director approval, the only problems faced during the
and in particular with Brian May, production of Bohemian Rhapsody,
whose opinion he disagreed with
regarding the direction of the film.
“Like Queen, Bohemian with departures behind the scenes
also having a huge impact on the
Baron Cohen later flamed the fires Rhapsody is three parts good picture. Director Brian Singer was
of this apparent feud stating that fired from the film in December
he considered Brian May to be an but not terribly exciting, 2017, after reports of clashes with
‘amazing musician [but] not a great the cast and other crewmembers.
movie producer.’ and one part absolute joyful, Director Dexter Fletcher had
Although he declined to point been involved in the film’s early
out any one figure as the root of fabulous entertainment that production, and was brought in
the difficulties, Baron Cohen did
elaborate that, ‘A member of the
makes you forget everything to complete the title after Singer
became ‘unexpectedly unavailable’.
band – I won’t say who – said, else around it.” Singer had already overseen
“You know, this is such a great the majority of the principal
movie because it’s got such an Olly Richards – Empire photography for the picture,
amazing thing that happens in and in Fletcher’s hands filming
the middle of the movie.” And I finally wrapped up in January
go, “What happens in the middle of the however there seemed to be a degree of 2018 – an astonishing eight years since its
movie?” He goes, “You know, Freddie confusion surrounding this appointment. announcement.
dies.” … I go, “What happens in the Despite Brian May expressing his The critical reception to Bohemian
second half of the movie?” He goes, “We enthusiasm for the casting dubbing Rhapsody has been mixed. There was high
see how the band carries on from strength Wishaw ‘a real actor’, there was no official praise for Malek’s performance in the role
to strength.” I said, “Listen, not one contract signed and Wishaw himself was of Freddie Mercury, and the huge musical
person is going to a movie where the lead quoted back in 2014 by Time Out saying, numbers were lauded for their impressive
character dies from AIDS and then you ‘I don’t know what’s happening, it seems effects, however many critics found
carry on to see how the band carries on.”’ to be on a back burner.’ the plot to be lacking and disliked the
Music Legends 15
apparently ‘sanitized’ version of Mercury and two Golden Globes for Best Actor – with us and punching the air. We then,
that the film portrayed. Motion Picture Drama and Best Motion shockingly, walked away with four Oscars
Despite the foot-stomping musical Picture – Drama. With these wins – the top haul of the night. The head
numbers, critics and LGBT activists were Bohemian Rhapsody also took home the of local production came up to me and
concerned about the straightwashing dubious title of being the lowest reviewed shook my hand as we left the auditorium.
of Mercury’s personal life in the film. It Golden Globes winner in thirty-three He said “I’ve been doing the Oscars for
seemed to many that the star’s sexuality years – a title that seems to perfectly show forty years, and that was the best opening
was overly downplayed and that the the juxtaposition of feelings regarding the we ever had!” A lovely moment. So –
picture was not an accurate portrayal as picture. everyone assumes that we would then all
a result. Rami Malek himself has spoken Speaking about the conflicting go forth, deliriously partying with not
on the subject stating that he would opinions surrounding the awards granted a care in the world. But I guess I’m not
have liked to include more of Mercury’s to Bohemian Rhapsody, Brian May that kind of animal. I was, and I am,
‘beautiful relationship with Jim deeply grateful for our Freddie film
Hutton’, and elaborated that the being recognised in a way we never
romance was, ‘… something I
pushed for, to be quite honest, as
“Rami Malek’s had the audacity to expect. But I
found the public activity behind
much as possible and repeatedly impersonation adds a kind the whole awards season, and the
brought to the attention of behaviour of the media writers
producers and directors and of magic to this Queen- surrounding it, deeply disturbing.
everyone who would listen.’ If you look at the Press and Internet
Despite this controversy the film produced rock slog with discussions that took place over the
has gone on to become the highest-
grossing LGBT film ever, as well
a troubling moralistic last few months, you can see that
90% of it is aimed at discrediting
as the highest-grossing musical
biopic of all time. This success was
subtext.” one or other, or all of the
nominated films by innuendo and
mirrored globally and, unusually
for an LGBT project, the film
Steve Rose – The Guardian smears, rather than discussing their
merits and admiring the skills that
was even released in China and went into making them. Vitriol and
Egypt. Although the film was subjected to released this statement through Twitter: dishonesty, and blatant attempts to shame
censorship and edits before being shown in ‘Well, yes. You saw I went very quiet and influence the members into voting
these countries, it is a remarkable feat and after the Oscars were over, signaling the the way they, in their arrogance required
a testament to the passion for the music of end of the whole movie awards season. them to. It’s not the fault of the awards
Queen that is felt around the world. What really happened? We opened panels – they stood up well. It’s a kind
Despite a decidedly lukewarm critical the Academy Awards show in a way of vindictive sickness that seems to have
reception Bohemian Rhapsody went on it’s NEVER been opened before, in an gripped public life. All through it, I’ve
to storm the awards ceremonies of 2019, avalanche of excitement, looking out been biting my tongue, not wishing to
taking home four Academy Awards on an instant standing ovation from a influence the results of the ballots even by
for Best Actor, Best Film Editing, Best glittering audience containing many a hair. But, when the curtain came down,
Sound Editing and Best Sound Mixing, of our heroes, all beaming and singing I was left with very mixed feelings.’
16 Music Legends
QUEEN – OUR GRACIOUS QUEEN

On Limited Edition Red, White and Blue Swirl Vinyl
This is the powerful record of Queen broadcasting live in concert from the USA, Japan and
Argentina. Every copy of this superb collector’s edition is pressed on tri-colour red, white
and blue swirl vinyl. When the album is pressed the three colours combine to form a unique
pattern making each record totally individual – the ultimate Queen collector’s item.
Crazy Little Thing Called Love, Under Pressure, Keep Yourself Alive,
Tie Your Mother Down, Another One Bites the Dust, It’s a Hard Life, Hammer to Fall,
Radio Gaga, I Want to Break Free, Seven Seas of Rhye and Love of My Life.

Music Legends 17
From the early days to the punk explosion
To understand punk one must first understand the band who
mixed art-school sensibilities with working-class ideologies and
political protest, a sense of rock ’n’ roll history with a futurist’s
outlook: that band was The Clash.
More than any other band, The Clash To understand the inner workings when London was placed firmly at the
expanded the notion of what punk of The Clash one must first understand centre of the cultural universe.
was musically by combining genres the pyschogeography of the city that During the period of 1970–1973,
such as reggae, dub, ska, rockabilly, spawned them – London – and the when the members of The Clash were
funk, nascent hip-hop, and much more sociocultural climate of Britain at turning eighteen, the likes of the Beatles
besides – then taking it to the world. the time, both of which the band and the Stones had heralded the way
The Clash was the only band from the inextricably wove into their music and for a new generation of rock bands,
initial surge of energy that comprised their aesthetic. a generation that had dissipated and
the London punk scene in 1976-77 to The future members of the band were diversified into many musical sub-genres
go truly global and to stick around all born in the post-war period, when united by a love of electricity: acid rock,
long enough to enjoy it. The Sex rationing was only just ending and many psychedelia, progressive rock, folk-rock,
Pistols gained international notoriety, aspects of Britain had changed little heavy rock/metal, and glam/glitter rock.
but disintegrated after merely one since Victorian times. Crucially, rock Carnaby Street and the King’s Road
studio album, confirming for many of ’n’ roll and the creation of the teenager had already swung to a new beat,
the old-guard critics that punk was, as a visible demographic and subculture Vietnam had politicised the young, the
indeed, the disposable flash-in-a-pan arrived on these shores during their hippy epoch had peaked with Woodstock
movement that they had suspected it adolescence. The members all came of and Altamont, and rock music was
to be. age in the late sixties and early seventies, moving in different directions. Some
18 Music Legends
Joe Strummer performing at
the Rainbow Theatre in 1977.
directions were darker and heavier, as situation made, by the mid-seventies, inspirational, volatile and subversive
epitomised by such bands as the Stones or for some of the most self-indulgent, than anything that had gone before. Live
Led Zeppelin, who strutted around like overblown rock music ever, being performances were legendary, and though
untouchable other-worldly gods. Others created by the privileged few who had neither band sold many records while
were more self-indulgent and ludicrous, been allowed into the old-boy network they were in existence, they did set a new
such as the absurd fantasy world of establishment that was the British music standard for how far rock music could –
progressive rock or glam-pop hybrids, as industry. and should – be pushed.
was evident in such stars of the day In New York, The Velvet
as Bowie and Bolan. Underground stripped things down
All well and good, but by the ''I was aware of the and painted them black, while in
early seventies in London the their wake the New York Dolls
great British cultural explosion political system early bastardised the bluesy imprint
had passed, and despite what on and... I grew up of the Stones with a hard-edged,
the history books might suggest, if shambolic, street-smart sound
the everyday reality of life and listening to a lot of and flamboyant, confrontational
mainstream culture had been reggae, music that had presentation.
largely unaffected by it. All these bands influenced
Life for the young men and more edge than a lot those few visionaries who decided
women in the street was a far of contemporary music to take this disparate music to
cry from the world of the stars another level, none more so than
presented in NME or on Top of insofar of political Queens quartet the Ramones,
the Pops, who operated from their content...'' whose genius lay in their simplicity
lofty pedestals before retreating to and who debuted in 1974. With
their country mansions or tax- three chords, energy in abundance,
dodging foreign retreats. Most of
Paul Simonon and an attitude that came from a
the drugs they indulged in were very real outsider’s position, they
unaffordable, and sex was not quite as That is exactly where punk came in. showed that a lack of money, good looks,
freely available across the land as the The argument as to when punk and natural musical ability didn’t have
hippies had people believe. actually started rages on today, but we do to get in the way of making exciting
In short, the distance between music know that two late-sixties Detroit bands, music played from the heart. The term
fan and rock star was as wide as it had the Stooges and MC5, took rudimentary ‘punk’ itself passed into everyday use via
ever been; it didn’t involve the young garage rock, amplified it, and turned the fanzine of the same name that first
fans but kept them at arm’s length. This it into something more forceful, documented this initial wave of such
Music Legends 19
The Clash in performance in 1979. (From left) Mick Jones, Joe Strummer and Paul Simonon.
Ramones-affiliated-and-inspired bands was a member of the communist party, church any more, and went on to join
emerging from New York clubs such as while Jones spent a large part of his the Communist party,’ Simonon told me
CBGB’s and Max’s Kansas City in the teen years living with his grandmother, in 2004. ‘But what I couldn’t get was
early mid-seventies. Import copies of Stella, in a West London tower block that how come I was the one out delivering
albums by these bands were only just overlooked the Westway, that Ballardian the leaflets and he was the one at home
filtering through to London, where the concrete flyover road that ran through watching the telly! So I was aware of
charts were largely ruled by inane pop- and over the heart of the city. The the political system early on and also,
and-ballad bands or flares-wearing obviously, because I grew up
progressive rockers; however, this listening to a lot of reggae, music
new sound would have a direct ''...For Joe it was folk that had more edge than a lot
effect on the culture-junkie future of contemporary music insofar
members of The Clash. music - people like of political content. It seemed
Before that, though, it was in Woody Guthrie or Bob normal. For Joe [Strummer] it was
the ethnically diverse and largely folk music – people like Woody
working-class South London Dylan. For all of us Guthrie or Bob Dylan. For all of
areas of Streatham and Brixton, there was the knowledge us there was the knowledge that
respectively, that Mick Jones and a song can be about things other
Paul Simonon (both born 1955) that a song can be than love, kissing, and having a
found entry into music through the about things other nice dance.’
emerging reggae and ska music that While the surly and smart
their classmates turned them on to, than love, kissing, and Simonon attended art school, the
or that they heard booming from having a nice dance.'' more flamboyant and cocksure
sound systems. While Jones was Jones made his first forays into
also into such glam-leaning bands music with his short-lived band
as the Dolls and Mott the Hoople,
Paul Simonon London SS, which featured future
Simonon’s love of ska and reggae Damned and Generation X
led him to the mod and skinhead scenes, influence of such places as the rough- founder members Rat Scabies and Tony
two defiantly working-class subcultures and-ready streets of Brixton, or the bird’s James, and existed from 1975-1976.
united by a love of black music and sharp eye view of the city from Mick’s tower Musicians who had auditioned included
clothes, two key factors that The Clash block, upon the music of The Clash is Jones’ pal Simonon and drummer Terry
would incorporate from day one. almost immeasurable. Chimes.
Both came from working-class origins ‘When I was pretty young my dad One day, while signing on, Jones and
and broken homes. Simonon’s father decided we didn’t have to go to Catholic Simonon famously spotted a face they
20 Music Legends
THE CLASH – THE ONLY BAND THAT MATTERS

Limited Edition 4 CD Set
Also Available On Limited Edition Inca Gold Swirl Vinyl
The Clash were famed for their energy and angst. Their heavily politicised lyrics, relentless
appetite for exploring new musical genres and rebellious edgy attitude had a far-reaching
influence on popular music. These limited edition releases feature highlights from four
legendary broadcasts recorded during the halcyon years of The Clash spanning from 1977–
1983, which culminated in their legendary appearance at the US Festival.
London Calling, Tommy Gun, White Riot, English Civil War, I Fought the Law,
Complete Control, Clash City Rockers, Train In Vain, The Magnificent Seven,
Bank Robber, Rock the Casbah, Should I Stay or Should I Go and many more.

Music Legends 21
thought, and swayed by their ambition,
mischievousness and shared hatred of the
lame rock bands of the day, Strummer
was in, and the nameless band was
formed in May 1976.
Basing themselves at Rhodes’
Rehearsal Rehearsals in Camden’s Stables
Market, the trio began writing songs and
refining a sound, a look, an approach and
an attitude.
The two songwriters, Joe Strummer
and Mick Jones, each took guitar and
vocal duties. Their differing styles
complemented one another. Jones had
a gentler and higher singing voice and a
more fluid playing style, while Strummer
compensated for a lack of melody with
distinct and raw vocals and a stabbing,
rhythmic approach that would be a huge
influence on punk.
Paul Simonon, meanwhile, took up
the easier-to-handle role of bass guitarist.
Though he was only mastering the
basics, with his chiseled film-star looks
and natural sartorial style, he looked
cooler than either of them, and was once
described as ‘the most handsome man in
London’. Also joining this early line-up
was guitarist Keith Levene, who was
a valuable musical foil to Strummer’s
rudimentary rhythm guitar and Jones’
emerging rock-star posturing.
Settling on the name The Clash
(Simonon’s choice, after noticing the
word repeatedly appearing in a copy of
Joe Strummer on stage at the Lochem Festival, Holland, on 20 May 1982. the Evening Standard), they went in
search of a drummer and settled for Terry
Chimes, later credited as ‘Tory Crimes’.
recognised from the London scene – Sex Pistols), Paul and Mick contacted After some intense rehearsal the five-
John Mellor, better known by his more Strummer to join the new outfit they piece group travelled to Sheffield to play
proletarian-sounding nickname Joe were putting together. All involved had their first show at the Black Swan pub
Strummer. Born the son of a diplomat already been to see – and been blow away in July 1976. The following month, in
in 1952, and privately educated, August, they ousted Levene from
Strummer’s background may the band, a – ahem – clash of
have been different from the two ''Bernie Rhodes was personality with Jones has often
stone-faced proto-punks staring been cited as the main reason.
at him, but his love of music and integral to the birth Levene would soon resurface in
desire to do something, anything, of The Clash. After 1978, alongside John Lydon (who
was much the same. After a stint had dropped the ‘Rotten’ epithet)
as a Dylan-and-Guthrie-inspired rehearsals we'd sit down in Public Image Limited, whose
folk singer called Woody Mellor, and ask each other what post-punk output would be as
Strummer was living in a squat musically influential as that of the
and fronting the respected pub- we wanted out of it... We Pistols, and more commercially
rock band the 101ers, who the pair cross-referenced with successful too. Ironically, it was
had seen and enjoyed, particularly a partnership solidified during
its front man’s energised each other and asked...'' The Clash’s debut performance,
performance and aggressive Levene’s memories of which offer a
rhythm-guitar playing. Paul Simonon telling insight into the earliest days
Overseen by their Svengali- of a band, who at that point didn’t
like manager Bernie Rhodes, a always present a united front.
charismatic man intent on instilling by the Sex Pistols, a group of North and ‘The first time I spoke to John about
his own political and cultural agendas West London contemporaries, and it doing something,’ Levene recalled in
into a band (and also the man credited was at a Pistols show that Strummer was 2003, ‘was when The Clash supported the
with introducing John Lydon to the first formally approached. After a day’s Pistols in Sheffield, but I actually knew
22 Music Legends
him beforehand through John Beverley,
who I played in the Flowers of Romance
with, and who as Sid Vicious went on to
join John’s band. So we were both sitting
on our own, and I thought, fuck it, I’ll
go and talk to him because he looked
so fucking pissed off. We both hated
our respective bands. I knew I definitely
wanted to leave The Clash and John
and I had already spoken about getting
together if we did. But I don’t think he
believed I would actually leave them. At
that point the Pistols had a naiveté about
them, which was something purposely
put together by Malcolm and Bernard
Rhodes, the idea of putting flash guitars
in the hands of burglars. The raw energy
of it all inspired me.’
Chimes’ days with this first line-up of
The Clash were also numbered.
As Levene noted, much of this
manoeuvring was down to manager
Bernie Rhodes. Like the Pistols’ manager,
Malcolm McLaren, Rhodes was an ideas-
man, an agitator inspired by anarchism,
situationism, and the student-led Paris
uprising of the sixties. Opinionated and
galvanising, Rhodes was a radical, intent
on applying his ideas to the rock ’n’ roll
format, and it worked. During an early
TV interview, Strummer directed the
camera to Rhodes sleeping nearby and
declared, ‘He invented punk’.
‘You have to understand that Bernie
Rhodes was integral to the birth of The
Clash,’ Simonon agreed, speaking over a Mick Jones (left) and Paul Simonon performing live at the Lochem Festival.
quarter of a century later. ‘After rehearsals
we’d sit down and ask each other what we
wanted out of it, and there’s that famous All the bands were united by a basic with talk of this new movement. Punk
line about Terry Chimes replying, “I grasp of their instruments and a disdain passed into the parlance of young music
want a Lamborghini”, which was fine for for all that had gone before. ‘No Elvis, fans and the record companies began to
him. But, yeah, we cross-referenced with Beatles, or Rolling Stones / In 1977’ pay interest.
each other and asked, “Where are Along with the Pistols, The
we going? What makes this band Clash was certainly the most
different?” rather than, “Let’s all '''Where are we going? tantalising prospect. Though
get drunk, pull birds, and play there was a certain raw shoddiness
guitars”, and that’s it. We wanted What makes this band to their early sound, a constant
more depth, a more human different?' rather than, dedication to their art – including,
approach…’ at various times, living in the
As 1977 rolled in, The Clash 'Let's all get drunk, sub-zero rehearsal space – honed
found themselves perfectly placed pull birds, and play them into a tight band. The songs
and began to speak of a ‘year zero’ also had a strong socio-political
approach to music that wiped guitars', and that's it. conscience, born out of the left-
the slate clean and only looked We wanted more depth, a wing counter-culture, while their
to the future. The Sex Pistols paint-splattered, Pollock-inspired
had already galvanised a new more human approach...'' clothes (created by Simonon)
movement that drew together art offered a look that was hard-
students, small groups of alienated Paul Simonon edged, new, and a much-needed
middle-class kids from the suburbs, antidote to their looser-looking
and working-class kids from the contemporaries, most of whom
different neighbourhoods of London. The Strummer famously spat in the timely- were still dressing like it was the sixties.
Clash played with the Pistols as well as written 1977. As they played more shows, To hammer the point home, they also
such other new bands as The Damned the likes of NME, Melody Maker, and daubed slogans onto their instruments
and the ace all-girl trio the Slits. Record Mirror filled more column inches and street-and-stage clothes (for they one
Music Legends 23
went ahead, with short-lived drummer
Rob Harper temporarily replacing Terry
Chimes.
1977 was the year The Clash – and
punk – broke. On 27 January, mere
months into their career, but with punk
now an exciting emerging subculture,
The Clash signed with CBS for an
advance of £100,000. Suddenly, the
drummer-less band, who were used to
sleeping in draughty squats and existing
on lager and speed, had some money to
spend. They recorded their debut album
quickly, with Chimes back on drums.
It was preceded by their debut single,
White Riot, a gritty, high-speed burst
of noise concerning race riots between
young black youths and the Metropolitan
police that Strummer and Simonon
had witnessed at the previous summer’s
incendiary Notting Hill Carnival.
In April, their debut album, The
Clash, was released to critical acclaim.
An exercise in economy and energy, it
distilled the band’s essence into a brace
of exciting, snarling rock ’n’ roll songs.
The Clash explored alienation, boredom,
frustration, drugs, unemployment and
identity crisis. It oozed anxiety and
negativity, though only in the realist
sense; they were, for much of their career,
naively optimistic. The song titles alone
heavily contributed to the new lexicon
and look of punk, with I’m So Bored
with the USA, What’s My Name, Deny,
Cheat, and London’s Burning. A gutsy
rendition of Junior Murvin’s recent reggae
hit Police & Thieves added onto the end
lent potency through the band’s delivery
and the song’s social relevance – a hint of
things to come. The cover image captured
Joe, Paul, and Mick, blank-eyed, lean and
mean in their customised clothing and
sporting uniformly cropped hair, a rare
look for Mick Jones, who as a guitarist
from the Richards-Thunders school of
style preferred to keep his longer. This
The Clash bassist Paul Simonon. perfectly packaged musical Molotov
cocktail entered the UK album charts at
a creditable No. 12, and with this success
were and the same), such as ‘Creative Heartbreakers, a piratical but likeable The Clash had announced themselves as a
Violence’ and their retort to the sixties band often acknowledged as being the serious concern.
mantra of ‘Love & Peace’: ‘Hate & first to bring heroin into the British punk Meanwhile, after auditioning over
War’. Strummer further outlined the scene. The four bands shared, first a tour two hundred drummers, the trio found a
band’s ethos in an early piece, stating, ‘I bus and many drunken shenanigans, and new secret weapon: twenty-one-year-old
think people ought to know that we’re then collective disbelief, as shows were Nicky ‘Topper’ Headon, a talented and
anti-fascist, we’re anti-violence, we’re cancelled following the Pistols infamous already experienced rock drummer who
anti-racist, and we’re pro-creative. We’re expletive-addled debut TV appearance was also skilled in jazz, funk, and soul.
against ignorance.’ on The Bill Grundy Show. Overnight A band is only as good as its drummer,
The first wave of UK punk coalesced punk went national and was the subject and Topper provided both the solid
with the infamous Anarchy tour of of much criticism from the reactionary backbone and the diversity to push the
December 1976, in which The Clash, UK tabloid newspapers. A wave of quartet forward. He proved to be a major
Sex Pistols, The Damned, and ex-New negativity washed over the tour and only contributing factor to their expansive
York Doll guitarist Johnny Thunders’ seven of the original twenty-one shows output in the early eighties.
24 Music Legends
AC/DC – Hell’S Radio

Also Available On Limited Edition Flaming Vinyl
These limited edition releases showcase the very best of AC/DC broadcasting live on air
during the Bon Scott era. Featuing eight digitally re-mastered concerts, encompassing a New
Year’s Eve broadcast from Melbourne in December 1974 (when the band were still relatively
unknown) right through to the last U.S. radio broadcast with Bon Scott in October 1979.
She’s Got Balls, Jailbreak, The Jack, Can I Sit Next to You Girl, High Voltage, Rocker,
It’s a Long Way to the Top, Whole Lotta Rosie, Problem Child, Highway to Hell,
If You Want Blood (You’ve Got It), Let There Be Rock and many more.

Music Legends 25
The classic Clash line-up was in place come true they had imagined. The duo
and the band set out on tour as punk spent much of the week in their hotel
rock snowballed around them. A series of room, writing such new songs as Safe
key events took place throughout 1977, European Home, about their feelings of
that would place punk and The Clash in displacement as Europeans in a foreign
the history books. These were the Silver land, and the machine-gun rhythms of
Jubilee (soundtracked by the Sex Pistols’ the powerful, soon-to-be live-favourite
God Save the Queen), the headline White Tommy Gun.
Riot tour (with Buzzcocks, Subway Sect The fruit of this frantic burst of
and the Slits in support), and a riotous songwriting was The Clash’s second
sold-out show at the prestigious Rainbow album, Give ’Em Enough Rope, recorded
Theatre, working with legendry dub with Blue Oyster Cult’s Sandy Pearlman,
producer Lee ‘Scratch’ Perry. an American brought in to polish their
Gigs played during this period were rough sound into something more
The Clash some of the most exciting that provincial accessible. It worked. The album was a
Britain had ever witnessed, and the direct collection of songs that mixed myth-
Released on 8 April 1977, The Clash influence of The Clash would be evident making tales of robbery, stabbings
is remembered as one of the greatest in the many second-wave bands that were and drug raids with more emotive
albums of all time. In true punk
soon forming right across the UK as a moments, like the tender Stay Free. It
fashion, the album was recorded on
a meagre budget of £4,000, a figure direct result of seeing them live ; bands was a strong rock album that has stood
that is reflected in the stripped back such as the Undertones, Skids, the Ruts, the test of time, yet it was neither the
artwork for the album’s cover. The and countless others. For better or worse, raw, amphetamine-dabbing punk of the
sleeve shows a black and white shot each took their own influence from The previous year nor the pan-international
of The Clash outside the ‘Rehearsal Clash. For example, London’s Sham 69 flavoured releases of the next decade.
Rehearsals’ building where they took the rough-edged ‘man in the street’ It was the first – and maybe only –
practiced, located in what is now approach to new extremes, while the Two true concession the band made towards
Camden Market. Shot by Kate Tone Records scene led by the Specials, their record company, who were intent
Simon, the image didn’t actually
include the original Clash drummer
Terry Chimes, as despite performing
the drumming on the album, he had
''I think people ought to know that
already decided to leave the band. we're anti-fascist, we're anti-violence,
we're anti-racist, and we're pro-
creative. We're against ignorance.''
Joe Strummer
who toured with The Clash, would largely on breaking them in the US and beyond.
capitalise on the reggae-ska-punk hybrid Indeed, Give ’Em Enough Rope was the
that Strummer and Co had pioneered. band’s first release stateside, a reworked
The notoriety of The Clash and their version of The Clash only being released
credibility with the press and young fans in America after their second proper
alike grew, helped along by mischievous album had introduced them to a nation
tales of textbook rock ’n’ roll tomfoolery, whose knowledge of punk was limited
such as the time Paul and Topper were to an image of the kamikaze nihilism
arrested as suspected IRA terrorists by the represented by their London pal Sid
Give 'Em Enough Rope Flying Squad when they were shooting at Vicious.
pigeons from the band’s rehearsal space Give ’Em Enough Rope was also the
Released on 10 November 1978,
rooftop. The police thought they were first suggestion that The Clash were not
Give ’Em Enough Rope was the first
Clash album released in the US. The
firing at passing trains and they were part of a short-lived scene, and that they
sleeve features a vivid image of a eventually ordered to pay £700 damages might just be in for the long haul. By the
cowboy being eaten apart by crows to the pigeons’ owner. They were also time of the album’s release in November
as a horseman in black watches on. banned from a hotel chain for the theft 1978, punk had changed irrevocably. The
The grim photo, taken by Adrian of a pillowcase, and survived minor drug aforementioned second-wave bands had
Atwater, gained inspiration from a busts, increasingly riotous shows, and turned it into a fixed, easily identifiable
postcard titled ‘End of the Trail’, but their fair share of hedonism. subculture. It was no longer in the hands
it was Gene Greif who combined it With both band and label keen of a select few dozen, artistically minded
with a painting called ‘End of the
to capitalise on the band’s newfound pioneers making vastly different music
Trail for Capitalism’ by Hugh Brown.
Jones and Strummer had become
notoriety, Strummer and Jones flew in London and Manchester, and instead
enamoured with the artwork after to Kingston, Jamaica for a week of was rapidly passing into parody. Just
seeing it displayed in San Francisco. songwriting. Ripped off by dealers at compare Siouxsie and the Banshees with
and were keen to incorporate it in the docks and somewhat in fear for Buzzcocks or Subway Sect to see how
their album sleeve. their safety, it wasn’t quite the dream diverse early punk could be.
26 Music Legends
The classic Clash line-up (1977-1982) in 1982.
Left to right: Nicky ‘Topper’ Headon, Paul Simonon, Mick Jones, Joe Strummer.
Blame for this devolution can The Sex Pistols had split in January motivated by money and maximum
partly be laid with The Clash’s rivals 1978, amid acrimony and exhaustion provocation – as much a McLaren social
and counterparts the Sex Pistols, who after a chaotic show in San Francisco, experiment as anything – The Clash were
burned bright and burned out. The and Vicious continued on a downward always more concerned with music and
level of pressure on the band had merely spiral aided by heroin and errant politics, and operated with a higher IQ
increased throughout 1977, and was girlfriend Nancy Spungen. It was a than their counterparts.
unsustainable; particularly given the fall that was even more rapid than his
inexperience of the band’s members. ascension, and one that culminated in This article is an extract from London’s
Stir drugs, violence, money wrangles, Spungen dying from a stab wound in a Calling, the Clash Special Edition of Music
Legends. Available now at issuu.com.
paranoia, a politicised manager (Malcolm New York hotel room. Accounts of what
McLaren), and worldwide fame into actually happened that fateful night are
the mix and the Pistols were destined still the cause of much debate, but the
to implode. It happened during their outcome was Vicious being arrested by
first US tour, a jaunt that, possibly the NYPD for his girlfriend’s murder
ill advisedly, took in the less-tolerant and sent to the notoriously tough Rykers
cowboy towns of the South, where these Island prison. No one would ever find
four malnourished London kids faced out the truth, for Sid overdosed on
down audiences comprised of burly heroin while out on bail in January DO YOU WANT SOME MORE...?
cowboys who saw them as a threat. They 1979. Punk had destroyed one of its
also reached plenty of young American
fans bowled over by punk, even if their
premier exponents, and in some ways
the unwitting Vicious had killed off CLICK HERE FOR THE
interpretation was markedly different to
that of, say, singer Johnny Rotten, widely
punk. What once was fun, mischievous,
creative and culturally relevant was now COMPANION PODCAST
THE CLASH
acknowledged as the brains of the band. something altogether darker.
Sid Vicious, who had gone from goofy The demise of the Pistols is important
young Pistols friend/fan to premier to understanding the longevity of The
punk player within eighteen months, Clash. The sad death of the band – THE EARLY DAYS
compounded problems. It was an figuratively and, tragically, literally – who
ascension fuelled by heroin, speed and had kicked down the doors provided a DIG DEEPER INTO THE STORY
Vicious’ falling for his own myth-making
hook, line and sinker.
valuable lesson. It’s also worth noting,
that whereas the Sex Pistols had been
Music Legends 27
Big
THE
QUESTIONS
We asked and you answered! For each issue we will be putting the big questions to the
public. We will be finding answers to the queries that rock fans have debated for decades.
Keep an eye on the Music Legends Facebook page to have your say in our next poll.
This issue we asked…
What is the greatest album of all time?
The results are in; they have been checked, double-checked, triple-checked and verified,
and the winner is… drum roll please…
Pink Floyd’s
The Dark Side of the Moon
28 Music Legends
Released on 1 March 1973, The Dark
Rogers Waters in 1971.
Side of the Moon propelled Pink Floyd
in to superstardom. Despite enjoying
success before as a band, it was this
magnum opus that really brought Pink
Floyd to the masses and cemented their
status as rock icons.
Dark Side of the Moon was originally
developed at the Decca rehearsal studio
in Broadhurst Gardens, West Hampstead
during 1971 and 1972. The basic idea
was to make a record about the different
pressures of modern life, however the
album concept would eventually be
expanded to cover all facets of life,
including death, time and particularly
mental illness; an issue that strongly
affected the band through the struggles
of their founder member Syd Barrett.
Despite leaving the band in 1968 due
to deteriorations in his mental health,
Syd remained at the forefront of the
band’s collective mind, serving as both
an inspiration and a cautionary tale,
and both Shine On You Crazy Diamond
(1975) and The Wall (1979) were written
in homage to the troubled visionary.
Before settling on The Dark Side
of the Moon, Pink Floyd considered
numerous album titles. The Dark Side
of the Moon was selected very early on
in the album’s development, however
they soon discovered that another band
named Medicine Head had used this
title, so decided on Eclipse as a working
title. Unfortunately for Medicine Head,
their album was a commercial flop and
Pink Floyd reclaimed the album title,
debuting what was then named Dark Side
of the Moon: A Piece for Assorted Lunatics,
at the Rainbow Theatre in London on 17
February 1972. The show was received
with great fanfare by critics, with Michael
Wale of The Times going so far as to credit
the music with ‘bringing tears to the eyes. Despite the difficulties in finding time that the album captured just the right
It was so completely understanding and to record, Pink Floyd have always looked blend of lyricism, inspired instrumental
musically questioning.’ fondly on these years, and regarded the passages, innovative use of sound effects
Although the assembled press response development of Dark Side of the Moon and genuine musical innovation. All
was overwhelmingly enthusiastic, Pink as the time at which they worked most performed to a uniformly high standard
Floyd’s touring and recording obligations harmoniously as a band. This unity is of composition and performance.
prevented further work on the album perhaps part of what makes the album Speaking on the genesis of Dark Side
for a number of months. The band were so successful as a piece, with all band of the Moon Roger Waters recalled, ‘I
contracted to record the music for French members working together towards a think we had already started improvising
art-house film La Vallée (Obscured by singular goal. Roger Waters has since around some pieces at Broadhurst
Clouds) and flew to France to do so in reflected on the period stating, ‘I was Gardens. After I had written a couple
February 1972. Following the conclusion definitely less dominant than I later of the lyrics for the songs, I suddenly
of these recording sessions in March became. We were pulling together pretty thought, I know what would be good: to
there were various scheduled tour dates cohesively. Dave sang Breathe much better make a whole record about the different
around the globe that kept Pink Floyd than I could have. His voice suited the pressures that apply in modern life.’
busy for the majority of 1972, and with song. I don’t remember any ego problems David Gilmour has also reflected on the
the exception of one month, May–June, about who sang what at that point. There album’s conception in West Hampstead
it was not until 9 January 1973, that Pink was a balance.’ remarking, ‘It began in a little rehearsal
Floyd were able to find the time in their This group cohesion is evident on room in London. We had quite a few
schedule to complete the album. the record, with many critics remarking pieces of music, some of which were left
Music Legends 29
over from previous things. We were there very well, but I don’t think it’s getting any
for a little while, writing pieces of music lighter, and I don’t think the intention
and jamming. It was a very dark room.’ is to make it light, either. It’s all a bit
With Nick Mason adding, ‘We started abstract, really.’
with the idea of what the album was Despite this apparent trepidation
going to be about: the stresses and strains from Mason, Dark Side of the Moon was
on our lives’. moulded and refined over the course
Nick Mason was actually one of of 1972, and Pink Floyd have since
the only members of Pink Floyd to suggested that the band’s packed touring
have expressed dissatisfaction with the schedule was the catalyst for the success
development process of Dark Side of the of Dark Side of the Moon as it gave them
Moon, as when he was interviewed for a, hitherto unparalleled, sounding ground
Sounds magazine in 1972, he stated, ‘I for the album. Whilst touring in 1972,
think the thing that bothers me more Pink Floyd performed their new material
than anything in the order it
Whilst the musical content of The is that we seem would later appear
Dark Side of the Moon has cemented to get stuck “That’s not to say that the on the Dark Side
the album as one of greatest of all into a slow four of the Moon. This
time, the artwork is equally iconic. tempo for nearly potential for the sun to gave the band the
The cover design was the work everything we shine doesn’t exist. Walk chance to make
do. Like the improvements to
of London based design group
speed of Meddle
down the path towards the performance
Hipgnosis – founded by Storm
Thorgerson and Aubrey Powell. is the speed of the light rather than into and composition
From their conception Hipgnosis
were closely aligned with Pink Floyd
nearly everything the darkness.” of their pieces each
we’ve done for night, and to gauge
– the studio’s first commission was
the band’s second album A Saucerful
too long. That Roger Waters the audience’s
has something to reaction. Whilst
of Secrets. Hipgnosis would go on
to create many more iconic covers
do with it, that discussing this
for the band including Atom Heart penchant for slow tempos. But again, I process Nick Mason remarked, ‘It was a
Mother and Obscured by Clouds. think, in some ways things are becoming hell of a good way to develop a record.
more aggressive. There’s more aggression You really get familiar with it; you learn
Hipgnosis’ abstract designs proved
in the way we do Careful with That Axe, the pieces you like and what you don’t
unpopular with Pink Floyd’s label
EMI, who were concerned with Eugene on stage now than there ever was like. And it’s quite interesting for the
the lack of wording on the covers, when we first recorded it. Our original audience to hear a piece developed. If
fearing fans would not be able to recordings of that were extremely mild, people saw it four times it would have
identify the releases. The band jog along stuff. Even if it doesn’t always been very different each time.’
members, however, were delighted come off, there’s meant to be a lot of very Although the band have spoken of the
with Hipgnosis’ output and enlisted heavy vibes coming off the stage during unit’s solidity whilst developing Dark
them to create the artwork for The Dark Side of the Moon. We’re well into Side of the Moon, the album was actually
Dark Side of the Moon. Rick Wright putting on a lot of effect in order to make the first Pink Floyd record to feature
tasked Hipgnosis with developing a
the whole thing heavy, really, in the true Roger Waters as the sole lyricist. At the
concept that was ‘smarter, neater –
more classy’ than previous releases. sense of the word. I’m not expressing that time Waters felt that he wanted Pink
The artwork itself was created by

designer George Hardie. Hardie
came across the prism motif in a
book, and presented the design as
one of seven potential ideas to Pink
Floyd. The band’s decision was
unanimous, and the iconic cover
was born. Interestingly the light
band emanating from the prism
seen on the iconic cover only has six
colours, rather than the traditional
seven. Indigo has been omitted from
traditional division of the spectrum.
Storm Thorgerson has since stated
that the inspiration behind the prism
idea was the ambitious light shows
that Pink Floyd were creating at the
time: ‘They hadn’t really celebrated
their light show. That was one thing.
The other thing was the triangle. I
think the triangle, which is a symbol
of thought and ambition, was very Richard Wright in 1971.
much a subject of Roger’s lyrics.’
30 Music Legends
PInk Floyd – The Dark side of the moon

FOR CHAMBER ORCHESTRA
Limited Edition CD
Also Available On Limited Edition White Vinyl
This spectacular album features Pink Floyd’s The Dark Side of the Moon performed by the
renowned London Symphonia under the direction of James Gambold. This is a unique
opportunity to enjoy the music of Pink Floyd as you’ve never heard it before. All of the tracks
from the classic album have been given the full orchestral treatment.
Breathe, On the Run, Time, The Great Gig in the Sky, Money, Us and Them,
Any Colour You Like, Brain Damage and Eclipse.

Music Legends 31
Floyd’s music to contain more direct
lyrics that would resonate immediately
with the fans, in contrast with the some
of the abstract work they had released
to date. Surprisingly, given the later
power struggles and acrimony within
the band, this new writing approach was
actually welcomed by the group at the
time, with Gilmour even stating, ‘I never
rated myself terribly highly in the lyrics
department, and Roger wanted to do it.
I think it was a sense of relief that he was
willing to do that.’
In fact, Pink Floyd were so pleased
with the results of Water’s writing that
they decided to print the lyrics on the
now iconic sleeve for Dark Side of the
Moon, the first time the band had chosen
to do so.
Whilst Roger Waters was the only
credited lyricist on Dark Side of the Moon,
the album featured vocal appearances
from a multitude of individuals outside
of the band. Pink Floyd roadies, Abbey
Road staff and other artists who were
recording at the studios during that
period, were confronted with a series
of questions; from the banal to the
philosophical, with the intention of
including their responses on the album in
an attempt to tie the songs on the record
together. Certain snippets successfully
made it to the final mix of Dark Side
of the Moon, however the answers of
the most famous interviewee, Paul
McCartney, were deemed unusable, with
Roger Waters commenting, ‘He was the
only person who found it necessary to
perform, which was useless, of course.
I thought it was really interesting that
he would do that. He was trying to be three other girls. So, I walked in to the played me the backing track, and I asked
funny, which wasn’t what we wanted at control room and the band were there, what they wanted and basically they had
all.’ they explained to me that they were doing no idea.
Despite producing some truly When I look back, I was very
iconic quotes, it was the vocals of new to this sort of world and
songwriter and session singer, Clare DARK SIDE FACT probably quite naïve, but anyway
Torry on The Great Gig in the Sky I listened to the track a couple of
that would prove to be the most Just like Earth, both the near side times and personally had no idea
memorable cameo on Dark Side what to do or what they wanted
of the Moon. Torry’s collaboration (light side) and the far side (dark so I said I think the best thing for
with Pink Floyd initially gave no side) of the moon have both a day me is to go in to the studio, put
indication that her performance
would go on to become one of
and a night. We are simply unable the cans on and have a little go to
see what happens. So I started off
the most unforgettable vocals in to see the far side; as the time by going, “Oh baby baby, yeah,
rock history, and Torry had this to it takes the moon to complete a yeah baby baby”, which is what
say of her inauspicious recording one tended to do for scat singing,
session with the band, ‘I just had revolution on its axis is the same and they said “Oh no, no, we don’t
a call from this guy that worked amount of time as it takes to circle want any words”, and that really
at Abbey Road called Dennis who
rang me up and asked if I was free
Earth – around twenty-seven days. stumped me. So David Gilmour
came in, and I have to say he
to do a session, so I went up to was really the one that directed
Abbey Road and I had no idea what it this album and that it was nearly finished, me, there wasn’t a word from anybody
was, nobody told me, I didn’t know if it the concept of the album, birth and death else as far as I remember. So David said
was going to be a choir, two other girls or and everything in between, and they “Would you like me to write out the
32 Music Legends
I honestly thought that they didn’t like
it, then I suppose in about March, I had
no idea when the album was coming out,
and I was on my way home to my flat and
there used to be a record shop on Kings
Road just past the Chelsea Potter, and
there in the window was this now familiar
cover and so I walked in and opened the
album and there it was The Great Gig
in the Sky, vocal Clare Torry and so I
thought, oh I’ll have to buy that. Several
months later I was doing something at
Abbey Road and Alan was there and he
said that the album was doing really well
so I said what album? And he said Dark
Side of the Moon, and so I said oh fine,
jolly good and that was it really.’
Whilst the critical response to Dark
Side of the Moon was overwhelmingly
positive, the press reception for the
release of the album was a chaotic
affair. Critics were invited to an event,
held at the London Planetarium on 27
February 1973, that the majority of the
band themselves refused to attend. Pink
Floyd members cited sound issues as the
reason for their absence, namely that
the quadrophonic mix of the album was
not yet ready, and life sized cardboard
cut outs of the missing members greeted
the press instead. The sole attending
Pink Floyd member, Richard Wright,
then presented the gathered press with
a stereo mix of Dark Side of the Moon
through a tinny PA system. Fortunately
this bizarre release did nothing to stem
the enthusiasm of attending reporters,
Pink Floyd left to right: Richard Wright,
Dave Gilmour, Roger Waters, Nick Mason. and Dark Side of the Moon themed shows
and events have remained a staple of
planetariums around the world ever since.
chord sequence?” and I said “No, no”, the control room and not much was said, Some highlights from the reviews of
and it sort of just happened, because I was and I said, “Well alright then, goodbye.” 1973 include Loyd Grossman of Rolling
thinking that I didn’t know what they And I was convinced it would never Stone magazine declaring the release, ‘a
wanted, and I really didn’t know, fine album with a textural and
but OK, best feet forward. conceptual richness that not only
I have said this many times, FLOYD FACT invites, but demands involvement’,
but it’s completely true, I thought and Steve Peacock of Sounds
to myself I have to pretend to be As huge Monty Python fans, Pink extolling, ‘I don’t care if you’ve
an instrument and that gave me never heard a note of the Pink
an avenue to explore. So I started Floyd were one of a number of Floyd’s music in your life, I’d
doing something and they said rock groups who helped contribute unreservedly recommend everyone
“We like that.” So, I said to Alan to The Dark Side of the Moon’.
“OK, put the red light on and
to the initial budget for Monty Despite the runaway success of
record this because usually the Python and the Holy Grail. Pink Dark Side of the Moon, the album
first take is the best”, and I started Floyd put up £20,000 of their only actually held the No. 1 spot
singing and did it. Then they said in America’s Billboard album
“Well I think we’ll do another profits from Dark Side of the Moon chart for a week, a feat it didn’t
take.” So I did another one, then to help fund the classic British manage to equal in the UK, where
David said, “I think you could
improve upon that”, and I didn’t
comedy directed by Terry Gilliam. italbum remains the highest selling
to never reach No. 1 – it
think I could, and I started the was beaten to the top spot by Elton
third track and then in the middle I see the light of day because they hadn’t John’s Don’t Shoot Me I’m Only the Piano
stopped and said “Look I really think that commented or said “great” or “awful”, Player. In spite of these disappointments,
you’ve got enough.” Then I went in to nothing. Dark Side of the Moon remains the
Music Legends 33
this is a kitsch masterpiece – taken too
Pink Floyd in performance in the 1970’s.
seriously by definition, but not without
charm. It may sell on sheer aural
sensationalism, but the studio effects
do transmute David Gilmour’s guitar
solos into something more than they
were when he played them. Its taped
speech fragments may be old hat, but for
once they cohere musically. And if its
pessimism is received, that doesn’t make
the ideas untrue – there are even times,
especially when Dick Parry’s saxophone
undercuts the electronic pomp, when this
record brings its clichés to life, which is
what pop is supposed to do, even the kind
with delusions of grandeur.’
Mr Christgau was definitely an
atypical reviewer, as most agreed that the
cumulative effect of the brilliance of the
compositions and the pristine quality of
the recording served to position Dark
Side of the Moon as a landmark in popular
music. The problem for Pink Floyd was
that at some stage they would have to
produce an album to follow their own
masterpiece. The standard had been set
so highly by Dark Side of the Moon that
in every respect it was clear the follow
up had to be nothing short of a second
masterpiece.
During the course of an interview
published on 19 May 1973 in Melody
Maker, David Gilmour declared that
he was not unduly concerned by
the pressures brought about by the
phenomenal sales of Dark Side of the
Moon.
‘No, success doesn’t make much
difference to us. It doesn’t make any
difference to our output or general
attitudes. There are four attitudes in the
band that are quite different. But we all
want to push forward and there are all
sorts of things we’d like to do. For Roger
seventh-best-selling album of all time anyone felt it was five times as good as Waters it is more important to do things
in the UK, and retained its presence Meddle, or eight times as good as Atom that say something. Richard Wright is
in the US album chart for a staggering Heart Mother, or the sort of figures that it more into putting out good music. And
741 weeks between the album’s release has in fact sold. It was… not only about I’m in the middle with Nick. I want to do
in 1973 and 1988. Worldwide sales of being a good album but also about being it all, but sometimes I think Roger can
the album are have reached twenty-four in the right place at the right time.’ feel the musical content is less important
million certified sales, yet some industry The success of Dark Side of the Moon is and can slide around it. Roger and Nick
estimates place this figure at closer forty- undeniable, yet reviews revisiting album tend to make the tapes of effects like the
five million copies, and Dark Side of contain retrospective niggles that were heartbeat on the LP. At concerts we have
the Moon is currently the fourth biggest not present in initial appraisals; such as quad tapes and four-track tape machines
selling album globally. The success of the this piece by the respected American rock so we can mix the sound and pan it
album has certainly not overwhelmed journalist Robert Christgau, best known around. The heartbeat alludes to the
certain band members though, as Nick for his pioneering work with Village Voice human condition and sets the mood for
Mason commented in 2007 that he felt Magazine, who wrote about Dark Side of the music, which describes the emotions
not all the success of Dark Side of the the Moon through post-punk eyes when experienced during a lifetime. Amidst
Moon could be attributed to the music: ‘I it was chosen as one of the Rock Albums the chaos, there is beauty and hope for
think that when it was finished, everyone of the 70s. The following controversial mankind. The effects are purely to help
thought it was the best thing we’d ever review was published in 1981: the listener understand what the whole
done to date, and everyone was very ‘With its technological mastery and thing is about. It’s amazing, at the final
pleased with it, but there’s no way that its conventional wisdom once removed, mixing stage we thought it was obvious
34 Music Legends
LIMITED EDITION FINE ART GICLÉE PRINTs
DEPICTING THE ROLLING STONES
Hand Numbered and Signed by Rodney Matthews
In 1974 Rodney Matthews created the artwork Another Time, Another Place – an iconic image that envisaged
the Rolling Stones as renegade warriors in a dystopian fantasy landscape.
Rodney has gone back in time and re-imagined a trilogy of scenes that tell the story of the events on that far off
fantasy world; this time featuring the Stones with Brian Jones in the band. The results are amazing, and each piece
is now presented in a strictly limited fine art print edition of just 54 prints. Every copy is hand numbered and
personally signed by Rodney Matthews.
Another Time, Another Place

£150 (Dimensions: 40.5cm x 71cm)
To purchase scan the QR Code or visit

click here.
Painted Black

click here.
Time On Our Side


click here.
Music Legends 35
have done well in this country, but Dark
Dave Gilmour on stage in 1975.
Side was number one in the U. S. and
we never dreamed it would do that. It
was probably the easiest album to sell
in that it was the easiest to listen to, but
it’s success has obviously put some kind
of pressure on us, and that is, what to
do next. We have always tried to bring
out something different with our next
release and it would be very easy now to
carry on with the same formula as Dark
Side, which a lot of people would do. It’s
changed me in many ways because it’s
brought in a lot of money and one feels
very secure when you can sell an album
for two years. But it hasn’t changed my
attitude to music. Even though it was
so successful, it was made in the same
way as all our other albums and the only
criteria we have about releasing music
is whether we like it or not. It was not a
deliberate attempt to make a commercial
album. It just happened that way. Lots of
people probably thought we all sat down
and discussed it like that, but it wasn’t
the case at all. We knew it had a lot more
melody than previous Floyd albums,
and there was a concept that ran all
through it. The music was easier to absorb
and having girls singing away added a
commercial touch that none of our other
records had.’
This ‘commercial touch’ has been
striking a chord with audiences ever since,
and The Dark Side of the Moon continues
to be a perennial hit. Frequently included
on rankings of the greatest albums of
all time, the album has proved to be as
timeless as it was ground-breaking, and
there is no doubt that it’s legacy will
endure, creating generations of Pink
Floyd fans in decades to come.
what the album was about, but still, a lot Wright that was quick to touch on the
of people, including the engineers and increasingly large gap between Dark
the roadies, when we asked them, didn’t Side of the Moon and the next Pink Floyd
know what the LP was about. They just album: ‘It’ll be a two-year gap between
couldn’t say, and I was really surprised. Dark Side and the next one, and that’s
They didn’t see it was about the pressures too long in my opinion. We have never
that can drive a young chap mad. I really been a prolific group in terms of records. DO YOU WANT SOME MORE...?
don’t know if our things get through. But We average about one a year over our
you have to carry on hoping. Our music
is about neuroses, but that doesn’t mean
whole career. It’s not a policy to work
like that; it’s just the way it happens. We CLICK HERE FOR THE
that we are neurotic. We are able to see
it, and discuss it. The Dark Side of the
have a deal with the record company
that makes us do about seven albums COMPANION PODCAST
PINK FLOYD
Moon itself is an allusion to the moon and in five years, which is one album a year
lunacy. The dark side is generally related and maybe a couple of film scores. It’s
to what goes on inside people’s heads, the very easy to make that deal. Dark Side
subconscious and the unknown.’ of the Moon has been in the English THE DARK SIDE OF THE MOON
Despite Gilmour’s confidence there charts ever since it was released, which
was still no sign of a new album. A year is quite amazing. We all felt it would do DIG DEEPER INTO THE STORY
later on 16 November 1974, Melody
Maker published an interview with Rick
at least as well as the other albums, but
not quite as well as it did. All our albums
36 Music Legends
A track-by-track journey through
Pink Floyd’s ambitious 1973 masterpiece
Speak to Me dominating sound effect – clocks ticking about, ‘the political idea of humanism,
The overture, a sound collage, saw – the basic sound created by Waters’ and whether it could or should have
Waters generously give Mason a song Fender Precision Bass and Mason’s any effect on any of us.’ The lyrics
writing credit that he later came to Rototoms. However, it was engineer range from going to war in the first
bitterly regret. The various spoken Alan Parsons that added all the real verse, to themes of civil liberties, colour
pieces about madness come from timepieces after Waters told him the prejudice and civil rights in the second,
roadies Pete Watts and Chris Adamson, song’s title. The other dominating and the thought of passing a down-and-
and from Gerry O’Driscoll, the doorman characteristic about this number was out on the street and not helping in the
at Abbey Road studios where the the backing singing to Gilmour’s lead third. The voices of sundry roadies and
album was made. Waters had devised vocal provided by Barry St John, Doris Wings guitarist Henry McCullough
a series of cards containing twenty Troy, Liza Strike and Lesley Duncan. and his wife can be heard responding
questions that ranged from, ‘What to Roger’s flash cards. Dick Parry shines
does the phrase dark side of the Moon The Great Gig In the Sky again on sax, replicating the breathy
mean?’ to, ‘Are you afraid of dying?’ This stunning composition keeps up sound similar to that on Gandharva by
Everyone the band could get their the progression of power. For many US electronic duo Beaver & Krause.
hands on in Abbey Road including Paul years this song was credited solely
and Linda McCartney, who happened to Rick Wright until an out of court Any Colour You Like
to be making an album there, were settlement in 2005 finally resolved that Written by Wright, Mason and
asked to respond and then taped. The the piece should be jointly credited to Gilmour, this was an instrumental
McCartney answers were discarded, as Clare Torry. Based on a sequence of filler bridging Us and Them and Brain
his responses were regarded to be too piano chords written by Wright, this Damage. Originally called Scat, it
measured. song addresses the omnipresent fear of features the ubiquitous sound of the
death and mortality in life. Originally VCS 3 synthesiser with a long tape
Breathe intended as an instrumental sequence, echo, as well as more conventional
Adapted from a piece Waters had and featuring some blinding guitar instrumentation. The final title came
written for The Body documentary from Gilmour, the vocals were only from a favourite catchphrase of roadie,
in 1970. Roger claimed that the lyrics added a couple of weeks before the LP Chris Adamson, ‘You can have it any
‘are an exhortation directed mainly at was finished. Clare Torry – a young EMI colour you like’.
myself, but also at anybody else who staff songwriter who had only recently
cares to listen. It’s about trying to be begun to do a few sessions as a singer, Brain Damage
true to one’s path.’ Gilmour provided the provided the improvised vocal and her This Roger Waters song is, perhaps,
vocals, both lead and harmony, and the strikingly gutsy vocals take the song to most strongly linked to Syd Barrett. As
guitar part, which he played on an open- an unforgettable climax. Wright later Waters later told Mojo, ‘That was my
tuned Stratocaster across his knees. adapted the song for a Neurofen advert song, I wrote it at home. The grass (as in
– and they say rock ’n’ roll is dead! the lunatic is on the grass) was always
On the Run the square in between the River Cam
This number came from Waters and Money and Kings College chapel. I don’t know
Gilmour experimenting with a VCS A Roger Waters composition in the why but when I was young, that was
3 synthesiser – creating an eight- unusual 7/8 time signature. The track always the piece of grass, more than
note sequence similar to the one Pete has self-explanatory lyrics about the any other piece of grass that I felt I was
Townshend had been doing on Baba evils of greed and rock-star wealth. constrained to keep off. I don’t know
O’Reilly. The point of the track was Waters certainly saw some of the songs why, but the song still makes me think
to express the stress and pressures on this LP as being about the lately of that piece of grass. The lunatic was
of everyday life – and so a whole departed Barrett. The rhythmically- Syd, really. He was obviously in my
menagerie of sound effects were sequenced loop of the cash-till sound mind. It was very Cambridge-based,
added such as airport sounds over the effect gives the song a lot of its bite, that whole song.’ The final line name-
footsteps of a passenger desperately and a touch of irony, as record store checks the title of the album, ‘I’ll see you
rushing for the plane, and a train sound cash registers around the world would on the dark side of the Moon,’ and the
that was actually played by a guitar. soon be ringing up millions of sales to maniacal laughter was by Pete Watts.
It was another roadie, Roger the Hat, its tune. Also featured is Dick Parry, an
who is heard speaking the line, ‘live for old Cambridge pal of Gilmour’s, whose Eclipse
today, gone tomorrow’ – a response to sax solos added a new dimension to the Sensing the album needed a proper
one of Waters’ card questions. Floyd sound. conclusion, Roger Waters wrote Eclipse.
The lyrics suggest that while the
Time Us and Them human race has the potential to live in
A stunning group composition. Waters A superb piece co-written by Waters harmony with nature and itself, this is
would later admit that during the and Wright. In time-honoured Floyd depressingly never the case. Despite the
making of the record – he was twenty- fashion this composition was based on gloomy lyrics, the song has an uplifting
nine at the time – he suddenly felt as another piece that had been lurking feel – sung by Waters, with Gilmour’s
if he’d grown up; that childhood and around for ages. The song’s origins harmonies and Doris Troy’s voice
adolescence were just training for were in a piece rejected by Antonioni thundering alongside them. It is Gerry
adult life. Ultimately it’s about making for Zabriskie Point called The Violence O’Driscoll who adds the cryptic final
the most out of life, not wasting it. Sequence. Based on a chord sequence by spoken-word coda about the real nature
Again the song is characterised by a Wright, Waters claimed the song was of the dark side of the Moon.
Music Legends 37
38 Music Legends
BRUCE
SPRINGSTEEN From Asbury Park to E Street
From humble beginnings in Freehold, New Jersey, to one of the
biggest names in rock history, Bruce ‘The Boss’ Springsteen has
captivated music fans for generations. In this article we take a look
at the legacy of one of America’s most enduring superstars, an icon
that is still riding high in the charts to this day.
Bruce Springsteen once said, ‘I want 1992 interview with New York Newsday, of Philadelphia won an Oscar in 1994, for
it all.’ People these days often forget ‘When I was young, I truly didn’t think Best Original Song In a Movie: ‘You do
that, baffled by an artist whose music had any limitations. I thought it your best work and you hope that it pulls
musical output can switch, seemingly could give you everything you wanted in out the best in your audience and some
effortlessly, from the gung-ho R&B life.’ piece of it spills over into the real world
swing of classic rock albums like Born For Robert Hilburn of the LA Times, and into people’s everyday lives. And it
to Run or his biggest-seller, Born In Springsteen came to define ‘the struggle takes the edge off fear and allows us to
the USA, to the heartrendingly stark in life between disillusionment and recognise each other through our veil of
acoustic outpourings of albums like dreams.’ Furthermore he suggested, differences. I always thought that was one
Nebraska and The Ghost of Tom Joad. ‘The important thing about Bruce isn’t of the things popular art was supposed to
It’s a confusion that goes right back to that he makes you believe in rock ’n’ be about, along with the merchandising
Springsteen’s earliest days as a recording roll or himself. He makes you believe in and all the other stuff.’
artist, when he was still seen as some sort yourself.’ While Dave Marsh of Rolling Destined to become the blue-collar
of folksy troubadour in the tradition of Stone suggested that Springsteen’s rock hero whose best songs represented
Bob Dylan. However, for Springsteen best music was nothing less than ‘a the common experiences of everyday
there has never been any difference refutation of the idea that rock was American people, Bruce Springsteen
between the outgoing, crowd-pleaser that anarchic rebellion. If anything his shows was born to working class Irish-Italian
we hear on hits like Hungry Heart and were a masterwork of crowd control, parents in the modest New Jersey town
the introspective loner of Secret Garden. an adventure in pure cooperation, a of Freehold, on 23 September 1949. His
As far as he was concerned, music was challenge to chaos.’ Irish father, Douglas Springsteen, was
one of the few things in life that held no As usual, it was Springsteen that put it an-ex army recruit who later worked,
barriers. As Springsteen explained in a best in his acceptance speech when Streets variously, in a plastics factory, as a bus
Music Legends 39
with a six-pack and a cigarette. [When
Bruce Springsteen backstage at Hammersmith Odeon in
I got home] I’d stand there in that
London before his first UK show on 18 November 1975.
driveway, afraid to go in the house, and I
could see the screen door, I could see the
light of my pop’s cigarette. I used to slick
my hair back real tight so he couldn’t tell
how long it was gettin’ and try to sneak
through the kitchen. But the old man,
he’d catch me every night and he’d drag
me back into that kitchen. He’d make
me sit down at that table in the dark,
and he would sit there tellin’ me. And
I can remember just sittin’ there in the
dark, him tellin’ me… tellin’ me, tellin’
me, tellin’ me. ‘Pretty soon he’d ask me
what I thought I was doin’ with myself,
and we’d always end up screamin’ at each
other. My mother she’d always end up
runnin’ in from the front room, cryin’
and tryin’ to pull him off me, try to keep
us from fightin’ with each other. And I’d
always, I’d always end up runnin’ out
the back door, pullin’ away from him,
runnin’ down the driveway, screamin’ at
him, tellin’ him, tellin’ him, tellin’ him
how it was my life and I was gonna do
what I wanted to do.’
After seeing Elvis Presley on TV,
Springsteen was inspired to start playing
guitar at the age of nine. He got his first
blasts of loud music from listening to the
radio. ‘It took over my whole life,’ Bruce
later explained, ‘everything from then on
revolved around music.’ In those early
days, US radio was not just the home of
Elvis Presley and Chuck Berry; it was
a direct route to another world, aimed
at the very soul of a sprawling teenage
America, from the rural heartlands to
the inner city and boardwalks of Bruce’s
childhood. If it got on the radio that
meant it usually got onto the juke-boxes
of the numerous diners, soda fountains
and truck stops that littered the nation
driver and a prison guard. Bruce was listen, standing in the shadows taking too. This was where the teenage Bruce
the first of three children and his Italian it all in. As Springsteen would often first got the idea that rock ’n’ roll could
mother, Adele, worked hard to provide explain to an audience in the mid- matter, as well as entertain; could make
a home for them all. His early life was seventies, just before launching into one you think as well as dance. It was a
not without its inequities, however, and of his favourite songs from his childhood, lesson he absorbed quickly, and one
Springsteen would later recall the harsh The Animals’ It’s My Life, ‘I grew up he never forgot: ‘What I heard in the
nature of the Catholic school he attended in this small town about twenty miles Drifters, in all that great radio music,
as a child. One story, in particular, inland. I remember it was in this dumpy, was the promise of something else. Not a
continued to haunt him into adulthood, two-storey, two-family house, next door politician’s promise… I mean the promise
when, as an eight-year-old, he got his to this gas station. And my mom, she was of possibilities… that the search and the
Latin wrong and the nun who taught him a secretary and she worked downtown. struggle matter, that they affirm your
stood him in the wastebasket telling him, And my father, he worked a lotta life. That was the original spirit of rock
‘that’s what you are worth.’ different places, worked in a rug mill for ’n’ roll.’
As a result, he loathed school and a while, and he was a guard down at the But if rock ’n’ roll spelled freedom
learnt little other than what it was jail for a while. I can remember when in the more general sense to countless
like to be the victim of intolerance he worked down there, he used to come millions of teenagers in the cultural
and prejudice. When not in school, he back real pissed off, drunk, sit in the melting pot of 1960s America, it took
liked hanging around on the beach and kitchen. At night, about nine o’clock, he on quite literal properties to Springsteen,
playing water sports. He was never a used to shut off all the lights, every light whose parents moved from Freehold
talkative boy, preferring to watch and in the house. And he’d sit in the kitchen down to San Francisco when he was
40 Music Legends
BRUCE SPRINGSTEEN – The darkness tour ‘78

Also Available On Limited Edition Purple Vinyl
Released in the late spring of 1978, Darkness On the Edge of Town was the long awaited follow
up to Born to Run. To celebrate the launch of the album, Bruce Springsteen and the E Street
Band undertook a major tour of North America that comprised of 115 performances. These
limited edition releases feature carefully curated highlights from five of those legendary shows.
Badlands, Adam Raised a Cain, Candy’s Room, Racing In the Street, The Promised Land,
Factory, Streets of Fire, Prove It All Night, Darkness On the Edge of Town, Rosalita,
Born to Run, Summertime Blues, Thunder Road and many more.

Music Legends 41
Bruce knew his chance of escaping the
conflict without being maimed or killed
was fifty percent at best, and years later
he confessed that he and his buddies went
out and got good and drunk the night
before they were due to be inducted.
Fortunately Springsteen flunked his
medical, in large part due to injuries he
had sustained in a motorcycle accident
some time before, and he returned home
that day fearing the reaction such news
would be greeted with by his ex-army
father. Instead of disparaging the boy,
however, Springsteen’s father merely
nodded and said, ‘That’s good, son.’
The subject was never mentioned again;
though it was something Bruce would
return to in his own mind a great deal
over the years, not least after news that
the drummer in his first band, the
Castiles, had been killed in the conflict.
In lieu of a military position,
Springsteen spent most of his youth
hanging out at a local teen club named
the Upstage – an avowedly alcohol and
drug free environment situated down by
the Jersey shoreline which, nevertheless,
stayed open till five every morning and
where any passing kid with enough nerve
could get up and play. This was where
Springsteen and his friends first played
as the Castiles, quickly followed by
similarly short-lived but evermore adept
outfits like Earth, Child, Steel Mill, Dr
Zoom & The Sonic Boom and, finally in
his early-twenties, the more prosaically-
named Bruce Springsteen Band, a
sprawling ten-piece back-up group (three
members of which would later form part
of his next legendary backing outfit, the
E Street Band). E Street was actually
where the mother of the band’s original
Bruce Springsteen in performance during 1975. keyboard player, David Sancious, lived,
in the Jersey neighbourhood of Belmar.
Sancious had already left, however,
seventeen. By then he had already formed Too poor to pay for his own by the time the classic E Street Band
his first band, the Castiles, and therefore entertainment, when he wasn’t working line-up had evolved. This line-up would
remained behind in Jersey, moving into a he trod the boardwalks by the beach in include Garry ‘Funky’ Tallent on bass,
scruffy one-room apartment above a drug Asbury. Outgoing and talkative onstage, ‘Phantom’ Danny Federici playing organ
store in nearby Long Branch. in person he could be almost unbearably and accordion, Clarence ‘Big Man’
It was around this time that shy, mumbling his conversation and Clemons, a Virginia-born saxophonist
Springsteen also began appearing shuffling around in old clothes he looked and former James Brown sideman who
occasionally as a solo act at the Café like he’d slept in. joined in 1971, single-handedly replacing
Wha? in Greenwich Village, the same ‘Jersey,’ he later bemoaned in a Sounds an entire horn section and a trio of girl
venue in which a similarly young Dylan article in March 1974, was ‘a dumpy back-up singers. There was also ‘Mighty’
had first become recognised. joint. I mean it’s OK, it’s home, but… I Max Weinberg on drums, ‘Professor’ Roy
Reminiscing about this time spent guess it just took a long time for someone Bittan playing the piano and glockenspiel,
commuting between Asbury Park and to think of something to write about it.’ Bittan was the only non-Jersey boy,
downtown New York Springsteen has It hardly seems credible now, but the hailing from Far Rockaway, New York
stated, ‘I was always popular in my little teenage Springsteen’s career nearly took and finally the band was completed by
area and I needed this gig badly. I didn’t a very different course when, in 1968, ‘Miami’ Steve Van Zandt on rhythm
have anything else. I wanted to be as big he received his draft papers into the US guitar and backing vocals– Van Zandt
as you could make it… the Beatles, the army. With the US then involved in the was called ‘Miami’ because he had once
Rolling Stones.’ Vietnam war, like all new conscripts been to Florida.
42 Music Legends
It wasn’t until 1975 that the best-
known line-up of the E Street Band
came together, when Springsteen was
already growing famous enough to attract
Broadway show veterans like Weinberg
and Bittan. Both these artists responded
to an ad in The Village Voice, rather than
simply gravitating towards the line-up
from the local Shore club scene.
Before the group could achieve true
success, Springsteen had to secure
a record deal. Ironically, this only
transpired once Springsteen had all but
abandoned the idea of getting his own
band off the ground. Years of opening
for every band that came through
town, from Black Oak Arkansas and
Brownsville Station to Sha Na Na and
Black Sabbath, had left him weary and
disillusioned.
Springsteen commented years later,
‘When we first started playing I’d go to
every show expecting nobody to come,
and I’d go onstage expecting nobody to
give me anything for free. And that’s the
way you have to play. If you don’t play
like that, pack your guitar up, throw it in
the trashcan and go home… The night I
stop thinking that way, that’s the night I
won’t do it anymore.’
Bruce later told NME, that he fell out
of love with the idea of being in a band
and, ‘just started writing lyrics, which I
had never done before. I would just get
a good riff, and as long as it wasn’t too
obtuse I’d sing it… Last winter [1972] I
wrote like a mad man… Had no money,
nowhere to go, nothing to do… It was
cold and I wrote a lot… I got to feeling
guilty if I didn’t.’
It was this batch of songs that would
lead directly to his signing as a solo artist
by Columbia Records, in New York, Bruce Springsteen in concert during 1984.
during May 1972. At first, the label’s
A&R chief, John Hammond, saw him
as a potential successor to Bob Dylan; songwriters, many of whom had already is great but she’s not touched. Bruce is
who he had also signed to the label some suffered from the comparison; talented touched… he’s a genius!’
ten years before. In retrospect, it’s easy word-and-tunesmiths like John Prine and It was Appel that had taken acetates of
to see why Hammond thought this way. Loudon Wainwright III, struggled under Springsteen’s earliest songs to Hammond
Curly-haired and bearded, the twenty- Dylan’s shadow throughout their early – a legendary figure at Columbia who had
three-year-old Springsteen definitely had careers, the ‘new Dylan’ tag acting almost also signed such pre-Dylan luminaries
something of the wordy Bob Dylan about like a curse. Bruce, however, was not so as Louis Armstrong, Bessie Smith, Billie
him, especially in Springsteen’s original easily subsumed. Holiday, Tommy Dorsey and Woody
songs like Blinded By the Light and It’s Nevertheless, the comparisons were Herman, to name just a few. Hammond
Hard to Be a Saint in the City. perhaps even more obvious in early listened to the acetate while Mike and
When recalling playing the bars and Springsteen songs, and Mike Appel, Bruce sat patiently in the corner. ‘Do you
clubs of his youth, Bruce told Zigzag Bruce’s first manager has stated, ‘Bruce is want to get your guitar out,’ Hammond
Magazine, ‘you had to communicate on very garrulous. When I first came across eventually asked, at which point Bruce
the most basic level… but when I talked Bruce it was by accident. But when I broke into a spontaneous version of It’s
to the record companies there was just heard him play I heard this voice saying Hard to Be a Saint in the City. ‘I couldn’t
me by myself with a guitar, and from that to me – superstar. I couldn’t believe it. believe it. I just couldn’t believe it,’
many false impressions were drawn.’ I’d never been that close to a superstar Hammond later recalled.
At the time, Dylan was a conspicuous before.’ Adding, ‘Randy Newman is Intrigued by the rough recordings
influence on a generation of new young great but he’s not touched. Joni Mitchell and charmed by the soft-spoken young
Music Legends 43
from the record as the first single. Blinded
Bruce Springsteen performing live in October 1984.
by the Light was almost choking with
words, and needless to say, it was not a hit,
although Britain’s Manfred Mann would
score a No. 1 in the US charts with their
more musically florid version of the song
in 1976. Similarly, the critical reception
for Greetings from Asbury Park N.J. was
mostly positive, but somewhat lukewarm,
and the album did not sell well either.
Nevertheless, there were several golden
nuggets in amongst the slush-pile of
songs. Not least one of the tracks that had
helped secure Springsteen his record deal,
the epochal It’s Hard to Be a Saint in the
City, which closed the album and pointed
the way in which later, more musically
adept Springsteen albums would evolve.
It’s Hard to Be a Saint in the City
was covered by David Bowie for his
Young Americans album in 1975, and
although it never made the final cut,
Bowie, then enjoying the first flush of his
huge worldwide success, let it be known
how much he loved the album. Bowie
expressed his admiration for Greetings
from Asbury Park N.J. by recording a
second track from the record, Growin’
Up, and though that also failed to
make the final Young Americans track-
listing, the publicity was invaluable, and
suddenly Springsteen had one of the
most-discussed albums of 1973.
Other first-album tracks like Spirit in
the Night and Lost in the Flood are also
worth a special mention as they went
on to become live favourites for years.
Spirit in the Night was a funky R&B
number you could actually dance to,
unlike most of the other relentlessly edgy
tracks on the album. Whilst, Lost in the
Flood was an apocalyptic soul-bearer that
protégé, Hammond had gone straight to on the record were drummer Vini ‘Mad prefigured some of Springsteen’s later,
the President of Columbia Records, Clive Dog’ Lopez, saxophonist Clarence more decidedly downbeat moments like
Davis, who famously rubber-stamped Clemmons, bassist Gary Tallent and The River. This was juxtaposed by Does
the whole deal after listening to just one keyboard player David Sancious – all of This Bus Stop at 82nd Street? a song that
track. Despite this success, it was still whom would go on to form the backbone sounded as if it could have been written
live on stage that the young Springsteen of the next Springsteen live band. The for an earlier generation by a young,
made the greatest impact, with his high album also featured session-men Harold chain-smoking, Benzedrine-swallowing
octane performances contrasting with Wheeler and Richard Davis. The album Jack Kerouac.
the habit of most contemporary singer sleeve was based on a mock picture- Despite the dense lyrical undergrowth
songwriters, who tended to give a more postcard of Asbury Park, somewhat of so much of the album, according
low-profile performance, either sitting worn around the edges: a suitable to Springsteen much of it was actually
alone with their guitars or standing still visual metaphor for the forlorn picture written quickly with barely any second
in the spotlight. of boardwalk life the music contained thoughts. Springsteen claimed that tracks
Bruce had spent almost all his initial therein depicted. Upon release, the record like the ballad For You which recounted
record advance putting a new band of was regarded, not unfairly, as overly the final minutes of a life, and The Angel
musicians together, and hit the road self-conscious, with the lyrics tending a view of life’s highway taken astride a
as soon as his first album was released to overshadow the music to an almost purring motorcycle, were written in under
in March 1973, entitled Greetings from unprecedented degree, even for a would- fifteen minutes. ‘I see these situations
Asbury Park N.J.. Recorded at 914 Sound be ‘new Dylan’. happening when I sing them, and I know
Studios, in Blauvelt, New York, and In spite of this criticism, Columbia the characters well – they’re probably
co-produced by Mike Appel and Jim chose to promote the album by releasing based on people I know… It’s like if
Cretecos, the backing musicians featured one of the most lyrically verbose songs you’re walking down the street, that’s
44 Music Legends
THE BEATLES – HELP! IN CONCERT

Also Available On Limited Edition Blue Vinyl
These limited edition releases bring together the very best concert performances by The
Beatles during the crucial period leading up to the launch of Help!. Packed with a string of
powerful hits, this astonishing anthology features the very best of the Beatles in performance
during the Beatlemania era from 1964–1965.
A Hard Day’s Night, Things We Said Today, You Can’t Do That, If I Fell, Long Tall Sally,
I Feel Fine, I’m Down, Ticket to Ride, Yesterday, Help!, Act Naturally, Twist and Shout,
She’s a Woman, I’m a Loser, Can’t Buy Me Love, Baby’s In Black, I Wanna Be Your Man,
Everybody’s Trying to Be My Baby, Rock ‘n’ Roll Music and many more.

Music Legends 45
what you see, but a lot of the songs were
written without any music at all.’
Springfield later told Zigzag Magazine,
‘That record reflects the mood I was
in at that particular time… you know,
the fact of having to come into the city
from where I was living, and I didn’t
have a band so it all contributed to that
kind of down feel. But towards the end
of the record I started pulling out of it
with songs like Spirit in the Night which
started to get into a whole different feel.’
For all its virtues and critical
support, Greetings from Asbury Park N.J.
remains one of the least approachable of
Springsteen’s early albums. The record
captured Bruce at his most determinedly
tormented; so desperate to be taken
seriously he appears, at times, to have
forgotten what fun he used to have simply
standing up there onstage singing. To his
credit, it was a mistake that he would be
careful not to repeat on his next album.
Before Springsteen would start work on
that, however, he and his band would
complete over 200 gigs around the United
States, sometimes supporting bigger
established acts like Chicago, most often
playing one-night shows at clubs and bars
along the East Coast. It was a punishing
schedule that left Bruce and his boys
getting by on a couple of dollars each per
day, dining on hamburgers and beer. But
it was also an experience that proved to be
the making of the band, tightening them
up and helping flesh-out songs like Spirit
in the Night and For You, songs that had
sounded stilted on album, but were now
sure-fire crowd-pleasers.
Bruce was also finding time to build
in some of the new numbers he was instrumentation, it remains one of the colourful characters. As Springsteen
writing with the band in mind; warmer, most adventurous musical statements explained, he had been searching for
less wooden-sounding material like either Springsteen or the E Street Band a sound that ‘rocks a little differently
Kitty’s Back, which centered around a would ever make. Unusually, the album – more in the rhythm and blues vein.’
lengthy crescendo-building keyboard featured Bruce on acoustic and electric That he achieved this goal on his second
intro from David Sancious, and had guitar, Danny Federici on accordion as album was almost entirely down to
become one of the highlights of the the band he had assembled, a
set. With the newfound freedom fact partly acknowledged in the
and confidence his band was “I’d go to every show album’s elongated title. Most
giving him, Springsteen suddenly prominent was the influence of
sounded less like a poor man’s Bob expecting nobody to come, Clarence Clemons, Garry Tallent
Dylan and more like a younger,
more carefree Van Morrison. This
and I’d go onstage expecting and David Sancious, who between
them had a wealth of experience
was the backdrop that would lead nobody to give me anything playing soul, jazz and R&B on
to the recording of what would be the black West Side of Jersey. The
the first really convincing Bruce for free. And that’s the way songs seem less stridently personal,
Springsteen album, the joyously you have to play.” and more story based; tracks like
titled The Wild, the Innocent & the the wheezing Wild Billy’s Circus
E Street Shuffle. Recorded at the Story, the jazzy Incident On 57th
tail end of 1973 and released in February well as keyboards, and Garry Tallent on Street (which Springsteen was still
1974, the second Springsteen album really tuba in addition to the bass. introducing onstage as Spanish Johnny)
captured what quickly became known It was also a record practically and the dreamy New York City Serenade.
as the signature E-Street sound. Indeed, overflowing with syncopated beats, jazz Other highlights include the demi-title
in its varied and often esoteric choice of riffs, soul horns and an array of typically track, E Street Shuffle, which featured
46 Music Legends
is characters and situations. I mean I’ve
stood around carnivals at midnight when
they’re clearing up [as on Wild Billy’s
Circus Story] and I was scared, I met
some dangerous people. As for Spanish
Johnny’s situation [in Incident On 57th
Street]… I know people who have lived
that life.’
He described his new band as ‘a real
spacey bunch of guys’ and talked of his
wish to perform in Britain, yet doubted it
would be soon, in light of his hectic US
touring schedule: ‘It just goes on forever
here, on and on.’
Despite disappointing sales figures
for The Wild, the Innocent & the E Street
Shuffle, Springsteen’s reputation as a
live performer was growing with every
fiery performance. Buoyed by this new
celebrity status, Springsteen and the E
Street Band set out on what would be
their most ground breaking US tour yet.
Critical plaudits were now starting
to pile up. One review, in particular,
however, would capture the imagination
of all who read it, building in resonance
throughout the years to become the most
oft-recalled epithet of Springsteen’s long
career. Jon Landau, who had given a
largely glowing review to The Wild, the
Innocent & the E Street Shuffle in The
Real Paper, the local arts magazine he
edited in Cambridge, Massachusetts,
was also the 26-year-old reviews editor
of Rolling Stone. A music journalist
that had already won the respect of the
music industry by actually working in
Springsteen and the E Street Band in performance in October 1985. it as an occasional producer and A&R
man, Landau produced the second MC5
album, Back in the USA and championed
gritty Stax-styled guitar, and even ‘There was more of the band in there Maria Muldaur’s breakthrough hit
Springsteen’s first full-blown love song, and the songs were written more in the Midnight at the Oasis. Although he had
4th of July, Asbury Park (Sandy). way that I wanted to write. But I tend not been familiar with Springsteen’s
Lyrically, all these new songs found to change the arrangements all the time work previously, Landau was intrigued
the chief protagonist looking out instead in order to present the material best… enough by his second album to go along
of staring within. Best of all, there was for for instance Sandy. I like the way it is on and check him out when he played at
the first time a real sense of fun to a local club named Charley’s, in
be found in the record’s grooves, April 1974. The timing of Landau’s
as evidenced on the album’s most “If you don’t play like that, arrival at his first Springsteen
effervescent moment, the raucous show was prescient. Not only was
Rosalita. Later featured on their pack your guitar up, throw the band reaching its musical
famous The Old Grey Whistle Test
television performance, Rosalita
it in the trash can and go apotheosis after playing together
on the road solidly for over a
was not only the highlight of home… The night I stop year, but Bruce himself was fast
the Springsteen live show, it evolving into the consummate
was Bruce’s own new favourite; thinking that way, that’s the live performer we know today;
the song that best captured the night I won’t do it anymore.” introducing songs with little
bristling energy he and his new autobiographical vignettes that
band were able to summon forth served to both explain and
when the spirit really took them. the record but it was entirely different up frame the songs he sang. A livewire one
Springsteen discussed The Wild, the until the night I recorded it and then I moment, quiet and contemplative the
Innocent & the E Street Shuffle with changed it. The mistake is when you start next, and backed by a band entirely
Sounds Magazine in March 1974, just thinking that you are your songs. To me simpatico both musically and personally,
as the album was released in Britain; a song is a vision, a flash and what I see Springsteen astounded Landau with his
Music Legends 47
the music press for the new album,
purloining Landau’s memorable idiom.
A judgement guaranteed to be seen
as the throwing of a hat into the ring
by other critics, by the time the UK
music press had picked up on it, the
line had turned into the less accurate
but even more memorable, ‘I have seen
the future of rock ’n’ roll and its name
is Bruce Springsteen’. Or simply, ‘Bruce
Springsteen is the future of rock ’n’ roll’.
Naturally, there were those who found
such sentiments ill conceived at best,
or downright scabrous at worst, and
immediately set about proving Landau’s
theory wrong. With only the admirably
written and played, but woefully under
produced second album to go on, most
British critics pooh-poohed the whole idea
and Springsteen was suddenly in danger of
being written off as just record company
‘hype’, about the worst crime any young
singer-songwriter wishing to be taken
seriously could be accused of in those
days. Right or wrong, above all Landau’s
proclamation had the effect of raising the
bar of critical expectation for whatever
Springsteen did next. From here on in,
whatever he did, be it a concert tour, new
album, or even just an interview, it would
no longer be enough for him merely to be
good. As the official ‘future of rock ’n’ roll’
whatever he did next would always have to
be great. As such, Landau’s heartfelt but
unbridled enthusiasm became a cross the
young singer would have to bear for the
rest of his career. The question was: after
an introduction like that, how would he
ever be able to live up to it? The answer
would come with his next album; the one
he was telling friends he’d already decided
Springsteen on stage in October 1985. to call Born to Run.
performance that night. So much so that ‘Springsteen does it all. He’s a rock ’n’
when Bruce and the band returned to roll punk, a Latin street poet, a ballet
Cambridge for a follow-up date a month dancer, an actor, a poet joker, a bar band
later, opening for Bonnie Raitt at the leader, hot-shit rhythm guitar player,
Harvard Square Theatre, Landau made extraordinary singer and a truly great
sure he had a front row seat. rock ’n’ roll composer… he parades in
Once again, he was stunned by what front of his all star rhythm band like DO YOU WANT SOME MORE...?
he saw. Raitt had allowed the young a cross between Chuck Berry, early
Springsteen to perform his full two-
hour show and Landau left that night
Bob Dylan and Marlon Brando. Every
gesture, every syllable adds something to CLICK HERE FOR THE
even more convinced of this newcomer’s
unbelievable talent. It also happened
his ultimate goal – to liberate our spirit
while he liberates his by baring his soul COMPANION PODCAST
BRUCE SPRINGSTEEN
to be the night of the critic’s twenty- through his music.’
seventh birthday and when he settled Yet it was that one telling phrase, ‘I
down a few night’s later to pen his saw rock ’n’ roll’s future and its name is
review, Landau concluded, ‘I saw my Bruce Springsteen’ – that was destined BORN to run
rock ’n’ roll past flash before my eyes. to become the most oft-repeated quote of
And I saw something else. I saw rock Springsteen’s career. Columbia Records DIG DEEPER INTO THE STORY
’n’ roll’s future and its name is Bruce
Springsteen.’ Going on to enthuse that,
were quick to see the possibilities and
immediately began running ads in all
48 Music Legends
THE BEATLES – GREATEST HITS 1961-1966

The complete collection of legendary lost performances by the Beatles
from the studio, the concert hall and the airwaves.
Love Me Do, P.S. I Love You, There’s a Place, I Saw Her Standing There, Misery,
Thank You Girl, Don’t Bother Me, Hold Me Tight, A Hard Day’s Night, I’m a Loser,
What You’re Doing, She’s a Woman, Things We Said Today , You Can’t Do That,
If I Fell, Long Tall Sally, I Feel Fine, I’m Down, Act Naturally, Ticket to Ride, Yesterday,
Help!, Baby’s In Black, She Loves You, You Can’t Do That, Twist and Shout,
Can’t Buy Me Love and many more.

Music Legends 49
Fleetwood
mac The Making of Rumours
As 1975 rumbled in, Fleetwood Mac was on the prowl for more
band members, yet little did they know of the incredible impact
these artists would have on the future of the band and the face of
rock music. Inspiring a selection of the most outstanding albums
Fleetwood Mac ever recorded, Lindsey Buckingham and Stevie
Nicks rocketed the group to heights of fame and fortune that
utterly eclipsed the Peter Green era.
50 Music Legends
New Year’s Eve 1974 found Lindsey
Buckingham and Stevie Nicks at their
lowest ebb for some time, until the
phone rang and their lives were never
the same again. That’s just rock ’n’
roll for you: one never knows what’s
coming next.
Fleetwood had met Buckingham and
Nicks at Sound City Studios in LA, on
a spontaneous visit that had more to
do with a trip to the supermarket than
finding new members for his band.
The pair were working on some songs
for a new album, but hadn’t really had
any luck with their previous efforts
and were on the point of calling it a
day, when in walked Mick Fleetwood.
Keith Olsen brought Fleetwood to
Sound City to consider the merits of the
studio for rent, rather than the errant
musicians who happened to be there,
but Fleetwood’s ears pricked up when
he heard Buckingham play and he knew
he’d found the next guitarist for the
band. Unfortunately he wasn’t looking for
any other musicians than a guitar player,
however, when he got in contact with
Buckingham and Nicks it was obvious
they lived, worked and dreamt as a duo,
so it would be both of them or nothing.
Fleetwood made one of the best
choices for the listening public when he
decided to give the pair a break. He was
already hoping to change the musical
direction of his band, as the previous
album had floundered, and here he had
found new song writing blood in the
form of Stevie Nicks. So it was, that
the tenth line-up of Fleetwood Mac
was born in a downtown studio in LA.
What none of them knew at the time
was that the melting pot of their musical Stevie Nicks during a performance in 1976.
talent provided a dynamic chemistry on
stage and in the studio; a chemistry that
changed all their fortunes forever. and John said to me, “If you don’t like the a major breakthrough, but in the mid-
Mick Fleetwood later commented girl, then we can’t have either of them, seventies, Fleetwood Mac were still just
on this initial jam session stating, because they are a duo.” The last thing a rocking, folky, blues band that had
‘The first time we played together was I was thinking about at the time was to by all intents and purposes passed their
in the basement of our agent’s office, have another girl in the band. I had been sell-by date. The band were seen as trying
and it was at that point the real, true so used to being the only girl.’ However, to make headway in a music market that
excitement came. It was very apparent Christine’s concerns were soon assuaged, had already written off their particular
that something was really happening. It ‘We met them both. We all really got on genre of music as old, faded, worn-out
was very much like when the band first well together. Stevie was a bright, very and highly unlikely to appeal to the
started.’ humorous, very direct, tough little thing. kids. Up to this point, Fleetwood Mac’s
Christine McVie was slightly more I liked her instantly, and Lindsey too.’ major impact had been in the United
reticent about having another woman Mick Fleetwood still had his work States, leaving Britain and Europe rather
in the band. Not that she was possessive cut out convincing Warner Brothers that nonplussed about the group’s appeal. The
or controlling in any way, but she knew this new incarnation of the band was the band had a bizarre seesaw effect with their
that one female amongst a band of best thing yet, and that the next album record sales on either side of the Atlantic,
rock ’n’ roll men was complex enough, was going to prove to the suits and to where albums and singles that did well in
especially considering the band’s track the fans that Fleetwood Mac were back. the States hardly scored in England, and
record of incestuous relationships and With hindsight, it’s easy to wonder what the one or two that sank without a trace
general shenanigans. She summed up the all the fuss was about, knowing as we on the US hit parade invariably did better
situation quite succinctly, saying, ‘Mick do that the band were on the verge of in the UK. This made it very difficult to
Music Legends 51
Lindsey Buckingham, Stevie Nicks and John McVie on stage in 1977.
know where and to whom they wanted to tracks, except for one cover song – the their audience was undergoing at that
target their next offering. Curtis Brothers’ Blue Letter. A track time. By the mid-seventies, the music-
One thing was certain though; they that served to prove Stevie Nicks had listening public from the sixties had
weren’t going to waste any time debating been a strong addition to the band, was grown up. They were no longer a bunch
the issues, so, less than a month after the the beautiful Rhiannon, a wonderfully of reprobate teenagers, all taking their
group first got together they headed back crafted ballad about a Welsh witch that clothes off for the first time and running
to Sound City Studios in LA to begin was to become one of the band’s most around the festival fields while singing
work on the album they would simply popular songs and one that became a firm hymns to ‘peace and love, man’. They had
call Fleetwood Mac. fixture at gigs. seen what war, and in particular Vietnam,
It could be said that the hassles over Christine’s Sugar Daddy also became had done to a lot of young people. They
the group’s name and the doubts as to one of the band’s staples, whilst Over had witnessed the race riots and the
whether Fleetwood Mac could rise, My Head and Say You Love Me showed protest marches. They had matured, and
phoenix-like, from the ashes of so many that she had by no means lost her talent by the mid-seventies they wanted a kind
line-up changes, encouraged them to for writing top-class lyrics and melodies. of music and lyric that reflected that older
state their name boldly on the album as The album Fleetwood Mac was released in viewpoint. The appeal of twenty-minute
a gesture of solidarity. It perhaps also July 1975, and didn’t take long to reach lead guitar and drum solos was beginning
served to convince anybody who had any the prestigious No. 1 position in the to wane; they were looking for something
doubts, after the court case with Clifford American album charts. a bit deeper and more melodic.
Davis, over who owned the name – it was Christine summed up the appeal of Where the charts are concerned,
definitely Fleetwood Mac. The desire to Fleetwood Mac ruminating, ‘I think it often doesn’t matter how amazing
get cracking in the studio and come up we were just a product that everybody songs are, or how well they’re produced;
with an album meant the band didn’t wanted at the time. It was a very versatile it comes down to public opinion as
have a lot of time to get to know the new album, and on stage the band projected to what sells, what doesn’t sell, and,
members, so the album was created by a kind of exciting image, a new sort of most importantly, what goes platinum.
bringing together individual styles rather image, which hadn’t been seen before. It Sometimes the oddest and least
than the members working together as a was unique to have two women in a band commercial song can cut right through
cohesive unit. who where not just back-up singers, or all the noise of the music industry, and
Thus, Buckingham and Nicks added singers period… The five characters on by sheer public demand creates a monster
in their back catalogue of songs, which stage became five characters, as opposed hit. At other times an artist can turn out
made up virtually half of the material, to just five members of the band.’ an album that is at least as good as its
while Christine McVie and the rhythm Fleetwood Mac’s astounding success predecessor, only to find the listening
section covered the remainder of the also could be a product of the changes audience has moved on and doesn’t want
52 Music Legends
Fleetwood Mac – Rhiannon & Other Tales

Limited Edition On Purple Vinyl
This limited edition vinyl album features a rare Fleetwood Mac live show from September
1975, when Stevie Nicks and Lindsey Buckingham were just beginning to make their mark
on the group. At this point they had released the Fleetwood Mac album that formed a
large part of the set, but were also still performing some of the hits from the group’s more
blues oriented material. With the best of both worlds – this is a rare opportunity to enjoy
Buckingham’s take on early material such as The Green Manalishi and Hypnotised.
Spare Me a Little of Your Love, Rhiannon, Landslide, Over My Head,
The Green Manalishi, Oh Well, World Turning, Blue Letter and Hypnotised.

Music Legends 53
way we are. We never wanted to be
viewed or reported as the biggest thing
since sliced bread. Me, Chris and Mick
have been working together for a long
time. We’ve eaten every day and always
had money for smokes. I’m proud we
pushed ahead. The success now makes
some justification for the efforts of the
past.’
Following on from the band’s album
success, Warner Brothers decided to go
ahead and release one of the songs as a
single. Christine’s Over My Head was
put out and made an immediate impact,
which further broadened the band’s fan
base in America.
This was their first chart-topper in
the singles market since Peter Green’s
offerings in the late sixties. This says
a lot about how the way record labels
used to look after their artists. Today,
if an act doesn’t have a steady stream of
chart topping singles, or at least a huge
blockbuster album, it’s likely they will
find their contract expires and won’t
be renewed. Back in the sixties and
seventies, the music industry took a
longer-term view and nurtured talent,
and naturally, having produced such a
fine album, the time came to take it out
on the road.
Until this point, a pattern had been
emerging now of how Fleetwood Mac
operated: get a new line-up of musicians
together, record an album, release a
single, go on tour, go crazy, lose a band
member or two, get a new line-up,
record an album, and repeat. So it was
surprising that Fleetwood Mac survived
the tour of 1975 with no casualties.
Buckingham and Nicks were keen to
Stevie Nicks in 1979. prove their worth, so they didn’t mind
roughing it from time to time with all
the rigours of being on the road. Nicks
that kind of sound any more. Punk rock, struggling to make headway in either has since recalled the tour reminiscing,
which was about to break in the UK, the singles or album charts. It must ‘There were no limousines and Christine
provided a perfect example of this, when have been a depressing situation for the slept on top of the amps in the back of
virtually overnight, courtesy of the Sex Brits in the band, but Mick Fleetwood the truck. We just played everywhere
Pistols, a whole genre of ballad-writing, was characteristically forthright in his and we sold that record. We kicked that
folky, bluesy artists found themselves to summation of it all recognising, ‘We album in the ass.’
be classed miserably as last week’s news. were primarily interested in getting out Meanwhile, the old hands were intent
The key aspect to Fleetwood of England altogether. The band wasn’t on showing the newcomers just what a
Mac’s appeal was that their songs had working in England. At that point we professional outfit they were. The result
intelligence, a maturity of content and were playing more and more over here, was a stupendous tour with a fresh sound
a style that reflected the values and the States. Also, I thought England was and image for the band. This irresistible
lifestyle of their audience. This is why, very grey and full of depressed people. combination went down a storm with
when all the hype had died down and We just got out.’ the existing fans and won the band even
the record executives had lost interest, The huge sales figures generated by the more new followers. The tired and worn-
the album continued to get airplay on Fleetwood Mac album went way beyond out blues numbers were abandoned to
a diverse range of stations in America, the band’s expectations. They had always the Fleetwood Mac back catalogue while
and therefore managed to stay in the US sold comfortable amounts, but had not the bright, tight, West Coast production
Top 10 for well over a year. Meanwhile, yet ascended to platinum status. ‘We’ve and delivery of rock and pop ballads had
back in the UK, it was the same seesaw always kept a low profile,’ John McVie fans filling the aisles. Any doubts the
sales conundrum, with the band explained, ‘away from hype. That’s the long-term blues devotees had regarding
54 Music Legends
the band were instantly dispelled upon
seeing the exciting stage show, which
now included not just one, but two rock
starlets. Accompanying the divas on stage
were the thumping drums and bass of
Fleetwood, the clean, proficient guitar
work of Lindsey Buckingham and the
foot-stomping rhythm of John McVie.
The 1975 Fleetwood Mac tour, with the
definitive tenth line-up, probably found
them at their happiest and most dynamic
for many years. Yet, it was not long before
hairline fissures started appearing in the
band’s makeup. Buckingham was already
feeling the strain that playing somebody
else’s music has on a musician. Being a
decidedly independent man and wanting
to retain his personal style made it hard
for Buckingham to dovetail sweetly
into playing Bob Welch songs without
a second thought, but he persevered,
perhaps because Nicks seemed to be
enjoying the trip and felt more at home in
the group than he did.
From August through to December
1975, Fleetwood Mac were on the road,
gigging virtually every night and working
hard to sell the new album, the new
band, and the new look. The tour was
naturally a chance for the band really to
get to know one another and to establish
their core identity, and without the
excess and isolation that came with their
later fame, Fleetwood Mac was able to
bond as a unit. The tour had the effect
of smoothing out any glitches in their
performances and creating that natural
rapport that is so important between
band members on stage.
Despite their live success, Fleetwood
Mac now faced strong pressure from
their record label and the business side of Stevie Nicks performing in 1979.
the music industry, so in 1976, Warner
decided to release Rhiannon as a single.
Fortunately Rhiannon proved an Green’s version of the band, which was a The in-your-face brutality of punk
immediate hit, and did much to vindicate blues and rock outfit rather than rock and was the natural successor to this trend,
Stevie Nicks’s place in the band as well pop. Back in 1975 and 1976, the music as the commercially produced hit makers
as relieving some of the pressure from industry in Britain was turning out the that went before seemed so paper-thin
Warner. After Rhiannon, Christine’s last of the glitter bands before the advent and soulless in comparison. At least Sid
Say You Love Me was released to similar of punk came along to reshape musical Vicious seemed like he really meant it.
success, however this was sadly only true tastes indefinitely. It was into this UK music culture, that
of their sales in the US, as at that point in Much of the listening public felt Fleetwood Mac was trying to sell what
the mid-seventies, Fleetwood Mac were somewhat lost. Having been raised on the was seen as out-dated arena pop rock.
still finding it hard to get anywhere in the Beatles and the Stones, and being used The kind of people who were British
British charts. to taking the seminal trips experienced blues music fans, and who had taken
For example, when Rhiannon was growing up with bands like the Pink on board Peter Green’s immense talent,
put out as a single in Britain it struggled Floyd, Frank Zappa or Bob Dylan, rock were not keen to accept what was seen
lamentably to make the Top 100, let fans were now expected to lap up the as a less noble substitute. Comparatively
alone the Top Twenty. The single’s highest Bay City Rollers and Donny Osmond. It in the States, musical appreciation was
recorded chart position was a miserable was a tough time for many listeners, and a far more fluid affair and didn’t have a
No. 46. The difficulty the Fleetwood although these bands were the teeny- countrywide basis; one trend could be
Mac experienced in Britain was more bop chart makers, they still dominated kicking off in New York while an entirely
than likely due, in some small measure, the radio airwaves and television different scene was breaking through on
to the loyalty showed by the fans to Peter performances of the era. the West Coast.
Music Legends 55
and it says volumes about her character,
Stevie Nicks and Lindsey Buckingham on stage in Summer 1980.
and perhaps about how solid she was in
her hippie ideals, that Stevie didn’t let
it all go to her head. As 1976 unfolded
it became clear that the band’s success
had divided Stevie and Lindsey, while
John and Christine were as usual living
in separated disharmony. Mick, who
was supposed to be the solid, father-
type figure of the band, was pressed
to the point of splitting with his wife
and divorcing her – before they got
remarried, and then divorced once more.
It probably would have been worthwhile
for Fleetwood Mac to have employed
a marriage guidance counsellor on the
permanent payroll of back then, as he or
she would have certainly had some serious
work to do.
Despite all this emotional turmoil
going on behind the scenes, each member
had a strong commitment to the band
that kept them going. Somehow, they
never let personal problems supersede
the demands of the group. No matter
what, Fleetwood Mac and the fans
came first and foremost in all their lives,
and the band members were self-aware
enough to realise they’d never get such
a chance to make it big again. Amidst
the soap opera, Warner Brothers were
on their case looking for another album
and the next string of hits. Rather than
succumbing to the emotional divides in
the band, the songwriters went away and
put it all down in material that would
make the next album. That this album
would be the greatest breakthrough for
the group and one of its all-time best
sellers says something about the nature of
the creative process and its relationship
to trauma.
It was Eric Clapton who admitted
that there was nothing worse than being
This meant that the American Nicks, as she was first named, shone as happily ensconced in a relationship to
audience was more open to what the group’s feisty lead singer. She was the dry up all his creative juices. He went
Fleetwood Mac was trying to achieve. It foxy lady personified, and exuded that as far as purposely wrecking any stable
sounds odd by today’s standards, but to kind of passionate, fiery aura that Mick relationship with his partner just so he
have two women providing the creativity Jagger achieved with his lips and hips. could come up with a bit of angst and few
and, more importantly, fulfilling the Putting the attractive duo of Nicks and good tunes for his next album. This was
job of a front man was something of Christine McVie together on stage proved one problem that Fleetwood Mac never
a novel concept in the mid-seventies. to be a highly lucrative combination, as suffered, for there was no shortage of
Most rock bands were utterly devoted to American audiences were more likely to stress and arguments between the couples
the concept of having a male rock god accept a good image even if the product in the band, and such troubled waters led
out there fronting the group. Female wasn’t completely ready. them to produce some of their lifetimes’
performers were for the most part either At this time Stevie Nicks must have best work in the shape of Rumours. The
successful solo singers or banished to the felt like she was living in a fairy tale, comings and goings of each band member
harmony department. For such macho going from rags to riches in less than a had certainly given the West Coast press
figures as Mick Fleetwood and John year. The one-time waitress and cleaner more than enough to chew on, and it was
McVie to relinquish this age-old status found herself propelled to the dizzy this capitalising on seedy, showbiz gossip
was revolutionary, and something of a heights of rock’s royalty faster than you that prompted the band to call the album
revelation for the time. can say ‘millionaire’. Many people might Rumours.
More to the point, the approach have lost themselves in such a rapid With their choice of album title, it
proved highly successful. Stephanie transition from anonymity to stardom, seemed the group had maintained their
56 Music Legends
Fleetwood Mac – Never Break the Chain

Limited Edition On Blue Vinyl
This limited edition vinyl album features the live Fleetwood Mac broadcast from Inglewood
on 21 October 1982. The band was working hard to replicate the success of Rumours, and set
out to showcase just what they could do on the Mirage tour. This release provides a powerful
snapshot of Fleetwood Mac at the top of their game on that tour, performing a stunning
selection of their hits in concert.
The Chain, Rhiannon, Gypsy, You Make Loving Fun, Tusk, I’m So Afraid,
Go Your Own Way and Songbird.

Music Legends 57
Christine McVie (left) and Lindsey Buckingham (centre) in performance during the Tusk tour.
sense of humour – or perhaps just a fresh idea of what was working for the the albums and touring the band, Mick
healthy sense of irony. Christine McVie fans and what wasn’t going down so well. Fleetwood and John McVie set up
later discussed the album reflecting, Instead of carrying on at the Record their own managerial company, rather
‘The outcome of the various separations Plant studio, they shifted back to LA, and amusingly called Seedy Management.
and emotional upheavals in the band eventually recorded parts of the album in The bulk of the responsibility for this
that caused so many rumours are in no less than four different studios. enterprise fell on Mick’s shoulders,
the songs. We weren’t aware of it at the The services of Keith Olsen had ‘We’re much less insulated,’ he said,
time, but when we listened to the songs been discarded, not through any major explaining their ethos, ‘because I make
together, we realised they were telling problems with his work, but because sure everybody knows what’s going on.
little stories. We were looking for An outside manager has a tendency
a good name for the album that to try to make it look as though
would encompass all that, and the “The way we approach it is more everything is going smoothly even
feeling that the band had given when it’s not. I think we’ve got
up, the most active rumour flying like the way the Beatles used to complete peace of mind. I think,
about. And I believe it was John, approach their thing in the studio; for instance, that if someone from
one day, who said we should call it outside had been handling this
Rumours.’
having a general idea and then band we would have probably
In 1976, Fleetwood Mac going into the studio and letting broken up when there were
withdrew to the Record Plant the spontaneity happen.” problems. This band is like a highly
studio in Sausalito, California tuned operation, and wouldn’t
with producer Richard Dashut Lindsey Buckingham respond to some blunt instrument
to record the songs that were coming in. There’s a trust between
coming out of this difficult period. all of us that would make that a
However, it turned out to be so stressful the band wanted to take greater control problem.’
that eventually the group went out on of what was happening at the mixing John McVie was particularly proud
the road just to relieve the tension that desk. They now exhibited the kind of of their efforts and was keen to point
being cooped up in a studio had brought. confidence in themselves that favourable out that, ‘The hardest thing for people
This gave Fleetwood Mac an opportunity record sales encouraged, and were keen to in the business to accept is the fact that
to test out some of the new songs they stamp their individual characters firmly the band achieved all that it has without
had been working on and provided a on the album called Rumours. professional help. Some people still think
good level of feedback, so that when they Taking this desire to have greater that Mick’s just a dumb drummer and
returned to recording again they had a control over all the aspects of producing I’m a dumb bass player.’
58 Music Legends
Stevie Nicks in performance during the Tusk tour.
Most of the past work the band had assure them that a product was on the recalled, ‘I just sat down and wrote in the
done in the studio in the past had been way and would be worth the wait. Boldly, studio, and the four or four and a half
recorded live, with the necessary overdubs he didn’t even allow them to hear any of songs of mine on the album are a result
going on later, but with Rumours the rough mixes, preferring instead to of that.’
Fleetwood Mac chose to take a new keep the project under wraps. Had they This was an incredible statement; were
approach, preferring instead to build known what was going down in all these it not for that single day’s inspiration in
up the songs layer by layer. They still, several studios and with all these diverse the studio, the world might only have
however, did everything they could to songwriters, Warner would have been less had half of the masterpiece that was
retain some verve and vibe in the process. worried, but Fleetwood never had massive to become Rumours. Lindsey was also
‘The way we approach it,’ having a few doubts about the
Lindsey mused, ‘is more like the whole situation, feeling that his
way the Beatles used to approach “All my songs are personal. They songs weren’t coming out how he
their thing in the studio; having wanted them to sound once the
a general idea and then going are all about things which did band got a hold of them. However,
into the studio and letting the happen. The only way I can be is faced with Mick’s take-it-or-leave-it
spontaneity happen. There was attitude, he settled down somewhat
nothing specifically worked out
honest. I can’t make up a song. I and agreed to relinquish some
when we went into the studio. promised myself… I would never control for the good of enterprise
We didn’t have demo tapes like lie in my songs.” as a whole.
the last time. The whole thing Meanwhile, Nicks summed
just happened. That’s where you Stevie Nicks up her way of writing songs by
capture the magic.’ saying, ‘All my songs are personal.
Of course, such luxury during They are all about things that did
the recording process is only accorded sympathy for the business side of the happen. The only way I can be is honest.
to extremely successful bands, and even music industry, and it delighted the group I can’t make up a song. I can’t make up a
though Fleetwood Mac could warrant to have the power for once. story. I promised myself from when I was
these expenses, the moguls at Warner Despite this confidence, Christine had sixteen years old and wrote my first song
Brothers were getting jumpy at the huge been having a few doubts and the odd about the break-up from my boyfriend
costs involved. This was usually where moment of panic as she was finding it Steve that I would never lie in my songs.
the band’s manager would take the brunt hard to come up with any new material. I would not say, “I broke up with him”,
of the flak, so unfortunately it fell to It seemed as if for once her music had if the truth was he broke up with me. I
Mick Fleetwood to go to Warner and deserted her. Then one day, as she later would stay clearly truthful to the people.’
Music Legends 59
John McVie and Lindsey Buckingham during Fleetwood Mac’s performace at
the US Festival, in San Bernardino, California, on 5 September 1982.
This may or may not have been a good the Top 10 and was a portent of the we never thought would happen, but I
philosophy to have, depending on where gold mine that was to come when the haven’t ego-ed out. I’m pretty much of
a person stood in the lifeline of Stevie album hit the charts –Fleetwood Mac a recluse, as it happens. What has this
Nicks. With her relationship to Lindsey could practically have paved the streets done, though? Well, the doors have just
still hanging precariously in the balance, with gold blocks from the incredible opened. Now I have the money to get my
we can bet that most of her love songs on sales this album netted them. Within studio sculpture together, and the whole
Rumours concern their past, particularly a year, Fleetwood Mac had managed way of looking at my life has expanded
Dreams. In a reflection of this from the the amazing feat of having sold nearly over the last six months.’
other side of the mirror, Lindsey’s Go ten million copies of Rumours, with the
Your Own Way was a none-too-subtle album sitting pretty at the No. 1 slot This article is an extract from Rumour, Tango
& Mask, the Fleetwood Mac Special Edition of
clap back on how he felt about the for over six months. At the height of the
Music Legends. Available now at issuu.com.
situation. Ironically, when the powers fans’ feeding frenzy, up to a quarter of
that be at Warner finally demanded to a million copies were being sold every
hear a preview of the album, that was the week.
track that Fleetwood offered up. As the It is difficult to imagine such
song finished there was a stunned silence impressive sales figures, however to give
from the thoroughly impressed record some scope, any band that sells 100,000
company, and the project was left to copies of an album in total is usually
develop unmolested. moderately satisfied with that as a result.
On the strength of that one track Considering that some of Fleetwood DO YOU WANT SOME MORE...?
it was clear Fleetwood Mac were onto Mac’s earlier albums were only shifting
something really special. All in all, it
took fourteen months to complete the
a maximum of 10,000 copies in the
UK, it’s easy to see what an achievement CLICK HERE FOR THE
recording of Rumours, plus a further
five months just to mix it, and Warner
Rumours really was. The period
surrounding the album’s release was an COMPANION PODCAST
FLEETWOOD MAC
Brothers were not able to release the incredible time for the band, with each
album until February 1977. of them rushing out to buy mansions
Go Your Own Way had been released and fleets of top-of-the-range sports cars,
as a single just before Christmas 1976, as or vintage cars, which were Fleetwood’s RUMOURS
a taster of the forthcoming album for the particular weakness. Christine summed
fans, and also to assuage the concerns of up the wealth issue and how it had DIG DEEPER INTO THE STORY
the increasingly desperate record label.
The single nudged its way swiftly into
affected the band by saying, ‘It’s enabled
all of us to realise a few dreams that
60 Music Legends
METALLICA – THE SANDMAN COMETH

Metallica have become world famous as the gods of thrash metal. The music of Metallica is
distinguished by anthemic and ultra-powerful heavy metal riffs allied to a unique signature
vocal style, challenging lyrics and, of course, superb song writing. All of these elements can
be found in this powerful six disc anthology that brings together a selection of legendary live
to air broadcasts by Metallica during the halcyon years from 1983–1996.
Blackened, For Whom the Bell Tolls, Welcome Home (Sanitarium), Leper Messiah,
Harvester of Sorrow, Eye of the Beholder, To Live Is to Die, Master of Puppets, One,
Seek and Destroy, … And Justice for All, How Many More Times?, Creeping Death,
Fade to Black, Battery, Last Caress, Am I Evil?, Wherever I Roam and many more.

Music Legends 61
62 Music Legends
Joe Walsh on the Making of Hotel California
Today Hotel California holds the impressive title of the seventh best
selling album of all time, however success does not always come
easy. Joe Walsh and producer Bill Szymczyk give their recollections
of the path to, and the making of this classic album.
Joe Walsh was born on 20 November killed four students and wounded nine was in a rival band down in Canton.
1947 in Wichita, Kansas. Walsh’s others who were protesting about the You know, we really didn’t talk to each
mother was a classically trained pianist American invasion of Cambodia. Walsh other very much. I wasn’t friends with
and encouraged her son to play a had attended the university some time Vitale for a long time because we used
variety of musical instruments. Apart before that, of course. to try to steal each other’s gigs and stuff.
from the guitar, Walsh also dabbled At the university, he was a member But the Measles fell apart – one of the
with piano, clarinet, trombone and of a band called the Measles: ‘Yeah, The guys decided to go in the army for some
oboe, before joining his first band, Measles was the college band. I lasted reason, and the group just fell apart.
the G-Clefs: ‘That was my high school three semesters in college and decided After a while, Jimmy asked me to join
band. We had a drummer, a guitar that was it. I happened to stay through The James Gang up in Cleveland, which
player and another guitar player. That the summer playing downtown with I did.’
was the band, and we played all kinds the Measles, and two things happened. Bill Szymczyk, was working as a
of parties and proms and bar mitzvahs, My girlfriend stopped talking to me house producer at ABC Records, and had
whatever. I don’t know where the and for the first time I was on my own, enjoyed some success working with the
others are these days – they were high my parents weren’t supporting me great B.B. King. Szymczyk, who produced
school friends.’ anymore. So there I was, at eighteen or B.B.’s first US Top 20 hit single, The
Next came the Nomads: ‘Actually, nineteen, just totally self-dependent and Thrill Is Gone, reflected, ‘All the time I
the Nomads were pretty good. We had made about twenty bucks a night and was doing those albums with B.B., I was
Beatle jackets and black ties. I played all the beer you can drink. That lasted going out to Cleveland to see some friends
bass in that band and I had my little for a couple of years – we just played of mine who lived there, and I saw this
bass amp with my twelve-inch speaker. downtown all the time and that way I band out there, a three piece band that
We did all kinds of English things and got to know everybody in Kent.’ Which sounded like a ten piece. I said “Boy, that
Rolling Stones songs and all that. That was where he met Jim Fox, a drummer guitar player’s good”, and it was Joe Walsh
was it right to the end of high school.’ and vocalist who was the leader of a band playing with The James Gang.’
After that, Walsh attended Kent State known as The James Gang. Walsh: ‘I never played lead up till
University in Ohio. Neil Young wrote the Walsh recalled, ‘There were all these then. I played rhythm, played organ on
song Ohio about an infamous incident rival bands. The James Gang was really Louie Louie and sang Don’t Let the Sun
at Kent State, when in May 1970, troops the rival band in Cleveland, we were Catch You Crying, that was my highlight
from the Ohio National Guard shot and down around Akron, and Joey Vitale of the evening. The James Gang went
Music Legends 63
so he took me under his wing there. He
Joe Walsh on stage in 1975.
invited us to come over to England and
play.’
Townshend proved to be a great
inspiration to Walsh: ‘Yeah, he was
amazing. He really talked to me a lot and
helped me and introduced me to a bunch
of people. You know we got so much
mileage off his saying the nice things he
did about The James Gang, especially
over here. Now we could come over and
play the tour and all, that saved us maybe
a year of hard work.’
When his time with The James Gang
ended in 1971, Walsh was invited to join
Humble Pie, the theoretical super group
that initially featured Steve Marriott, of
Small Faces, and Peter Frampton from
The Herd: ‘Yeah, I got a call from Steve
Marriott and almost went, but I couldn’t
swing it and my manager wasn’t real
happy about it. He didn’t want me to
leave The James Gang at all. I was young
and didn’t know how to come over here. I
didn’t know anything about it and I had
to do it all myself, and it just didn’t work.
Almost though! Another six months and
I quit The James Gang because it had
been together for three or four years and
I wanted to do something else. I moved
to Colorado, went and hung out with
Szymczyk. Right around that period was
when I did Barnstorm.’
This was when Walsh started leading
his own band, Barnstorm, with his
erstwhile rival from another Ohio band,
Joe Vitale, on drums and the then
unknown Kenny Passarelli on bass:
‘Tommy Bolin, who had played with
from five people down to three. It was Walsh tells the story slightly Kenny at High School, gave me his
instantaneous because two guys decided differently: ‘After I met Jimmy [Fox], Bill number. He said “There’s this guy who’s
not to come, and we didn’t know that Szymczyk met us through a friend. He up in Canada. He’s real good, but he’s
till we showed up at the concert. So we had just signed up with ABC and wanted nuts.” So I called Kenny. He had just got
had three people and just decided to go to produce a rock ’n’ roll group. He got us his wisdom teeth extracted, so he didn’t
ahead and do it because we’d driven up a record contract for $1,700 – that’s what even remember that I called. I had to
to Detroit. We went on as three people we got – and we bought a van with that call him again a week later, and he drove
and pulled it off pretty good. Over that money and started playing all over. Over down in his 1937 Chevy with an upright
next year or so, I really got some chops up the next year we did that first James Gang bass in the back seat, non-stop from
playing lead guitar. The school of thought album, and that was the first rock album Vancouver, and said, “Here I am!” I said
in the bands I’d always been in was that he’d done that got any recognition.’ to him, “This is the drummer. That’s it,
if you played a record note for note, that’s At that point, the great Pete that’s all I’ve got.”’
the way to do it, so I never even bothered Townshend of The Who entered the Despite his success with The James
to improvise or anything.’ picture. Walsh: ‘That was just before our Gang, it was a problem for Walsh to
Szymczyk: ‘I went back to ABC and second album, James Gang Rides Again. get a record deal for Barnstorm: ‘Yeah,
told them that I wanted to sign this band. We had played with Pete in Pittsburgh it was. I bumped into a bunch of stuff
They said “What? Now you want to sign because our manager was the promoter from leaving The James Gang. It was
bands? We’ve got enough on the roster” of The Who concert, and he put us on hard, it took a long time and I didn’t
and I said, “That’s true, but I don’t like the show. It was a strange combination of know what I was doing either, half the
any of those acts. Let me have this guy things. They happened to come early, one time.’
and his band”, so they agreed to sign The of those few times a band member will go Eventually, the Barnstorm album
James Gang for a $1,700 advance, which out and see who the act is playing in front appeared in the autumn of 1972,
was Walsh’s first contract – $1,700 which of them. It was the three-piece group and spending six months in the US album
the three of them split – and we made Yer we were heavy metal, you know, this and chart but peaking outside the Top 75.
Album, the first James Gang LP.’ that, and I guess Pete kind of identified, It was produced by Szymczyk, who
64 Music Legends
EAGLES – YOU CAN NEVER LEAVE

Limited Edition CD
Also Available On Limited Edition Clear Vinyl
On Monday 25 April 1994, after a fourteen year hiatus, the Eagles were re-united at Burbank
for the recording of an acoustic MTV special that spawned the Hell Freezes Over album. What
is often overlooked, is the fact that the Eagles had also agreed to perform a second night on
Tuesday 26 April, which was filmed and scheduled for radio broadcast. These rare limited
editions showcase that second night broadcast.
Peaceful Easy Feeling, Best of My Love, Tequila Sunrise, Heartache Tonight,
One of These Nights, Hotel California, Wasted Time, Take It Easy and Desperado.

Music Legends 65
recalled, ‘It was the very first album done in and stayed in the room for about three
at Caribou, which belonged to James weeks straight! I got into synthesizers, and
Guercio, who was Chicago’s producer I have subtly used them from So What on
and he owned this huge ranch, about – not in the context of electronic albums
eight thousand feet up, near Nederland, like Switched On Bach, but every once in a
Colorado, which is about an hour and a while underneath the guitars you can hear
half out of Denver. At that time, he was synthesizer.’
getting into the movie business, so he An example on So What is the Walsh
wasn’t around the studio at all, which was version of Ravel’s Pavane: ‘It’s one of
still being built. So I met him and said, my favourite pieces of classical music.
“Look, I’m living round here too, and I’d Maurice Ravel was an impressionist
like to make records here, and I can rent musician, and Pavane of the Sleeping
it from you while you make your movie.” Beauty is part of The Mother Goose Suite
It was on the second floor of a barn, and and I think it’s very haunting. My version
it was so new that the bottom floor still is all synthesizer.’
A track-by-track analysis of had dirt floors, but if you went up to the So What included help from Don
the iconic Hotel California second floor, you were in electronics city, Henley, Glenn Frey and Randy Meisner,
with best top of the line equipment.’
Hotel California During 1973, Szymczyk and Walsh
(Don Felder/Don Henley/Glenn Frey) worked together once more on a second Joe Walsh had worked with
Quite possibly the most recognisable Barnstorm album with the curious title the members of the Eagles and
song ever to emanate from an of The Smoker You Drink, The Player You had formed a good relationship
American group in the seventies, Get, about which Walsh says, ‘It was which, in 1975, made him the
this song has succeeded beyond natural choice to replace the
something I thought of late at night, and departing Bernie Leadon.
anyone’s imagination or dreams.
Today this ode to the dark side it makes sense if you think about it.’
of modern life has become as The album was a significant success,
synonymous with America as Levi reaching the Top 10 of the US chart
jeans. The guitar interplay between and being certified gold. By this time,
Don Felder and Joe Walsh is nothing the group had been augmented by the
short of stunning, and with Don addition of two keyboard players, as
Henley’s distinctive – and in this Walsh explained, ‘I didn’t want to play
case rather haunting – vocal, the with another guitar player, I didn’t find
stage was set for a masterpiece. The
anyone I could relate to – I was still using
single was a monster, and live, this
song is still the band’s crowning Marshall stacks and stuff, and I thought
glory. Hitting number one, the track keyboards would be much better.’
remained in the charts for fifteen The album included a song that was
weeks. Classic stuff. widely regarded as Walsh’s signature
tune prior to his joining the Eagles,
New Kid in Town Rocky Mountain Way, which was a US
(John David Souther/Henley/Frey)
Top 30 hit single: ‘I always felt that was
Written as much about the Eagles
special, even before it was complete – we
and their own belief that life at the
had recorded that before I knew what
top of the pile would be a short-
lived thing. Ironically, in their case, the words were going to be, but I was
they have remained at the top or very proud of it. The words came about
very near it for a very long time – when I got fed up with feeling sorry for
especially as far as album sales are myself, and I wanted to justify and feel
concerned. Glen Frey’s lead vocals good about leaving The James Gang,
graced this track to perfection. relocating, going for it on a survival basis.
Released as a single, it hit the No. 1 I wanted to say “Hey, whatever this is, I’m
spot in the US and became a Top 20
positive and I’m proud”, and the words
hit in the UK.
just came out of feeling that way, rather
Life in the Fast Lane than writing a song out of remorse.’
(Joe Walsh/Henley/Frey) After a lengthy tour with Barnstorm,
One of the rockiest tracks ever encompassing 330 shows in just one year,
committed to record by the band, the band split up. In 1975, Walsh made
this track had a classic Walsh riff what was effectively his first solo album,
and the distinctive Henley vocal. A So What, on which he used a synthesizer
great performance by the band, this as well as playing guitar: ‘I had one or two
track has remained an enduring
rare guitars that I had come across, and I
gem throughout the band’s career.
Released as a single and backed with
sent one over to Pete Townshend and he
Victim of Love, it became a chart- liked it a lot. I think he played it on Who’s
topping success in its own right, Next. All of a sudden, I got a package at
reaching No. 11 and charting for the my house, and it was a synthesizer, a kind
same number of weeks. of thank you from Pete, so I plugged it
66 Music Legends
who also participated on Walsh’s live company, although at that point, he Wasted Time
album titled You Can’t Argue with a was in no position to do anything about (Henley/Frey)
Sick Mind, taken from a performance at it. He was also from the Midwest and A great way to end side one of the
Wembley Stadium on Midsummer’s Day liked my music and my general attitude original album, this track was more
1975. These collaborations helped form about things, and I told Irving that I in the vein of tracks of old by the
band. It works really well, however,
the basis of the relationship between wanted him to handle my affairs, so
giving the album part of its balanced
Joe Walsh and the Eagles, and when he became my manager. Around that feel and overall appeal.
Bernie Leadon left the band in 1975, time, I was just fed up with a solo career.
Joe Walsh seemed to be the natural Irving met the Eagles, who were kind Wasted Time (Reprise)
choice as his successor. Walsh initially of disillusioned with their management. (Henley/Frey/Jim Ed Norman)
met the Eagles when the same company They also had some internal friction, And so starts side two, with some
was managing them, and had been a and the Eagles asked Irving to represent great stuff from the days of vinyl
regular feature in the Eagles camp for them. The guys in the Eagles helped and 8-track tapes. This track features
a while: ‘I met Irving Azoff during the me with So What, and I went to some a delicate string arrangement and is
the perfect way to open the original
Barnstorm period and expressed to him late night jams with them, when they
second side.
my concern that I wasn’t getting much were working on On the Border, and just
help from my management or the record helped out as a guitar player while they Victim of Love
were writing some of that. Later, Bernie (Felder/Souther/Henley/Frey)
Leadon decided that he didn’t want to Recorded as a ‘live in the studio’
be in the group anymore – they had a track, Victim of Love (allegedly) has
kind of stereotype of “sons of the desert”; no overdubs. The track was used
as the sun goes down over the banana as the B-side to the chart-topping
trees and the cactus, you know, and New Kid in Town single, yet many
considered it to outshine the A-side
they secretly wanted to rock ’n’ roll a bit
with its more up-tempo and in-your-
more. We got together and talked about face sound.
it for quite a while and the chemistry
was really there, but they were scared to Pretty Maids All in a Row
death to replace anybody in the band, (Walsh/Joe Vitale)
and I was scared to death to join a band, Joe Walsh made his vocal debut on
but it worked out.’ this track, despite many questioning
The choice of Joe Walsh as an his suitability for the task. This
Eagles guitarist, to many people, was a track, however, is quite possibly
the best of the relaxed tracks on
controversial one. With previous projects
the album, and his distinctive vocal
such as James Gang, Barnstorm and his sound has stood the test of time
rock-focused solo projects, Joe Walsh exceptionally well. The track was
was certainly seen heavier-leaning than also the B-side to the Hotel California
much of the material issued by the single, and it must certainly have
Eagles to date. Frey, however, had been generated a pile of cash for Joe
keen to harden up the band’s sound for Walsh and Joe Vitale.
a while, and as far as he was concerned,
it was a virtual no-brainer to pull in the Try and Love Again
(Meisner)
highly talented Walsh. Rarely has a band
This was the first song the band
found it so easy to quickly find a suitable laid down in the studio during
replacement upon the departure of a key the Hotel California sessions. With
guitar player. Walsh’s debut appearance Randy Meisner’s high vocals, it was
with the band was in January 1976, on another track that harked back to
the New Zealand, Australia and Japan the days of old. Running at over five
legs of their world tour. The live results minutes in length, this signalled a
were stunningly good – in particular the trend the band was to continue on
new guitar interplay between Felder and many of the album tracks. Try and
Love Again has proved a popular
Walsh. The overall verdict for anyone who
slow-burner that works very well as
saw this part of the tour was that Walsh a part of the album.
was good for the band and that the band
was good for Walsh. The new line-up The Last Resort
had enjoyed enormous success in the live (Henley/Frey)
arena, and all they had to try now was a Here we have another enduring
recorded testimony to the fact. However track with Henley on vocals. The
that task was still a little way off. song features great pedal steel guitar
from Don Felder, and synthesisers
The band was very busy living the
from Walsh and Henley. The song is
lifestyle of rock and roll excess, in a beautiful way to end an absolutely
no uncertain terms. With the band classic album. The band were such
‘busy’ and no sight of an album in the fans of this track that they also
immediate future, a step was taken by the released it as the B-side to the Life in
label that would ensure that the Eagles the Fast Lane single.
Music Legends 67
Left to right: Joe Walsh, Randy Meisner and Don Henley
performing live in Rotterdam, Netherlands on 11 May 1977.
became the biggest-selling recording thought that the Eagles was Joe’s new platinum in reasonably short order. This
artists in America with the release of band. Even to this day [1980], when they was the pinnacle of the band’s career as
Eagles: Their Greatest Hits 1971-1975. play Cleveland, you might as well bill it far as recorded material went, and has
Marketed in a classic cover, the album as Joe Walsh & the Eagles, because in continued to define their legacy despite
went straight to No. 1 in the US and No. Cleveland, his home town, he’s still bigger an illustrious subsequent career. Iconic
2 in the UK. It became the first RIAA than the Eagles.’ to this day, Hotel California will always
certified platinum album, selling over five The band were spending their time be remembered as one of the Eagles, and
million units in 1976 alone. cramming in what studio days they rock music’s greatest moments.
Work on the band’s fifth album, Hotel could in Miami, between flights back
California, was started in the summer and forth to their touring destinations, This article is an extract from You Can Never
Leave, the Eagles Special Edition of Music
of 1975, and the band finally entered and this chaotic schedule contributed
Criteria Studios in Miami at the tail end heavily to the delays in the album’s
of March 1976. Recording, however, recording. Despite the scheduling
was fractured, to say the least, and it conflicts, studio life was reasonably
soon became clear that completing this easy with the new boy, Walsh, as he
masterwork was going to take a very long had already worked extensively with
time. Producer Szymczyk has looked back Bill Szymczyk on his past solo projects.
on that time stating, ‘Yeah, it did take a Unfortunately, outside the studio they
long time. But I have always considered were living a life full of alcohol, drugs
that we went from the “B” list to the and women, the cracks were starting to DO YOU WANT SOME MORE...?
“A” list with One of These Nights – that show behind the scenes.
was when people began to think, “Oh,
these guys are for real, they’re going to be
By November 1976, the new album
had been completed and packed in a CLICK HERE FOR THE
around for a while”, and after we’d taken
six months to do One of These Nights,
highly distinctive gatefold sleeve. Hotel
California was released to the public COMPANION PODCAST
EAGLES
then we took about nine months to a year in December 1976, and clocked over a
to make Hotel California, and that was million copies in the US on pre-release
with Walsh. I think the expectancy was alone. The album flew up to No. 1 in
also exaggerated by the fact that Joe had the US charts, and remained there for YOU CAN NEVER LEAVE
joined the band – that brought all his 107 weeks straight. In the UK Hotel
fans, who all of a sudden became Eagles California peaked at No. 2, but continued DIG DEEPER INTO THE STORY
fans, and some of them probably weren’t
even quite sure who the Eagles were, and
to sell around the world in enormous
numbers, exceeding sixteen times
68 Music Legends
EAGLES – DARK DESERT HIGHWAYS

This powerful six CD anthology brings together four of the very best live broadcasts by the
Eagles spanning the two decades from 1974–1994. Featured here are all the hits from this
amazingly creative period when Eagles produced some of the most legendary music in the
history of rock including Desperado, Tequila Sunrise and the immortal Hotel California.
Peaceful Easy Feeling, Best of My Love, Tequila Sunrise, Help Me Thru the Night,
The Heart of the Matter, Love Will Keep Us Alive, Learn to Be Still, Hotel California,
Wasted Time, Lover’s Moon, Pretty Maids All In a Row, The Girl from Yesterday,
New York Minute, The Last Resort, Take It Easy, One of These Nights, In the City,
Heartache Tonight, Get Over It, Desperado and many more.

Music Legends 69
70 Music Legends
DAVID
BOWIE
WHEN ZIGGY PLAYED GUITAR
When David Bowie released his self-titled debut album in 1967,
the world had little idea of the impact that distinctive young
man would make. Here we look at the musical journey Bowie
underwent whilst creating the enduring cultural legacy he
commands today.
David Bowie’s self-titled debut studio However, it wouldn’t be until two heaping praise on the single Space Oddity
album was released on 1 June 1967, on years later that Bowie would flirt with in particular, stating that, ‘It is more than
Deram Records. The album consisted some fame of his own with the 1969 probable five or six years ago Space Oddity
of an odd mixture of Syd Barrett- release of his hit single Space Oddity. would have been given an icy reception
esque fairy tales, Beatles psychedelia, Supposedly released to coincide with the and even banned as being sick’. Bowie has
folk music, show tunes and easy first moon landing, it was to be the first always been nothing if not good at timing
listening. It’s an odd mix indeed, but introduction of Bowie’s famed character his releases to perfection.
an admirable example of both Bowie’s Major Tom, an astronaut who becomes A week before this Melody Maker
creativity and distinctive voice. In the lost in space, and is revisited through review, Bowie was also in a celebratory
summer of 1967, music newspapers Bowie’s 1980 hit Ashes to Ashes. mood, as he married Mary Angela
The Disc and Music Echo reviewed the The single’s corresponding album Barnett in Kent. Call her Angie. She
album, describing it as a ‘remarkable, was quickly released off the back of the was to be the inspiration for many of
creative album’ sung with a ‘sufficiently record’s relative success, and was lauded Bowie’s hits before their divorce years
fresh interpretation to make quite a in numerous music publications. In the later. Later the same year, Bowie released
noise on the scene’. November 1969 issue of Music Now!, his third studio outing. Rejecting the
In the same year, Bowie also had the album was described as ‘Deep, acoustic-led sound of his previous two
notable success with another artist, thoughtful, probing, exposing’ and albums and replacing it with a heavy
having penned the third single for Oscar, ‘gouging at your inners’. rock backing, provided by future long-
which gained significant media attention, Famed British music publication time collaborator and guitarist Mick
as it satirised a series of highly publicised Melody Maker was also quick to praise Ronson, The Man Who Sold the World
breakouts from British prisons around the the album it its March 1970 edition, gained as much media attention for its
same time. describing it as ‘ultra dramatic’, and album sleeve as for the music contained
Music Legends 71
A young David Bowie in 1966.
within. Depicting Bowie reclining on In spite of neither the album nor its itself. And I’ll stand by that. If you’re
a couch in a dress, it was to be an early first single, Changes, making a huge going to work in a whorehouse, you’d
venture into the androgyny he explored impression on the charts, they certainly better be the best whore in it.’ What he
more fully in such later albums as Ziggy laid the foundations for Bowie’s ascent was talking about, of course, was Bowie,
Stardust and Aladdin Sane. With much to the top of the pop world – a world and in particular the character of Ziggy
of the album being typical of the British that would give him four Top 10 albums Stardust, for it was the concept album of
rock movement that was going on at and eight Top 10 singles in the United The Rise and Fall of Ziggy Stardust and the
the beginning of the 1970s, The Man Kingdom in eighteen short months Spiders from Mars that would come next
Who Sold the World also touched upon spread over 1972 and 1973. for the former David Jones.
the likes of glam rock and Latin Taking his androgyny a step
sounds – sounds that Bowie further, the character of Ziggy
would use more and more over the
following years.
“I refuse to be thought of as Stardust was a boyish man-alien
with red hair and a pale face.
Bowie’s follow-up to The Man mediocre. If I am mediocre, Returning to the rocking sound
Who Sold the World, Hunky Dory, I’ll get out of the business. of The Man Who Sold the World,
would come out only a year later. Bowie revelled in the glam rock
The album saw a partial return There’s enough fog around. trappings of the era, essentially
the folkier sound of Space Oddity, making the sound his own, with
with songs such as Kooks, as
That’s why the idea of his lighter and faster versions of the
well as more harrowing tracks performance-as-spectacle is typical T. Rex fare.
such as The Bewlay Brothers, In an interview with Charles
Oh! You Pretty Things, and the so important to me.” Wooley in 2002, Wooley described
Velvet Underground inspired the album as being the point at
Queen Bitch. Hunky Dory was a
DAVID BOWIE which Bowie’s career really took
major foray into showmanship, off, and inspired others, stating, ‘In
something that Bowie felt was incredibly In an interview with International the course of events, it was one song that
important for a pop singer of that era. Musician magazine in December 1991, changed David Bowie’s life. The release
Speaking to Rolling Stone in early April Tony Horkins introduced one of his of Space Oddity in 1967 saw his career
1971, Bowie asserted, ‘I refuse to be questions in this way, ‘… it was definitely lift off. But it was the landmark Ziggy
thought of as mediocre,’ adding, ‘If I am a reaction to late sixties seriousness, and Stardust album of the early seventies that
mediocre, I’ll get out of the business. the real murky quality that rock was launched Bowie into the stellar orbit of
There’s enough fog around. That’s why falling into. I think a bunch of us adopted rock superstardom. So began a crazy,
the idea of performance as a spectacle is the opposite stance. I remember at the drug-filled ride that was to redefine
so important to me.’ time saying that rock must prostitute modern music. Along the way, the
72 Music Legends
DAVID BOWIE David Bowie

Sounds & Visions UNDER THE MOONLIGHT
Limited Edition 6 CD Set On Limited Edition White Vinyl
By 1990 David Bowie had found himself in need of artistic rejuvenation and felt that a clean
break with his past was required in order to have a clear shot at reinvention. From this
revelation came the Sound+Vision tour – a final farewell to his long-standing back catalogue of
hits, after which Bowie promised they would disappear forever from live performance. These
limited edition releases feature the highlights of those swan song performances, and captures
the unique moment in music history that was the 1990 Sound+Vision tour.
Space Oddity, Changes, Rebel Rebel, Be My Wife, Ashes to Ashes, Starman, Fashion,
Life On Mars?, Blue Jean, Let’s Dance, Stay, China Girl, Ziggy Stardust and many more.

Music Legends 73
David Bowie performing in the USA in the early 1970’s.
strangely androgynous Bowie invented still alive and that, two, I seem to have Bowie will soon become the greatest
glam rock, helped launch heavy metal regained some sense of rationality about entertainer Britain has ever known’,
and disco, and even inspired punk.’ life and existence.’ adding that his performance was a
The album also garnered much praise The tour backing the album would ‘triumph for the showmanship as well
at the time; with Richard Cromelin be, as all of Bowie’s later tours turned as music’, something about which I’m
of Rolling Stone giving the album rave out to be, wild and excessive. With the sure Bowie would’ve been most proud.
reviews in the July 1972 issue of the character of Ziggy Stardust central to the Finishing off the review in another show
magazine. Describing it as Bowie’s 1972 tour, the Spiders from Mars were of Nostradamus-like prophecy, Webster
‘most thematically ambitious, musically also ever-present. The album hit No. 3 pronounced that Bowie’s ‘talent seems
coherent album to date’, Cromelin also in the UK album charts, and thanks to unlimited and he looks certain to become
recognised that Bowie had united the most important person in
the major strengths of his previous pop music on both sides of the
works, as well as introducing Atlantic.’
some great rock and roll with the “I
was always thwarted by As well as fast becoming the
newly acquired Spiders from Mars
backing band.
the presumption that the biggest star of the early 1970s,
Bowie also began to produce and
However, Bowie failed to see Beatles had done everything promote his own personal rock and
that the album was particularly roll heroes. Lou Reed, formerly of
theatrical, stating, ‘I didn’t anyway, so you might as well The Velvet Underground, released
really think any of them were just get into the fun of it…” his breakthrough solo album with
that experimental. I was always the help of production by Bowie
thwarted by the presumption that DAVID BOWIE and Spiders guitarist Mick Ronson.
the Beatles had done everything As well as this, the Stooges,
anyway, so you might as well featuring future running mate Iggy
just get into the fun of it. It wasn’t until its success, the previous album Hunky Pop as the band’s frontman, also signed
later that it became apparent that some Dory also entered the Top 10, actually on to Bowie’s management and recorded
of things we’d done were actually quite managing to eclipse Ziggy Stardust and the album Raw Power, which Bowie later
innovative in their own way, even the peaking at No. 3 in the charts. mixed with great success.
choice of musicians. That was essentially Taken from the July 1972 Record Following the success of the
eclectic, to say the least.’ Mirror review of a Bowie gig at the breakthrough album Ziggy Stardust, the
In an interview with NY Rock from Royal Festival Hall, Charles Webster Spiders from Mars came together again
February 1997, Bowie rather amusingly described the electricity of Bowie’s for the recording of 1973’s Aladdin Sane.
quipped, ‘I think that [Ziggy] would performance on the night, even going so Another conceptual album, this time
probably be fairly shocked that, one, I was far as to prophetically state that, ‘David the concept was that of a disintegrated
74 Music Legends
David Bowie as Aladdin Sane in 1973.
society. It proved to be Bowie’s first-ever dramatically retired the character Diamond Dogs, one of Bowie’s most
UK No. 1 album. of Ziggy Stardust on-stage at the ambitious albums up to that time, was
The album was, interestingly enough, Hammersmith Odeon in London in released in 1974. Including a spoken-word
written almost entirely on the road, 1973, famously announcing, ‘Not only is introduction and tracks that bled into
during Bowie’s American Ziggy Stardust this the last show of the tour, but it’s the one another, Diamond Dogs is actually
tour, and the cover, depicting Bowie as last show that we’ll ever do.’ the product of two distinctly different
a shirtless Ziggy-esque character with In amongst the hustle and bustle of ideas. It is primarily a musical based on
a lightning bolt across his face, fast 1973, there also came another Bowie a wild future in a post-apocalyptic city,
became one of the most iconic album album, or in this case, the first non-Bowie and secondly a re-imagining of George
covers of all time. The Spiders’ renowned Bowie album, as he released Pin Ups, a Orwell’s famed novel 1984 to music.
pianist Mike Garson also joined As well as the album, Bowie also
Bowie on Aladdin Sane, with his made plans to develop a Diamond
performance on many of the tracks Dogs movie. Unfortunately, he
making his inclusion one of the “… It wasn’t until later that it didn’t get particularly far, although
major highlights of the piece.
In a review, Ben Gerson of
became apparent that some Bowie himself has claimed there is
some footage of completed scenes
Rolling Stone described Aladdin of things we’d done were lying around somewhere. He’d also
Sane as being ‘less manic than The had designs on writing a musical
Man Who Sold the World, and less actually quite innovative in of 1984, but his interest waned
intimate than Hunky Dory, with their own way.” after encountering difficulties in
none of its attacks of self-doubt. licensing the novel, so the songs he
Ziggy Stardust, in turn, was less DAVID BOWIE had already written ended up on
autobiographically revealing, more Diamond Dogs.
threatening than its predecessors, The album did well, both
but still compact.’ He added that collection of cover versions of 1960s hits commercially and critically, and it was the
the album revealed Bowie as ‘more from the likes of The Who and Pink primary example of Bowie performing
mastermind than participant’. Floyd. During this time it can be argued every single instrumental part on an
The album was toured, in essence, that it was Bowie’s androgynous stage album. As he himself explained in an
on the back-end of the Ziggy Stardust and public persona that sold records. interview with NY Rock in February 1997,
tour, and was filled with much theatrics However, his popularity in gay culture ‘That was the first time that I played all
and the occasional moment of shock, and the emerging gay rights movement the instruments myself on an album.
including Bowie stripping down to a also created controversy both in Britain, I had just broken up the Spiders and
sumo-like loincloth and simulating oral where homosexuality had only been legal didn’t really want to entrust my music to
sex on Mick Ronson’s guitar. Bowie since 1967, and in America. another set of musicians at the time. So
Music Legends 75
Once again, the album sleeve is
In 1973 Bowie decided to dispense with the Spiders from Mars,
also worth talking about. This time it
but still needed their help to make the Pin Ups album.
featured a painting of Bowie as a half-
man, half-dog hybrid by French artist
Guy Peellaert. The original version of the
painting was actually banned from the
sleeve, as Bowie later explained in NY
Rock, ‘They airbrushed the genitalia from
the dog. It was by a French artist called
Guy Peellaert, who was extraordinary.
He put out a book called Rock Dreams
in that period, which was a great take on
his vision of rock artists. Unfortunately,
that particular dog, “the Diamond
Dog”, got castrated. It got returned now
that it’s out on Rykodisc – he’s with
equipment.’
The tour of the double concept
album came hot on the heels of its
release, and proved to be Bowie’s most
successful up to that point, lasting from
June to December 1974. A lavishly
produced affair with high-budget stage
production and theatrical special effects,
the Diamond Dogs tour was more of a
spectacle than a simple musical event,
and broke with contemporary practice for
rock concerts.
Bowie, however, soon tired of the
whole opulent affair, and when the
tour resumed after a summer break in
Philadelphia to record material for the
upcoming album, the Diamond Dogs
show no longer made sense, and several
changes were made, including band
changes and cancelled dates. That period
in his career had drawn to a close and
Bowie was fast moving towards a new
sound.
This article is an extract from Sounds &

Visions, the David Bowie Special Edition of
Music Legends. Available now at issuu.com.
I tried everything myself on the guitar, Come the Warm Jets, and we were dashing
drums, saxophone and synthesizers. And in and out of each other’s studios. We
so it has a peculiarly idiosyncratic style. I hadn’t worked together then, but little did
find it very endearing, kind of remote and we know we both had the same ideas –
a bit scary.’ that everything was shit, and we should
Elaborating on the theme in fuck it up some more. The main thing
International Musician Magazine in was to make rock and roll absurd. It was
December 1991, Bowie also talked of his to take anything that was serious and
first links with soon-to-be collaborator mock it. Diamond Dogs, as I remember DO YOU WANT SOME MORE...?
Brian Eno, ‘I played a great percentage it at the time, was trying to accomplish
of everything on Diamond Dogs,’ he
recalled, ‘apart from the odd lead guitar,
some great mockery of rock ’n’ roll. It
seemed to be part of my manifesto at the CLICK HERE FOR THE
and the bass and drums. But most of the
other lead guitars and the rhythm guitars
time, I don’t know why.’
Bowie talked at length about Rebel COMPANION PODCAST
DAVID BOWIE
and the keyboards, and saxophones, Rebel, the major hit single from the
were just me. That was real playhouse album, in a NY Rock interview, musing,
stuff. I just had a ball, with the late Keith ‘Rebel Rebel is just for me the funniest
Harwood, who was the producer and song. I can’t, I just can’t conceive how WHEN ZIGGY PLAYED GUITAR
engineer on that and who was a great I wrote that now. I mean, I really must
buddy. I remember we were running have felt that at the time but… “Hot DIG DEEPER INTO THE STORY
backwards and forwards with Eno, who
was in the studio next door doing Here
tramp, I love you so, don’t give me grief”.
I mean it’s really – it’s so flippant.’
76 Music Legends
Music Legends 77
U2 The Road to War
In Their Own Words
U2’s debut studio album, Boy, was released on 20 October 1980, and
heralded the arrival of a new powerhouse in modern rock music.
Here U2 reflect on the road that led them from their auspicious
debut to the creation of the iconic War album.
78 Music Legends
U2 circa 1981. From left: Bono, Larry Mullen Jnr, Adam Clayton, The Edge.
The October album, released on 12 this drone by finding a string that I could married a Catholic. At a time of strong
October 1981, came after extended use and play against. Playing melodies sectarian feeling in the country, I knew
touring and was unusual for its lyrical over one continuous tone through the that was special. We didn’t go to the
focus on the band’s strong Christian song was like a real unusual style that I neighbourhood schools – we got on a bus.
beliefs. hadn’t heard before and that became us. I picked up the courage they had to have
Of the October album, The The Celtic aspect must have been in the had to follow through on their love. Even
Edge later recalled, ‘Some of it is back of my mind because the drone thing then I prayed more outside of the church
excruciatingly embarrassing, because is a very Irish thing to do. You find it in than inside. It gets back to the songs I
of the actual youth of the band. We the uilleann pipes in particular. I wasn’t was listening to; to me, they were prayers.
were so young. It comes over so clearly thinking about it at the time, but it must “How many roads must a man walk
how inexperienced we were. But there have been there as an influence.’ down?” That wasn’t a rhetorical question
are some incredible ideas on that to me. It was addressed to God.
record, and I’m more amazed at It’s a question I wanted to know
the quality of these ideas, in the
end, than embarrassed by how
“We were determined not to the answer to, and I’m wondering,
“Who do I ask that to?” I’m not
young we sound. October itself was
a really great little piece. I wrote
fall in with the same musical gonna ask a schoolteacher. When
John Lennon sings, “Oh, my love
that initially as a soundtrack piece, styles that so many groups for the first time in my life, my
but everyone really liked it and eyes are wide open”, these songs
Bono came up with this great lyric that were playing around have an intimacy for me that’s
idea, so it made more sense. But not just between people, I realise
it doesn’t sound like anything else bars in Dublin.” now, not just sexual intimacy – a
on the album or any other album spiritual intimacy.
at the time. Maybe that’s why it The Edge ‘There was also my friend
has aged so well… We just got Guggi. His parents were not just
swept up by this wave of what you Protestant; they were some obscure
might call punk, or DIY, enthusiasm: do Many songs with a religious theme cult of Protestant. In America, it would
it yourself, you can do it. Part of that was appeared on the early U2 albums. be Pentecostal. His father was like a
this concept that it should be “you”. So Unusually, as Bono himself recalled creature from the Old Testament. He
we were determined not to fall in with in an interview with Rolling Stone spoke constantly of the Scriptures and
the same musical styles that so many editor Jann Wenner, the band began had the sense that the end was nigh – and
groups that were playing around bars in their career by writing about God and to prepare for it… I’d go to church with
Dublin, which was mostly the blues. So, only later progressed to writing songs them too. Though myself and Guggi are
for a guitar player, it was: “Don’t play the about sexual subjects: ‘I knew that we laughing at the absurdity of some of this,
blues, find other things”. Since we were were different on our street because my the rhetoric is getting through to us. We
a three-piece, I found that I could play mother was Protestant. And that she’d don’t realise it, but we’re being immersed
Music Legends 79
U2 in 1982. From left: Larry Mullen Jnr, The Edge, Bono, Adam Clayton.
in the Holy Scriptures. That’s what we ‘The blues are like the Psalms of driving anthem which focused on U2’s
took away from this: this rich language, David. Here was this character, living knack for a sing-along chorus, a catchy
these ancient tracts of wisdom.’ in a cave, whose outbursts were as much but simple guitar riff and an expert
Religion, as well as inspiring him criticism as praise. There’s David singing, ability to change the atmosphere from
lyrically, also represented a deeper “Oh, God – where are you when I need mellow to urgent and back again at
current of cultural meaning to Bono: you? / You call yourself God?” And you the flip of a coin. Much of this was
‘Here’s the strange bit: most of the go, this is the blues. Both deal with the attributable to The Edge’s burgeoning
people that you grew up with in black relationship with God. That’s really it. guitar skills – he has often been cited
music had a similar baptism of the spirit, I’ve since realised that anger with God is as one of the very best players of his
right? The difference is that most of these very valid. We wrote a song about that generation and has his own unique
performers felt they could not express on the Pop album – people were confused style that does not involve pointless
their sexuality before God. They shredding. Rather, he focuses on
had to turn away. So rock ’n’ roll atmospherics with a delay pedal
became backsliders’ music. They
were running away from God.
“We’re turned on by great and other simple tools.
As The Edge explained of
But I never believed that. I never
saw it as being a choice, an either/
songs, great songwriting, soul the U2 song writing process,
‘We’re turned on by great songs,
or thing. Look at the people who is the key element… I think great song writing, soul is the
have formed my imagination. Bob key element above anything. I
Dylan, 1976 – he’s going through it has to connect, it has to think it has to connect, it has to
similar stuff. You buy Patti Smith’s mean something, it has to reveal
Horses – “Jesus died for somebody’s mean something.” something. Great rhythm, and
sins / But not mine…” And she just great sound – different sounds
turns Van Morrison’s Gloria into The Edge than what we’ve ever used before,
liturgy. She’s wrestling with these different arrangement styles and
demons – Catholicism in her just a lot of experimentation…
case – right the way through to Wave, by it – Wake Up Dead Man: “Jesus, Jesus We always try to concentrate whatever
where she’s talking to the pope… The help me / I’m alone in this world / And a we’re doing at any given moment – right
music that really turns me on is either fucked-up world it is, too / Tell me, tell now, making our new record – we’ve got
running towards God or away from God. me the story / The one about eternity / all our focus on that. When we finish,
Both recognise the pivot that God is And the way it’s all gonna be / Wake up, then we start to think “OK, how are we
at the centre of the jaunt. So the blues, wake up dead man.”’ gonna play these songs live?” and that
on one hand – running away; gospel, It was 1983’s War album that really becomes another interesting turn for a
the Mighty Clouds of Joy – running brought the band into international lot of the material because in the process
towards. And later you came to analyse it focus, largely down to the popularity of rearranging things for live, you can
and figure it out. of the New Year’s Day single, a pile- really strip away the studio textures, the
80 Music Legends
U2 – WE WILL FOLLOW
U2’s second studio album October was released on 12 October 1981. Following mixed
reviews for the album U2 played fourteen dates across the United States in March 1982. From
September to November 1982, the group recorded War. The following year U2 embarked on
the War tour of Europe, the US and Japan. This stunning anthology showcases the very best
of U2 broadcasting live to air from this period – a band at the peak of their powers.
A Day Without Me, I Will Follow, Gloria, New Year’s Day, Two Hearts Beat As One,
Sunday Bloody Sunday, Out of Control, Seconds, I Fall Down, Party Girl and many more.

Music Legends 81
articulate some of the things that we
were feeling was through our music. We
were really clear that violent struggle was
never going to work. We were very angry
about the fact that people were still dying
in what we saw as a vain, stupid war in
Northern Ireland. So our stance was
completely anti-war.’
Bono was immediately identified
as the spokesman of the band, due
to his onstage statements and air of
mystique. However, this role didn’t
sit well with him: ‘I think I’m a kind of
part-time rock ’n’ roll star. We’re probably
the worst rock stars ever; we’ve got all the
wrong equipment… these arms are stuck
on the wrong way. Part of it with U2 is
the falling over and picking ourselves
up off the ground, part of it is sitting up
late at night in Philadelphia and saying
something that will put a noose round my
neck. I met Elvis Costello a few months
ago and he said to me, “I’m ambivalent
about U2, I love it and I hate it”. He said,
“You walk this tightrope that none of
your contemporaries will walk – they’re
afraid to walk it – and when you stay on it
I bow my head. But you fall off it so many
times”. He’s right. We do fall off, a lot,
and onstage I’ll try for something and it
won’t work and… but it might work, and
that’s the point. It might work. I’ve been
sensing that I should just shut up. I keep
Bono on stage at the US Festival, Ontario
Motor Speedway, California, 30 May 1983. stressing that what’s special about U2 is
the music, not the musicians. The more
we do interviews and get involved in the
studio approach, and you get to the real political feelings, the anger about what paraphernalia around the music, the more
essence of the piece and I think a lot of was happening in Northern Ireland. we become the focus of attention rather
the material on this next record will work Plus the spiritual side of what we were than the words I write, or the music.’
really well under that kind of a process. I doing was also in flux – we were rejecting
think the material at its very core is really conventional religion at that point, This article is an extract from We Will
about the four members of the band because it just wasn’t for us. We realised Follow, the U2 Special Edition of Music
playing together, so I think it’s going to that sectarianism was just another form
work very well live.’ of tribalism, just an excuse that people
Bono once said with a grin, ‘I have were using for killing one another. It had
written some straight love songs only become an ugly thing. We saw a struggle
to have put them aside because they on every front, and that word “war” – as
might elicit projectile vomiting from the big as it was – encompassed where we
great outdoors! So I like love songs that were at in our own struggle to try and
are bittersweet, and I like women to be figure out what was right and where
more complex in songs because that’s we were going. It was the right word to DO YOU WANT SOME MORE...?
my experience of them in life. But I make sense of a country going through
think everyone gets it in the neck, don’t
they? Not just women. I would think if
a very hard time, politically, spiritually,
in every sense. That album had Sunday CLICK HERE FOR THE
anything I’m harder on the singer than
the subject…’
Bloody Sunday on it, which was our kind
of statement on the North. We wrote COMPANION PODCAST
U2
The Edge recalled this period that song without ever considering how
stating, ‘We knew when were getting serious an issue it was to everyone else
into the War album that we wanted and how outrageous it was for a rock ’n’
something really hard-hitting. It was a roll band to write about. To us it was the THE ROAD TO WAR
conscious thing… It was a big word to most natural thing. We never held back
use and we knew it at the time. I guess on anything. Everything that we were DIG DEEPER INTO THE STORY
that album wrapped up all our beliefs
and confusion in one package. A lot of
going through went into our music. In
a way, probably the only way we could
82 Music Legends
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QUEEN – GREATEST HITS FOR CHAMBER ORCHESTRA

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