consider, that you are not right. assured..
consider, that you are not right. assured..
Moonweed, b. February 2, in Hammersmith, West London, England, bandmember c. Bambaloni Yoni, bandmember c. Steve Hillside, b. August 2, in London, England, bandmember c. Morocco, bandmember c. Being, b. April 27, year unknown, Lautoka, Fiji , bandmember c. Banana Ananda, bandmember c. Bloom-dido Bad de Grass, b. January 22, in Paris, France , bandmember c. Pere Cushion de Strasbourger, b. October 23, , Colmar, France, bandmember c.
Pip The Heap, b. April 4, in Sawbridgeworth, Hertfordshire, England, bandmember c. Shakti Yoni, b. Wales , bamdmember c.
The Submarine Captain, bandmember c. Band formed c. But it is also the code both for a political manifesto and a spiritual teaching. But what is interesting is that while the story that we told originally appears to be just talking about little green men with pointed hats, every single thing in the Planet Gong mythology has a deeper meaning for those who want to peel away the layers and get to the chocolate center.
After You , Smyth departed, followed soon by Daevid Allen in The band was led by Steve Hillage, backing him on his solo album Fish Rising. Subsequent soloalbums of the s, including the punk influenced About Time , belied his lack of direction. Daevid Allen and Smyth separated in He's a very visual, pictorial person. The other thing was, he introduced Francis Moze, who'd been one of the Magma bass players, a complete madcap of a man.
Brilliant bass player and a great musician. Sort of half-Apache, half-French. He was very warrior-like. He'd totally lose it, and explode, and throw things around. He was just completely mad. Giorgio always seemed to be associated with passions out of control. People with passions out of control, you're attracted to very passionate people who were just hanging in there, or in control by the skin of their teeth. Going back to the Soft Machine demos that he produced, what do you recall as his specific contributions to those sessions?
Because I was dissatisfied with my guitar playing, and I thought a good producer might have wheedled some better guitar playing out of me, rather than--I felt sort of as if I'd been closed down when I was very dissatisfied with what I'd done.
And also, maybe it's just that lack of attention to details, that he needs someone there to take care of the details for him. Again, he's the visionary. He's a true visionary. The reason I got shut down when I did, because they were like demos. We just went in there and played, basically. We just did the tracks, and then he would say, "Okay, that's fine, now we'll put the vocal on. But just the same, how many demos end up on record? A lot of them do.
I guess nobody really realized at that time how valuable all this stuff would be in the future. It's just a demo. It was like a one-off. I didn't get a chance to do anything [with Soft Machine] again. Do you know why Giorgio never produced anything else with Soft Machine? I'm the wrong person to ask, because I got thrown out of the country. I was refused re-entry, and I had to leave the band. So I don't know what happened beyond that.
I think that these decisions were not in our control. The decisions were usually made by [co-managers] Mike Jeffery or Chas Chandler, neither of whom really had anything like the same vision or ability to understand what Soft Machine was, that Giorgio had. Giorgio had a real understanding of what Soft Machine was and could be. These other guys that were really in power didn't, really.
But again, it's all down to personalities, it's all down to the alchemy of relationships between individuals. And at that point, I don't know whether Giorgio really had the right relationship with the other members of the band or not.
I mean, the point about Soft Machine was, there was like four real heavyweight egos there. We were all four heavyweight egos, all battling for supremacy. It wasn't an easy band to deal with. That's why it blew up and went off and became four different bands. It's interesting to me that while he was involved with British Invasion bands that had huge hits earlier in the s--the Yardbirds and the Rolling Stones--he worked with more esoteric and less commercial bands as time went on.
What fascinates him is not mainstream stuff. What fascinates him is new ideas. You gotta remember that what he saw in the Rolling Stones at that point was something radically new. It was so different from anything else that was going on.
I mean it's mainstream, it's the second biggest band or whatever now. But in those days, it was radical. The very first time I ever saw Rolling Stones on television, they stood out like in five dimensions compared to everything else.
They were so scary compared to everything else, all the pretty little Tin Pan Alley-controlled bullshit that was going on. These were real people. And they were like picking your nose and spitting in your lap and fighting your fights. They just didn't give a shit. They were so radical in those days. So Giorgio always went for that thing, that was really radical.
Rolling Stones were extremely radical. The Yardbirds were radical. They were the first to bring in Indian music, into the hit parade. Listen to that. That's in the hit parade? Man, there's hope for us! That was his production of that thing. So I think one forgets that he's always gone for the radical revolutionary things that are happening. That's his particular genius. And he's never been around when the big money came through. He's always been the one that saw it in the early days, and poured the right fuel on the flame.
And gave them the vision to go on, and encouraged them. He's always there at the right spot, gives people the right encouragement, whether they remember it or not. It's happened to me so many times that he keeps catching up with me. Maybe it's a good thing. Maybe I'm always somewhere out there on the front edge, and he knows it, because that's where I keep running into him, cycle after cycle after cycle.
But whenever I do run into him, he always encourages the most radical aspects of what I'm doing, and shows me how to apply it. I'd like to ask you a few things about Kevin Ayers, whom you played with in the Soft Machine.
What were his main contributions? He had this wonderful songwriting ability. He wrote beautiful songs. He was the best songwriter in the band, in the sense of just good pop songs, interesting pop songs, that had the flavor of the time. He also had a very good rhythmic right hand. When he was playing bass, he played bass in a really interesting way. I really liked his bass playing a lot. His guitar playing--well, he's not very good at playing lead or anything like that.
But he's a good right hand. He really knows how to kick out rhythms. And of course his voice--but his voice, as all of us in Soft Machine, has this sort of organic, wobbly quality about it, sort of one too many cocktails, you know.
Who gives a shit anyway, you know laughs. That sort of thing, that endearing quality to it. I think probably his downfall was, that somewhere along the line, someone persuaded him, or he persuaded himself, that he could be a kind of a big-scale rock star, sort of in the traditional sense.
Almost like Bryan Ferry. He sort of saw himself like a possible Bryan Ferry, or Frank Sinatra, or whatever. I think this was his downfall.
Because I think he had more to give than that. When he actually moved into that realm, he also started to overdo the stimuli--I mean, he's got an incredible body. I've never seen anybody take so much alcohol, so much damage.
It would kill anybody else. I've never seen anyone drink like him. He's got an extraordinary ability to drink, and an extraordinary ability to rejuvenate himself. He goes right to the edge, and then he goes swimming and runs around for a week and then comes out and starts again. I've never seen such an extraordinary level of ability to drink so much, and get away with it.
He's gotten away with amazing amounts of stimuli. He really put it away. Have you worked with him at all recently? Yeah, I did a tour with him about five years ago, where we just did two solo things. Did about ten gigs. We'd alternate--one night I'd go top he'd go second, and so on. That was probably the closest I've been to him for years. But he's kind of wobbly. You never quite know whether he's going to get through the gig.
But he always gets through, one way or another, but he may not sound too good in the process. Did you know him well before joining the Soft Machine? He basically convinced me that it was a good idea to start a band by bringing me the Yardbirds single and all that stuff. And Revolver and Beatles albums and various tracks that were like sufficiently jazzy or interesting or unusual, or outside the parameters of the normal Tin Pan Alley thing, so that I could get interested in it.
He got me enthusiastic about that. But even before that, we were pals. He would come and stay there, and we'd go out and misbehave and carry on and do stuff. This is when I was living in Spain, come stay at the house.
Then, little by little, his songs grew on me, and I started writing songs, and we started thinking about starting a band. When he left Soft Machine, we stayed friends. Also he had Lady June, who recently died, by the way. He stayed in her house, and I stayed in her house. She was like a central place where everybody stayed. It was like a doss house in the middle of London, Maida Vale.
There was David Bowie living in the same building around the corner, and that's where Robert Wyatt fell out the window and broke his back. So we saw quite a lot of each other. Julie and I bought a house, and he bought a house, and we'd hang out there.
But our ways were diverting the more he became the sort of rock star, the more we were involved in different types of music. Professionally, we didn't really meet all that much. From time to time we'd be shoved together.
People was always trying to bring Soft Machine back together. From time to time, he'd sort of join Gong for a few gigs and it wouldn't work out, and he'd get pissed off, because he wasn't being treated like the star, and he wasn't the boss.
And he wanted to be in control, completely in control, and want us to do what he said. And that didn't work. Gong was a communal thing, and he couldn't that. It was just different. Aftaglid 2. Flute Salad 3. Oily Way 4. Solar Musick Suite 6. Bambooji 2. The Isle Of Everywhere 3. Wingful Of Eyes 4. The Salmon Song 5. Master Builder 6. Drum Solo 7. Flying Teapot 8. Thoughts For Naught 7. Magick Mother Invocation 9. Master Builder A Sprinkling Of Clouds Perfect Mystery The Isle Of Everywhere This really is the Motherlode!
All that and I have mushrooms to gather now in my garden to enjoy with this. Have a cuppa tea and have another one! Universal have certainly bene doing some fantastic box sets of the early Virgin canon recently what with this and the Tangerine Dream Box!
A cracking set of discs.. Great set of material except Shamal. Totally out of place in this box. Camembert Electric would have fitted in so well. I pre-ordered this set the first day I could.
Value wise, I think this box set is fair. I now await my You 5. Just play the vinyl originals. Once Daevid and Gilli left, it became a completely different band. Like buying a Roxy Music box and finding the Explorers album inside.
This, on the other hand, offers nothing. Come on fellow hippies, get typing, Gong is currently lagging behind Leo Sayer in the race for the most comments. This is it! It is the Daevid Allen era that matters with Gong. When he left, Gong lost their heart and all the fun. Pre ordered as soon as I saw it. At last properly remastered Gong. Gong needs newbies. This box is certainly not going to help with that.
Even long term Gong fans like myself have the majority of these recordings already. Also, this is not a full overview. If you want a place to start, go right there. Sadly the box was the subject of a disgraceful flame war by the band itself. Hillage told fans to boycott the work because the band did not get royalties from it. And secondly, the trilogy simply never sold enough copies to recoup its advances and costs.
The consequence was that the box became damaged by the poor reviews of existing fans who merely recycled the Hillage boycott. Every one. But fear not. This reproduces the first disk of this box along with a one-disk set of highlights from Bataclan. Steve Hillage, eh? Sure, I absolutely agree. Give me something depressing. That said though, Gong is such an amazing trip, especially You and I don't even do drugs.
Listened to the second Daevid Allen album today. Less of the soaring music of Gong Hillage influence, I would guess and more of the hippy silliness. It was so happy! What about Zappa? Well I can fall in love with it, just not as much as PT or something, haha. I do love Zappa though. Cool, man! Yeah, it doesn't sound like Gong, but it's got some really cool stuff. Yeah those three were good, thanks for the recommendation. GBR - I think we must be opposites.
I totally love the happy music! It only took one listen to fall in love with Gong and Daevid Allen. Pierre Moerlen was incredible Some of the cuts with Allan Holdsworth and Mike Oldfield are great, too. I always wanted to cover "Heavy Tune" in a band.Aug 27, · Gong were the first band i ever saw live Liverpool Stadium. Everybody at school bought a Gong album released that year which isn’t in this box! Of course most bought Camembert Electrique because it only cost 49p at the time. I thought it was on Virgin but must be mistaken. i certainly bought it from a Virgin shop back when such things.