Bill's Editorial...
Dear Friends,
Well, it's here, issue three of the Navigator at last! Profuse apologies are due for it's late appearance. This is down to me and nothing to do with Richard, who has been doing his best to get the thing finished.
Basically, I've been very busy for the last few months on various projects and even now I am squeezing these words into the occasional space between home-recording sessions for a forthcoming new 'low-key' album. This is what I've been up to .. I've spent about three months in Fairview studios on different recordings. The first was for a new 'Channel Light Vessel' album which should be in the shops in July. This was a long and somewhat difficult session during which my health was not so good. The Doctor diagnosed stress as the problem.
The album, called 'Excellent Spirits' is now complete and will be available on 'All Saints Records'. (For those of you who are unfamiliar with 'Channel Light Vessel', it's an occasional 'band' comprising Kate St John on woodwinds and vocals, Roger Eno on keyboards and vocals, Laraaji on zithers and vocals, and myself on vocals, guitars, keyboards and percussion.)
Preparations are underway for a tour of the U. S. A and Japan plus Hong Kong and Singapore and some possible dates in the U. K. The Kick-off is planned for August of this year although there are still various technical problems to be solved before the shows become practical. Anyway, I'll keep Richard informed of any progress but, hopefully, you may be able to catch 'Channel Light Vessel' in-concert at a venue near you in the coming Autumn!
After I completed the 'Channel Light Vessel' album, I was straight into
a project as producer for a Japanese band called 'Gillcover and the Monkey'.
This is a guitar driven band, all in their early twenties, who seem to
be getting popular in their native Japan. As all the lyrics were
sung in Japanese there are no plans to release the album on the English
market.
Next up was a session to record some backing tapes for a live promotional
visit to the U.S.A. This involved traveling to various record stores and
radio stations on the west and east coast of America and improvising and
singing live to the pre-recorded tapes. All to promote my latest
album 'AFTER THE SATELLITE SINGS'.
After such a long stretch in the studio, the last thing I had any energy
for was a trip to 'The States' but it needed to be done. I performed
in Los Angeles, San Francisco, New York, Philadelphia and Washington D.
C. before returning to England to do the same thing at Virgin Megastores
in Manchester, Sheffield, Nottingham and Liverpool. The performances
were only what I could describe as ' naked'. just me, one guitar and a
microphone and a D.A.T tape to provide the foundation to sing and to play
to. No crew as such, no lights, no high tech pa system ... just raw
Nelsonics. I found it very uncomfortable at times. I longed
to have a band and a proper venue to present the kind of performance I
really wanted to do, but, because it's impossible to get the level of support
needed from the record company. I had to make the best of far from
ideal circumstances.
The one redeeming thing about all of this is that it gave me the opportunity
to meet some very loyal and kind Nelsonians, both here and in the U.S.A.
God bless all of you who came along to offer your support ... you were
all wonderful to me and I appreciate your care and devotion. Hang
in there!!
Since the completion of the 'in-store' tour, I've been working in the corner of my lounge at the old 16-track machine, crafting a lo-fi extravaganza to be released, (hopefully) in the autumn. This will be an eclectic mix of vocals and instrumental tracks plus some piano solos and is intended as a bridge between the more 'major' AFTER THE SATELLITE SINGS album and it's follow up next year. This interim, low-profile album is to be called 'Weird Critters' and promises to be lots of fun!!
And now for the most difficult part of this editorial. Some of you may already be aware of the tragic death of Charlie Tumahai bass player in Be Bop Deluxe throughout the major part of that band's career. Charlie died of a heart complications in December of last year, just before Christmas. I only learned of his death in late January... Ironically, the Navigator had been hearing of rumours of his passing away some time before it actually happened. (You may remember me denying these rumours in an earlier edition). The news came as a terrible shock, Charlie was not only a gifted musician but a big, warm-hearted, life-loving man of whom I have many, many fond memories. As with other members of Be Bop Deluxe, we had lost touch in recent years due to his move back to Australia and New Zealand. There are no words that can do justice to the special role Charlie played in my life but I have recorded an interview with Richard for the Navigator as a small tribute to my old friend. My love and sympathy go to Charlie's wife, Sue and their children.
Bill Nelson, June 1996.
From the Editor
Well, here it is !! Navigator 3 and yes, it's about time too !! You'll know yourselves just how busy it has been recently in the world of Nelsonia. But despite the full calendar, it's been a time of great enjoyment and I have been very lucky to be around these events over the past few months. It's been a great experience.
I'll second Bill's comments in his editorial about how fabulous you all were at those Virgin Megastore dates. I know from the mailbag just how much you enjoyed them also, and that's what it's all about. These occasions when I meet you all really does confirm my belief in the 'Navigator'. Some told me of travelling up for the shows early in the morning from the southern areas of the U.K., others booked rooms in hotels to make these occasions a few days break. These things are just brilliant, you make it all very worthwhile.
Now to clear up some of the topics from the postbag. Firstly, I do not know exactly when the second year of the 'Nelsonian Navigator' will start. Due to the delays caused by Bill's heavy workload, I don't really know when we can clear all the business up, plan and publish issue four, and then plot a second year. But hopefully, I would wish a second year to start at the beginning of October. I'll of course, keep you informed.
The above only applies to those who started with issue one, or those who joined later and began with issue one. I hope you all feel it's fair to give everyone the same items associated with membership. For some, this will mean a membership lasting more than 12 months (remember issue one was out in August) whereas for others, it will mean less.
Thanks to those who write in with various problems to solve. Sadly, I sometimes wish I could help more, but I hope I have given some people good information. For all Nelsonians the address is there for you and you alone. Please use it!!
Finally on postbag issue's, I want to make something of concern to many perfectly clear. I, nor anyone else associated with the Navigator, had anything to do with the former magazine, Acquitted By Mirrors. Firstly, the club is based at home, not in a business setting. Secondly, the T-Shirts and photo's we use are produced be different firms and company's. And finally, I'd like to think that the way in which this magazine is run is different to before. The Navigator is different in what it has to offer, and I hope it will always be the first port of call for anyone wanting to know information on Bill.
Rich Cahill.
Any Questions
1. Does Bill know of any official 'Live' recordings made during the
Cocteau years. It would be great to release them if they are any
in the vault.
Bill: There are no 'official' live recordings from the Cocteau years
but there are some 'bootleg' cassettes I believe. These cover the
'Invisibility Exhibition' and some American and Canadian live concerts.
2. When was the last time Bill listened to 'Northern Dream'?.
Within the last few years ?
Bill: Within the last few months I'm afraid!
3. Why did Roger Eno walk off stage during the 'Channel Light Vessel'
show at the Jazz Cafe ?
Bill: Roger sometimes gets a bit angry with himself and has to go off
into a dark corner to give himself a quick seeing to. He's usually
OK .... after a few pints!
4. Has Bill any plans to link up with his brother again for recordings/concerts
?
Bill: I'd like to involve Ian in a project which I'm planning as a
diversion in the near future. This is to be a 'free improvisation'
band made up of several musicians. The band is to be called 'Brutal
Tinkerbell'.
5. When Bill was constantly touring, what aspects did he like, what
aspects did he dislike ?
Bill: Liked the concerts, hated the touring!
6. During his live work, Bill seemed to put more into his American concerts
than his European shows. Would he agree ?
Bill: Not at all ... they were always the same show. (Although the
guitar playing became more 'vulgar' when Be Bop supported Ted Nugent!)
7. I've noticed in the past few months Bill is appearing more and more
in the press. Has the artist himself noticed that his profile is
increasing ?
Bill: Well, I do seem to be casting a more portly shadow these days!
8. What can Bill tell us about John Spence. Where and when did
they meet .
Bill: I met John Spence whilst producing the Rhythm Sisters album at
Fairview Studios and we've been pals ever since. John is another
Saggittarian and over the years has come to understand my approach to recording
and we have a good rapport which makes it easy to get the music onto tape.
Maybe we should interview John for the magazine.
9. Does Bill ever wear make-up now?
Bill: Only on hunting expeditions.
10. Could Bill tell us why the two vocal tracks did not appear on the
European version of 'Practically Wired', when they did appear on the Japanese
CD. It seems a bit unfair to those who wish to collect everything!
Bill: It's kind of obligatory to give the Japanese record companies
extra tracks. This is to persuade Japanese customers to buy the Japanese
released album, rather than the U.K. or U.S. import.
11. Has Bill noticed anything that has him politically excited ?
Bill: These days, the only things that me excited are things that some
people might consider to be 'politically incorrect'!
12. I'd like to ask Bill whether he has experienced anything paranormal.
Has he seen a ghost for instance ?
Bill: Foggy subject, I'm afraid.... and a complex one. Too big
to answer here. A cop-out ? ... you bet !!
13. Bill spends a lot of time during record promotions in America.
Could he actually live there ?
Bill: Not really ... the South of France is more to my liking.
14. Reading interviews with other artists, many set out for the studio
thinking that the record they are about to work on is their last.
Has Bill ever felt this way?
Bill: I can never wait to get on with the next one.
15. Bill has worked for a few record companies over his career.
Which does he regard as the best, and which does he regard as the worst
?
Bill: Oh dear.. dare I say this? Most record companies are a
kind of necessary evil, the hole thru' which the artist's excreta emerges.
(If he's lucky enough!) Having said that, I've met some very true and sincere
people at various record companies ... trouble is, sooner or later, the
good people leave, out of sheer frustration it seems.
Here's a list of Bill's Recent Reading Material:
'The Cunning Man' by Robertson Davies. (Novel)
'Anger'(A biography of filmaker Kenneth Anger) by Bill Landis.
'Mexico City Blues' by Jack Kerouac.
'365 TAO'(Daily Meditations) by Deng Ming-Dao.
'Full Catastrophe Living' by John Kabat-Zinn.
'Big Mind Sky(Buddhism and the beat generation) Editor Carole Tompkinson.
'The Portable Beat Reader' Editor Ann Charters.
'Wolf Solent' and 'A Glastonbury Romance' by John Cowper Powys.
'Zen and the art of Motorcycle Maintenance' by Robert M. Pursig.
'The Beat Vision' Edited by Arthur and Kit Knight.
'Happy Trails'(A biography) by Roy Rogers and Dale Evans.
'Tricycle'(Magazine of American Buddhism)
'Raw Vision'(Magazine of 'outsider' art)
'The Wire' (Excellent Music Magazine)
'Gnosis' (American mystical/esoteric/occult philosophy magazine)
And here's a list of Bill's Recent Listening Material
'Colossal Head' by Los Lobos.
'Ron Sexsmith' by Ron Sexsmith.
'Viva 1 La Woman' by Cibo Matto.
'Latin Playboys' by Latin Playboys.
'Second Light' by Dreadzone.
'Peace at Last' by The Blue Nile.
'Walk into my Voice' by Harold Budd.
'Space Age Bachelor Pad Music' by Esquivel.
'Televisions Greatest Hits' (TV's themes of the 50'sand 60's)
'You're The Tops'(The songs of Cole Porter, Compilation)
'Black Coffee, Blue Moon' by Julie London.
Living with the boy from another Planet.
Written By Elle Nelson.
I remember one of the first times I tried to talk about my father. It was when I was about five years old in my class at school and we were having a discussion about parents. Each person in the class had to stand up and talk about what their mum and dad did for a living. When it came to my turn and I told everyone that my dad was a musician, people looked at me like I was some kind of alien, others just sniggered and nudged each other. Then I remember one little boy saying "What's a musician ?", so then the teacher just explained to everyone just what a musician was. Everyone went very quiet after that, and nobody said anything else until playtime. Then came a horde of about one million questions, "Is your dad famous ?" etc ... I used to just try and defend myself when asked such questions, at first I wasn't very successful, but I have found it easier as I have got older.
Its strange that 12 years later I'm still being asked the same question. This time, I think about it a whole lot differently. When people ask me about my father, I immediately become tongue-tied, a whirlpool of colourful images would start spinning in my head sending me dizzy. So I decided that If I couldn't talk about it, I would put pen to paper and write about it.
The past 17 years of my life have been filled with a lot of wonderful experiences and many words of wisdom from my father. One thing my father always taught me was that I should never feel I should join the herd, that it was ok to be different and individual. It was a case of it shouldn't matter what you're like, people will love you for who you are. Unfortunately in my situation some people loved me for who my father was. But gradually, I began to spot those type of people a mile off and so nowadays, I just don't bother with them.
Just before my younger brother was born, I spent a lot of time with my father. He had to look after me when my mother was in Hospital. I was only three years old at the time.
Everynight while mum was away, I got a brand new nightime story's from my dad's imagination. And everynight while dad was asleep, me and Matilda, (my doll) would creep into his bed. Then the day came, my brother was born, and my dad took me to the hospital to meet him. It was a rainy day and my dad dressed me in my little red coat with matching red wellies. As we walked up to the hospital we splashed and danced in and out of puddles, very Gene Kelly style.
Anyway time went on and dad was often away a lot on tour or doing business somewhere. When I missed him I would play his music and watch old clips of him on telly. I even used to dance around and mime to his songs to entertain my mother. When dad used to come home, I used to show him my routine and he just use to laugh when he saw it.
Dad's studio was at the top of our old house above the kitchen. I would
sit on the steps and listen to him making his music. Sometimes, I
would sneak to the top of the stairs and peek around the corner at him.
I would see him plugging away at his keyboards or escaping on his guitar.
I would often hide in his studio if I had been naughty. He always
knew I was there but he never told me to get out of my hiding place, he
just carried on working and left it to me when I felt I was ready- to emerge.
Whenever I was upset, I always used to go of to my dad and as I was
so like him, he seemed to know what to do to make me laugh or smile.
At Christmas time, dad would tell my brother and I wild stories about Father
Christmas. One year, he even made us our own Christmas song.
When it came to bed-time Elliot and I would be too excited to sleep, and dad used to bless us with magic rose-water that he said would make us sleep. Even though it wasn't magic, we believed in it so strongly that it always seemed to work. So from that moment on, we carried on this little tradition with us ... Every Christmas Eve dad would tuck us into bed and then bless us with rose-water.
At the age of nine, I finally got to see my dad play live. It was in a park in Wakefield. My uncle Ian was playing the Saxophone alongside my dad. I hadn't seen my dad all day as he had been setting up his equipment and dealing with the sound. Mum was doing a buffet in the marquee, so I went on a little wander. I discovered some people sliding down the hill on bin lids. One guy with bright pink mohican hair asked me if I wanted a go. just as I was about to sit on the bin-lid, mum came rushing over, dragged me away and made me sit in the marquee until my dad came on stage.
I remember standing in amongst all these people and dad looked down on me and smiled. It was his way of letting me know that he hadn't forgotten about me even though held been busy all day. When he played his guitar, I couldn't take my eyes of him for a single second because I knew I would miss something if I did. It was then I realised why all these people were here, I knew why now why he had to be away so much. Because I had only seen him playing his music to himself, I hadn't realised that he was sharing his music with so many other people. He wasn't playing his guitar for just his own enjoyment, he was doing it for the enjoyment of others as well. From that moment onwards everytime I saw him play I would have Butterflies in my stomach.
Written By Elle Nelson, May 1996.
News Round-Up
Many of you have sent letters in requesting the latest information about the Bill Nelson Convention. As of today, the manager of Resurgence Records, Rob Ayling, is willing to assist in the setting-up of such a function in the near future. I feel that this is a possitive move and I will update you as soon as possible. A gathering of all Nelsonians will happen, but it does need to be correctly planned, and a time needs to be set where everyone can become involved. Diary's are a little packed I'm afraid.
Interest in the back catalogue is still high and news will be available
soon on just what the position is. Bill and other parties are in
negotiations about the back-catalouge but I'm sure good news is around
the corner as it seems the talks are promising.
At the present time there are no plans to allow the recordings of Bill
to be on sale through the Navigator. 'Altar Pieces' was an exception.
Yes, a London show was set for the In-Store tour. But as of today, the show will not be resheduled. Sorry to all those who wish to see this go ahead. There also seemed to be a crossed wire somewhere about a show taking place in Leeds. This was changed at a very late date and again, sorry to those who made the trip to Leeds instead of Liverpool which was where the show was changed to.
Since Bill wrote his editorial, there is still no news of any 'Channel Light Vessel' tour dates. Again, I'll let you know as soon as possible. But from what I do hear, there will be less shows than what was planned, so I do hope your all fortunate enough to be able to get to see them live.
I have been asked by many Nelsonians, particularly from overseas, about the possibility of setting up a fax number for all members to use. Yes, good idea as far as I'm concerned but its not what the Navigator nor I for that matter, could afford at the present time. But like a lot of things, its a great idea to plan ahead and to work for. It would make life a lot more speedy!!
Bill, as far as I know, has no radio appearances planned or confirmed at the present time. I am however looking into doing a second Radio York half-hour with him very soon. Bill was first on the afternoon show in May 1995 and I hope that they will grant a second appearance to further promote After the Satellite Sings. I will try to let you know in the next newsletter.
Thats all for this column and anything you want to be covered in the News Round-up page then write to the usual address.
Charlie Tumahai
In a tribute to Charlie, here is the interview Bill mentioned in his editorial. The interview took place on June 19th 1996.
Q 1: Charlie Tumahai. When did you first meet him ?
Bill: After splitting up the first Be Bop Deluxe line-up I had a brief
period when Paul Jeffreys of the band 'Cockney Rebel' played bass for me.
Be Bop had been the support act for Cockney Rebel on an English tour and
at the end of the tour Paul Jeffreys and Milton Reame-james (Keyboards)
left Cockney Rebel to join Be Bop.
Milton introduced me to a drummer friend of his, Simon Fox, and Simon also joined Be Bop to make up the new line-up. Unfortunately, it didn't really work out musically as well as I'd hoped and after a few concerts I realised there were still some adjustments to be made.
Despite my misgivings about the suitability of Milton and Paul, I was certain that Simon Fox was the right drummer for the band so Simon and myself set off in search of a new bass player and, at a later date, a keyboard player, whilst Milton and Paul graciously retired from the scene.
Simon Fox and myself began auditioning bass players in a small rehearsal studio in London, I can't remember whereabouts exactly ... After listening to many bass players who were OK, but nothing special, suddenly Charlie turned up. He was fairly fresh over from Australia after playing with 'The Little River Band'. He just seemed head and shoulders above everyone else who had auditioned. It wasn't just that he was more musical than the others, he seemed more suitable, more 'right' for the band. He had a soul, a very strong personality and he always grinned when he was playing, as if every note was an absolute joy.
After the audition, we all went to a cafe near the rehearsal studio to have a chat with Charlie. Simon and I agreed on the spot that he should be our new bass player and so it came to pass
2: So you were totally unaware of his playing beforehand ?
Bill: Yeah, I'd never heard of him. I think he saw the advert
for the audition from the 'Melody Maker'. I had never heard of him
before, or what bands he had been in before. So he was a complete
surprise and a real find.
3 : Was it his natural ability, or his technical ability that shone
through ?
Bill: He was technically proficient you know, and he had agility and
dexterity. But he also had a natural musical sense in him, a really
good musical bass player. He was very good at bringing to a song
more than just a bass part.
He was a great singer too, good for backing vocals. He had an energetic stage presence as well. he added an extra dimension to the stage set. I was often tied down to the microphone, or the pedal board. Charlie had the freedom to move around and he used that freedom to the fullest.
4: Would it be fair to say Charlie preferred the live work to the
studio work ?
Bill: I think he did enjoy the live work very much but the studio was
exciting for him also. We grew as a band throughout the whole time
both live and the studio.
Over time, we certainly developed more studio technique. As we became more successful, we had more money to spend on studio time and we could therefore experiment more. Charlie was always happy in the studio.
5: In personal qualities, how would you describe Charlie ?
Bill: I remember when I was going through a divorce with my first wife
and I was a little down and everything. Charlie, I think, had been
through something similar and he was very sympathetic, compassionate and
helpful in the situation that faced me. He said that he would "look
after me". But as he had a wild side also, and he could be very entertaining
if you were on the right side of him. I'm sure to others this wild-side
could be somewhat disconcerting! Sometimes his wild-side could be
something to be worried about!
But we got on very well and when he was with me he was always a perfect gentleman. A real asset to the band generally.
6 : Did the success alter him ?
Bill: I don't think so. No more than other member of the band.
We all liked the extra comforts, especially on the road such as better
hotels, better food, etc. I don't think he was at all altered by
success.
7 : You've said before that when the band got more successful, the
excesses were high. Was Charlie at the front of these excesses as
much as it is claimed ?
Bill: What do you mean excesses ?
Sex and drugs and rock and roll!
Bill: Well, I wouldn't sat that we were excessive. We were actually
a very quiet band compared to the other bands around at the time.
I think we were quite well behaved!!
But like most bands who have been on the road for a long period of time, we had our ways of letting of steam and Charlie was more than willing to do just that!!
8: Obviously, the day came when Be Bop split. When did you
see Charlie and last speak to him ?
Bill: I'm not sure of the actual date, but it was around the time when
I was recording material which would go on the album 'Getting the Holy
Ghost Across'. I was in a studio called Surrey Sound working with
an engineer, a friend of mine, called Leon Phillips. just the two of us
were there working.
One day, Charlie called up after he'd found out that I was working there. He asked if he could come down, I said "Of course" and he in turn came down to see me. At the time, I think he was working on a fruit and veg stall. He had been working with bands, one was called 'The Dukes' who were formed by Jimmy McCullogh who used to play the guitar in Wings. Jimmy later OD'd with a drugs problem and then band then seemed to fall apart. Then Charlie formed a band called 'Tandori Cassette' and I think they did some recording, But again, this band seemed to dissolve.
When he came down to the studio he seemed a little bit down with living in England and he seemed fed-up with Thatcher. I think also the tax-man had tried to take his bass-guitar away. He soon left England for Australia with his wife and that was the last time I saw him.
9: Was it strange to see him again ?
Bill: In some ways yes, but it was nice to see him again. He
hadn't changed, and I think he had become a bit more worldlywise after
suffering a few hardships. He was definitely down from working with
bands who hadn't stayed together very long. Maybe he worked with
the wrong people. He deserved better, that's for sure.
10 : Your final memories of him ?
Bill: There are so many ... It would take days to recount them all
and tell you. There is one story that does stick out though ...
We were in the South of France recording an album that would become
Drastic Plastic. These recordings were made at a villa called 'Villa
St. George' near a town called Juan Les Pins.
We hired this villa for 5-6 weeks. We used the Rolling Stones
mobile for it and John Leckie and I were producing the work.
While there, we lived and worked and did everything in the villa.
It was the time of the Queen's jubilee, so being Englishmen abroad we decided
to celebrate and got lots of food in and various girlfriends and wives
decorated the place with red, white and blue bunting. We asked the
villagers nearby to come along and outside at this event some Americans
had gathered. Charlie saw them and began, well, to be polite, started
taking the mickey out of them and it got a bit out of hand.
Somewhere, I have all of this on super 8 film. I'm. hardly on it myself as I'm the camera operator!! (the only time you see me is in reflection in the mirrors !!) Its not so much concert footage, but films of the tours in terms of travel the places that we were in. I'm not sure what condition it is in but I will try and get it transferred to video, and then I'll edit the best bits, along with other clips I have onto a video that maybe we could do for the Nelsonian Navigator.
back to the main Nelsonian Navigator page