A Postcard From Nelsonia
(Bill's Editorial)

Dear Nelsonians,

First off, apologies for my absence from the previous Navigator's editorial, the last six month's or so have been unusually busy.  I think you'll agree that Richard created an interesting issue, despite my less than usual input.

My major preoccupation, towards the end of last year, was the production of an album for the Russian band, Nautilus Pompilius.  Actually, I ended up playing most of the 'instruments as only the vocalist, Slava, traveled from Russia to work on the record.  I guess you could say that the project actually revolves around him as he's the composer of the music and the focus of the group, the rest of the players taking more of a session musicians role.  Due to both budget restrictions and Slava's desire to try something new, the other members were left at home in Russia leaving me to create the illusion of a band with the aid of the trusty multi-track recorder at Fairview Studio.  John Spence provided his usual high-integrity engineering skills and everything turned out to everyone's satisfaction.

Unfortunately, the album won't be released out Russia so you may never get to hear it, which is a shame as it's an interesting and peculiar beast.

That project occupied all my waking hours right up until Christmas ... after which I spent several weeks preparing, directing and editing a promotional video for Nautilus Pompilius which has since been shown on Russian television.  I shot most of the film at Carlton Towers, home of the Duke Of Norfolk, here in Yorkshire.  The song I was asked to illustrate 'LS called Tender Vampire so I created a mock-gothic atmosphere with poetic symbols of an occult nature. (Great fun for philosophy nerds !)
This is now the sixth video I've created and I've been thinking of collecting them all together and making them available on a limited edition basis to club members only, via the navigator.  This would be on VHS. format, suitable for viewing on UK TV's but, if we had enough interest from American members, it might be possible to provide cassette's which would work on US TV also.  We'll see ...

Last year, (96) was one of the busiest for a long time ... the release of After The Satellite Sings, and the release of Channel Light Vessel's album Excellent Spirits, the gathering together of archive material for the Confessions Of A Hyperdreamer albums, a trip to Japan to give two concerts in Tokyo with Channel Light Vessel and a trip to America for radio and magazine interviews plus the one-man in-store concerts ... and the production of the Japanese band, Gillcover and the Monkey, then the Russian project and video ... there was little time for a social life.  Still, there was a real sense of things achieved, of creating purpose and that, of course, makes life worth living !

As for this year?  Well, it's shaping up to be rather quiet so far ... but things may develop.  My main concern is to record the proper follow-up to the Satellite album, but Resurgence don't have the funds available to put me in a studio at the moment so I'm looking at alternative ways of achieving this.  I would ideally like to work with other musicians on the next album, and also to have someone help me with production.  I feel it's time to surround myself with other minds,. rather than plough the lonesome furrow of the last few years.

My favourite producer of late is Mitchell Froom, one of the most inspired and original talents to come out of America for a long time. (Check out Los Lobos' Colossal Head album Cibo Matto's Viva La Woman, Suzanne Vega's Nine Objects Of Desire and the Latin Playboys album to see what I mean.)

I've thought about working with Mitchell Froom for some time so it was with great pleasure that I found myself sharing a few drinks with him and Suzanne Vega, (his wife) and Tasmin Archer at a hotel in York recently.  We met after Suzanne's excellent concert at the Barbican Centre 'in York and discussed the possibility of Mitchell giving me a helping hand on my next album.  He's asked me to sketch-out ideas to send to him in America, so we'll see what develops.  It could be an interesting collaboration.

By now, you should all be aware of the double album box, Confessions Of A Hyperdreamer (My Secret Studio Vol 2.) 1 had great fun coming up for the artwork for this one and like the packaging very much.  Also, it's the first release under my POPULUXE imprint, so it's hopefully a herald of things to come.  My head is full of ideas for the future, it's just a question of time and funding, as always.  Whatever happens, you'll hear about it all, here in the Navigator.

Meanwhile peace and happiness to you and thanks for listening!

Much Love,

Bill Nelson, March 97.

From the Editor

It's great to open up a second year of Nelsonian Navigator, and thanks all of you for joining us again for another term.
I'm pleased that issue five is almost on time considering how busy it's been at Navigator headquarters.  But thankfully, in this next year, I've planned things a lot better so things should run a whole lot smoothly.

Currently, I am travelling around the country meeting members over a pint to discuss future ideas for the club and any things' s in general concerning -Bill, and his music.  The next port of call for me will be Manchester 'in early May, so all those in that area should get in touch and we'll arrange a place and time.  It'll be good to see you all.

I should tell members that 'in the weeks following this issue's release I will be out of the country for 16 days so reply's may be delayed somewhat.  Sorry!!  But even I have to get away for a few days now and again.

Those looking for a convention of some kind will have to sit tight a bit longer.  A venue in York is looking to put forward a 'Bill Nelson Weekend' type of event.  The owners of the venue wish to put forward the following idea.  On the first n' ht, the 19 doors will be open for anyone wishing to purchase tickets.  On the follow'      night, the occasion would be a fan-club members only night with Bill appearing etc, etc.  At this present time nothing more in terms of planning has been achieved, but as I've stated before, their is a lot to organise and a lot of contingency plans to make.  Any developments will be in issue six.

For all newer navigators, I am sorry some of you missed out on recent merchandise.  We have some new items, and we also have the necessary artwork in our possession so delays will be minimum from now on.  I am sorry to all those who experienced a delay in receiving merchandise with the 'Weird Critters' artwork.  Due to crossed-wires, (or other reasons) we had a delay in receiving what we had been promised regarding the artwork.  Anyway, check this issue for new editions and I've included these for you to view.  The front cover of this issue looks great on a shirt.

Well that's it from me for this Navigator, but I do have those to thank for making things well bearable for me.
Bill and Emi, Elle and Elliot my pals, Richard Chadwick, John Wall' er, the lovely Caroline at Resurgence, all worsh' pers of Nelsonia, Dave Middlebrough, and all at Realworld Peter Gabriel Ltd.

I hope you enjoy this issue,

Rich Cahill, Nav Headquarters March 1997

Any Questions ?

Here are some more that Bill has tackled. if you would like to see you questions asked, write to the usual address.

Ql. Flaming Desire has the most beautiful sleeve.  Where did Bill get the idea to use it ?

Bill: That drawing is part of a series of drawings I was doing at that time.  The series of drawings was heavily influenced by Jean Cocteau's Line drawings.  It just one of many similar types of artwork that cropped up at that point in time.

Q2. Will Bill ever publish a chord/music book on his work ?

Bill: Its not for me to publish those types of things its solely down to the music publisher.  Its the music publisher that has the rights to the material I do.  In the case of the older material, the Be Bop Deluxe material, EMI publishing had the rights to it and I think at that time there was some sheet music published of things like Ships In The Night and so on.  But I don't recall that their was ever a book.  I know I couldn't do it as I don't read or write music.  So it's really down to the publisher feeling whether its worthwhile putting it out.  But my advice to people is don't play other people's music. . play your own!

Q3. Would Bill take this opportunity to bury Channel Light Vessel for good ?

Bill: No, not at all!  I like Channel Light Vessel but what I find difficult is working with the limited means that surround the band I have been frustrated for many years by the restrictions of working with independent labels.  While there is a terrific amount of artistic freedom involved, there are never the funds available to take up those artistic endeavours with a broader public.  Everything has to be done using the most economical means.  So I think for Channel Light Vessel to continue we need added input financially to make it presentable and to be able to tour properly with it and to be able to achieve the standards wanted by all members of the band Its not buried forever, it's just on hold for the moment.

Q4. Has Bill had any input into the release of the new Be Bop CD ?

Bill: Other than finding out about it not long before it came out and that a friend of mine Kevin Cann was involved in the design and packaging, I had no further input into the CD.  No royalties either!

Q5. On a humorous note, could Bill tell us whether he has had his fair share of hangers-on ? Does he still have them ?

Bill: I've had a fair share of hangers-on ... more than a fair share.  In the past I've had some people who were, can I politely say, mentally unbalanced Emotionally unbalanced perhaps!!  There were some people who were rather dangerous to be around and I had to at one point get a court order out to keep someone away from me.  I think the term used in most cases now is stalker.  I still have a couple of people who worry me in that respect.

I do everything possible to discourage over-zealousness and I try to get them to respect themselves enough to realise that what I do is a kind of job, and that I am not a God who can at some point dispense ultimate wisdom on them.  Also I try to put over that I also have a private life away from music which is very, very important to me.
Having said all of that, I have been blessed with some very intelligent and very adult fans all of whom are very adult minded, very mature.  So they do respect these things.

Q6. Does Bill know of any item of Be Bop memorabilia that publishes the words of 'Teenage Archangel'.  I've never seen these lyrics published.

Bill: No, I don't know of anything that has these words published as it was a privately made release before the band had signed a deal with a publishing company.  Maybe that's something we should do with the Navigator in future.  I'll try and find my copy and write out the lyrics.

Q7. Is it true that Bill has performed with the Spiders From Mars in America ? Or is it just rumour ?

Bill: Well I didn't even hear the rumour and if it is a rumour it's certainly not true.  The only time I played with the Spiders From Mars was at the Labatts Apollo in London during the tribute concert for Mick Ronson.

Q8. Can Bill ever see an auction of his past musical exploits ? In terms of stage-wear, rare artwork etc ?

Messages From Bill

A Special Message For American Readers

Bill is trying to collect images, magazines, objects and memorabilia connected with the following subjects :- Mexican Day Of The Dead, U.S.A Airstream Trailers, T.V Cowboys Of The 1950's, American Trash/Pulp Culture, 1950's/60's Science-Fiction stuff (Particularly Radio + TV Related Space Opera stuff + merchandise.) Cars and Trains of the future, (as envisioned in the past.) etc.

If you can turn up anything of interest along these lines, let the Navigator know or, if you're feeling generous, send it off to us.  Your contribution could end up in a special video Bill is planning for the future!

A Special Message For English Readers

If you happen to be one of those people who haunt second-hand bookshops, see if you can find a copy of a 1950's children's book called Peter and Pam's Christmas' It's and annual sized, colour-illustrated book which Bill had as a child and he's tried to find a copy for several years with no success.  If you can find a copy, let us know and you will be handsomely rewarded by Bill himself!

Further Messages From Bill

Special thanks from Bill to Steve Lyles for his generous gifts of literature and his kind support in Los Angeles last year.

Also :-

A thank you to all the fans who came to see me on my brief American jaunt last year which took in Los Angeles, San Francisco, Washington D.C., Philadelphia and New York.  I can't tell you how much your kind words meant to me.  Unfortunately, Caroline Records in New York have decided that they do not want to continue funding my work so it my be some time before we get to see each other again.  Anyway ... hang on in there !

Ian Nelson

On March 25th, I took the opportunity to meet Ian Nelson, brother of Bill.  The interview took place amidst the beautiful setting of the Yorkshire Sculpture Park.  He's a pleasant guy who is involved with the administration at the Park, and he also teaches 'talented youngsters' at the local Bretton College.

We begin ....

Ql. What was the first recorded/released track you worked on with Bill?

Ian : It was a track called 'Ships In The Night'.  I had acquired a Saxophone and I had just begun to master it.  I think I only had it for a about two weeks.  My appearance on that track was intended as a guest appearance type of thing.  I was 17 at the time, and there I was in Abbey Road with John Leckie producing.

Q2. And what are your thoughts on this track ?

Ian : I recall that I wasn't keen on it.  I didn't think that it was one Of the best songs ever written.  Still, it was important experience for me.  I seem to remember it taking ages to record.

Q3. What's your view on the impending re-release of the 'Sound on Sound' album ?

Ian : I'm glad in a way, It'll give it another chance to be heard, to be recognised Yeah, it will be nice to see it out.  I remember Bill wanting a band with a different approach to Be Bop, and that's what Red Noise was all about.

Q4. Was the Red Noise tour enjoyable for you?

Ian : It was both very interesting and very, very frightening.  But it was a fantastic experience for me really.  We were doing these big venues and I had to learn extremely quickly.  I always used to be bothered if the band were being recorded for radio or for a broadcast.  I became used to it after I realised that I should stop being a perfectionist and just play to the audience that was before me.

Q5. Did your brother influence your own band, 'Bolt From the Blue'?
Ian : No, not at all.  We started out as a covers band and then just went on to write our own material when the chemistry in the band became right.  Bill played a few shows with us in 92, when we did a few Be Bop numbers.

Q6. How do people react when they find out that your Bill's brother?

Ian: On the negative side, it just began to become a nuisance.  I would be introduced into conversations with people saying "You must be so-and-so's brother" and so on.  When talking to people like this I always had to establish my own personality.
On the positive side, I've had the opportunities to work with Bill and to have things released with him.  Nowadays its not a problem, as I'm known from doing my own work in other fields.

Q7. Which track when working with your brother, has you most pleased with your own contribution ?

Ian : I really like the saxophone part in 'Flesh, and the bizarre section I did for a track called 'Burning Question'.  I remember pulling out all the stops for that one !!

Q8. What music are you listening to at the moment?

Ian : I am listening to a lot of dance stuff at the moment.  I make a point of avoiding chart stuff I into hi-tech stuff, jungle and all that.

Q9. Would you like to involve Bill with any of your own music ideas ?

Ian: Of course, I always like to work with him.  I would love to do some live stuff again.  Maybe the backing tape type of show we did in the early 90's.  Yeah, I'll definitely work with him again.

Q1O.  In all the concerts you did with Bill, which one sticks out as being a cracker?

Ian: Definitely the Dominion Theatre during the 'Invisibility Exhibition' tour.  It was the end of the tour, a very happy tour at that, and I remember playing a stormer.  That show rounded everything off brilliantly for me.  There were also some great nights in American during the 'Quit dreaming' tour.  Places like the Roxy, the Whisky A-Go-Go were just great.

Q11. By the late 80's, big problems were setting in with Bill's career through no fault of his own.  Some of those problems go on to this very day. it must have been very painful for you during this period to watch what was going on.

Ian : It was very, very painful.  You could just see the writing on the wall yet you couldn't do anything about it.  You could just tell ... people from all over were ringing the warning bells but again, I just felt powerless.  Things only became open in the court case really.  Things, items, money went all over.  No-one knew, or knows where.  The worst time in all of this was rehearsing the mark 2 version of Be Bop Deluxe in Ossett in 89 or thereabouts.  We were there for three weeks with everyone on full pay, a tour being planned, and a bogus promise of a record deal in America.  It was all hot air.

Q 12. What are you up to at the moment in music ?

Ian: I'm working with a few friends at the moment.  We're known as the 3D's.  Its just a social thing at the moment, but I hope it develops. There is also Bolt From The Blue which I do occasionally.  But my teaching is something that I really enjoy.  I have some talented young players at the college.

Q 13. Finally, any touring story that you would like to share with us?

Ian : Ha !! Most of them can't be published!!  The tours with Bill are pretty much a blank really.  I suppose the one I remember concerning me was in America.  It was during the Practical Dreamers tour.  The manager at the time wanted to cut costs, so he insisted on driving to gigs.  We went from New York to Boston, hundreds of miles.  Half-way there, we broke down in the middle of no-where.  Anyway, I went into this local place and put some Greek Bazuki music on the juke box.  The locals thought I was taking the piss out of them, but seriously, I liked that kind of stuff I'm sure there are other stories, but over time, many have eroded from my memory.  Most of the tours were great days.

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