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2005 2006 2007 2008 2009 2010 2011 2013 William's Study (Diary Of A Hyperdreamer) September 2007 Jan Feb Apr May Jul Oct Nov Dec Friday 7th September 2007 -- 1:00 pm The edge of Autumn...So where did August go? Come to think of it, where did my entire summer go too? I've spent the last few months, day in, day out, cocooned here in my studio surrounded by guitars, keyboards and recording equipment. No time for diaries, website forums or much of a family life. Even by my own standards, it's been an intensely busy time. Long, long hours spent on the American Stamps film project: 7 days a week, 12 hours per day on average. The music all completed and delivered now. The film makers seem genuinely pleased with it, very generous, positive, feedback from them. The film music generated over fifty mixes on my dat tapes. Not neccesarily fifty different compositions but mix variants, alternative approaches and so on. Terry and Nori, who are the creative dynamos behind the project, selected the final choice of pieces from the ones I'd offered as possibilities for the various scenes. I then mastered this selection over at Fairview studios with John Spence and the tracks were then posted to San Francisco to be wedded to the final cut of the film itself. It's been a challenging project in many ways, as I've noted before in this diary...The most tricky thing being how to work around the almost constant dialogue without the music just becoming a background hum. I hope I've managed to keep it interesting and to pick up on the mood of each section of the narrative story. Looking forward to seeing the finished result. I'm told it will have around six screenings on tv in the US. It may possibly be picked up by one of the satellite tv arts channels for European screening too. No time for a breather after the soundtrack music was delivered. I had to plunge straight back into more recording, this time for a pair of new albums. I felt that this year's Nelsonica album needed a little more thought regarding track listing and running order. I also wanted to put together a brand new album to coincide with the proposed concert that Sound-On-Sound magazine were planning to promote for Harold Budd and myself at The Sage in Gateshead. Unfortunately, due to a series of events far too complicated to go into here, the concert didn't really get off the ground. A shame, but hopefully it can be re-scheduled for next year when there will perhaps be more time to plan for it. Nevertheless, I've ended up with a new album. Just been through to Fairview studios today to initiate the mastering process, not only for this album but for the Nelsonica limited edition album too. 31 pieces of music in total, between them. Both albums have undergone some dramatic changes since I began working on them. The new, 'main' album is all instrumental and more or less follows on from 'Gleaming Without Lights' but in an even more singular and drifting fashion. However, it began life somewhat differently: The album's original title was 'Frankie Ukelele And The Fire In The Lake.' It also contained a track bearing that title. I saw it as a surreal, dream-like thing. Who was Frankie Ukelele? And why was there a fire in the lake? But, as I made progress with the recording, the dream-like thing slowly became a little more abstract, fractured, non-linear and melancholy. The album title started to sound like it belonged to a different album. To some degree, so did the title track's music. Almost at the last minute I decided to remove several tracks from the album and record new pieces to replace them. One of the pieces I removed was the actual title track. Obviously, the album's title went with it too. The album is now titled: 'And We Fell Into A Dream.' It contains 15 pieces of music, all along similar lines. The tracks have melody but are not particularly structured in any compositional sense. By that, I mean they don't have discreet sections that progress through the usual routine of verses, bridges and choruses. The music kind of floats and drifts and hovers around, dreaming to itself. It's built on guitars and loops and reversed effects, little atonal pin-pricks and delicate chimes. A few of the tracks have 'beats' but they're often trance-like and quite discreet. Hard to describe but, it's like 'Gleaming'...but it's also different. Dave Graham and myself have been working on the album's packaging art and this is now complete. The images suit the album's tone and suggests some kind of 'Gnostic' fall from grace, a descent from a higher state into a world of illusions and imperfection. It's also slightly 'Disneyesque,' post-modern baroque, toy-town-roccoco. Matching my somewhat otherworldly, psychedelic cherubim mood of late. Here's the album's track listing/running order:- 'And We Fell Into A Dream' (IMPROVISED COMPOSITIONS FOR ELECTRIC GUITAR.) 1: 'And We Fell Into A Dream.' 2: 'Somewhere In Far Tomorrow.' 3: 'Fever Dream Of The Starlight Man.' 4: 'The Raindrop Collector.' 5: 'Night Song Of The Last Tram.' 6: 'Dreamt I Was Floating In A Summer Sky.' 7: 'The House At The End Of Memory Lane.' 8: 'A Line Of Trees Gives Rise To Thought.' 9: 'Blue Amorini.' 10: 'Here Come The Rain Comets.' 11: 'Cloudy Billows Kiss The Moon.' 12: 'The Rose Covered Cottage At The End Of Time.' 13: 'Streamlined Train, Passing Fast.' 14: 'At Home In High Clouds.' 15: 'Chapel Of Chimes.' 'Blue Amorini,' a piece I've been performing live for around three years now, seemed to fit the mood of the album, as did 'Fever Dream Of The Starlight Man,' a piece originally created for the 'Orchestra Futura' project at last year's Nelsonica. Both these tracks appear on 'And We Fell Into A Dream' in their studio form. This year's Nelsonica album has also had a re-shuffle. It is still titled: 'Secret Club For Members Only' to fit in with this year's convention title but has several vocal pieces scattered amongst the instrumentals. In fact, there's a kind of miniature pop album hiding at the heart of this one. Of course, my own definition of 'pop' is probably far from the accepted norm. It would most likely perplex anyone in search of a perfect pop moment. It's definitely the kind of album that fits the Nelsonica Convention remit though: a collector's piece, a collection of quirky leftovers, fun experiments and whimsical musings. No attempt at cohesiveness or 'major statement' preciousness. Just fairly interesting, reasonably accessible, hopefully entertaining bits and bobs. The album's track list /running order is as follows:- 'Secret Club For Members Only.' (The Nelsonica 07 limited edition album.) 1: 'Blues For A Broken Time Machine.' 2: 'Symphony In Golden Stereo.' 3: 'Station Clock In Cloud Of Steam.' 4: 'All Hail The Happy Captain.' 5: 'Boyhood Shadows.' 6: 'I Remember Marvelman.' 7: 'Secret Club For Members Only.' 8: 'Venus Over Vegas.' 9: 'Superhappyeverafter.' 10: 'The Futurian.' 11: 'Ghost Show.' 12: 'Jet Pack Jive.' 13: 'That Was A Beautiful Dream, She Said.' 14: 'Men In Search Of The Milky Bosom.' 15: 'Astron.' 16: 'Hey, Bill Diddley!' Although there's a bit of everything on the album, there are also a couple of deliberate 'jokers' in the pack, 'Hey Bill Diddley!' being the most obvious and the nearest thing to a 'novelty item' that I've done since, well, God knows when. I loath it and love it at the same time. But maybe I should never have let the damned thing leave the studio in the first place. I agonised over that. Maybe some people will like it too much. It's an abberation, a cute-ugly mutant child, an atomic throwback. It's also a lot of fun. It sports a dirty blues guitar groove middle-section that sounds like it came from a bar on the edge of a Texas swamp. And, as far as I know they don't have swamps in Texas. Two of my own favourite tracks here are 'All Hail The Happy Captain,' (which is a vocal piece), and 'Astron,' an instrumental that sprang from the same fountain as 'Streamlined Train, Passing Fast' (on the 'And We Fell Into A Dream' album). 'All Hail The Happy Captain' could almost have been from the 'Sailor Bill' album, if that album's coastline had been located somewhere off the constellation of Orion instead of the moors of North Yorkshire. And what has become of Frankie Ukelele and his mysterious fire in the lake? Well, there are now ten tracks left over from this recent recording orgy, tracks that found no home on 'Secret Club' or 'Dream.' It may well be that they will constitute the proper foundation for the abandoned Frankie Ukelele album. I haven't abandoned the project, (yet,) just postponed it. I'll work with these 10 leftover tracks, put them together in some sort of running order and see if they function within the original title/concept. Maybe even release them in time for Christmas. If that pans out it will mean three new albums in the space of three months. Inspired or isane? I care not a whit. Music industry protocols are non-applicable here. I'm not interested in being faint-hearted or precious, just bold. Out in the real world, the news of Tony Wilson's death. I knew Tony a long time ago. In fact, Be Bop Deluxe appeared on the pilot show for Tony's 'So It Goes' tv series. I opened the show with a short, unaccompanied guitar istrumental. This was at Tony's request. He asked if I'd just blast away on my own for 10 or 15 seconds with some flash, stunt guitar trickery. He requested this with such enthusiasm and charm that I felt it churlish to refuse, even though it wasn't quite 'where I was at' at that point in time. I liked him. He later also championed Duritti Column, which singled him out as a good man in my book. (I'd sold Vinni my original four track tape machine when I moved up to eight track.) The last time I saw Tony was at one of those 'In The Park' (Or should that be 'In The City?') festivals in Manchester. I'd been invited to take the stage with Steve Cobby's 'Ashley Jackson' band. (I believe there was a commercially available video of this event at one point in time though I can't recall seeing it myself.) Anyway, Tony Wilson was at the festival and wandered over to the mobile dressing room we'd been given to have a brief chat with me. I haven't seem him since except for the occassional tv appearance. I was saddened to hear of his illness and his passing. That whole Manchester scene was quite vibrant for a while, back in the 80's/90's. I somehow got involved with several of the local artists, John Cooper Clarke, The Mock Turtles, Martin Hannett, and some others whose names have slipped into the fog of memory. I'm planning to take a weekend break in Paris in November. The first proper break for several years. (I don't count Tokyo trips as breaks as they're tiring and stressful.) The last proper holiday that Emi and I enjoyed was in the South Of France. Must be around nine years ago now. And before that was in the early '90's when we went to Bali for a few days. (Probably the most 'exotic' holiday I've ever had.) Bali was wonderful and I got to play with some local Balinese musicians, an unforgettable experience. Piles of books at my bedside, as always. My reading still confined to ten or fifeteen minutes before sleeping and maybe an hour and a half in the early hours when insomnia strikes. I recently bought the big, hardback catalogue for David Lynch's Paris art exhibition, 'The Air Is On Fire,' (very expensively produced with two cds of interviews included.) I also found a thick book/catalogue put together to coincide with the exhibition of Cocteau's works that was held at the Pompidou Centre in Paris in 2003; Also a book titled 'Austerity Britain' by David Kynaston which documents the political, social and cultural climate of Britain in the immediate post-war years, (the era into which I was born), and 'Trains And Buttered Toast,' (a collection of transcriptions of John Betjeman's BBC radio broadcasts). Also have been enjoying a wonderful, charming autobiography, 'Night Song Of The Last Tram' by Robert Douglas. It depicts the author's childhood in Glasgow in the 40's and '50's. The actual title of the book inspired the track of the same name on my 'And We Fell Into A Dream' album. Managed to buy a few DVD's too: The series 'How We Built Britain,' presented by David Dimbleby is fascinating and well made. Also picked up the recent double disc 'Forbidden Planet' coupled with 'The Invisible Boy.' Plus I bought a new clean, digitised re-issue of Korda's 'Things To Come,' (an amazing film for 1936, a kind of British equivalent to Lang's 'Metropolis'). Also, (at long last on DVD), Terrence Davies' wonderful, moving, 'Distant Voices-Still Lives,' one of my all time favourite films. Now if only they'd follow it up by releasing the same director's 'The Long Day Closes' on DVD, I'd be a very happy man. Music-wise, I've had no time to listen to much apart from my own work, but I did buy the recent Paul Motian Trio's album, which features Bill Frisell, (whose playing I always find immensely satisfying). But the work pace musn't slacken as there is so much yet to prepare for next month's Nelsonica convention. I need to design my live performance set, make up a master disc of the tracks I will improvise over, sort out the video backdrops, think about other presentation items, talks, make drawings for the auction, try and cram in a rehearsal two days before the event, etc, etc. A hell of a lot to prepare still. This year's Nelsonica venue promises to be an improvement on last year's. An even bigger space, more seating and so on. I just need to try and keep my energy levels up for it. I have to admit to feeling washed out and exhausted at the moment. Then again, I've recorded almost one hundred tracks since the end of Spring until now, it's no wonder I'm feeling the strain. Spending so much time in this little workspace is not healthy, as I've often noted. I could do with some regular exercise and fresh air. Other work done or still to do: I gave six nationwide radio interviews at the request of EMI records to help promote their recent Harvest Records compilation cd. There's a Be Bop Deluxe track on it, 'Jet Silver And The Dolls Of Venus.' One of the earliest and least original Be Bop pieces and not a song I would personally have chosen but, there you go. Anyway, it was interesting to talk to the various radio dj's at different stations around the country. They were very complimentary about Be Bop and I was able to bring things a little up to date. It is the 21st Century, after all. Have been contacted by Pomona Books regarding their desire to publish volume 2 of my diaries. They also passed on a message from poet Ian McMillan who would like me to collaborate on a music-poetry idea for his BBC Radio 3 programme 'The Verb.' I intend to contact Ian shortly about this as I'm rather intrigued by the proposal. Have to start on mixing these ancient Be Bop Decca audition tapes soon. I've not had time to deal with them as so much new work has been coming down the pipeline. My reticence regarding old material is not exactly news though, is it? An interview yet to do for a feature in 'The Stage' newspaper/magazine. Maybe next week. A series of ads for Eastwood Guitars has been appearing in several guitar magazines in both the United States and the U.K. They feature full page photo's of myself holding my Saturn 63 guitar. It's been a little disconcerting, turning the pages of these magazines and finding myself staring out of the page. I guess I'm not used to being on such public display. Hopefully though, the ads may cause a few more people to investigate the work. Also on the subject of guitars: Whilst reading the newspaper over breakfast the other morning, a BBC tv news programme was on in the background. Something caught my ear and, when I glanced up at the screen, I was surprised to see a close-up shot of one of my Campbell Nelsonic signature guitars. The news item was, I think, about teaching rock music to young kids in schools and one of the adult participants in this exercise was wielding one of the guitars that I'd designed with Dean Campbell. I'd missed the main drift of the story so have no idea who was playing the guitar. (The only full length shot I caught of him was with his back to camera.) Still, nice to see the instrument being used. Much more that I could tell about this and that but it would take too long. As per my last diary entry, some things will have to be sacrificed to practicality and an attempt at brevity. Now back to work. ***** The images attached to this diary entry are:- 1: Front cover of the 'And We Fell Into A Dream' album. 2: Bill and Harold budd in Monk Fryston, 1990? 3: Bill playing with Balinese musicians. '93 4: Emiko Nelson in Bali Pool, '93. 5: Bill and Emiko in Bali, '93. 6: Bill in Bali. '93 Top of page

Blip! Bill Nelson album - 15 June 2013 Albums Menu Future Past Purchase this download TRACKS: 01) Bats At Bedtime 02) You Do Like Music? (Blip No 1) 03) Where You Is, Is Where You Are 04) Bell Weather (Blip No 2) 05) Your Name Completes This Frequency 06) A Dream Of Thee (Blip No 3) 07) The Fabulous Mr Futurismo 08) Sparklette (Blip No 4) 09) Your Sexy Thunder 10) Meteor Bridge (Blip No 5) 11) In A Cloud Of Stars 12) Bright And Glittering (Blip No 6) 13) Whirlwind Winters Wind The Clocks Of Spring 14) Flutterbye (Blip No 7) 15) Painting Your Sky With Marvellous Birds 16) Pure Imagination (Blip No 8) 17) No Two Thoughts 18) Aeolian Magic (Blip No 9) 19) Darling Star 20) Dazzle (Blip No 10) 21) After All These Years 22) I Danced In A Dream (Blip No 11) ALBUM NOTES: Blip! is an album mixing vocal and instrumental pieces, issued in a one off print run of 500 copies released on the Sonoluxe label. From this point onwards, Nelson would limit most of his releases to 500 copies. The material recorded for Blip! began life as part of a project called Grand Auditoria , which was initially revealed to the Dreamsville community in July 2012. When Nelson reviewed the work completed to date though in March 2013, he considered the material to be unsuitable for the original concept behand Grand Auditoria , and renamed the album Blip! . The finished album was premiered at a special launch party held at Leeds University on 15 June 2013, attended by approximately 150 guests. Included in the ticket price was a copy of Blip! , and everyone who attended the event was given a free companion CDR of out-takes, entitled Blip 2 (See separate entry). The remaining 350 or so copies of Blip! went on general release through S.O.S. two days after the launch party, and were reported as sold out on 24 June 2013. The superfast sales of Blip! led to a few dissenting voices on the Dreamsville forum, mainly linked to the inevitable appearance of copies on eBay at inflated prices, which led in turn to Nelson quickly releasing the album as a digital download on 26 July 2013. CURRENT AVAILABILITY: Available for purchase as a digital download here in the Dreamsville Store . BILL'S THOUGHTS: "The Grand Auditoria album I was working on was originally intended to be a compendium of as many of the various styles of music I've created over the years as I could cram onto a disc, (at least without it turning into some sort of self parody). Well, that was my intention, but, for some reason it didn't quite work out that way...The Muse seems to have had different ideas and instead I ended up with a skewed pop-rock album which, as you probably know, I've recently titled Blip!" "Hmmm...wrong-footed by the Muse again...Naughty girl!" _____ "I think that the album needs a few short instrumental interludes in between the vocal pieces to break things up a bit, (in similar fashion to the instrumentals between the vocal tracks on the Joy Through Amplification , album, but, of course, in a different style). "I've just finished recording the first of these little instrumentals. This is titled "Blip One". It's a kitsch, mad little waltz, very short and designed to make you smile. I'll begin mixing it this evening. I think once I've scattered several cute instrumentals between the other pop-rock vocal tracks, 'BLIP' will be a fun album." _____ "The vocal tracks are generally in a sort of pop-rock style, but with the usual skewed approach you would expect of me. The instrumentals, (which occur between the vocal tracks), are quite short, melodic and synth/keyboard-based and radiate a quirky charm. Whilst they are totally different to the instrumental moods on the Joy Through Amplification album, they function in a similar fashion, acting as an 'album within an album', a kind of between main courses musical sorbet." _____ Bill's Listening Notes for the album: 'Blip!' Listening Notes FAN THOUGHTS: hypnohighball: "Bill, you've outdone yourself this time. I can't remember when I was this elated listening to one of your new albums. Not to say I don't love them all now, but this one hit me HARD." "I'm honestly not just saying this, but I think this is one of Bill's best. Lots of vocals and electric guitar, which I like, but also a lot of everything else tossed into the mix make this some tasty head candy for the ears. Love the short "Blip" musical interludes between each song - even though all 22 tracks are nothing alike, they all fit together into a unified piece. I highly recommend reading Bill's album notes while you are listening - his way with words is just as imaginative and talented as his musical creativeness. Can't remember the last time I put on an album, sat back, looked out the window and just listened to it straight through with a big smile on my face half the time and the other half shaking my head in wonder/disbelief." Man in the rexine pyjamas: "I just want to go on record as saying it is a corker. Twenty two tracks, eleven songs and eleven instumentals (or Blips!). Some fantastic songs that I'm humming already after only a couple of plays (probably the bluesy "Your Sexy Thunder" being my favourite). The Blips are the really interesting pieces, and if I had a wish, it would be that Bill takes one or two of these quite brilliant musical ideas and runs with them to twenty odd minute pieces. Heaven!" "It is a very strong album indeed, like most of Bill's work, giving you more the more you hear it. I would say I prefer it to JTA , and that is very strong praise indeed in my book (like trying to chose your favourite child)." tom fritz: "I've been "Blip" - ing out of my mind. How does one guy make so much happen, in the space of one song? So fantastic, no words really. The inspiration is strong, that's for certain. Thanks Bill!" paul.smith: "You Do Like Music": "is top stuff...that slightly sinister carnivalesque sound coupled with a seemingly innocent question...but repeated to the same sinister effect as the voice continues...reminds me of the old Twilight Zone for some reason...deliciously creepy is my interpretation!! As always, the music on these two grows with those all important repeated listenings...'familiarity breeds content" as it were." felixt1: "Overall, I can confidently say that Blip! will be a hit with anyone who particularly enjoys Bill's more upbeat, up-tempo pop/rock music. There are some great lyrical, melodic and guitartastic moments, but also some great synth. The album certainly deserves to have sold so quickly." Holer: "I do think, after all these years, that I love your music when you are in 'Playful' mode the best. This latest batch of tunes reminds me in spirit of things like Atom Shop , Whimsy and Noise Candy before it, like you are just having a blast knocking out these little tunes and that sense of fun is so infectious, I can't stop listening to it. I love the Blip concept too. I think the Blips are just as strong as the pop tunes...Nobody makes noises like your particular noises." December Man: Bill's Magnum Opus?: "Blip! It just has everything I've come to love about Bill's music and more..." "It feels like a retro-future mixture of Bill's and "progressive" music's full potential." "It's as if Bill has meshed together all of his musical influences, styles and experiences and the sum total of these various parts have all coalesced into one amazing inevitable whole! Loving this, Bill!" WalterDigsTunes: "After listening to quite a few 21st century BN releases, I have to say that Blip! stands out as a high-point in the catalog. It's got a little of everything but at just the right dosage. The little Blips that peep in between songs are a nice little EP, if you choose to look at it that way. The vocal songs that makes up the bulk of this album also rank among my personal favorites. Note the brash opener, the smoky love song, and all those winking smiles you can't help but responding to. Let's not forget Bill's delivery: sentiment, cadence and words all coalesce perfectly across this record. I also can't help but praise the well-implemented (but never merely incidental or overly-dominating) guitar work. "Am I praising the balance or the excess? I have no idea. I just know that if I had to recommend one Bill Nelson disc from the current crop, Blip! would be it." Face In The Rain: "Have just downloaded both Blips and have been completely blown away. Bill is always good but this is just fabulous stuff. Was shaking my head in wonder so much that my good wife thought the download had crashed the system!" Albums Menu Future Past

A Certain Bridge single - 1981 Last Man In Europe Production/Contribution Menu Future Past TRACKS: A) A Certain Bridge B) TV Addict/Complications BILL: Producer of both tracks. NOTES: This was only the second record to be released on Nelson's Cocteau Records , the first being 'Do You Dream In Colour?' Production/Contribution Menu Future Past

Live Archive Bill's Meet & Greet Gathering - 1983 In, the heady days of the 'Acquitted By Mirrors' fan club magazines, issue number 3 contained an interesting little note mentioning that they were intending to run a prize draw. The twelve lucky winners would get the opportunity to meet Bill, ask questions, have a chat and take photographs. The lucky winners were announced in the following edition of 'Acquitted By Mirrors' and they were contacted with the arrangements for the gathering... A few tweaks to the original 'studio' meeting plan, but the event was finally arranged for May 15th 1983. This is the account of the event by one of the lucky winners, Stephen Netherton - A big thank you to him for his recollections and these photographs... The Day Out to Meet Bill Nelson: 15 May 1983 Article and photographs courtesy of Stephen Netherton (written in April 2021) There appeared in an issue of Acquitted by Mirrors an article that invited subscribers to enter a draw to meet Bill. There had been grander plans to meet him in the studio, but they didn't transpire. The eventual meeting was to be at the Bloomsbury Crest Hotel in London. Fine with me all I wanted to do was meet him. The nearest I had been to this was nine years earlier when I saw Be Bop Deluxe as support to Cockney Rebel at Tiffanys in Hull in 1974. I was standing with my friend Mark, (both of us not old enough to be in the nightclub), right at the front of the audience and straight in front of Rob Bryan who was only five feet away at the most. Bill was over to the right if I remember correctly. How was I going to improve my chances of being picked out to meet Bill? At work one of the ladies in the office used card of various colours to aid her filing system. I 'borrowed' a sheet of amber coloured card and cut a piece off to match a postcard. I duly entered my details on the card, posted it and waited hoping that all the other people hadn't had a similar idea and sent luminous pink cards! I hoped an amber card amongst a pile of white ones would ensure it was picked. It was. Success! I received a letter to say I was one of the lucky ones. When the day arrived, I drove to pick up my then Girlfriend, Carol (now Wife) to go to Hull Paragon Station to catch the train to London Kings Cross. My lasting memory of this part of the day was the look on her Fathers face as he stared out of the window as she got in the car. It was a look that said, "Where on earth are you taking my daughter at this time on a Sunday morning?" It was not a happy face. As teenagers do, (she was 19 at the time), she had just told him, "I'm going out." I convinced her that she should ring him and let him know where we were going and what time we would be back. In those pre-mobile phone days, she went to the public phones in the station and rang to let him know. He was happy now, Carol told me. The one think I can remember about the journey to London was that the train was diverted off the East Coast Main Line and we travelled through Ely. On arrival at Kings Cross we took the short walk to the Bloomsbury Crest Hotel via McDonalds. We arrived with lots of time to spare and were eventually directed towards a room to wait for Bill. I got the impression that the event was being organised by the guy in the grey sweatshirt with the blue print. Does anyone know who he is? I cannot remember his name. Bill arrived with Jan and after introductions a Q&A session started. I remember one of my questions; it was, ‘Are the Revox Cadets, V.U. Disney and Bill Nelson one and the same. Tony Goes to Tokyo and Rides the Bullet Train is in my top five Bill tracks ever. I knew they probably were, but you never know. Bill confirmed my belief. I did ask a couple of other questions about Quit Dreaming and Get on the Beam and The Love That Whirls but I cannot remember them. It is nearly thirty-eight years ago! After the Q&A session the attendees were invited one by one to go to the head table and have a chat with Bill. I talked about first seeing Be Bop Deluxe, subsequent gigs and favourite tracks. Each person received a signed photo; I still have mine. Bill’s music was playing quietly in the background. My photos show some of the other attendees. Do any readers of this article recognise any faces? Might there be a current forum member pictured? I cannot remember any of the people; to be honest I don't think I talked to anyone apart from Bill. It wasn't like the recent meetings at The Clothworkers, there's lots of chatting at these events! I seem to think the gathering lasted for around two hours. I'm not sure, but I know Carol and I had a wonderful time. I look forward to seeing if anyone recognises the faces! If you attended the event and would like to share your memories, or have any photos, please get in touch!

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Starland Bill Nelson download single - 16 January 2013 Singles Menu Future Past TRACKS: 01) Starland NOTES: "Starland" is a track Bill composed and recorded exclusively for the Sara's Hope Foundation . The charity's aim was "to provide holiday breaks for children living with cancer, giving them smiles, hope, and precious memories". Fans could download the song in return for a modest donation to the charity. Starland was announced by Nelson on the day of release, an especially poignant date, as it was the 12th anniversary of Sara Hoburn's passing. CURRENT AVAILABILITY: Currently unavailable but may be made available again as a charity download at some point. BILL'S THOUGHTS: "It began life as a backing track for this year's Nelsonica solo live performance but I've overdubbed guitars onto it and it's turned into a very nice instrumental piece with a similar vibe to "For Stuart". Those of you who like "For Stuart" will definitely enjoy "Starland" too!" "I know that as many of you as possible will support Sara's Hope Foundation and help bring a little sunshine into the lives of children, (and their families), who are suffering as a result of cancer." Singles Menu Future Past

Forum Members To see this working, head to your live site. Categories All Posts My Posts Login / Sign up The Dreamsville Forum Create New Post William's World A forum for discussing the work of Bill Nelson! subcategory-list-item.views subcategory-list-item.posts 1.2K Follow World Outside The Window A forum for the discussion of more general topics. subcategory-list-item.views subcategory-list-item.posts 1K Follow The World And His Wife A forum for fans to discuss their own music, artwork, poetry...or whatever talent they may wish to share! subcategory-list-item.views subcategory-list-item.posts 131 Follow New Posts Radium Girl Oct 12 Lot 135 John Peel collection William's World Hi all just a heads up about a fantastic Bill Nelson lot from the John Peel collection part two from Omega auctions. The first auction had some great stuff and doesn’t disappoint this time, if nothing else to see the pic of Johns 4 star rating for Kind Of Loving. https://bid.omegaauctions.co.uk/auction/lot/lot-135---bill-nelson---lp-collection-including-test-pressings-and-a-four-star-rating-from-john-peel/?lot=81240&so=0&st=Bill%20nelson&sto=0&au=214&ef=&et=&ic=False&sd=0&pp=48&pn=1&g=1 Like 4 2 Worra Oct 15 Worra and Peter Brookes The World And His Wife Hello world! Long time! I have this little project called "Weather Vane", where I pretty much play whatever comes into my mind. Now there's a new release coming out on the digital platform you prefer! It's a collaboration between myself and Peter Brookes, and also people from Sweden, Finland and Japan! So, here's a little teaser of the song written by me and beautifully sang by Peter! Hope you like it and check the full release October 15! Weather Vane - SD 480p.mov Like 2 1 jostmo Oct 08 The modern world William's World Like 2 1 Forum - Frameless

Sister Surprise single - 1983 Gary Numan Production/Contribution Menu Future Past BILL: Co-Producer on b-side, "Poetry and Power". Production/Contribution Menu Future Past

Hard Facts From The Fiction Department Bill Nelson ep - May 1984 Singles Menu Future Past TRACKS: A1) Hard Facts From The Fiction Department A2) Daily Bells B1) Rhythm Unit B2) Junc-Sculpture ORIGINALLY: All four songs were initially non-album tracks. NOTES: Hard Facts From the Fiction Department is a 4 track EP of instrumentals issued on the Cocteau Records label. This was the fifth in the series of Cocteau Club EPs issued to fan club members, included in Issue #9 of the club magazine, Acquitted By Mirrors . All four tracks had been recorded at The Echo Observatory. PAST RELEASES: A1) was later included on the 7" and 12" releases of the Acceleration single (see separate entry), and The Two Fold Aspect of Everything comp (out of print). A2) was later included on the US 2CD version of The Two Fold Aspect of Everything comp (Enigma, 1989), which is also out of print. CURRENT AVAILABILITY: All tracks are available on the retrospective compilation album Transcorder (The Acquitted By Mirrors Recordings) . BILL'S THOUGHTS: From the Acquitted by Mirrors fan magazine: "With this magazine you will find included the first of the club EPs. "Hard Facts from the Fiction Department" was recorded in the autumn of 1983 for the BBC as part of a programme about the Orwellian 1984. The remaining three pieces come from the instrumental archives of the Echo Observatory." Singles Menu Future Past

The Alchemical Adventures Of Sailor Bill Bill Nelson And His Lighthouse Signal Mechanism Orchestra album - 6 November 2005 Albums Menu Future Past Purchase this download TRACKS: 01) The Lighthouse Keeper's Waltz 02) The Ceremonial Arrival Of The Great Golden Cloud 03) Here Comes The Sea 04) Dream Of Imperial Steam 05) Sailor Blue 06) Ship Of Summer, All Lights Blazing 07) Illuminated Promenade 08) The Ocean, The Night And The Big, Big Wheel 09) A Boat Named St. Christopher 10) Moments Catch Fire On The Crests Of Waves 11) The Sky, The Sea, The Moon And Me 12) My Ship Is Lost To Semaphore ALBUM NOTES: The Alchemical Adventures of Sailor Bill is a mainly vocal album issued on the Sonoluxe label in a single print run of 1000 copies. It was first made available on the opening night of Nelson's UK tour on 6 November 2005, which went under the banner of Popular Music From Other Planets . The remaining stock was then sold through SOS. The album represented something of a departure for Nelson as it was a concept album centered around his childhood memories of time spent near the coastland of North East England. The album went out of print in October 2007 and in 2013 tentative plans were announced on the Dreamsville Forum for a physical reissue as 2CD set with the companion album Neptune's Galaxy , but alas nothing came of this. CURRENT AVAILABILITY: Available for purchase as a digital download here in the Dreamsville Store . BILL'S THOUGHTS: "It wasn't conceived as a 'concept' album, at least in the usually perceived sense. It is, as the subtitle reveals, a 'suite of songs' dealing with a central theme. But many albums of mine either start with, or eventually develop, a 'concept'. This doesn't have to be some grand operatic thing, just a shining thread on which to string the musical beads. This album started with me feeling my way forward a bit at a time, like a blind man with a cane. I'd originally intended doing a very simple, stripped down set of songs that might easily be reproduced live but, somewhere along the line, the coastal, oceanic thing emerged and hijacked my original intentions. Before I knew it 'The Lighthouse Signal Mechanism Orchestra' had entered the frame, and it became clear what the muse was demanding of me. The instrumental interludes...were designed to both 'bridge' and further elaborate the various songs. The album is meant to be taken as a single, constantly unfolding piece of music. It contains a strong sense of place, of landscape and seascape, of characters and visual impressions. A kind of Ealing Studios film rendered as song." _____ "On a personal level, the album preserves these memories in sound and lyric as a meditation on loss and longing. On a more general level, it's an impressionistic album of seascapes and landscapes and the beautiful nature of our English coastline." _____ "One of my favourite tracks, "The Ceremonial Arrival of the Great Golden Cloud" works on several levels: 'The Great Golden Cloud' could actually be the name of a big sailing ship, its arrival in harbour after a trip to exotic lands being celebrated by those on dry land. It could also be a literal cloud, turned golden by the setting summer sun, watched by my boyhood self whilst standing on the east coast cliffs with my late father. The song makes a clear reference to my father who, 'loved the sea'. He and I used to walk on the empty beach together at dawn and explore the cliff tops at Reighton Gap and Witherensea. I recall he and I watching wild waves hit the harbour at Ilfracombe in Devon too. That song has many personal resonances." _____ "Re: 'The Lighthouse Keeper's Waltz' - it is intended to act as an 'overture' to the Sailor Bill album, setting the atmosphere and visual mood for the songs that follow. The lighthouse keeper is a romantic character for me, living in harmony with the elemental forces of the sea and providing a light for sailors to steer by. There are obvious metaphysical symbolisms involved here. The circular and spiral nature of the lighthouse evokes a kind of oceanic carousel. The coda section of the piece is meant to conjure up the idea of mermaids or sea-sirens singing on the rocks beneath the lighthouse, trying to lure the sailors to their doom. The textures, melodies and instrumentation of the piece are deliberately chosen to paint exactly that picture. It's one of my favourite compositions, not only on that album but generally, because it felt, when I'd finished it, as if I'd painted an epic picture of the scene as I'd originally imagined it." _____ "I invested a lot of time and thought in the project and I think this shows in the multi-faceted nature of the finished result. Its structures, textures and economical use of language were carefully chosen to convey both interior and exterior states of experience. It's filled with personal metaphor and symbolism and deals with innocence, experience and memory. It attempts to address the poetic nature of life and our longing for spiritual transcendence , but without spelling it out in those terms. I wanted it to have more than one level of meaning but also a 'secret key' that, once discovered and turned, would open the whole thing up like a treasure trove. "Ultimately, it's an album about the process of inner development, the possibility of transcendence mirrored by our interpretation of the world as it impacts on us in moments of wonder and lucidity. It's my attempt to read the mystery of my own life through the interpretation of memory and imagination. Conceptually ambitious? Perhaps so, and perhaps an unattainable goal. But it provided me with a personal revelation, simply by approaching it from that angle. I discovered a lot about myself in the process of making the album. In that sense, it really was a voyage of discovery and adventure, beyond the island of my past." _____ "If someone asked me to define my true self, the 'inner man', with just three albums, I'd point them to Sailor Bill , Rosewood Volume One , and Dreamland to Starboard with Sailor Bill occupying the number 1 slot. Of course, with such a large body of work to my name, there are quite a few other essential 'signifier' albums I could add to the essentials list, but, those three are the ones I'd save from the fire first. In some ways, they'd be the most suitable albums from which my soul and personality could be accurately reconstructed after I'm gone from this earth. I think of them as a kind of 'hologram' of the 'real me', the creative essence of myself." _____ " Sailor Bill is the classic, the timeless one, the BIG statement and the one you should give your undivided attention to. THIS is the one I passionately want you to hear above all others!" _____ "Give Sailor Bill' s musical ship of dreams time to reach your harbour...it's an epic, extended song-suite, rather than a collection of disconnected songs. It's almost operatic in its scope, a kind of concept album where each track makes up just one facet of the overall picture. I spent several months creating the album and it really requires proper listening to appreciate all the detail that went into it. But give it time and patience and it should unfurl its sails and carry you off to a coastal dreamland. Enjoy!!" FAN THOUGHTS: John Izzard: "More than lives up to the descriptions and promises Bill had made about this recording. Bill's albums always ooze artistry, creative energy and intelligence, but this album is simply on fire! I'm amazed that a musician with so many albums behind him, can produce something as beautifully fulfilling and desperately passionate as this. Incidentally, it is dedicated to Bill's late Father, his Mother and the memories of childhood seaside holidays. To the unconverted, if you want to see/hear a player at the very top of his game, you're not 25 years too late - IT'S NOW!" Martin Bostock: "Living, and indeed having grown up in a seaside town, the songs for me conjured up personal childhood memories of Tram rides, sandcastles and rain soaked-windswept trips through Blackpool Illuminations. Indeed, after we had listened to the CD and stepped out into the cool October evening air, I had that same excited feeling I would get when, as a boy, my Grandparents would take me to the 'Lighthouse Toy store' and would return home clutching some new piece of treasure. The Alchemical Adventures of Sailor Bill is a treasure chest, with each piece therein a finely polished & many faceted gem. Destined to become one of those must have Bill Nelson classics." jetboy: "Everything about this album is BIG...Sweeping Orchestras that would work well as soundtrack music, haunting melodies, seagulls, wind, distant Wurlitzers, somewhere a 60's beat combo plays on the end of a pier...it's a very romantic album, each track an epic. I've never heard anything like it before, and it's going to go down as a classic Bill Nelson album." Peter: "What a jewel. As always, Mr. Nelson reaches and connects...interesting, multi-layered, dynamic, emotional, evocative, imaginative and challenging, yet familiar, another lovely musical adventure for us all to take." "To this day it blows me away...rich, complex, elegant and full of passion. A rewarding stew of nostalgia, genuine emotion and the brilliant musical explorations I expect from Bill. And the guitar...what can I say? "A Boat Named St. Christopher" is so achingly beautiful I want it to last forever. 'Moments Catch Fire"? C'mon...that one is so gorgeous!" wonder toy: "WOW! What an outstanding album. Bill, you sound the best in every way I can imagine, your voice sounds amazing, your guitar playing is better than ever (which is saying a lot). EVERYTHING! The keyboard parts, arrangements, lyrics. I could go on and on. You have raised the bar once again as I suspect you will very soon again too." Steve Whitaker: ' The Alchemical Adventures ...are 'musical paintings' of the landscape of place and memory, and they do draw you in. In objective terms, there's nothing striking or startling about the topography of the North East Yorkshire coast (I must have visited 200 times in my life), but the process of assimilation acquired over donkey's years of familiarity leaves a mutable, absolutely personal, mental imprint. Alchemical Adventures are an aesthetic exploration of these imprints, and it's a testament to Bill's genius that he can take you to Whitby or Robin Hood's bay, or some ghostly historical resonance of same, in the 'stationary, supine' journey of your bathtub." BobK: "This album, although hinted at on previous recordings, is different stylistically to previous albums. Mainly sweeping Orchestral arrangements. The music has emotional depth and resonance . Frankly, it rather affected me. I think it is clear that it is a very personal album. The album has 12 'tracks'. Though it must be said that so many melodies appear, disappear and reappear within them that it seems an insult to refer to them as 'tracks'. I think this is one of those collections that demand the listener listen to it as an entirety rather than dipping 'in and out'. The tracks flow and blend into a rather intense listening experience. The album is full of glorious melodies and moving lyrics. Beautifully played, beautifully sung. The arrangements are cleverly arranged, complex and transport the listener through a full range of emotions. The words that come to mind are: Epic, majestic, emotional and melancholy. In addition it made me smile. It seems unfair to pick 'standout' tracks. I will simply say that ' The Sky, The Sea, The Moon And Me' is a truly affecting piece of music that brought a tear to my eye. I feel this will be remembered not simply as a hugely enjoyable album but as a key album in a glorious career. Yep, I kinda like it. Thanks Sailor Bill." Honeymoon on Mars: "Put quite simply, Sailor Bill is a masterpiece which produces such a reservoir of emotion it takes the breath away. I found it more accessible than many of his other works, and although I am a guitarist, I did not rue the lack of that instrument in any way." Parsongs: "Well, just when you think Mr. Nelson can't get any more diverse, he gives us The Alchemical Adventures of Sailor Bill . I can't put into words how deep and rich these compositions are. Bill has a natural gift for orchestration, I really think he needs a good publisher for his music (yes, notes on page), and a contract for a good film score. I'm really impressed by this new direction." Swan: "I've got a theory about why Bill (and some of his fans) may consider it to be one of his finest works: It's about the sea, powerful, dangerous, mysterious, atmospheric and calming. It's about genuine emotional attachments that we can all relate too. Bill's vocals fit the music perfectly and are at their strongest in recent years. The songs stand alone as does the piece as a whole. "Those of you that don't have it in your collection should commit heinous crimes in order to obtain it!!" Sue: "I could listen to all this music back to back, day in and day out and never be bored. And every time you listen, you hear something you didn't hear the last time, there is just layer upon layer of deliciousness waiting to be unpeeled. Every song tells a story and every story holds a memory. And there is nothing more precious than that." machman767: "I was fortunate to hear it at Nelsonica, the track "The Ceremonial Arrival of the Great Golden Cloud" had a lump in my throat both then and now as I type. It must rate as one of the most powerful tracks Bill has ever created. Unbelievable." Tourist in Wonderland: "I think the guitar solo on "Moments' is as close to perfection as is possible within a song, to these ears anyway, it makes me want to hear/experience it again and again...and that's no mean feat...goosebumps..." Kalamazoo Kid: "Ship of Summer": "The tightest distillation on the album of the simultaneously tragic and salvific power of memories. Lyrically, the song is the most direct statement of loss on the album, and the most direct expression of renewal and ecstasy. It also establishes an explicit metaphor for the dynamic interplay of past, present, and future. ("Ships come sailing..."). If anything on the album is the thematic summation, I'd say it's "Ship of Summer"." alec: "My first experience listening to The Alchemical Adventures was one of simultaneously watching a film in muted colours and an overwhelming sense of nostalgia for people, places and things both known and unknown. That first listening experience was so overwhelming in fact that I'd had to hide from the CD for a couple of months, and then certain tracks kept calling me...Just as ocean waves draw one towards the ocean...I believe the first track to call me back was "Sailor Blue' and then it was "Moments Catch Fire on the Crest of Waves." It's now a favourite of mine." Wasp In Aspic: "I would say that The Alchemical Adventures of Sailor Bill is one of the key works of Bill's career... Sailor Bill is one of those albums that is much more than the sum of its parts. It's an holistic experience. As always with Bill, modern; yet a journey through time to the English seaside of the fifties and sixties and you can almost taste the candyfloss. A rosy glow of a multi-faceted nostalgia trip. The closing instrumental, "My Ship is Lost to Semaphore" not only perfectly evokes the picture of a compass-deprived ship drifting and lost to eternity on a fog-cloaked sea, but also captures the feeling of loss of youth and naivety and carefree times." steve lyles: " Alchemical Adventures is an apt title. The "blending" and mutation of sounds and textures is hypnotic and an amazing endorphin rush. The music is epic, surreal and at the same time very intimate - arm tingling stuff. I just love the mix of Bill's vocals and the orchestral washes - I must admit it has taken several listens to 'unlock' the magic - I had to remove my Rosewood , Satellite Songs and Custom Deluxe filters which were almost permanently attached after the last few months. There are some of the most magnificent musical moments I have ever heard in this music - I actually get the vision of flying over the scenes Bill creates with the music and lyrics. I am and always have been in absolute awe of Bill's ability to create such Beautiful music...Many thanks Bill for such a wonderful creation." andylama: "Although it is radically different from any other of Bill's albums, it is quite easily one of his best, ever. Instant classic material, IMO. Bill's singing is very strong here, as is the songwriting and orchestration. I particularly love the self-harmony bits. Very nice. A must-have for any self-respecting BN fan. Thanks Bill; you continue to move me--25 years and going strong." Ged: "When Sailor Bill began it was magical and each piece brought back childhood memories, hidden surprises and a wonderful voyage on the high seas of Nelsonica . The orchestrations are epic and grand and it is a wonderfully theatrical and atmospheric piece of work, as always there is a twist and listening to each track brought many a smile to my face. Sailor Bill is a very personal album and I can honestly say that in my opinion it is one of Bill's finest pieces of work to date." "I only hope Sailor Bill receives the recognition it deserves - anyone who hasn't heard it, I'd definitely recommend buying a copy - in my opinion it is one of Bill's finest pieces of work." Albums Menu Future Past

Code album - 1987 Cabaret Voltaire Production/Contribution Menu Future Past BILL: Guitar on five songs: "Don't Argue", "Here To Go", "Trouble (Won't Stop)", "White Car" and "No One Here". Production/Contribution Menu Future Past

Live Archive Pl ectronica A celebration of Bill Nelson at 70 A picture gallery from Bill's official photographer Martin Bostock

All Posts Search Log in / Sign up Bill Nelson Apr 2, 2023 5 min A LONG TIME COMING... 47 comments 47 88 likes. Post not marked as liked 88 Bill Nelson Jul 6, 2022 4 min BLOODY MOTHS... 48 comments 48 37 likes. Post not marked as liked 37 Bill Nelson Jun 1, 2022 6 min ANOTHER LATE DATE... 24 comments 24 52 likes. Post not marked as liked 52 Bill Nelson Jan 8, 2022 5 min IS IT 2022 ALREADY? 40 comments 40 52 likes. Post not marked as liked 52 Bill Nelson Jul 16, 2021 4 min IN THE STUDIO STILL... 10 comments 10 42 likes. Post not marked as liked 42 Bill Nelson Apr 23, 2021 3 min 15 YEARS AGO TODAY... 7 comments 7 50 likes. Post not marked as liked 50 Bill Nelson Apr 11, 2021 3 min ONE YEAR ON... 7 comments 7 32 likes. Post not marked as liked 32 Bill Nelson Mar 14, 2021 3 min MOTHER'S DAY... 19 comments 19 33 likes. Post not marked as liked 33 Bill Nelson Feb 19, 2021 4 min THE LOCKDOWN CLOCK... 11 comments 11 33 likes. Post not marked as liked 33 Bill Nelson Jan 14, 2021 4 min DAYS GO BY... 18 comments 18 54 likes. Post not marked as liked 54 Bill Nelson Dec 9, 2020 12 min FOR HAROLD... 27 comments 27 94 likes. Post not marked as liked 94 Bill Nelson Nov 2, 2020 9 min CATCHING UP... 22 comments 22 70 likes. Post not marked as liked 70 Bill Nelson Jul 5, 2020 5 min DUSTY ROOMS AND CLEAR MEMORIES... 10 comments 10 41 likes. Post not marked as liked 41 Bill Nelson Jun 30, 2020 7 min STRUGGLING BUT STILL DREAMING... 11 comments 11 33 likes. Post not marked as liked 33 Bill Nelson May 9, 2020 4 min A SUNBURST FINISH... 7 comments 7 35 likes. Post not marked as liked 35 Bill Nelson May 8, 2020 3 min ANOTHER BLUE DAY... 7 comments 7 27 likes. Post not marked as liked 27 Bill Nelson May 2, 2020 4 min THREE WEEKS ON... 13 comments 13 38 likes. Post not marked as liked 38 Bill Nelson Apr 23, 2020 8 min REMEMBERING... 51 comments 51 67 likes. Post not marked as liked 67 Bill Nelson Mar 31, 2020 5 min EYE OF THE BEHOLDER... 10 comments 10 22 likes. Post not marked as liked 22 Bill Nelson Mar 23, 2020 5 min VIRAL PLANET... 7 comments 7 37 likes. Post not marked as liked 37