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Heaven And Hell Volume Two album - 1991 Various Artists Production/Contribution Menu Future Past BILL: Contributed a cover of the Velvet Underground song "Lonesome Cowboy Bill", credited to Bill Nelson and The Roy Rogers Rocketeers. Producer and Keyboard on the Mock Turtles cover of the Velvet's "Pale Blue Eyes". NOTES: Bill's cover is not featured on any of his other releases, and remains unique to this tribute album. Production/Contribution Menu Future Past

Dancing on a Knifes Edge Bill Nelson ep - May 1983 Singles Menu Future Past TRACKS: A1) Dancing On A Knife's Edge A2) Indiscretion B) Contemplation ORIGINALLY: Initially all three songs were non-album tracks. NOTES: Dancing on a Knife's Edge is an EP featuring three vocal tracks. This was the third in the series of Cocteau Club EPs issued to fan club members, included in Issue #5 of the club magazine, Acquitted By Mirrors . All three tracks had been recorded at the Echo Observatory, but for broadcast on BBC Radio 1 (for the David Jensen show), along with a fourth track "Time Tracking" (which was left off the EP). "Contemplation" would effectively kick-start work on the next song-based Bill Nelson album Getting the Holy Ghost Across (see separate entry), as it would be re-recorded for that purpose. PAST RELEASES: Track A2 was released on the 1989 Enigma US CD release of Quit Dreaming And Get On The Beam. CURRENT AVAILABILITY: All 3 tracks, plus the previously unreleased "Time Tracking", were included on the 'bonus disc' of The Practice of Everyday Life (2011). All tracks are available on the retrospective compilation album Transcorder (The Acquitted By Mirrors Recordings) . BILL'S THOUGHTS: With this issue [of Acquitted by Mirrors fanzine, issue 5] comes another in the series of exclusive Cocteau Records E.P.s. This one containing three of the four tracks recorded for the B.B.C.'s Radio One David Jensen show. These songs were written specially for the show and were recorded at my home studio, The Echo Observatory. They are not available elsewhere and are therefore an exclusive privilege of club membership. I hope that you will enjoy them. Singles Menu Future Past

Issue 1 Issue 3 Issue 2 - June 2005 ROSEWOOD VOLUME ONE FINALLY RELEASED Bill Nelson's custom record label, 'SONOLUXE, ' has released the long-awaited album, 'Rosewood Volume One'. This is the first ever Bill Nelson instrumental album designed to spotlight his acoustic guitar playing and is also the first ever release on the 'SONOLUXE' label. The album's15 instrumental tracks paint beautiful pictures with sound, providing an ideal accompaniment to a mythical, dreamy English summer. The music blends tints of folk, ambient, jazz, blues and contemporary composition along with spontaneous improvisation and discrete digital processing. The album is both melodic and mysterious, humming with the electricity of imagination. 'Rosewood Volume One' is only the first half of Bill's acoustic guitar project. 'Rosewood Volume Two, ' containing another 15 tracks, will be released a little later in the year. Volume Two has a slightly more uptempo feel, whilst still atmospheric and evocative. The two albums are companion pieces and should be heard in sequence to follow the music's developmental thread. 'Rosewood Volume One' is instantly available from 'The Dreamsville Department Store '. Simply click on the Dreamsville Department Store name on the Dreamsville Home Page, then click on the 'Rosewood Volume One' listing and you will be automatically connected with Sound On Sound magazine's store. (Sound On Sound have kindly provided facilities for ordering by mail). Select your country of residence, click on the 'Bill Nelson Music' name on the menu listed on the left hand side of the page and then select the product you require. Follow instructions through to the checkout, completing your details where requested. Your order will be processed for immediate dispatch. Payment can be made by credit card or cheque. DREAMSVILLE WEBSITE PROVES TO BE A BIG HIT WITH FANS The response to the recent launch of 'DREAMSVILLE, The Official Global Bill Nelson Website', has been overwhelmingly positive. Although the site is still in its infancy and much work still remains to be done, the initial reaction from fans has been extremely encouraging. Within hours of its launch, the site was flooded with enthusiastic praise and the Dreamsville Inn forum is now constantly buzzing with the vibrant thoughts and conversations of hundreds of regular visitors. Bill Nelson, when asked how he felt about the public response to the site said: "I'm overwhelmed by the kind words and continuing loyalty of all those who have posted messages of support on the Dreamsville Inn Forum . It's a fabulous feeling to know that my music and work continues to connect with those generous hearts and minds who are tuned into it. I intend to continue the development of Dreamsville far into the future, gradually building up a self-contained resource that will diligently serve all who enjoy my music, wherever they may reside. Of course, Dreamsville has received tremendous help from various quarters: Ian Gilby, Paul Gilby, Dave Graham, Chuck Bird and Jon Wallinger being amongst the principal guardian angels, but the ultimate success of the site is down to those many afficionados of my work who continue to support what I do, year after year... people who have been open-hearted and brave enough to negotiate the twists and turns of my creative life with me. My map is also their map and the complex journey is accomplished in unison as a shared experience, together. It is to these people that Dreamsville owes its being. And it is because of them that I'm pursuaded that my efforts might be worthwhile, despite my occasional bouts of self-doubt. I'd like to thank everyone, both behind the scenes and out in the public auditorium, for their much needed help in dragging my dreams from the shadows into the light of day. I hope that they will continue to enjoy sharing these musical and visual explorations with me." BILL NELSON'S AUTUMN TOUR PLANS BEGIN TO TAKE SHAPE Opium (Arts) Ltd, Bill Nelson's management company, are currently working with a London-based agency to book venues for Bill's planned November Solo UK Tour. Several possible venues have been suggested but, at this stage, nothing has been officially confirmed. It does seem that one venue in the midlands has already been advertising tickets for sale, despite the fact that official confirmation for this particular concert has yet to be given from Bill's management team. The Dreamsville Rocket advises fans to wait until official dates are properly confirmed on the Dreamsville website before buying tickets. Basically, until a proper tour announcement is made on this site, all other announcements are unauthorised and speculative. Whilst these plans are being discussed, Bill Nelson is working towards the actual concept and presentation details of the November tour. Bill plans to write new songs and instrumentals for these concerts, AND hopefully put together backing tracks for one or two older songs too. ('Though this latter idea is only a possibility at this stage. It will depend upon having enough time available beyond the new material). He also hopes to be able to assemble a brand new presentation of his videogram-style visuals, to act as a stage backdrop. Bill has been constantly developing ideas for the tour and, until the deadline for advertising is reached, everything will be subject to change. Like Bill's recordings, the ideas are in a constant state of flux until the final shape and form materialises. One possible concept, however, can be revealed by the Dreamsville Rocket, and it is this: The tour may go out under the following banner: 'BILL NELSON AND THE GREAT NORTH YORKSHIRE ASTRAL ORCHESTRA, One Man, A Galaxy Of Overdubs... ' The Great North Yorkshire Astral Orchestra, of course, is simply Bill with his pre-recorded interactive backing tapes, over which he will play guitar and sing live. But the framework that the title provides adds a theatrical, romantic element to the performance, a context within which Bill can feel inspired. Long time fans of Bill's music will be familiar with his passion for inventing fictional names and frameworks for his work so it will come as no surprise that the forthcoming tour will continue in that tradition. The element of 'play', (in the sense of a child using play to explore and respond to its personal environment), is an essential component in Bill Nelson's creative life. He has always attempted to preserve a wide-eyed wonder, a feeling of joyous awakening, whilst creating his music and visuals. An appropriate choice of titles for songs, albums, videos and concert tours becomes an essential part of this process. The 'naming of things' gives them pupose and power. Names become magical incantations, keys to unlock other realms. Whilst Bill's music could be thought of as, on the one hand, subtle, serious and knowing, on the other it is playful, whimsical and gently surreal. It is the balancing and blending of these various elements that has shaped Bill's working methods and creative choices over the years. The forthcoming Autumn tour, whatever banner it eventually goes out under, will provide a platform for further experiments in the fine art of practical dreaming. DID BRIGHTON ROCK? A weekend in Brighton to celebrate the work of Harold Budd, his last live performance as sadly Harold is retiring from music. A long and frustrating drive down from Selby on the Friday meant I had a long soak in the bath as soon as I found my hotel, then with the aches and pains washed away, it was out to find a pub. The first pub I found, I went into, and who should be at the bar but Pete Harwood (guitar tech from the tour last year) and fellow Satellite, Dave Standeven. They were the guitar techs for the show, so I knew I was going to be filled in on all the gossip! They gave me a run-down of what I was to expect the following day, including mention of a gong solo... very intriguing! Early hours of the morning and time to find my hotel... Saturday lunchtime found me (again) in the pub... who should be sitting there this time but Harold Budd himself! I introduced myself and he said he recognised my face from the couple of times we had met previously. It was then time for Harold to head back to the venue to continue with rehearsals and he invited me back with him so I could say "Hi" to Bill. I hung around during the rehearsals for a while, then decided to make an exit as I didn't want to spoil the evening's entertainment by seeing too much of the show too early! But what I did see was a real interesting mix of musicians and musical styles. So back to the pub and met up with several of the Nelson-Faithful... then onto the show. First up was the 'Balanescu String Quartet'. String quartets are not my favourite thing, probably because I have no idea what they are doing or how they are doing it, but very enjoyable all the same! Then, on comes Harold, with Theo Travis on flute and sax. For me, this was the real start of the show. An excellent mix but over far too soon. Then it was Bill's turn, nice to hear a great welcome from the crowd when he walked on! Firstly, Bill played a couple of pieces with his acoustic guitar, but the sound mix did not do the music any justice, it all seemed rather bass driven... if only Ian Thorpe had been mixing engineer this would have been awesome! On came John Foxx to join Harold and Bill. This, for me was one of the highlights of the evening. Bill was playing his Gus guitar, so the mix was better, unfortunately there was an electrical buzz coming from somewhere, but I didn't care! John Foxx's dreamy choral chants blended perfectly with Bill's guitar and Harold's piano, this trio really did seem to gel. Harold closed the first half with a couple of beautiful piano pieces, which although very minimal at times, had a beauty that had me hanging on every note. So flip the disc and let's see what's on side two... The programme stated - Steve Jansen: solo gong. I had been forewarned about this event by Dave and Pete, so was really looking forward to it. Steve started by almost brushing the surface of this huge gong, doing very light drum rolls around the edge, slowly increasing in force and moving the playing area form edge to centre to edge. The resulting sound was a resonant bass hum which tended to phase in and out while pitch was ridden up and down depending on what Steve was doing at the time. I could tell that the couple next to me weren't as impressed as I was, their tutting and complaining "Hurry-ups" was starting to get on my nerves, I could have listened to this bit alone for hours. But Robin Guthrie's guitar soon took over from the gong-hum, playing sustained/looped chords and building layer upon layer of them until there was a wash of sound. Steve Cobby then sat at his laptop and introduced bells and swirling electronic noises, which fit in so well with the background guitar. Then came Harold, followed by Theo, then Alexander Balanescu, all adding their piece, again the mix started to suffer as people could be seen playing but not much heard at times! Bill then joined the band with some exquisite E-Bow work, at times it seemed like a bit of a scramble between who would be playing their bit next and at times when everyone was playing it all got a bit muddy. Then came Jah Wobble and Steve Jansen and with the addition of bass and drums, this really kicked the piece into gear! Both Steve and Jah were exceptionally solid, a tight and dynamic sound that took the existing music to a different dimension. My only criticism was that I thought Jah Wobble could have varied his bass riff a bit. Whether it was to drift into a gentler style for a moment before raising the stakes again, or just to take his riff somewhere else so that it wasn't so repetitive. It made Jah look a bit like a one-trick-pony, which I know he isn't as I have seen him live before. Also towards the end of the 'second half' was an annoying feedback sound which seemed to be getting worse and worse and which the sound engineer didn't seem to have a clue about how to rectify! So as the piece suddenly finished (I don't think an ending had been worked out) the audience gave deserved applause in the hope of an encore... but after playing a piece of music that lasted almost an hour, how could you top that? They didn't try, but we had certainly already got our money's worth. Best wishes to Harold and whatever venture he decides upon, I will hold fond memories for a long time. Jon Wallinger. THE DREAMSVILLE DEPARTMENT STORE OFFERS RARITIES FOR SALE Three of Bill Nelson's favourite albums have been acquired from stock that Voiceprint Records were apparently planning to destroy. The albums are: 'Confessions Of A Hyperdreamer', 'Crimsworth' and 'After The Satellite Sings'. These recordings are essential works in the Nelsonic canon and, for those who don't already own them, are 'must have' items. The Dreamsville Rocket asked Bill how these albums fit into the overall scheme of things and what his feelings are about them today. Bill said: "Crimsworth is an unusual album in that it contains music I composed for an art installation, back in the early 'nineties. The installation was actually called 'Crimsworth' and was built by the artist Rob Ward. The music itself was recorded at Fairview Recording Studio, near Hull, on the 21st and 22nd of July 1994, and comprises just two long 'movements.' It is primarily concerned with particular textures and atmospheres, rather than thematic development. In this sense, it is quite abstract but, at the same time, deeply reflective and soothing. Some people have said that they consider it the most 'ambient' of my works. I'm not sure whether the term is one that I'm entirely comfortable with as I find it generically limiting. Like my friend Harold Budd, I prefer the term 'discrete', in the sense that the music doesn't force its attention upon the listener. At the same time, however, I wouldn't consider it background music. It is full of detail and ever evolving micro-patterns that slowly reveal themselves to the focussed ear. It is quite accessible as a surface piece but offers further information beneath this. The deeper one listens, the greater the reward. 'Confessions Of A Hyperdreamer' (My Secret Studio volume 2), is a double-album set. (The set comprises two cds in one box). The first of these is called 'Weird Critters' and the second is 'Magnificent Dream People.' They contain a mix of vocals and instrumentals. It's actually one of my favourite collections of music. Some pieces were recorded in my 'TAPE RECORDER COTTAGE STUDIO, others at Fairview studio. Most of the recordings come from the earlier part of the1990's, 'though the album itself wasn't released until '96. I chose several tracks from these two albums to provide foundations for my videograms, many of which found their way onto the 'Flashlight Dreams And Fleeting Shadows' DVD a couple of years ago. I still think 'Confessions Of A Hyperdreamer' has a timeless feel that will come across as fresh to new listeners. It's also a very accessible collection of songs, easy to digest. The packaging features some of my visual collage art which is intended to complement the music. The other album we've rescued is 'After The Satellite Sings'. This is a very important piece of work for me in that it explored the fusion of rock music with drum n' bass and trip-hop. It was somewhat ahead of its time and was cited by long time David Bowie collaborator, Reeves Gabrels as being inspirational in the creation of David Bowie's 'Earthling' album. In actual fact, my much earlier 'Practically Wired' album touched on similar experiments even before I recorded 'After The Satellite Sings.' In more recent years, one or two other guitarists have gone down the same avenue, Jeff Beck in particular, but 'Practically Wired' and 'After The Satellite Sings' were 'first off the starting block' as it were. I guess, in their own way, these albums have been quietly influential. 'After The Satellite Sings' was composed, recorded and mixed in Fairview Studios over a two week period. Remarkable, when I listen to it now. It sounds rich and complex, the recording quality being superbly handled by engineer John Spence. The songs are melodic and immediate too, an album I'm proud of." All three of these albums are now available from The Dreamsville Department Store for £9.99 pence, plus postage and packing. Supplies are extremely limited so copies will be allocated on a 'first come, first served' basis. HAROLD BUDD BIDS FAREWELL TO LIVE PERFORMANCE AND RECORDING On the Saturday the 21st of May, 2005, American composer and recording artist Harold Budd gave his farewell performance at Brighton's Dome Theatre in the U.K. Harold was joined by friends and collaborators who helped to celebrate Harold's tremendously influential career. Bill Nelson, John Foxx, Russell Mills, Steve Jansen, Jah Wobble, Steve Cobby, Theo Travis, Robin Guthrie, Alex Balanescu and the Balanescu Quartet all performed alongside Harold in various combinations in what proved to be a memorable occasion. For an overview of the concert, see Jon Wallinger's first hand account in this issue of 'The Dreamsville Rocket'. For a behind the scenes take on the event, see Bill Nelson's diary entry dated 29th May 2005, which can be found in the study of 'Villa Nelsonica ' within the Dreamsville website. A review of the concert also appeared in the May 27th issue of 'THE INDEPENDENT' newspaper. PLANS FOR THE EXTREMELY LIMITED EDITION OF THE 'CARSBRO NELSONIC DELUXE 'GUITAR AMPLIFIER NOW IN PROGRESS The Nelsonic Deluxe custom built amplifier and speaker cab, designed by Bill Nelson and used by him on last year's 30th anniversary UK tour, is almost ready to go into limited production. No more than 50 of these highly exclusive amplifiers will be built. Bill Nelson has recently fine-tuned some details of the design, providing hand-drawn sketches of specific control knob concepts, plus a front panel logo design, for Carlsbro's custom workshop to implement. Once Bill has authorised these improvements, the amplifier, with its matching 4x12 speaker cab, will begin a highly limited production run. Each unit will also carry a rear mounted metal plaque engraved with the limited edition serial number and Bill's personal signature. There are also plans for a hand-signed, framable certificate to be issued to each purchaser, authenticating the amplifier's exclusive status and its individual number. 'The Nelsonic Deluxe' is destined to be a highly sought after, super-collectable item and its future rarity will ensure that it becomes an extremely good investment for buyers. A percentage of the profits from the sale of the amplifier will go to The North Yorkshire Music Therapy Centre, a charity that Bill feels is deserving of support. For further details of this special production, please log on to www.carlsbro.com or click on the link in the Dreamsville Transit Lounge . To learn more about the valuable work of The North Yorkshire Music Therapy Centre, please log onto www.music-therapy.org.uk THREE ENGLISH GUITAR MAGAZINES RUN FEATURES ON BILL'S NELSONIC DELUXE AMPLIFIER It seems that Bill Nelson's 'Nelsonic Deluxe' guitar amplifier design has captured the imagination of the English guitar magazine market. 'Guitar Buyer', 'Guitarist' and 'Guitar and Bass' magazines have all carried items featuring Bill's amplifier in their June issues. The design has made a big impression when it was exhibited at the recent Frankfurt musical instrument trade fair too. Carlsbro have been very pleased with the overwhelming response that the design has generated. A NEW DIARY ENTRY IN VILLA NELSONIA Bill has written a new diary entry, (dated Sunday 29th of May), which deals with the circumstances of the Harold Budd farewell concert in Brighton and Bill's personal involvement in it. Bill also takes a trip down memory lane, recalling the previous time he'd visited Brighton in the 1970's. This part of the diary provides a personal and autobiographical insight into Bill's earlier career. There are also photographs of Brighton's seafront that Bill took himself whilst attending the Harold Budd rehearsals, which serve to illustrate the diary text. The Diary of a Hyperdreamer is now open for you to read on the desk of William's Study in Villa Nelsonica. See the Dreamsville home page map to locate this. NELSONICA: THE LATEST DEVELOPMENTS Bill has been looking at the possibility of hiring a new venue at which to hold NELSONICA 05. Bill and Lord Mayor Of Dreamsville, Jon Wallinger, recently visited 'The Royal York Hotel' in the City of York and were very impressed by the facilities on offer there. They constitute a tremendous improvement over those available at The Duke Of Cumberland where the last three Nelsonica conventions have been held. Enquiries were made about the cost of hiring two properly equipped areas of the Royal York for Nelsonica 05 but, unfortunately, the hire fee, when a quotation eventually came in, was way above the convention's budget... Mind bogglingly expensive, in fact! A shame as the venue would have been absolutely perfect for Nelsonica's needs. York offers a range of attractions that would benefit convention attendees: Historic architecture, museums and galleries, good restaurants, excellent shopping, etc... It would provide Nelsonians with wives and families an all round treat and, for those travelling to the convention from overseas, add extra value to their trip. It was hoped that people might make a weekend of it, staying at the Royal York Hotel, attending the convention and enjoying the ancient and beautiful sights of York and the surrounding area. Sadly, it seems this may not now be practical, due to the high cost of hire. There is one more new option being considered, this one in Leeds... but it may be that this too proves to be financially unsuitable. Until the final quotations come in though, nothing can be decided. It may be that, for this year at least, 'The Duke Of Cumberland' in North Ferriby may have to suffice. If this should be the case, a more upmarket venue will be sought for next year's convention instead. Please keep an eye on 'The Dreamsville Rocket' and the 'Dreamsville Inn Forum ' for further announcements about this year's convention though.

Cinema Menu Be Bop Deluxe Be Bop Deluxe video clips...more will be added soon! Be Bop Deluxe - BBC Sight And Sound Full Concert - 1978 Be Bop Deluxe - Live Radio Broadcast - Dec 1976 - AUDIO ONLY! December 6 1976 - WLIR FM Broadcast Recorded at Calderon Concert Hall Garden City. Life In The Air Age, Fair Exchange, Sister Seagull, Ships In The Night, Adventures In A Yorkshire Landscape, Forbidden Lovers, Down On Terminal Street, Blazing Apostles, Dance Of The Uncle Sam Humanoids. Cinema Menu

Loose Routes: Two album - 1991 various artists Production/Contribution Menu Future Past BILL: Guitar on one song: "From King John's Christmas". Production/Contribution Menu Future Past

Starlight Stories Bill Nelson album - 1 December 2023 Albums Menu Future Past TRACKS: 01) A Wide Open Window (With A View Of The Stars) 02) Sailing Through Skies Of Blue 03) Antoria 04) My Signal Light 05) Goodbye Golden Sands 06) Everything Is Ancient Now 07) Standing In A Starlit Room 08) Slow, Slow, Slow 09) Meanwhile, Elsewhere 10) Ghosts Of Ancient Houses 11) Celestrum 12) Starlight Stories 13) The Land Of Lost Dreams 14) The Doctor Was An Alchemist 15) Ian's Radio Is On Purchase this CD Purchase this download ALBUM NOTES: Starlight Stories is an album comprising a mixture of song based and instrumental material issued on the Sonoluxe label in a limited edition of 1000 copies. The material for the album was recorded during the same sessions that produced Marvellous Realms and All The Fun Of The Fair , recorded between November 2021 and October 2022. The album title was first announced in a Dreamsville Journal entry dated 5 April 2023 which also confirmed that Nelson had tracks set aside for inclusion on it and was already busy working away on his next project, called Guitars of Tomorrow . The titles of all fifteen tracks destined to appear on Starlight Stories were then revealed by Nelson in a Dreamsville forum post dated 30 April 2023. These were among a list of 127 tracks that would make up future releases including All the Fun of the Fair (which was released on 3 November 2023), the afore mentioned Guitars of Tomorrow and another new album project, Fables of the Future . One song title earmarked for Starlight Stories was initially reported as being called 'Sailing Through the Clouds of Blue' but this was eventually to appear as 'Sailing Through the Skies of Blue'. Other than that minor modification, all fifteen tracks identified back in April 2023 would retain their place on the album. Starlight Stories was mastered at Fairview Studios by John Spence on 1 June 2023 with artwork completed by Martin Bostock in October 2023. Pre-orders details for Starlight Stories were announced by Burning Shed on 2 November 2023 for release on 1 December 2023. CURRENT AVAILABILITY: Available for purchase here in the Dreamsville Store . BILL'S THOUGHTS: "The tracks on 'Starlight Stories' were recorded during the same 2022 recording sessions that produced tracks for the 'All The Fun Of The Fair' album. However, 'Starlight Stories' has a quite different atmosphere and intent. The inspiration for many of the songs came from my memories of a set of children's story books, published in the 1920s, that my mother had owned when she was a child in the early 1930s. She had kept these books and would read to me from them when I was an infant in the early 1950s. They were thick, heavy bound books, with embossed covers and had titles such as 'The Golden Wonder Book For Children'. They were brilliantly illustrated by artists who displayed a combination of Art Nouveau and Art Deco styles. The books contained stories by famous authors such as HG Wells, Miguel De Cervantes, Homer, William Blake and others, plus poems by various poets, both classical and contemporary to those times. I was entranced by the wonderful stories and illustrations they contained. They had an aura of magic and mystery about them, with fairy tales and evocatively British poetry, filled with seasonal and rustic imagery. A treasure trove of fantasy and adventure, which I loved. 'Starlight Stories' doesn't attempt to directly portray those old books but it does try to capture some of their atmosphere and manifest my nostalgia for them. Consequently the songs on this album have a softer, melancholic quality about them, albeit with some distressed, patina-like textures that evoke the scent and feel of those old books. They are dreamy meditations, wistful reveries fed through the filter of my contemporary musical sensibility. I hope they will, in some small way, connect you with your own lost story books, as well as with mine." Albums Menu Future Past

Thursday 5th October 2006 -- 7:00 pm The weather has changed quite dramatically, cold and wet today, the Indian Summer banished overnight. Emiko's 58th birthday yesterday. Despite my constant work on the Nelsonica material, I managed to get into town for an hour and find a gift and a card. We actually went out together for a meal last night. My own 58th birthday coming up in December, not far away now. Can't believe that we're both so close to 60. When I think about how rapidly the last ten years have flown, and how quickly a week passes these days, it's difficult not to get into a state of panic. So much still to achieve in both creative and personal terms. Life's too short when your mind is buzzing like a hive full of idea bees. Into the last stages of pre-Nelsonica work now. The main things all in place but still a few details to attend to. Mastering the new backing tracks next Tuesday, the earliest Fairview could accomodate me. A rehearsal room now booked for Thursday to set out my equipment and wire it all up, attend to any repairs needed and try to get to grips with the new material and re-aquaint myself with the older pieces. I've made my 'charts' for the musical aspect of the set but can't make notes about the effects unit changes and which guitar goes with which number until next Thursday. Friday will be packing up other extra bits of gear, choosing, ironing and packing clothes for stage and the rest of the event and, hopefully, trying to get an early night. (Probably sleepless.) It's going to be an extremely busy Saturday. Whilst the attendees will have approximately 11 or 12 hours of unique entertainment, I'll be there sometime before the doors open to sound check and generally try to get my act together. Jon Wallinger and the dedicated Nelsonica team will actually be there even earlier, on the Friday night, making a start on some of the preparatory tasks. Their organisational work is, as always, carefully considered and meticulous. Each year, the project becomes increasingly more complex but also equally more professional. I'm deeply touched by the team's dedication to the music and filled with admiration for their expertise. Their vibrant enthusiasm and love shines through every aspect of what they do and gurantees that the day will be special. I'm very lucky to be surrounded by such genuine people. I hope that they realise how grateful I am. As always, we have visitors from overseas but, this year, they'll have the wonderful City of York to enjoy during their weekend, as well as the live music, videos and other presentations. An exciting change from the village of North Ferriby no doubt, even though I have many happy past associations with that place. I've had news from Campbell American guitars that my Nelsonic Transitone prototype 2 is winging its way across the Atlantic and should be here for me to play, (and unveil in public,) for the first time at Nelsonica 06. Dean, (Campbell) has sent me some new photographs of the instrument, a couple of which are attached to this diary entry. It looks great and I'm eager to get to grips with it. Once I've assesed it and made any final suggestions, and the proposed minor cosmetic details are added, it will go into production...My first signature model! It's like giving birth but, I'm sure, somewhat less painful... There's some work to do towards an extra, unadvertised item on the Nelsonica agenda, but I won't spoil it by giving details here. It should, however, add further interest to the day. I'm also planning to bring Lost Satellite Steve Cook on stage with me for an improvisational piece. He may end up being part of the Orchestra Futura feature too. We'll see...He and I are getting together this coming Sunday to work on some ideas. And he'll cut my hair at the same time... (No, not on stage, here at home!) I do find the current juggling of one thing or another difficult, stressful. There seems to be so much going on at the same time. But then, hasn't that always been the case? I'm always trying to push towards, not the future so much, as the NOW, the instant moment when fresh possibilities arise and the past is left to the sadness of ghosts. The older we get, the more the tendency arises to perpetually dwell in what we perceive as our 'glory years'. Perhaps this is simply a sign of our increasing inability to keep up, not so much with the wider world, (which often lags even further behind), but to keep up with the rate of our own inner mercurial change and progress. The artist must conquer such tendencies, such laziness, such temptation to be sweet talked into servitude. He must constantly refuse the easy laurel, the placatory kiss on the cheek and renew his commitment to the visionary impulse that, unbidden, compelled him to embark on the work in the first place. There is no place for living art in the mausoleum of lost youth. But our maturity, our ever refined and re-defined adulthood, allows us bigger and greater adventures. Not that many people have the nous or guts to grasp this and run with it. What brought this mood on, I wonder? Maybe the nostalgia that inevitably accompanies certain aspects of Nelsonica? A frustration with the pace of progress here in my little room, in my life? 'Return To Jazz Of Lights' was finished several months ago but won't be heard by my audience until 14th of this month. I'm already thinking about the next step, where I should go from here. Is this part of the problem? That I'm in some sort of hyper-speed realm whilst the 'real' world inevitably drags its worn-out heels? Or am I just bored and disgusted with the dull, tired conservatism that seems to permeate 'pop' and 'rock' culture in general? Maybe the latter, maybe all of the aforementioned. I actually haven't a clue. Or if I have, I'm not telling here. Well, that's it. A cutting of certain ties, a new freedom, a new resolve. Bob's your uncle and the world's your oyster. This is where it begins. Yet again. One of the things I'm looking forward to, once the pressure I'm feeling eases off, is to sit down and listen to some music, other than my own. I have a pile of cds that haven't been out of their jewel cases yet, some Lennie Tristano, some old recordings of John Cage's piano sonatas, the latest Bill Frisell album, some Derek Bailey, a little bit of Charles Ives, some Nino Rota. Then there's the new Madeline Peyroux album that I'm eager to buy and hear, oh, it goes on, a long list of lovely sounds and none of them remotely connected with what some people might think of as Bill Nelson's music. But then, they're not listening hard enough and so, as far as I'm concerned, their opinions don't count. Talking of Nino Rota, I've been reminded of his work by the score he created for Fellini's 'Juliette Of The Spirits' which I've managed to watch late at night on DVD, ('though not all the way through yet). I first saw this film in the '70's, I think, and loved it. Almost finished the fabulous George Melly's , Slowing Down' book, which I've been reading when I wake up in a cold panic in the middle of the night. It calms me no end for some strange reason. My brother Ian once spent a little time with George. When Ian worked at The Yorkshire Sculpture Park, he was once assigned to collect George Melly from the station and drive him to the park. It must've been a special visit or something. I can't recall the exact circumstances now but, sadly, Ian isn't around for me to call him up and check. Anyway, Ian was apparently quite impressed by George, particularly his apparent ability to allow himself the vigourous consumption of the kind of food, drink and cigarettes that were not perhaps wise for a man of his age. Somehow, George, despite various medical issues, appeared to be immune to these transgressions. My mother once commented that Ian took this as an example of the possibility of his own immunity to such things. Ian thought quite highly of George, as do I, but everyone's physical constitution is different. Not that I am particularly wise with my own health. Far from it. but, there you go...I'm reading a book by the man my brother once drove to the sculpture park. Life's like that, isn't it? Sitting here surrounded by several bright guitars. A kind of sculpture park here in my room. They're beautiful, colourful, inviting. But I'm avoiding dealing with them and their demands. It's an ambivalent relationship sometimes. I'll have to face the music tomorrow though as I still need to run some of the Nelsonica concert set through to try to grasp the shape and form of it. It's getting closer and closer. The clouds are parting and the stars are rising, a theatre of possibility. And myself alone and trembling, moving on. Top of page Tuesday 10th October 2006 -- 9:00 pm Spent much of the day at Fairview studios with engineer John Spence, mastering the new instrumental pieces and assembling the final backing tracks for my live performance at this coming Saturday's Nelsonica convention. No second guessing now as the set list is finally 'written in stone.' After a quick run through, (and a haircut), with Steve Cook on keyboards on Sunday, I've decided to add 'Nebulous Trolleybus' to the list, so there will now be 20 instrumentals performed at the convention. It makes for a quite sophisticated set lasting around one and three-quarter hours. 10 of those 20 numbers are brand new, receiving their premiere live performance at Nelsonica. The other ten include some pieces that are also relatively new, so everything should sound nice and fresh. Some of it so fresh that I'll be struggling to remember it! As always, it was a pleasure to sit with John as he mastered the backing tracks for me. This process makes a noticable difference to the sound of the performance, ensuring that each piece sits at the correct level with the other pieces and that the sound is uniform and as punchy as possible. Not only does this provide a better listening experience for the audience but it also allows me to more clearly pick out the details within the backing tracks and thereby play in the most appropriate manner. I need to feel inspired by the on-stage sound if I'm to be at my best. John was planning to visit Hull's annual autumn fair this evening. I would have loved to tag along with him but there's too much to attend to here, not least this diary update. The autumn Hull fair, John tells me, is the largest in Europe and has been a regular fixture for many years. I really would have enjoyed taking my camcorder along to grab some footage for possible use in one of my videograms, but time doesn't favour this. Maybe next year...Actually, I'll probably be just as busy with Nelsonica then, AND there's the possibility of an American Nelsonica right after it. Have been speaking with Simon Warner about our on-stage interview. Sent him some albums to fuel his questions. Should prove to be an interesting talk for those fans who take an interest in the subjects that have inspired me during the last year or two. Simon called me a few minutes ago to confirm some of the pieces to be discussed. We will have one more conversation on Friday to tie up any loose ends. I still haven't prepared any thoughts or words for my Guitar Talk though. (A separate thing from the Simon Warner interview.) Perhaps time is against me now. I'll have to rely on my wits on the day. If the weather favours my imagination, it may yet turn out to be an interesting talk. Before I could go to Fairview this morning, I had a diversion. I received notification that Parcel Force were holding an international package for me. It was prototype 2 of my signature Nelsonic Transitone guitar. I called John Spence to delay our starting time at Fairview and drove out to the Parcel Force depot on the edge of the city, paid the import duty on the guitar and brought it home. I took the guitar case from its exterior packaging and opened it up. A stunning colour...the red and cream and gold make for a very rich and warm looking instrument. I bundled it back into the car and headed off towards Hull and Fairview, eager to try it out against the soon to be mastered backing tracks. There are a few minor cosmetic details still missing on the guitar, but these will definitely be present on production models. Even without these, it's a striking instrument, as John noted. It sounds excellent. I specified a Seymour Duncan jazz pickup in the neck position which provides a glowing, warm tone to contrast with the bridge pickup's wiry twang. One thing that is remarkable about Campbell American guitars is their consistency. The quality standards are always the same, from one instrument to another. So often, you have to sort through a batch of supposedly identical guitars to find what might be considered a 'good' one. No such problem with these instruments. The three Campbell guitars I own all perform to the same high standard. As noted in previous diary entries, this year's Nelsonica will be very much a guitar-centred affair. I'm taking several favourite instruments to Thursday's rehearsal to decide on the final allocation of which instrument fits best with which track. There will be another special treat for guitar fans at the convention too. (But I'm keeeping that as a surprise.) An enthusiastic and positive reaction on the Dreamsville site to the announcement about the forthcoming Dreamsville/Nelsonica Art Awards. I'm hoping that the standard of entries will be high and that the work submitted will serve to demonstrate the intelligence and imagination of those fans who appreciate the potential of art to enliven and enlighten our lives. I have to admit that I've always felt a little uneasy using the word 'fan' to describe those people who find enjoyment and information from listening to the music I create. I tend to think of fans as being young teenagers with little experience of life and not much sophistication, cannon fodder for the big bad music industry's marketing machine....BUT: My own experience, as regards my 'fans', is more complex than that and far less easy to define. Two things seem to emerge from my experiences of meeting them. One is their clearly evident warmth, good judgement and humanity. The other is their wide-ranging cultural appetite. (Not the best phrase but the closest to what I feel, especially at this hour of night.) Music seems to have informed their lives to a tremendous degree. Many of them regularly demonstrate an awareness and depth of insight that an intelligent exploration of the creative arts inevitably brings to those who care about these things. There often seems to be what one might refer to as a 'spiritual dimension' too. Certainly, my personal encounters with my audience via my concerts and the Dreamsville website bears this observation out. So perhaps there's another word, one less loaded with notions of immaturity that might apply to those who share and enjoy my musical output with me. But I'm damned if I can come up with something appropriate... 'Connoisseurs' comes close but doesn't completely hit the spot. The word 'patrons' could be considered as part of the equation too. It's both these attributes but something more, several things more. So, out of sheer frustration at a true definition, maybe for now, the epithet 'fans' has to suffice. Nevertheless, the word belittles the actual deed. Perhaps something as plain and simple as 'friends' comes closest. If there's one thing I should be proud of it is that my music has attracted, in the main, people of this calibre. Or am I just imagining that this is so? No matter how hard one tries to communicate, there will always be a minority who, from no great fault of their own, nor mine, misunderstand the work in one way or another. This is, as in other aspects of human interaction, inevitable. (A cliche, I know.) One has to accept that such confusions will be part of the scenario, no matter how hard one tries to aim for clarity. This can, for any artist driven by his or her creative forward momentum, prove to be frustrating. I've jumped through this particular hoop over and over again during my life as a musician and no doubt will be forced to do so again and again. This is part of the 'job,' I suppose. But, as painful as it feels sometimes, it has to be done. There is no choice, other than to give in to things that one instinctively rejects as alien to one's sensibilities. It's a compulsion, in the end. Not everyone will feel like keeping pace, no matter how hard the artist pushes. But that too is the way it should be. Things eventually find their own level. For every thing left by the wayside, a new thing is gained. I'm more than happy with that. It seems natural enough to me. Whilst on the subject of art, (and I WAS on that subject, somewhere further back in this diary entry), I'm intrigued by Carsten Holler's work currently on show at Tate Modern. It's a kind of conceptual, futuristic fairground slide, taking up much of the vast space of Tate Modern's Turbine Hall. I plan to travel to London at some point during the next few weeks and will definitly be paying a visit to Tate modern to see this. Whenever I go to London, I make a habit of visiting one or other of the Tates, (more often than not Tate Modern), where I browse in their bookshops, have lunch in their cafe's and generally try to resit spending money on books that I can ill afford. But I do so much enjoy the experience of visiting these galleries and wandering amongst other art lovers. (There's now't more civilised than an art gallery tha knows!) How I'd love to be able to create an audio-visual piece for the Turbine Hall. Or for York Minster, or the Cocteau Ampitheater just outside Monte Carlo, or...well, the list goes on and on. A series of concerts-come-installations at beautiful or inspiring locations around the world, maybe with a documentary film crew in tow to document it. A celebration of the sound of special places, the resonance of travel. In today's 'Independent,' an interesting article about Facel Vega cars. A company long defunct but, if I were able to indulge myself along the lines of a super-rich pop star, a company whose elegant and stylish automobiles I would enthusiastically collect and drive. 'Automobile'...so much more evocative a word than 'Car', I think. The real news,in the REAL world, really ugly and worrying, is that North Korea has tested its first nuclear weapon. A country ruled by what appears to be a very unpredictable fanatic has now become a serious threat to its asian neighbours and the rest of the world. As if there wasn't already enough bloody-minded insanity on our own doorstep. Bought a copy of 'The Oldie' this week...Much more provocative and stimulating than the average rock rag or whatever. What will folks think? But then, I'm getting to that age when I'm damned if I give a bugger what folks think! One of the benefits of maturity is the ability to absolutely disregard the timid mediocrity of youth, my own youth included, by the way. We thought we had the world in our pocket but all we actually had was a soiled Kleenex and a copy of 'Spic and Span.' (Look it up on the web if you weren't a male teenager in the early to mid 'sixties.) Late middle age allows us to behave disgracefully whilst maintaining an annoying air of knowing nonchalance and crotchety grace. If there is such a thing. Well, there IS in MY book. But it's only valid when backed up with a certain savoir-faire, (or something or other), but definitely not the loutish, beer-soaked whinging that some oldies carry over into middle-age from the cultural desert of their lost youth. I'm back in the last diary entry's territory here, by the sound of it. Railing against the dying of the light? No! Quite the opposite, trying to shield my eyes from it's brilliance so that I can see my way forward. Sometimes, I'm deeply dazzled. Sometimes there's a headlamp that sees through the overbright darkness as if by magic. Torchy The Battery Boy...A sky full of brilliant stars, obvious if you've got a telescope, less so if you're shoegazing. It's autumn and the leaves are soon to be swept aside. A new broom, clear days ahead. Always looking forward to tomorrow... Saturday soon and nerves of steel. Ready, willing and able! Top of page Monday 23rd October 2006 -- 6:00 pm Sometimes I wonder. Reading back through the most recent diary entries I can sense the pressure and stress of the last few months. There's much that I would, (and should), change. My choice of words or phrase is sometimes ill-considered or untypical. At worst, totally off-target. A head spinning and dizzy with, if not euphoria, then ecstatic panic. Yes...Peter Panic, my alter-ego, a stretched-on-the-rack-of-existential-angst Cliff Richard, a dark shadow of the boy next door. Or maybe just the village idiot, the one who raided the local library and stole all the weird books that no-one ever read. (And then scribbled in their margins, slightly obscene doodles, fingerprints, ejaculations of dissent.) I'm exhausted but buzzing with new ideas. Spinning. Nelsonica 06 went pretty well last Saturday. Already over a week ago but still a blur for me as I was 'on tap' virtually all the time. Lots of people there, the best attendance yet, I think. The Nelsonica team had done a fabulous job of tricking up the venue with huge posters depicting various aspects of my work, including a magnificent one for the Dreamsville website. A tremendous effort all round. I exhibited part of my guitar collection. First time I'd seen these particular instruments out of their cases all at the same time. They looked beautiful. I took my Carlsbro Nelsonic amp to display too, 'though I went 100% digital with my live on-stage performance as I generally do at solo concerts these days. Prototype number two of my signature model 'Nelsonic Transitone' guitar had arrived at Nelson Acres a few days before the event and I was able to give it its first proper airing during the live performance. It sounded great and there are just a few minor tweaks that I've suggested to Dean Campbell before it goes into production. The guitar caused quite a stir amongst the players in the audience during the performance. It looks striking too, the colour has turned out just as I'd intended. My live set wasn't strictly solo. This time, I actually had other musicians to share the stage with, at least for three numbers in the set: It was a pleasure to work, during the encore section of the live set, with Theo Travis, Dave Sturt and Steve Cook who joined me for three numbers under the alias of 'Orchestra Futura,' (an improvising ensemble of some considerable skill and imagination). We had no rehearsal, just dived in and swam for it. An ocean of sound but strong swimmers all. Theo played impressive flute and saxophone, treating his flute via a delay-looper. Dave played bass, using an unusual Viger fretless bass guitar with a metal fretboard, going via processors and a lap top. Quite a few people in the audience were intrigued by this instrument, judging by comments made afterwards. Steve played his keyboard, sticking with piano and Fender Rhodes sounds. The entire ensemble had a beautifully fragmented jazz-electronica sound. The feed back on my website about this ensemble has been very encouraging, though, as might be expected, it was seen as a little too left-field for some of the more traditinally minded fans. For me, it was a positive step towards another bright horizon. I'm rather keen to see where this might lead. A stimulating side-project with potential for both recorded and live music and an opportunity for me to stretch out and enjoy playing unshackled by people's pre-conceptions about the kind of music I'm 'supposed' to make. None of this should come as much of a surprise to those fans who have been aware of my long-time passion for slightly more esoteric music. There have been plenty of precursors to the Orchestra Futura approach over the last 26 years or more, so it's not as if it's a newly aquired taste on my part. The 1980's saw me virtually abandon anything connected with straight rock music, apart from a few diversions. Works such as 'Sounding The Ritual Echo,' 'Simplex,' 'Trial By Intimacy,' 'Crimsworth,' the two 'Orchestra Arcana' albums, amongst others, explored avenues flanked by a noticably different musical architecture from the old Be Bop Deluxe sonic suburbia. In more recent years, I've re-introduced some familiar, (to the older fans), elements to the mix. Perhaps the vocal approach has opened out a little and the music has assumed a broader, more general appeal. Even so, I've kept elements from the left-of-centre material and incorporated them into the straighter pieces. Nothing I do is ever quite as straightforward as it might first appear. I think that, after all these years, it's fair to assume that the average listener has grown less luddite about my music...after all, I'm not exactly known for sticking with the same formula for very long. Even Be Bop Deluxe rang the changes. It's amusing to note that the style of electronica-based music that I adopted in the early 'eighties, a style that seemed somewhat controversial to many Be Bop Deluxe fans back then, has since been absorbed into the mainstream and is now perfectly ordinairy and acceptable, cropping up in everything from tv advertising to movie soundtracks. Minimalism, sampling, digital glitchs, sonically 'distressed' sounds, modal music, drones, poly-rhythmic beats, artificially created timbres and post-modernist, conceptual ideas are just as familiar to the general public as guitars were back in the '60's and '70's. Cheaper technology has made that kind of music even more common, especially now when computer sequencing software has enabled almost anyone to try their hand at it. Not only has yesterday's Abbey Road become every man and his dog's home studio, yesterday's avant-garde has become today's popularist music too. What was once an outsider form has been embraced by the herd. Of course, there's no reason why all these different 'genres' can't happily co-exist. To the open mind and ear, not only do they already co-exist but they mingle, mix and match also. The barriers have been down for some time and, for those of us who scraped away at them in the first place, the future is a wide open space. If the sound of dragging heels can sometimes still be heard it's probably from those who still locate their listening pleasure in the sphere of adolescent nostalgia. Now, don't misunderstand, I have a tremendous respect and love of the music that I grew up with and it naturally and unconsciously informs and inspires a lot of my contemporary output. Nevertheless, I'm constantly trying to widen my horizons...it's an approach I've nurtured almost from the beginning, a vigorous curiosity, a hunger for more. I'm just not one of those people who stopped listening to music post-Elvis, post-Hendrix, post-Sex Pistols, etc. (or post-Be Bop Deluxe for that matter). Life's too short to impose those kind of limits when there's so much more to get to grips with, explore and enjoy. But that schoolboy, 'either/or' situation where one has to join one tribe or another, (but never both), that thing of never stepping over the line, of always having to wear the correct uniform, when music becomes a 'my favourite band is better than yours' slanging match, where there's no opportunity for forward movement, where musical taste becomes a closed shop. Well...I don't really go for that. What causes such a dogmatic, narrow attitude? Fear of the unknown and the security of the familiar? Aesthetic timidity? It's sad how many people live in fear of Art with a capital 'A'. The one thing that might brighten and enliven their lives, more so than religion or politics. Back to Nelsonica... There were lots of other things for the audience to enjoy: An onstage interview with myself conducted by Simon Warner, Senior Teaching Fellow at Leeds University's School Of Music, was well received. I've known Simon for quite a few years now and have contributed to his classes at Bretton Hall College in the past. Also given talks with him at Wakefield's Unity Hall. (The latter place filled with memories for me. It was here that I first recall seeing my father play his saxophone with his own band at the silver wedding anniversary ball of Ada and Herman Ackroyd, who were good friends of my parents back in the 1940's and '50's.) Simon's interview this year centred on the topic of songwriting. It was relatively stress-free, perceptive and a real pleasure to take part in. I also improvised a talk about guitars and guitar playing. I managed to do it without the list of prompts I'd prepared the night before, which, unfortunately, meant I missed some of the topics I'd intended to cover, but I just let it ramble wherever it needed to go and all seemed to work out o.k. in the end. I can't recall much of what I said now, but I did manage to show everyone a video clip of Joe Pass playing in concert. This seemed to blow a few minds in the audience, particularly those who hadn't previously come across Joe's work. It felt like my younger days, when I'd turn friends on to my latest musical discoveries by lending them albums I'd found. The hardest part of the convention, or at least the most emotionally testing part, was the little tribute to my brother Ian that I'd arranged. Again, I had not written anything down or reheased a speech...things just happened on the spur of the moment. I tried to talk about the childhood that Ian and I had shared, about how much I missed him, how much I wished I could talk with him. I wasn't particularly articulate, I fear. Afterwards, I realised that there was much more that I'd intended to say about him, but, due to nervousness and an inner struggle not to let my emotions run away with me, I didn't quite manage to include everything I'd hoped to get across to the audience. But at least I managed to say something, which is more than I could manage at Ian's funeral service when words would have been impossible and only tears articulate. My mother, (and her husband George), and also Ian's two sons, (my nephews), Julian and Louis, were in attendance at the convention. I hope they felt the high regard the audience demonstrated for my much-missed and loved brother. I know he would have been deeply touched by it all. At Nelsonica, I placed two framed photographs of Ian, (playing his saxophone), on a little table next to me on stage. Emi had made a flower arrangement which was displayed in a vase next to the photo's of Ian and I brought a small Buddha figure from my home studio, with a tea-light illuminated in it, to sit on the table too. It was symbolic of the fact that Ian had planned to share this year's Nelsonica stage with me. We'd discussed it just two weeks before he passed away. There were times during the performance that I felt his prescence. Ian once was part of a group called 'Fiat Lux', back in the '80's and the band's vocalist and songwriter, Steve Wright, kindly agreed to come along to Nelsonica to talk about his memories of Ian. We also showed some old Fiat Lux videos and played some of Ian's last recordings, (made with his friend and musical partner John Nixon), to the audience. There was a wonderfully warm response from everyone for this. Later on in the event, I had scheduled two separate 'meet n' greet' sessions of one hour each, where attendees could sit down, have a photograph taken with me by official Nelsonica photographer Martin Bostock, and get their Nelsonica album signed. As always, we'd underestimated how long this would take and the reality was that I ended up having one very long, continuous session of over three hours without a break. It's always nice to meet the people who enjoy my music and I'm always happy to make time to chat with them but, towards the end of this long, long signing session, my brain was less than sharp. (Not helped by a magic wine-glass by my side which, amazingly, always seemed full!) It was a very exhausting experience, not just for me but for the people at the back of the apparently infinite queue. In the end though, I think everyone went home happy, despite the fact that we'd been given less than enough seating arrangements by the venue itself. Most people had been on their feet all day, (as had I), something we must guard against at next year's event. One new feature of the convention was the presence of the rather lovely 'Nelsonettes,' a group of young ladies decked out in specially made 'Nelsonette' t-shirts. They added a much needed feminine touch to the event as they moved amongst the attendees with camera and microphone, interviewing willing participants for a little souvenir audio-visual piece that we're hoping to assemble soon. Actually, there was a much higher number of females in the audience this year. A good thing in my book. I hope this trend continues! amongst the attendees with camera and microphone, interviewing willing participants for a little souvenir audio-visual piece that we're hoping to assemble soon. Actually, there was a much higher number of females in the audience this year. A good thing in my book. I hope this trend continues! One of the sweetest aspects of Nelsonica is the unexpected giving of gifts that some fans bring. They're very generous and thoughtful with their choices too. This year, I was given two extremely special and valuable books, one dealing with Chet Atkins' life and one with Les Paul's. The Les Paul book is a limited edition publication, hand-numbered and signed by Les himself. It's a superbly produced book and, for me, a huge Les Paul fan, it is something that I'll alway treasure. I was also given a book dealing with Jean Cocteau's 'Testament Of Orphee' film, which is my favourite Cocteau movie, 'though not neccesarily, in critics eyes, his best. Cocteau himself 'stars' in it though and it is clearly personal and autobiographical. I find the film very touching. Other gifts: A vintage style tin robot-spaceman, a copy of Madelline Peyroux's latest album, (excellent by the way), a sailor's Theodolite, (fascinating!), some cds of fans' own musics, a bottle of wine, some photographs of myself at previous year's Nelsonicas, a set of American Hot Rod and Custom Car magazines from the late 1950's and early '60's, (takes me back to my early teens and the model car kit mania I had then), a set of cdr copies of vintage radio shows and interviews with Derek Bailey and Bill Frisell, some video cdrs and even a 'Jesus Soap On A Rope'!!! (And there were more besides.) It felt as if my birthday had arrived two months early. A really nice touch was when the Nelsonica team presented Emiko with a large bouquet of flowers, (for putting up with me, I suspect!) She was completely taken aback and genuinely touched that the team had thought to do this for her. After a very long day, we eventually got home in the early hours of Sunday morning, slightly worse for wear but relieved that all had gone reasonably well. Mission accomplished, at least until next year. On Sunday, I had to be up early to get all my equipment back into the house. My guitar tech, Pete Harwood, who had done a super job of looking after my on (and off) stage guitar needs, brought everything back in a large van. We stacked the guitars and other equipment in the dining room and hall. I wasn't in the mood, (or energetic enough), to deal with the task of carting it upstairs, item by item, and trying to fit it into the limited space I have available for storage. (I made a start at this on the Monday but it was Wednesday morning before absolutely everything was tidied away.) Paul and Ian Gilby called around 1 pm on the Sunday and we went to a tiny village pub a few miles from where I live for a traditional Sunday roast. It was such a pleasure to be able to relax amongst genial company after the long, stressful build up to the convention. Ian and Paul have been such good friends in recent years and their help and support is something I appreciate very much. Sitting in the little village pub allowed us time and space that, due to our various workloads, would usually be at such a premium for us. A very pleasant, civilised afternoon. Time still runs fast however and already more than a week has flown since Nelsonica 06. I've been trying to catch up with various domestic duties that had been pushed to the back of the queue due to Nelsonica's demands, but...I'm still behind. Thought I might get a proper break but that seems out of the question too. I tried to book a cottage on the end of Whitby's harbour, part of my plan to have a three or four day 'mini-holiday' with Emi. However, the cottage we wanted was fully booked apart from the week around my birthday in December. This actually would have been ideal for me, a terrific birthday present but, unfortunately, Emi has to work during that week as it is one of the flower shops busiest periods, (being Christmas), so we've had to give up on the idea of a break altogether. Maybe I'll just book an overnight stay, one weekend, at the White Horse and Griffin hotel and restaurant. Better than nothing. I was really looking forward to the view from 'Captain's Cottage' though...it has windows overlooking the harbour, the harbour mouth and the ocean. It would be cold, dark and wild in December but I love Whitby out of season and the winter weather and early nights suits it somehow. So much more atmospheric than summertime when it's crowded with tourists. A very good documentary on the Artsworld tv channel the other night, dealing with Miles Davis' electric period. It featured several celebrity guest musicians talking about him, as well as interview clips and performances from Miles himself. I was amused when reminded of how some critics and many of Miles' fans reacted negatively to him introducing electronic keyboards and amplified guitars into his music, back in the 'sixties. It caused something of a stir. As did Bob Dylan going from acoustic folk to electric rocker, Joni Mitchell adding jazz elements to her music, etc, etc. (On another level, Be Bop Deluxe to Red Noise, Red Noise to 'Quit Dreaming', and so on. Familiar reactions for me too...but I've come to expect it and shouldn't be too surprised). The documentary's interviews emphasised one major point: A true artist can't stand still. It was also stated that Miles, and many other creative musicians, are not in the business of being entertainers. It was inspiring and encouraging to hear these attitudes and sentiments, (which I've held since the start of my 'career'), being confirmed by artists whom I deeply respect. I caught this tv programme halfway through but the timing was perfect as I'd just come down from an evening of trying to explain, on the forum of my website, why I can never look backwards for too long. I was feeling a little marginalised for sticking to my ideals and had been suffering some mild despair. The comments from Miles and fellow artists gave me some much needed confidence. At times, there is a sense that one is a small part of a bigger picture and, no matter how meagre, that one's own contribution is both worthwhile and honourable. How I would have loved to have played alongside Miles and other's of that calibre. Perhaps that's an over-ambitious wish, in musical terms. But, hell...I'd have liked to try. Just finished reading Frank Letchford's biography of Austin Osman Spare which throws light on the more human side of his life. So many of the (very few) books about AOS focus on his esoteric magical theories. It was good to read, in Mr. Letchford's 'Michaelangelo In A Teacup' book about the sensitive and preceptive character behind the magical image. Frank Letchford was a long time friend of Austin's and has written very much from that priveleged perspective. Another book about Spare waiting on top of my bedside pile. So many books to read. My scanner has broken down. First it kept quitting on me and now it's packed in altogether. It's not even switching on...completely inactive. I need it for album sleeve artwork and for website/diary images. I went to buy a new one but they all seem to require much more recent Mac operating systems than the one I use. I could, of course, install a newer OS but then my other software programmes wouldn't work. And I need my Final Cut Pro for the development of the 'Ghosts Etched On Glass' film. It's a love and hate relationship, computers and me. What I REALLY need is a NEW computer, even though mine is only 6 years old. The new Mac pro dual core G5 tower would be like a breath of fresh air. My current G4 is ancient in computer terms. What a game this computer lark is. Autumn now has a firmer grip. Red and gold and brown, 'though there's still more green on the trees than is usual for this time of year. Not particularly cold either. Lots of Canada geese wheeling over the river in town today, great screeching circles of them. A girl lifted her tourist map over her head in self-protection, frightened of being dumped on. Had one of my apocalyptic dreams last night. Extremely realistic. High tech Eurofighter style planes with the ability to hover flying low and slow over English villages pumping hot lead and rockets into crowds of running, screaming people. A rain of metal and fire. I was there, trying to dodge the deadly hail. Got hit though. Who were these people, glimpsed through jet plane canopies, crystal clear, strange insignia on their craft? The machinery was awesome in it's efficient beauty, bright light glinting from metal surfaces. Designer fighter aircraft, their pilots tricked out like military fashion plates, but merciless, trigger happy, ruthless. Why did I dream such a thing and why was it sharper and more vivid than my usual dreams? I've had far too many disturbing dreams of late. I'm thinking of buying myself a new bicycle, my old one being a bit heavy, a bone-shaker. I could do with something lighter and more comfortable that would encourage me to get out of the studio more and take a little gentle exercise. Saw a nice one in a shop called 'Cycle Heaven' the other day. Like most things that catch my eye, it was expensive. I'll search around for something more sensible. Actually, one of those 'electrically assisted' ones might be fun. Or a French Velo-Solex with the little petrol engine over the front wheel. I can just see me, putt-putt-putting along, from the village into town, dressed in my American newsboy's cap and steam engine driver's jacket, autumn leaves flying behind me. The neighbours would have a field day! And now what? My 'to do' list is far from empty. Lots to tackle in the ensuing months. Difficult to know where best to start. Some much needed household repairs first though. Try to leave the guitars in their cases for a little while. Or am I asking too much of myself there? Enough diary for now. I'm getting cabin-fever. Time for a stroll around town. Top of page Tuesday 31st October 2006 -- 10:00 pm I'm in a kind of limbo, a place when I've got plenty to do but little energy to do it. I feel as if I'd benefit from a week's holiday in Villefranche-Sur-Mer, strolling through the lamplit tunnel of Rue Obscura, or sitting in a seafood restaurant on the salty dog harbourside, taking a sneaky peek at the French girls' shapely legs whilst winking the tinest hint of a twinkling eye, a salacious old Riviera goat, living the poet's life. I've made a start on the 8 X 8 inch canvas artwork that I'm trying to create for the 'Stars On Canvas' celebrity charity auction being held in Brighton in November, but I've thrown two half-completed canvases in the bin so far. I'm rushing it instead of considering what I really want to do. I've also wasted time trying to use oil pastels on a roughly textured and small canvas. Far too blunt an instrument. Despite this, I have managed to complete a very simple piece, almost minimalistic, using just a brush, black ink and the merest hint of colour. It's not really a painting as such, just a drawing executed on canvas. But it's not bad. It will be my failsafe if I don't come up with something better in time for the rapidly approaching November 10th exhibition date. I went out and bought four more blank canvases this afternoon though. So, even if nothing better comes down God's pipe, I can at least pursuade myself that I've tried. Attended a memorial service in Wakefield for my brother Ian this last Sunday. It was an emotional affair, fuelled even more by certain aspects of the religious ceremony. Perhaps that was the purpose of it...a deliberate and cathartic prodding of wounds. Although the vicar and his begowned acolytes were plainly sincere in their beliefs, I still couldn't help thinking that there was a frightening lack of light beneath all the ritual. Plenty of smoke and mirrors, though. I just instinctively felt that there was a catastrophic misunderstanding of what was really required in such a situation. There was some talk of healing, there was talk of solace, but also the usual evocation of the tortured and meat-racked Christ, the cannibalistic body and blood feast, a darkly guilty and sin-soaked ecstasy of gothic remorse. Not much sunshine or true celebration of Ian's life as it was actually lived. There was one aspect of the service though, that came closer to being universally appropriate to the situation and our love for Ian, and that was the lighting of a candle with his name on it, which we, as a family, were allowed to physically, directly deal with ourselves, with only minor assistance from the church 'staff.' I guess the problem, for me at least, is that Christianity is shackled by the Bible and the history of the Church itself. It also makes me feel mean and churlish when I inevitably pick the fabric of faith apart, especially when so many good hearted people seem to gain something helpful from their involvement with orthodox religion but...It seems to me that much of religious thought and dogma is out of step with the true 'spirit' of the human condition. I know it is out of step with my own spiritual experience and I also know that my brother Ian had little time for religion in any form. He was a 'live-life-to-the-full' and 'damn the torpedoes' sort of chap. Any kind of religious or spiritual debate became an easy target for his scorn. Having said that, I do feel that he would have appreciated SOME sort of meaningful gesture, some declaration of love towards him from those of us left behind. He would also have returned the gesture with equal love. It was with that in mind that we, Ian's family and loved ones, gathered together at last Sunday's memorial service. I think he would have appreciated the lighting of the candle too. My mother, Ian's wife Diane, Ian's children, Emi and I and some close friends of Ian's all shed a good few tears in the more difficult moments of the service. The still unsettled grief, the emotional rawness, did somehow glue us together. I wish that I could spend more time with what remains of my family but I always seem to be caught up in a desperate, headlong rush to maintain what passes for my day-to-day existence. The curse of modern living? This fearful sense of time running out dissolves even the best of intentions. Before the service, Emi and I had taken fresh flowers to Ian's grave. The beautiful spring blossoms that filled the avenue of trees near his grave not long after he was laid to rest have now given way to equally beautiful russet and gold autumn leaves. How quickly time has flown. Ian's headstone is being carved at the moment and should be in place by Christmas. It will be in light gray Indian marble with silver text. For now though, only the framework that held the flowers spelling out the word 'DAD' and a couple of rain soaked cards mark Ian's resting place. And three glass vases pressed into the soil, filled with flowers. Emi and I left just pure white ones this time. Ian's mother-in-law, who passed away only a few weeks after Ian, lies at peace in the plot just behind Ian's. Her headstone will be erected there soon also. It is being carved by the same person who is creating Ian's. I've probably mentioned Wakefield Cemetary before in this diary, how, in the early 1950's, I used to visit it on Saturday mornings as a child with my mother and grandmother to place flowers on my great grandfather's grave, his location now long lost to me. How also, I used to visit the cemetary during my art school years in the 1960's, sometimes to sketch or photograph stone angels, sometimes just to wander amongst the Victorian graves and memorials, marvelling at the names and lives of souls who I never knew but, nevertheless felt some strange kinship with. An impossible nostalgia born of shared mortality perhaps? There was always an immense, overwhelming sadness in the air, but an aching, tender beauty too. It was a place where people had been left behind, waylaid, abandoned by time and the world, yet freed from its ravages, despite the inevitable sense of decay. Those perpetual Victorians, eternal miners, frozen in time mill workers, industrialists, authors, artists, doctors and clergy, etc, etc...Forever framed by and fixed in ancient Yorkshire landscapes of gaslamps, smoke and chimneys, cobblestones, dusty sash-windows, slate roofs and rainy, hooting, whistling railway sidings...Each and every gravestone marking an individual life filled with its own personal joys and sorrows, (and its own UNIVERSAL joys and sorrows!) For some strange reason, I felt more compassion, more connectedness with these distant, imagined lives than with flesh and blood passing strangers on the street. Perhaps, because death robs us of our insecurities, anger and greed, there is nothing to fear from the dead, only the living. Ghosts are our mortal fears made manifest. After the memorial service at the church, Emi and I drove my Mum and her husband George up to the 'Kings Arms' pub on Heath Common, just on the edge of Wakefield. It's an old haunt of mine from my 'sixties art school days and also the early 'seventies. It also holds some memories of Ian for me, (though not as many as the pub he and I used to meet up for lunch at when he worked at the Yorkshire Sculpture Park in the '90's.) It was here too that the Nelson family came after Ian's funeral service and reception last April. 'The Kings Arms' and Heath Common itself form part of my own history. The food may be uninspiring but the atmosphere is special. Mum, George, Emi and I decided have a meal there, nothing too fancy as George isn't a fancy eater, preferring what he refers to as 'traditional' food. Not that there was anything that he would have considered exotic on the menu anyway. So it was meat pie and veg for him and Mum and fish n' chips for Emi and I. George did let me buy him a pint of lager though. The Kings Arms ancient atmosphere soothed and charmed us. It is still lit by gaslight, a soft flickering amber-tinted glow. The pub has several small, nook-and-cranny wood panelled rooms, all crooked and tobacco stained and stone flagged. A PROPER pub and authentically old. Outside, the common stretched away in the clocks-just-changed darkness, the village of Heath quiet in the autumnal Sunday night air, a few lights visible from distant stone cottages. If I were ever to return to Wakefield to live, this would probably be my ideal location. But I can't see me returning for anything other than to visit family or to take flowers to Ian. Car touble last week...Emi's car needed repairs. Costly but unavoidable. Fixed now but we need to seriously think about changing both our vehicles. Milage too high and trade in value too low, but that's the way it goes with cars. TV broken in the living room too, has been for months now. And I still haven't called a repair man. Communicated with Matt Howarth about our ever ongoing collaboration: 'The Last Of The Neon Cynics.' Matt is looking for some more music from me. I got a disc from him with a full colour version of the story on it...looks great. Too tired to write more now. I spend far too much time on website matters. It's surprising how much mail I get from fans and how often I feel compelled to respond to topics on the Dreamsville Forum. It does occupy a great deal of my time. Perhaps its just part of that impulse to leave footprints in the sand. Melancholia setting in. Time to go downstairs and watch tv. Top of page William's Study (Diary Of A Hyperdreamer) October 2006 Jan Apr May Jun Jul Aug Sep Nov Dec 2005 2006 2007 2008 2009 2010 2011 2013

2005 2006 2007 2008 2009 2010 2011 2013 William's Study (Diary Of A Hyperdreamer) January 2011 Feb Mar Apr Dec Saturday 22nd January 2011 -- 3:00 pm One of my recordings, ('Zoom Sequence' from 'After The Satellite Sings'), has a voice sample that says, "Time becomes a loop...". Bob Dylan once sang, "Time plays strange tricks when you're tryin' to be so quiet...". Nick Drake sang, "Time Has Told Me". Sandy Denny sang, "Who Knows Where The Time Goes" and "It'll take a long, long time...". What has that got to do with this? Well, here we are, it's already the 22nd of January 2011 and my first diary entry of the year is, typically, overdue. Time seems to have not only passed quickly but somehow become compressed, twisted and folded. No matter how good my intentions are with this journal, time zips by at light speed. Whilst the gaps between entries become longer and longer they, weirdly, seem to have hardly any duration at all, at least in my own mind. Yes, time plays strange tricks and just when I was trying to be so quiet. Perhaps in growing older our thoughts slip through the temporal cracks more easily, as if the thinning out of our being makes us ever more prone to Time's sneaky side-steps and unpredictable glitches. Maybe we're all unconsciously engaged in the act of vanishing, both conjurors and conjured. Ok...Christmas came and went, wrapped in a blur of shopping madness and the usual nostalgic anticipation of childhood miracles, until the inevitable 'well...what was that all about?' despondency kicked in. Actually, it was ok. I brought mum over to our house on Christmas Day and Emi prepared a traditional Christmas dinner. Mum stayed here with us overnight, (bravely enduring the extremely cramped quarters of our spare bedroom), and Elle and Elliot came over on boxing day. Amongst their other Christmas gifts, I'd bought them each a 'Recording King' acoustic guitar, decorated with rather kitsch and colourful graphics. Elle's featured a cowgirl motif and Elliot's boasted a Hawaiian surfer design, palm trees and a big ship. As far as playability goes, I guess they were fairly basic...but were really intended as kitsch art-objects to prop up in a corner of a room to make the place look pretty. So...visually, 10 out of 10. I can't recall much of what we did on New Year's Eve...not that I celebrated to the point of drunken amnesia...just that Emi and I did little more than sit in front of the television trying to stay awake. Channel after channel of dumb, bland, dull as dishwater programming. Enough to turn even an intelligent teenager into a grumpy old man. Oh yes, television plays strange tricks when you're trying to be so quiet.... Since then? A flurry of activity to do with the re-releasing of a number of albums from my back catalogue. Activity in terms of mental energy more than physical at this point in time. As I think I've noted here before, Cherry Red's 'Esoteric' label are planning to assemble a career compilation boxed set: 6 cds containing examples of my music from the early 1970's up until recent years, all packaged together as a career overview. This last week, I've been occupied with trying to create a suitable title for it. A very long list of possible titles to begin with, then the tough process of attempting to cut it down to size. Not there yet with this really, 'though Mark Powell, who runs 'Esoteric Records' and is the person behind the re-issue program, has come out in favour of 'Further Adventures On Planet Earth.' I'm not sure whether this might be a wee bit too lengthy, 'though I did actually like it when it originally occurred to me. Perhaps I should post a selection of titles on my website forum and get fans to vote on it. Then again, maybe not. Creating art by committee is not something that I've ever found of much value. Maybe it's better to stick my own neck out for what I believe in rather than to delegate and diffuse ideas via some sort of popular consensus. A very nice thing happened a week or so ago. I was contacted by Dave Gascoigne of ROSEWELL AMPLIFIERS. www.rosewell-amps.co.uk Dave hand builds '50's style classic amps that look and sound like vintage models. Models that would normally cost over a couple of thousand pounds. Rosewell amplifiers have all the style and vibe of vintage amplifiers, with the singular, hand-built excellence of high-end boutique American product, but are actually hand made here in the UK, (and in Yorkshire at that), to a far more realistic price than any equivalent US amp. The Rosewell custom model I now have sitting beside me here in my studio is, quite simply, a gem. A tweed covered combo, in the style of a mid '50's Fender, but with so much more going for it. It has three 10" genuine vintage speakers, (not modern re-issues), and is all tube throughout. Dave rates it at around 35 watts but it is an extremely loud 35 watts. And sweet as a bell. Plugging my D'Angelico semi, my Peerless Monarch archtop, my Gretsch White Falcon or my Guild X-500 archtop into the Rosewell produces rich and warm jazz tones that bring to mind the sounds of Wes Montgomery, Kenny Burrell and Joe Pass. Just the right tonal balance of lows and highs. Wind the amp up and you get beautifully textured blues and rock tones. Add an overdrive or distortion pedal and the thing screams like a jet-pack angel. A pallette of classic guitar tones in one box. Now, whilst many fans will have been aware of my enthusiastic use of digital guitar processors for the last 20 years or so, I've never ruled out the benefits of a traditional valve amp. I'm not the sort of player who thinks one approach is 'better' than another. It's always a 'horses for courses' situation as far as I'm concerned and I try not to draw hard and fast lines (or erect unnecessary barriers), with technical equipment, or with the music itself. The Rosewell amplifier adds another dimension to my sound palette. An authentic, physical tonality that couldn't be replicated any other way. There's a possibility that this particular amplifier, which Dave designed exclusively with me in mind, might be made available as a signature model, literally with my autograph personally added to each one produced. At the moment, Rosewell amps are built entirely by hand by Dave in his workshop. As such, they are made to order, rather than rolling off a factory production line. This means that each amp takes a few weeks to complete, but the wait is very much worth it. Ironically, despite my extensive use of digital gear, I now have, unbelievably, here in this tiny recording room of mine, 9 guitar amplifiers and just 4 digital guitar processors. For readers of this diary who are interested in such things, my amps are as follows: 1: The aforementioned, custom-built Rosewell Combo. (My latest acquisition and a really fabulous and authentic sound.) 2: My custom built Carlsbro Nelsonic Amp and Cab which I designed in conjuction with the one-time Carlsbro 'custom shop' team. (As used on the 2004 'Be Bop Deluxe And Beyond' tour.) 3: A small 'Booker' valve combo with art-deco radio-style wooden cabinet. 4: A Line-6 Vetta 2 combo. (Also featured on the 'Be Bop Deluxe And Beyond' tour.) 5: A '70s era Pignose mini-amp. (Used on various Be Bop Deluxe recordings.) 6: A '70s Vox mini-amp. (Also used on Be Bop Deluxe recordings.) 7: A very rare, vintage early 1960s 'Shaftsbury' 'tv front' style combo with two elliptical speakers. 8: A rare and unusual Carlsbro 'Tower' combo that resembles a space-age humidifier more than a guitar amp! 9: A late 1950s Selmer 'Little Giant' mini-combo that is missing it's gilt-plastic Selmer logo but not its vintage sound. So...Not bad for someone who has recorded and performed so often with digital processors! Whilst on the subject of recording, I've been dipping in and out of one of my upcoming but as yet unfinished album projects. 'Lampdownlowland' is an album I've mentioned before in these pages. I have two more currently unfinished tracks to add to that album... Both are 'non-linear' pieces which began life as abstract instrumentals but which now contain lyrics and a vocal top line. They're interesting, atmospheric, constantly evolving songs but I haven't yet got to the point where I feel they're ready to mix. I've had quite a few other things to deal with though, which may have contributed to my current distracted state. I'm not even sure if I will retain 'Lampdownlowland' as as title for the album, although it will contain a song bearing that title. We'll see... The almost three weeks of unbroken snow we experienced before Christmas now seems like a distant memory. Nevertheless, it has turned really cold again and we've been forced to keep the central heating switched on for far longer periods than usual. Yesterday and today have felt particularly chilly, especially here in my studio where the only source of heat comes from the equipment it contains. I've been trying not to get too stressed about what 2011 might or might not hold. This time of year always feels grey and slightly depressing. I've not yet made any hard and fast decision about whether to stage a Nelsonica convention this year but I think that, if a small number of live concerts could be arranged at nice or 'interesting' venues, it might be good to take a break from the demands of Nelsonica and give some time over to other things. The next new release will be the long-overdue 'Last Of The Neon Cynics' project, the collaboration with American comic book artist Matt Howarth. As I've mentioned before, this was begun a few years ago but due to the intensity of my work rate, has developed at a very slow pace. It's almost ready to manufacture now but requires me to write some sleeve notes and work with David Graham on the physical package design. I read several pages of my 'Painted From Memory' autobiography last week, just out of curiosity to see how it felt now that it has assumed book form. Immediately, I spotted several things that I would phrase quite differently, or expand on, if I was able to go back and work on the book again. A few little typos I hadn't spotted previously too, plus a missing chapter heading and number. If I ever decide to reprint, these are things that could be picked up and corrected. But at some point in the near future, I really ought to make a start on volume two which will cover the 1960's and '70's. Strangely, the closer to the present my story gets, the more blurred it becomes. I can recall my childhood with an uncanny clarity but the 1970's are somewhat foggy. I'll need to dig into my substantial but highly disorganised career archives to help me with that particular era. That's all for this entry, though there may be another one fairly soon. I'm awaiting confirmation on an upcoming event which might prove exciting. I'll not say any more for the moment but...stay tuned! ***** Images attached to this diary entry are as follows:- 1: Bill's studio with Peerless Monarch guitar and custom built ROSEWELL guitar amplifier. 2: A closer view of the ROSEWELL amp. 3: An even closer view of the ROSEWELL with 'GOLDEN AGE' ribbon microphone. 4: Spare bedroom with a handful of guitars. 5: A closer view of the above guitars, left to right:- a Gibson Les Paul Custom, a Peerless Deep Blue Custom, a rare Musima Record archtop semi, a Gretsch White Falcon, a Greco parlour-sized jazz archtop, a Peerless Monarch jazz box and, on the sofa at the back, an old Arnold Hoyer 'Man In Black' acoustic archtop. The teddy bear in the background is as old as Bill...it was bought for him by his parents when he was born, 62 years ago. Top of page

Sunday 23rd October 2005 A sense of relief and satisfaction this morning. And a hangover. Yesterday's annual Nelsonica Convention turned out to be another grand day out for all its attendees and particularly for myself. It's always a pleasure to spend the day with such devoted fans and friends but yesterday's event was particularly heart warming for me, in so many ways. As always before these conventions (and indeed, before any public appearance of mine), I seem to get myself worked up into a state of nervousness approaching outright panic. I had been working flat out over the past few weeks, preparing new material for the forthcoming tour, including video pieces to project behind me on stage. In fact, I lost a lot of time when two days worth of video footage and seven days worth of render files were inadvertantly erased from my computer's hard disc... the second such loss this year (although the first time it happened was on my multi-track hard-disc recorder, rather than my computer). The days before the convention saw me working into the early hours to try to catch up with lost time. In the end, I managed to make videograms for 10 of the pieces of music in the set. But it was tough going. My friend Paul Gilby burned my finished digital video tapes to DVD for me, literally on the night before Nelsonica opened its doors to the public. It was all very much a last minute thing. Fortunately, Jon Wallinger and the convention team of Ian, Eddie, Ged and Dave had pre-planned the actual event to perfection and didn't suffer from the computer malfunctions that blighted both myself and Paul's efforts. Everyone attending the event commented on how extremely well organised the day was. But, what appears on the surface as relaxed and smooth running is actually the product of months of hard work, forward thinking, careful teamwork and organisational skill. The Nelsonica team coped superbly with all the logistics involved and, apart from a frustrating mistake at the pressing plant involving the manufacture of both the 'Sailor Bill' album and the convention's limited edition 'Orpheus In Ultraland' album, all went like clockwork. The pressing plant problem was completely unforseen and entirely out of our control. It seems that they hadn't printed up the albums sleeve art in time to deliver to Nelsonica and it was only after some very formal complaints from Paul that we got anything from them at all. In the end, they sent up just enough convention albums to give to ticket holders, but, unfortunately, minus cover artwork and sleeves. We now have to send each convention ticket holder the artwork through the post. Once the factory gets around to delivering them to us, that is. Annoying, frustrating, etc, etc... especially after all the hard work that went into finishing those albums in time to get them manufactured. Nevertheless, this problem didn't seem to mar people's enjoyment. I heard nothing but praise from attendees and the event was a great success. There were many familiar faces there but also many new ones too. People are always extremely sweet and kind to me at Nelsonica and this year's convention was no exception. I was bowled over by the warmth of sentiment shown to me by everyone I spoke to. It was also a pleasant surprise to meet up with someone I hadn't seen for many years, someone I remember fondly from the very earliest days of Be Bop Deluxe, before we were professional musicians. The band played the Leeds pub circuit in the early 'seventies and the person I'm referring to used to be a regular audience member. Although she was usually accompanied by her boyfriend, she managed to slip away from him to spend a little time with me. I was very flattered by this attention, particularly as she was an attractive 17 year old at the time and I wasn't the typical, 'party animal' type of rock guitarist. I hope I was a bit more sensitive than that. I'll admit to always having a deeply romantic nature and I guess that was the way that this particular relationship took me, although I was actually married at the time... but not happily, or for long, I must stress! Of course, I was a much younger, less wise man back then, skinny, selfish and ambitious. What time does to us though, eh? Well, the years have certainly changed my waistline for the worst, if not my ambition. But maybe the ambition is focussed elsewhere now, less concerned with commercial success and glamour. But I still want to achieve so many other things. But I do hope I've developed more compassion for others and have tamed the wilder aspects of my ego. Anyway... it was lovely to see that the person mentioned above looked hardly any different from those long ago days, apart from a rather vivid change of hair colour! I, on the other hand, have less and less hair to worry about these days... (Probably as a result of bleaching it blonde, back in the 'eighties!) The stresses and strains of a life spent battling to preserve some kind of musical freedom have left their unfortunate mark, I guess. I'm sure my appearance must have come as something of a shock to someone who hasn't met me for over thirty years. It comes as a shock to me everytime I catch my reflection in a mirror! But life is strange and things go around in circles it seems. Old faces return out of the mist with warm smiles and welcoming eyes. It's beautiful, sad and poetic all at the same time. As well as the happy opportunities to meet with friends, Nelsonica this year provided a new item on the programme. I was the subject of a 'live on stage' interview with Simon Warner who coaxed out my thoughts about the arts in general and their influence on my musical career. I really enjoyed this part of the programme and, from what I can gather, the attendees did too. There was also an opportunity to give everyone a preview of the 'Sailor Bill' album, even if we had no copies available for them to take home. I included a piece from the album in my live performance, the song 'The Ocean, The Night And The Big, Big Wheel'. I chose this track as it is one of the easier songs to tackle from the album, at least in a 'solo performance with backing tracks' style. (Which is what my forthcoming November tour will be.) I had some reservations about including vocals in the set at all, but the four I've allowed myself to perform seem to work quite well. Much better than I expected. As with all the recent Nelsonicas, I end the day feeling a little bit melancholy as well as happy. It's the celebratory aspect of the event that both encourages and warms one's heart but it also helps to underline the passing of the years and how much is still to be achieved. So many possible ideas to pursue and yet nowhere near enough time to fulfill them. I could never be one of those self-conscious minimalist types who squeeze out an album once every few years as if it was some gargantuan triumph over a kind of creative constipation, or some precious god-like artefact torn from deep within the soul. Music for apartment dwellers and aging yuppies? That sort of approach feels a little too restricting for me, too tedious and slow and too obviously tweaked to fit a certain marketplace. I prefer the constant fireworks display, the snowstorm of thought, the perpetual fountain of sound. The Kerouac continuous roll. Having said that, 'Sailor Bill' just about exhausted me beyond anything I've ever done before. A lot of work and attention to detail... But it was made over a few months, not years. I'm still very pleased with the way it came out though, compromised or not. Considering I made it on a non-existent budget, without the help of other musicians, engineers or whatever, I think I can allow myself to feel a little pride and satisfaction with regard to the end result. I think that time will vidicate me on this one. Now I'm back in video making mode, creating further videograms to project behind me on next month's concert dates. More slow and painstaking work, but it is getting there, bit by bit. Weather definitely colder now, leaves falling faster from the trees, rain and grey skies, darker earlier. I'm glad we have such seasonal changes and not the less dramatic seasonal uniformity of mediterranean countries. Living here in Yorkshire, the landscape really allows one to see nature's cycle in a vivid and wonderful manner. I consider myself extremely lucky to have such beauty on my doorstep. And, as Nelsonica serves to remind me, to have such beautiful, warm hearted fans to share my music with. I'm hoping to dream up some new ideas to incorporate in next year's Nelsonica, to try and make it even better and more unmissable. With a fair wind and the blessing of the fates. Thanks to everyone involved in this year's event, both on the organisational side and the attendee's side. You gave me a day I'll never forget. Top of page William's Study (Diary Of A Hyperdreamer) October 2005 Feb Mar Apr May Jun Jul Aug Sep Dec 2005 2006 2007 2008 2009 2010 2011 2013

A to Austr album - 1970 A to Austr Production/Contribution Menu Future Past BILL: "Global Village" Bill Nelson played guitars, including steel and Hawaiian. Production/Contribution Menu Future Past

2005 2006 2007 2008 2009 2010 2011 2013 William's Study (Diary Of A Hyperdreamer) February 2008 Jan Aug Sep Oct Thursday 14th February 2008 -- 9:00 pm My stepfather George passed away during the early hours of 30th January. Less than 24 hours after being admitted to the Hospice in Wakefield. Emi and I drove over there, as mentioned in the previous diary entry, but George was sedated, barely conscious and breathing with difficulty when we arrived. The deterioration in his condition from only two days previously was quite shocking to see. There were a couple of extremely fleeting moments of recognition from George but it was impossible to ignore that the disease was in its terminal stage. He died sometime around 5:30 am, surrounded by his family. George's funeral was held at Wakefield Crematorium just over a week ago. A short but well conducted service which included music of George's choosing. Afterwards, the mourners gathered at Holmfield House in Wakefield Park for an informal buffet. George's daughter Jennifer, over from Australia where she lives, had assembled a laptop slide show of photographs from George's life. It was placed on a table for friends and relatives to view. George has gone now and nothing can change that but my mother Jean is left to face the tribulations and lonliness of widow-hood and there are serious concerns that I need to help her with. Emiko and I have driven over to Wakefield to support her almost every day. She's beginning to find her old resilience and strength again but it will be some time before she can discover a new path in life. She will be 80 years old this year and has health issues of her own to surmount but, despite her soft, generous and non-confrontational nature, she's a pragmatic, intelligent and aware woman, and certainly not one to give up the ghost. Nevertheless, at this point in time she's terribly vulnerable and needs time and love to regain her sense of self. I'm feeling the responsibility of caring for her keenly, particularly as my younger brother Ian is no longer with us. I've missed Ian even more these last few weeks. This sad situation has really underlined his absence. In many ways he was much tougher than me and his no-nonsense attitude would have been a tremendous asset during the last month or so and particularly in the weeks ahead. But the Nelson clan is not large and I'm now the only remaining offspring from the original union of my father and mother. Of course, my mother has grandchildren, (and let me just put on record that Ian's two sons and daughter have been wonderfully supportive of my mother during her latest bereavement). And mum has a wonderful great-grandson in the form of Luke, (my eldest daughter Julia's son). But, as the only surviving offspring of Jean and Walter Nelson, I guess I'm very much central to my mother's well-being. Poor mum, stuck with me as her only son. I make a pretty poor 'head of the family,' being generally hopeless at dealing with my own problems, but, whatever my shortcomings, I must do my best to help my mother through this difficult time. Awareness of mortality and the brevity and fragility of existence has been with me for much of my life but it has increasingly and painfully been brought into focus these last 18 months via a whole series of bereavements, both of family and friends of family. It inevitably casts a shadow across my own life and emphasises the need to work diligently at my music whilst I'm still able to. Morbid to think that way, I know but think about it I do (and probably far too often than is healthy). Music making has taken a back seat to recent pre-occupations but I have managed to maintain some sort of momentum by working late at night after returning from Wakefield. I've fallen behind schedule with the 'Silvertone Fountains' album, which I'd hoped to have made available by now but this hasn't neccesarily been a bad thing as I've had time to re-think aspects of it. I think I've finally settled on its ultimate form after several atttempts at it. It is, as of today, a 15 track album. Here is its track list: 'SILVERTONE FOUNTAINS.' 1: 'BEAUTY RIDES THE LAST BUS HOME.' 2: 'THE FABULOUS WHIRLIGIG OF NOW.' 3: 'AUTUMN DROWNS APPLES IN GOLDEN TIDES.' 4: 'SILVERTONE FOUNTAINS.' 5: 'LA VIE MODERNE.' 6: 'SLOW CLOUDS.' 7: 'HAPPY IN MY HELICOPTER HAT.' 8: 'DECEMBER WALTZ.' 9: 'THE WORLD SLEEPS LATE ON NEW YEAR'S DAY.' 10: 'YOUNG DREAMS, WHIRLED AWAY.' 11: 'SPEARMINT AND MOONBEAMS.' 12: 'WE VANISH AT SHADOWFALL.' 13: 'THE BELLS OF VILLEFRANCHE.' 14: 'FISH ARE DANCING IN THE FOUNTAIN OF DREAMS.' 15: 'SHOWER OF SPARKS.' There were so many tracks left over after I'd made the above selection that I decided to create a second, companion piece album which I've titled 'ILLUMINATED AT DUSK.' I intend to release the two albums simultaneously shortly after Easter. The track list for 'ILLUMINATED AT DUSK' is as follows:- 1: 'SWITCH ON THE SKY, LIGHT UP THE STARS.' 2: 'THE VIEW FROM MOUNT PALOMAR.' 3: 'DANCE OF THE LUMINOUS DIALS.' 4: 'THE VENETIAN CONJURER.' 5: 'A SPIRIT MAP OF MONTPARNASSE.' 6: 'ANGELS OBEY BELLS.' 7: 'NO MEMORIES HERE TO MAKE YOU SAD.' 8: 'ART IS MY AEROPLANE.' 9: 'SILVER SAILBOAT ON SAMSARA SEA.' 10: 'SPRINGTIME COMES A' DANCING.' 11: 'THE VANILLA SUMMER OF MR. WHIPPY. 12: 'FRANKIE UKELELE AND THE FIRE IN THE LAKE.' 13: 'LAKESIDE.' 14: 'THE ETERNAL FASCINATOR.' 15: 'THOUGHTS WITHOUT FRICTION.' 16: 'SUMMER OVER SOON.' 17: 'LITTLE KISSES WRAPPED IN CHOCOLATE.' 18: 'ILLUMINATED AT DUSK.' Packaging artwork is almost complete for 'Silvertone Fountains' and just begun for 'Illuminated At Dusk.' Mastering has yet to be done for each album and I need to book my good friend John Spence at Fairview Studios to accomplish this. The two albums offer 33 new pieces of music but there are STILL several pieces left over to be used as possible Nelsonica 08 album tracks. No doubt by the time autumn and the Nelsonica convention rolls 'round, I'll have a few more out-takes and misfit tracks to add to the list. For now though, 'Silvertone' and 'Illuminated' represent an intense period of work that began last year with the now abandoned 'Frankie Ukelele' project. This is a very rich and dense seam of music which will, I hope, reward the diligent listener for quite some time to come. For whatever reason, (and the reason is beyond both my control and understanding), music keeps coming down the pipeline and, despite all the work I've done over my career, despite all the previous music I've recorded, I'm still searching for creative satifaction...But it's hard won. Maybe I'll never find it but I'll keep on trying until I can't try any more. Very little else makes much sense to me in this world, more's the pity. 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Soluna Oriana Bill Nelson download single - 30 June 2010 Singles Menu Future Past TRACKS: 1) Soluna Oriana NOTES: "Soluna Oriana" is an exclusive instrumental piece composed especially for a fund raising campaign launched on behalf of former Japan bass guitarist, Mick Karn, who was then undergoing treatment for cancer. Sadly, on the 4th of January, 2011, Karn lost his battle against the disease. Initially Nelson had written an exclusive song to donate to the Mick Karn campaign called "Bluebird", spending a week working on it in June 2010. With the track nearing completion though, Nelson re-thought his plans, concluding that the lyric to "Bluebird" was not in line with his original intentions, and he immediately set to work on "Soluna Oriana". The download was made available through SoundCloud, where it remains as a tribute to Karn. CURRENT AVAILABILITY: Available as a free digital download on this page, or in the Free Downloads section . BILL'S THOUGHTS: "Soluna Oriana has turned out to be an ethereal, floating, gentle piece, featuring an e-bow improvisation over a modal 'puzzle pattern' backdrop. It's a track that I would have been pleased to put on any upcoming album of mine but am excited to offer as a free download for those of you who would like to contribute to the Mick Karn appeal and receive a heartfelt little musical gift from me in return." _____ "I have fond memories of working with him in the 1980's. A wonderfully talented musician and artist." _____ "Like so many of my titles, the sound and juxtaposition of the words is enough to make the thing attractive to me, but...'Soluna' could be interpreted as a marriage of 'Sol' (Sun), and 'Luna' (Moon). Which, alchemically could be thought of as male and female, yin and yang, etc, etc. 'Oriana' suggests to me the 'Orient' and East, or even 'Queen Oriana'...certainly, to me, something royal and mystical. But above all, it feels poetic and exotically beautiful. In the context of the music it brings identity to the piece, but the real meaning is to be found in your own heart when you hear the music and understand the reason for its existence." Singles Menu Future Past

2005 2006 2007 2008 2009 2010 2011 2013 William's Study (Diary Of A Hyperdreamer) June 2010 Jan May Sep Nov Dec Tuesday 15th June 2010 -- 7:00 pm (Begun Sunday 13th June 2010 and concluded Tuesday 15th June 2010.) Well, what a fabulous week it's been! Last Sunday, 6th of June, I received an email inviting me to attend Mojo magazine's annual 'Honours List' award ceremony in London. The email informed me that the magazine was planning to give a special signature award to one of rock n' roll's legendary artists and that they would like me to personally present it to him at the event. Well...you could have knocked me down with the proverbial feather. I was both excited and terrified by the prospect. The truth is I'm never really at my best in these 'celebrity situations,' being rather quiet and maybe a little shy compared to many rock musicians, but THIS was something that I couldn't possibly pass up, this was something REALLY special: Mojo magazine's 'Icon' award was going to be bestowed upon the legendary American guitarist Duane Eddy, an artist who, I can genuinely say, I owe my love of the guitar to. I've cited Duane many times in interviews over the 36 years since Be Bop Deluxe released their first album and journalists took an interest in my musical roots but, for the record, I really should tell the story again here. In fact, I'll throw caution to the wind and allow readers of this diary a sneak preview of my unpublished autobiography. This short excerpt from the book relates how Duane came to inspire my original passion for the electric guitar. So, here's an exclusive peek at the relevant section. Remember, at this point in the autobiography, I'm just eleven years old: "Around this time, Rock and roll entered my life in a big way via radio, television and records. My parents had bought a second-hand radiogram, a big console model with a beautifully veneered cabinet and an automatic turntable. It was a vast improvement on the family's ancient wind-up gramophone. A number of records came with the purchase, mostly old 78 rpm discs but with a few modern 45's scattered amongst them. Some were early Elvis Presley records and others were English 'skiffle' music, the precursor of rock n' roll in the UK. Whilst listening to the console's radio one day, I heard a BBC programme, (hosted, I think, by DJ Johnny Walker), that used a beautiful instrumental recording as its opening and closing theme. It was a single, released on the 'London' record label, by a young American guitarist called Duane Eddy. The track was titled 'Because They're Young.' It was originally composed as the title theme for a movie in which Duane briefly featured with his band, 'The Rebels.' (The film also featured actress Tuesday Weld.) Duane Eddy was cool and handsome, a kind of rock n' roll James Dean. He developed a highly distinctive and original approach to the guitar. Duane played a beautiful Gretsch 6120 electric archtop, (although I wasn't aware of such technical details back then), and, as a result of the sound he created with producer Lee Hazelwood, became known as the 'King Of Twang.' This new and unique sound was achieved by playing the melody mostly on the bass strings of the guitar, which were then amplified and fed through a reverberation chamber, often with the addition of tremolo. I discovered, many years later, that Duane had actually used a Danelectro baritone guitar on this recording, rather than the Gretsch he was so often photographed with. When I first heard 'Because They're Young' on the radio, I had no idea who was playing the piece, all that I was aware of was a beautiful, deep, shimmering sound, offset to great effect by an orchestral string arrangement courtesy of Lee Hazelwood, the record's producer. But this sweet little tune, played so perfectly by Duane Eddy, was the spark that lit the fire under me, the one record that inspired all my consequent guitar dreams. Not long after, I caught some flu virus or other and was allowed to stay at home to recuperate, rather than go to school. Resting in bed, I asked my mother to switch the radio on so that I could listen to 'Because They're Young' at it's usual broadcast time. She evidently realised my delight in hearing this piece of music and somehow made a note of its title and the name of the artist performing it. The next day she went into Wakefield and purchased the 45 rpm single for me in the hope of cheering me up and encouraging my recuperation. I was ecstatic about being given the single and asked for it to be played over and over on the radiogram which stood majestically in a corner of the living room. I vividly recall laying on my bed, the sound of Duane's guitar floating through from the front room, echoing across the narrow hallway of 28 Conistone Crescent, and into my bedroom. Somehow, it was as if the future had finally come knocking at my door. The B-side of the single was titled 'Rebel Walk.' This was a supremely moody piece, a kind of beatnik, 'film-noir' theme, based around a haunting, simple riff augmented by wordless backing vocals in a kind of 'Jordinairs' (Elvis Presley's backing vocalists), style. I enjoyed this piece just as much as the 'A' side. Looking back on this, 50 years later here in the 21st Century, I now realise that I had found my life-changing 'eureka' moment, the sort of moment we are never able to never forget, a moment to appreciate forever, and, yes, to feel genuinely grateful for. If I had to sum it up in one single word, it would be: 'Magic.' Actually, I still have the original 'Because They're Young' single in my possession and treasure it greatly. Owning that record inspired me to attempt to play 'Because They're Young' on my recently acquired Zenith guitar, but I only got as far as the opening few bars of the main melody. The size of the real guitar's neck was much bigger than the toy guitar that I had been more familiar with, and the steel strings were much thicker and cut into the ends of my fingers. I was temporarily discouraged but it didn't diminish my passion for the sound of the instrument. Or the look of the thing. In fact, the visual appeal of the guitar was very important to me. Not long after getting the single, I discovered a photograph of Duane Eddy in one of my mother's magazines and was impressed by how sharp he looked and how 'sci-fi' his Gretsch electric guitar appeared with it's shiny pickups and mysterious controls. I made a life-sized copy of this guitar from a flat piece of cardboard which I cut to the appropriate shape and then painted, gluing it to a piece of wood to represent the neck. (The wood was appropriated from a child's painting easel I'd had for a few years. It was the first time that I sacrificed the visual arts to music!) To emulate the controls of the guitar, I glued old shirt buttons onto the cardboard body, totally unaware of the function of these controls on the real thing. Once my non-playing facsimile was complete, I would stand in front of my bedroom mirror and mime to Duane's record, throwing the appropriate shapes, as observed from his publicity photographs." Ok, dear diary readers...I'm not going to give away any more of my autobiography here...but the above brief excerpt should give you an idea of the impact that Duane had on the life of an eleven year old schoolboy living in a council estate flat in Wakefield, fifty years ago. Fifty years ago? Wow.... And THAT'S the amazing thing. I've held onto my original 'Because They're Young' single and kept it close to my heart, (and all that it symbolised), for fifty years. I guess that the unassuming young guitar player who recorded that track had no idea of the power it contained, the ripples that radiated out from his far away American reverb tank, out across the world, to a skinny schoolboy here in Yorkshire. As an eleven year old kid, I would sometimes dream about meeting Duane Eddy and, in these dreams, I'd ask him about guitar playing and he'd pass on a secret technique or two. But if anyone had said to me, "one day, fifty years from now, you will personally present Duane with an award recognising him as an icon of rock n' roll." Well, I would have thought that they were crazy. But, it seems, magic happens. (Well, I of all people, should know that!) Something about the award ceremony itself now: The three days before travelling to London were excruciatingly stressful. I hardly slept, worrying about what to say, about my appearance, my clothes, worrying about every single thing to the point of feeling physically sick and ill with it all. I tried to keep as much of this trepidation to myself as possible but it leaked out in even the most mundane tasks around the house. Emiko was not able to travel with me to London to attend the Mojo awards. She had been given an important and prestigious freelance floral design commission which required her to work long hours thoughout the week if she was to prepare all the complex arrangements for her client. At first, I thought that I wouldn't be able to face the stress of the Mojo event without her by my side. I am not naturally gregarious in social situations and my nerves often betray me. Emiko has the quiet charm and ease that I lack, and her gentle presence is a great asset whenever I have to socialise in such circumstances. Don't misunderstand, I'm fine and dandy around people who I've had the opportunity to get to know and trust, but the superficial celebrity charm that seems to work for other people often evades me. Anyway, I called my friend Paul Gilby and asked him if he'd be at all interested in accompanying me to the event to lend a little moral support. Paul, very encouragingly, said he'd be honoured to do so and I felt a little less anxious about the whole thing. However, once the day arrived, my nerves kicked in again...even more excruciatingly than before. I was shaking at York station, shaking on the train to London and trembling like a daisy as I changed at the hotel before being whisked off in a limo to the event itself. All I could do was think of the alternative, which would have been to stay at home and later regret not accepting this wonderful opportunity to say 'thank you' to my first ever guitar hero. I HAD to do this, for Duane and for myself. First little miracle of the evening came when the limo arrived to pick me up to take me to the event. As I walked out of the hotel door, there in front of me, (actually with his back to me), was a person I thought I knew. He turned his face, ever so slightly, to speak to someone standing next to him. The resultant half-glimpsed profile was instantly recognisable to me. It was Peter Hammill, an artist who I'd toured with many, many years previously during the early days of Be Bop Deluxe. I probably don't need to introduce readers of this diary to Peter's extensive and highly respected work as a singer-songwriter and founder member of the band 'Van der Graaf Generator.' He is a unique and very special artist who anyone interested in music as an art form should be aware of. (And shame on you if you're not.) Peter has chosen to plough the same deep furrow as all those artists who are driven by something other than the lure of the corn market. In short, he's the genuine article. The first ever tour Be Bop Deluxe undertook as a support act was with Peter Hammill, on one of his solo concert tours. I remember it with great fondness. Peter treated us kindly and sympathetically. We landed our contract with EMI records during the course of that tour and Peter seemed genuinely overjoyed for us. To celebrate our signing, Peter bought a bottle of Polish White Spirit for us...(a fierce alcoholic drink with pyrotechnic capabilities). I remember a drop or two of it being poured onto a wooden bench in the dressing room of a venue on that tour. And a match being set to it...It caught fire in a whoosh of incandescent energy. We were lucky...the entire building could have burned to the ground, such was the drink's potency. Rocket fuel in a bottle. We each, (this was the original line-up of the band), had a sip from the bottle...but it was far too fierce and strong a medicine for us. Remarkably, the band's drummer, Nicholas Chatterton-Dew, seemed able to handle it without the top of his head coming off in a cloud of fire and brimstone. What a guy! Towards the end of the tour, Peter gave me a copy of a book of his lyrics and poetry that had recently been published. In the first pages of the book he drew a little caricature of me and signed it. I still have that book and treasure it, along with the now distant memories of that first Be Bop Deluxe tour. So, meeting Peter again, after all these years, was a very happy experience for me. But, back to the Mojo Honours List awards: There was a red carpet awaiting at the venue. And a line up of press photographers. A kind of modest Hollywood Oscar moment, I thought. I had my photograph taken by the gathered photographers and, despite my trepidation and natural inclination to be dismissive of the importance of such things, I somehow slipped into the grin and bear it mode that was so often required during my Be Bop Deluxe years. "This way Bill...", "Could you look into the camera, Bill?", "Head up a little Bill...", Etc, etc. It wasn't too difficult, just a bit embarrassing. I guess it's that, 'once you've learned to ride a bike' syndrome. All bollocks, of course, but a kind of acceptable bollocks. Most artists just grin and give out what's required of them, no matter how ridiculous they feel or how surreal it all becomes. I suppose we're all flogging our individual horses, dead or alive, according to public perception. Truth is, I don't mind this sort of thing at all really. In fact I almost enjoy it, musician's egos being what they are... Entering the interior of the venue, I mingled with the crowd who had not yet been invited to sit at the circular tables situated before the stage where the actual awards would be given. The stage was designed to resemble an oversized stately home library, or something similar, complete with fake wood panelled wall, a giant fireplace complete with a video fire, (a pair of Gibson Les Paul guitars crossed above it like armorial bearings), and a huge screen and table filled with the actual Mojo award trophies. All very impressive I thought, but also a little overwhelming. Amongst the crowd of celebrities I came across my old pal John Leckie. Ah...here was someone I actually KNEW and could relate to without pretence. John is a dear, dear friend who has always remained the same sweet and lovely person he was back in the '70's when we first worked together. And that despite his fame and success as the producer of many well-known bands during the intervening years. I was relieved and pleased to see him. We'd last met at the 2009 Nelsonica fan convention when John and I gave an on-stage interview about our years of working together. John's also coming up to this year's Nelsonica. I think he really enjoyed himself at last year's event. But there were other familiar faces too: Some I knew personally from other situations, (Mark Powell, Peter Blake, John Foxx, Marc Almond, to name just four), but also people whom I had only previously been able to admire from afar, (Rufus and Martha Wainwright, Richard Thompson, Emmylou Harris, Jimmy Page, Jarvis Cocker, Roy Wood, Wilco Johnson, Mark Mothersbaugh of DEVO, Roger Daltrey, Tony Christie, Richard Hawley and others.) The place seemed to be teeming with pop and rock celebrities. Shame Julian Cope didn't show though...it would have been nice to thank him for the kind words he's written about me on his website. The table at which I was seated was graced by Beth Orton, Alex James from Blur and Andy Gill and Jon King from Gang Of Four. All very nice people. A combination of shyness, nerves and ambient noise from the hall limited my entering into anything other than superficial conversation with my fellow diners, but it was good to be seated amongst them, even though my mind was constantly fretting about the daunting task ahead of me. We were served a three course meal, (vegetable terrine starter, braised lamb main course, then bread n' butter pudding desert). Each table was groaning with its own vast supply of booze: several bottles of wine, a crate of beer, even a bottle of Scotch. I stuck to water, worried that I might become a bit too 'loose' if I drank the wine. It then turned out that the Mojo Icon award was going to be the final presentation of the evening, the culminating event. I would have to sit through all the other presentations before I could do my bit and relax. As the evening went on, my nerves became more and more acute. I watched in envy as each presenter took to the stage and announced the various awards in witty and professional style. How could I compete with such bravado? My nerves leapt up another octave, almost to the realm of 'screech.' Ok...maybe just a half glass of wine wouldn't go amiss. I'd prepared a pre-composed speech which I'd printed out, as a back up, just in case my nerves got the better of me but, as it happened, the format of the presentation was slightly different to what I'd expected and the speech would not have worked in the actual context of the show. A very nice girl, one of the event's staff, came over to our table and explained the drill to me. The format was that I would take the stage, say a few words but not reveal who the award was for. I then had to say, 'and let's have a look at his work' which would cue a short video presentation. At the end of the video, I was then to announce Duane's name, he would come on stage and accept the award from me. Right...(mild panic). It looked like I'd have to wing it, come up with something reasonably spontaneous but loosely based on my original idea. I decided to trust to the moment and play it by ear. I watched the various award trophies being handed over to their recipients by the presenters until there was just one award left. I took a deep breath and began to squeeze my way between the closely packed tables, heading toward the stage. I was expecting the ceremony's host, Mojo editor Phil Alexander, to say something basic along the lines of, "and here's Bill Nelson to present the Mojo Icon award...". But, Phil was very generous and said some quite flattering things about my work, which came as a welcome surprise and gave my confidence a much needed boost. (Thanks for that Phil, it was very kind of you.) I'd got up from my seat a little too soon so stood at the foot of the stage for a few moments until Phil's introduction was concluded...it must have appeared as if I was incredibly eager to get onto the stage but, the truth was, I wasn't expecting such a nice introduction. Finally I was on stage, shook hands with Phil and walked to the microphone. I'd taken my 50 year old copy of 'Because They're Young' on stage with me. I began my short speech with "Some people will try to tell you that records don't change lives..." (Then I held up my Duane Eddy single), "But THIS one changed mine...!" I'm afraid that was all I could remember from my prepared speech, the rest of it I made up as I went along. I can't recall exactly what I said now as the next five minutes or so became a dream-like, near hallucinogenic, blur. I managed to give the cue for the video, (which showed various album sleeves of Duane's whilst a selection of his tracks played,) then said, "Ladies and Gentlemen, please welcome, the legendary King Of Twang, Mr. Duane Eddy!" Then suddenly, walking towards me across the stage was the man whose music had launched an 11 year old boy on a fifty year long journey to here and now. I can't describe how emotional a moment it was. Quite unbelievable! Duane walked right up to me and gave me a big hug and thanked me warmly for my introduction, then took the microphone and spoke to the assembled celebrity audience. He was given a wonderfully enthusiastic reception by everyone. We were then both led backstage where we were to be photographed together, then on to a joint interview for the Mojo website, then a few more photographs. Next came the group photographs with a selection of winners and presenters lined up in three rows. I stood on the back row next to Richard Thompson. Rufus was on the next row down and Duane sat at the front. As I said, it was all a bit of a blur and quite unreal.Duane and I were then asked to sign a Gibson Les Paul guitar that will be auctioned to raise funds for the War Child charity. It's not every day that my signature sits on a guitar alongside the signatures of Duane Eddy, Jimmy Page and Richard Thompson. Another honour that I'll treasure. Duane also offered to sign my original 'Because They're Young' single...which was what I'd hoped he'd do. I plan to frame it along with a photo of Duane and hang it on my studio wall, next to my Les Paul, Hank Marvin and Joe Pass framed photographs. One more nice surprise: Duane and his lovely and thoughtful wife Deed thanked me for all the things I've said about Duane in interviews and on my website over the years. I had no idea that they were aware of me at all so this came as a happy surprise. Duane's wife told me that she supports Duane in the same practical ways that Emiko supports me, so it seems Duane and Deed actually read this diary sometimes. What a thrill to discover that! Duane asked for my 'phone number and we exchanged email addresses. It would be terrific if we could keep in touch and perhaps collaborate on something in the not too distant future. I would definitely be thrilled to create a track for both of us to play on. Oh, I also gave Duane two albums of mine, 'Rosewood Volume 1' and 'Here comes Mr. Mercury.' I'd grabbed them just before setting off to the station to travel to London. I hope they're a good choice for him. With such a large and varied catalogue of music, it's sometimes difficult to know what to choose when I want to introduce someone to my work. None of it follows the usual routes anyway, but these two albums might have one or two tracks on them that a guitar player might enjoy. Next, it was off to the aftershow party. This was held in a little cellar club, just across the road from the awards ceremony venue. The place reminded me of a 'sixties club called 'Cafe Des Artistes' which, all those years ago, used to be in Fulham Road, (I think). I'd visited it in the latter half of the 'sixties when I'd spent a weekend with an art school pal whose parents lived in Hampstead. (And THERE'S another tale to tell in volume 2 of my autobiography!) The aftershow party place however, had a much louder sound system than any 'sixties club. The DJ played some classic music from the past, 'Green Onions' by Booker T and the MG's, and other tracks that evoked a groovy '60's retro atmosphere. Great track choices but it was just a little too loud, and of such an aggressive mid frequency that conversation was nigh on impossible. It would have been nice to have a slightly quieter environment where people could have met without having to literally yell in each other's ears. Nevertheless, it WAS enjoyable to hear some classic tracks and watch several rather attractive girls dance a 21st Century version of the 'Hully Gully' or whatever. I almost joined in but thought better of it...best to hang on to whatever decorum that remains to me as a 61 year old! John Leckie and I shouted into each other's ears for an hour or so and I managed to catch a few words from Mark Powell and a nice guy from the band 'Kasabian.' (At least, I think that's who it was.) I also met a guy from Gibson guitars who was very helpful. I had my photo taken with ace vocalist Tony Christie too. What a very nice chap and looking enviously slim and youthful too. Oh, and I managed to wish Roy Wood well, just as he was about to head back to the hotel. I first met Roy on a Kid Jensen radio show, quite some years ago now. He's another lovely chap...he'd been given a well deserved songwriter award at the Mojo Honours List. I still recall those early Move singles...they were a band I very much enthused about back then. The noise levels eventually got the better of me and Paul and I decided it was time to head back to our hotel in Bloomsbury. A car was summoned, I thanked everyone in sight for allowing me to bestow my first ever guitar hero with the Mojo Icon award, and fell gratefully into the back seat of the car and set off for the hotel, tired and happy. Next morning, I awoke, after little more than three hours sleep, with a very sore throat and an extremely hoarse voice, probably a direct result of the previous evening's aftershow yelling. I met Peter Hamill in the hotel foyer and we exchanged emails and 'phone numbers. Then Paul and I wandered down the street for breakfast, and then to Foyles bookshop so that I could peruse the 'Ray's Jazz' section. Bought a book dealing with English swing bands of the 1930s and '40s. Also a Bill Frisell album titled 'Where In The World' that I'd not previously heard. Whilst in Foyles, I got a call from Richard at Opium on my mobile. He was calling to say that the Mojo site had my 'red carpet' photo' on it. Then it was a taxi ride to Kings Cross and the train journey back to York and home. And a huge sigh of relief. Saturday morning, I helped Emiko to deliver the final part of her important flower commission. She had enlisted a friend of hers to help her on the Friday morning, whilst I was in London. Everything went to plan and her client was overjoyed with the many arrangements that Emi had created for her. I'm so pleased when people recognise the sophistication of her designs. Our new kitchen is now, finally, complete. (Fanfare!) All that remains is to move various items back into it, a task which Emiko and I began this weekend. We've almost concluded that process now and it is so good to have our kitchen back, in much brighter and shinier condition than before. There's more to tell, as always, but this diary entry has taken up more time than I expected. I'm now going to catch up with some recording work. But what an unexpected and much appreciated honour that was. Duane, thank you so much for being so gracious to me. And Mojo magazine...thanks for giving me this once in a lifetime opportunity. All I can say, to end this diary entry is: WOW! ***** The images accompanying this diary are as follows:- 1: Bill and John Leckie at the Mojo Honours 2010 event. 2: Bill and Peter Blake at the Mojo Honours 2010 event. (Note Jarvis Cocker in the background.) 3: Bill and Duane Eddy at the Mojo Honours 2010 event. (Bill holding his original 50 year old 'Because They're Young' single, now signed by Duane.) 4: A close up of the single that Duane signed for Bill. It reads: 'To Bill, thank you so much, Duane Eddy.' 5: Bill with Tony Christie at the Mojo awards aftershow party. 6: The Gibson Les Paul guitar, signed by various guitarists, including Duane and Bill, at the Mojo awards. This guitar will be auctioned to raise funds for the 'War Child' charity. All photographs taken by Paul Gilby with the exception of the close up of the signed 'Because They're Young' single which was taken by Bill Nelson in his home studio. Top of page

Air Age Anthology retrospective 2CD collection - 17 February 1997 Be Bop Deluxe Collections Menu Future Past TRACKS: 1-01) Axe Victim 1-02) Love With The Madman 1-03) Sister Seagull 1-04) Heavenly Homes 1-05) Ships In The Night 1-06) Twilight Capers 1-07) Kiss Of Light 1-08) Crying To The Sky 1-09) Sleep That Burns 1-10) Life In The Air Age (Live) 1-11) Electrical Language 1-12) Panic In The World 1-13) Maid In Heaven 1-14) Between The Worlds 1-15) Blazing Apostles 1-16) Lovers Are Mortal 1-17) Down On Terminal Street 1-18) Darkness (L'immoraliste) TRACKS: 2-01) Adventures In A Yorkshire Landscape 2-02) Night Creatures 2-03) Music In Dreamland 2-04) Jean Cocteau 2-05) Beauty Secrets 2-06) Life In The Air Age 2-07) Speed Of The Wind 2-08) Modern Music 2-09) Dancing In The Moonlight 2-10) Honeymoon On Mars 2-11) Lost In The Neon World 2-12) Dance Of The Uncle Sam Humanoids 2-13) Modern Music (Reprise) 2-14) Fair Exchange (Live) 2-15) Autosexual 2-16) New Mysteries 2-17) Surreal Estate 2-18) Islands Of The Dead 2-19) Visions Of Endless Hopes 2-20) The Bird Charmers Destiny 2-21) The Gold At The End Of My Rainbow NOTES: Air Age Anthology is a double CD compilation offering the new listener a thorough introduction to Be Bop Deluxe. No room was found for any rarities, but three tracks came with previously unheard studio talk (Nelson counting in a couple of tracks, and ending one take with the observation "we'll keep that one"). The set was enhanced by a nicely illustrated booklet with a sleeve notes written by Kevin Cann. PAST RELEASES: 36 of the 39 tracks on this compilation album were taken from the six albums released in the band's lifetime (issued between 1974 and 1978), with the remaining 3 tracks originally released on The Best Of and the Rest Of double album (1978). See individual entries of those albums for full details including vinyl editions of the same material. CURRENT AVAILABILITY: This compilation is now out of print in physical form, but is available to download from online stores. Collections Menu Future Past

Pedalscope Bill Nelson album - 26 June 2014 Albums Menu Future Past Purchase this download TRACKS: 01) Pedalscope One 02) Bicycle Building 03) Dream Cycles One 04) Velorama Pastoral 05) Dream Cycles Two 06) Bumpcycle 07) The Cycle Factory 08) Pleasure Bikes 09) Dream Cycles Three 10) Uphill 11) Downhill 12) Cyclebumps 13) Workcycles 14) Pedalscope Two ALBUM NOTES: Pedalscope is an album of instrumental music issued in a one off print run of 500 copies on the Sonoluxe label. All but 4 tracks on the album were written for the film Velorama (directed by Daisy Asquith), a nostalgic look at cycling, that was being made in celebration of the 2014 Tour de France. Work on the music began in January 2014 with Nelson working without the benefit of the finished film to compose to, and to a very tight deadline. (The film premiered on 28 March 2014.) With the music for the film delivered on time, Nelson then prepared additional material to complete the work on Pedalscope . These appear as tracks 11-14. The soundtrack was released on 26 June 2014 and was sold out on 29 July 2014, but within a week was available as a digital download from Bandcamp. In November the Velorama film was made available on iTunes to purchase digitally. CURRENT AVAILABILITY: Available for purchase as a digital download here in the Dreamsville Store . IF YOU LIKED THIS ALBUM, YOU'LL PROBABLY ENJOY: Picture Post , Map of Dreams , Simplex , Neptune's Galaxy , All That I Remember , Albion Dream Vortex , The Years , Model Village BILL'S THOUGHTS: "Well, today is the day when I can officially reveal the exciting project I'm currently working on: As part of the Tour de France festival, I'm collaborating with BAFTA award nominated documentary film maker Daisy Asquith on a film titled 'VELORAMA'. The film is a celebration of UK bicycling throughout history using rare, historic footage sourced from the British Film Institute and Yorkshire Film Archives. Daisy is editing and assembling this footage and I am composing and recording the soundtrack music. The archive footage will cover various themes such as leisure cycling, cycling to work, wacky uses of bicycles, bicycle building, sport and so on. Some of the footage will go right back to the early 1900's, and all points from then up to now. The project first started last year when various creative teams were competing in a bid to secure funding for a film to be screened as part of the Tour de France event. I was asked to be composer on one of these teams but, at that time, there was no guarantee that we would be awarded the job. However, we did win the bid and the project is now underway." "The music I have made so far is rich and complex. I understand that there will be no spoken narrative so the music needs to be strong and illustrative. I very much like what I've come up with so far and only hope that Daisy will too. I've put in long hours and taken great care over the choice of sounds and tried to pack the music full of potential visual edit points." _____ "Well, part of the brief from the film's director favoured something along Kraftwerk lines...but I have to admit that I wasn't really sure of that approach, mainly because Kraftwerk had already made an album inspired by the Tour de France and, as much as I enjoyed Kraftwerk back in the '70s and early '80s, I harbour no nostalgia for that style...unless quoted as a kind of kitsch homage. However, I did my best to hint at that sort of thing whilst attempting to hold true to tonalities that were a little closer to my own sensibilities. One of my approaches was to combine the techno thing with a hint of the nostalgic British orchestral sounds from the original British Film Institute archive footage which furnished the visual component of the film. Inevitably, whatever one's intentions, and the problem of realising them in the real world, the end result is its own thing and emerges independent of the artist. It's this unexpectedness which makes these projects truly interesting." _____ "You may be surprised but it wasn't me who came up with the title! It certainly seems like something I would have dreamt up, but it came from within the creative team. Lots of different titles were bandied about. I'd suggested calling it Pedalscope and 'When Britain Dreamed of Bicycles' and was trying to put the word 'Velocipede' into a title too. (A Velocipede is a bicycle in olden day language.)" FAN THOUGHTS: BenTucker: "It's a real breath of fresh air, and has a sense of wonder and new directions. I bet the film makers felt like they'd struck the national lottery jackpot, getting music like that for their film." "Bicycle Building": "my favourite at the moment, due to the glorious sound and the multiple directions it takes. Very evocative, quirky, "visually" colorful, Cinematic with capital "C"." G. Vazquez: "It sounds amazing! Like a Kraftwerk's "Tour de France", but played by a human being, with a beating heart inside his chest!" Paul Andrews: "What a jolly soundscape it makes. There's a certain whimsical optimism throughout." felixt1: "I think Pedalscope could well turn out to be one of the gems. It's not Picture Post , it has a different vibe. But it does share a sense of optimism and sunshine. Is that Jan Hammer playing keys on "Bumpcycle"? "Bumpcycle" is awesome!" "Pedalscope definitely has a 'Get up and go' vibe. It’' been a particular pleasure to have it playing, while I work. The sun has even come out again..." alec: "Pleasure Bikes": "It is such a pleasurable journey this track, that it's a film unto itself with shifting light, shifting vistas, shadows of clouds moving across landscapes." Ed: "It's quirky, surprising, inventive, highly hummable, just a touch nostalgic, and I'm sure it's going to be a fine soundtrack to the film, which I aim to watch very soon (thank heavens for YouTube!)." mr manchester: "Pedalsope shot into my personal BN top ten. Reminded me a lot of the sounds heard on albums like Map of Dreams and Chance Encounters (maybe I'm delusional). There are some truly exceptional tracks on this album. I'm not familiar with the titles yet, but there were a few moments that I swear I could hear a Pathe-like voice-over. A very evocative album." damian dale: "The music is wonderful though, and makes me want to pedal to town. Now where did I leave my bicycle pump?" "Thanks for another musical gem, Bill!!" Albums Menu Future Past

Acquitted By Mirrors - Issue Ten - Published July 1984 Back to Top

Auditoria Bill Nelson 3-CD album set - 01 December 2018 Albums Menu Future Past Purchase this download CD1 - These Stars Are Fire 01) What Furnace Is Thy Brain? 02) My Dreamy Life 03) The Latest Delay 04) Icing On The Cake 05) Summer Comes In Colour 06) Raindrops 07) Weatherproof 08) These Stars Are Fire 09) Auraville 10) A Song Of Heart And Mind 11) Bugging Me 12) Contrary Wise 13) Let Me Dream You From Afar 14) Wide Awake/Half Asleep 15) All Hail The Dreamer (Miss Futurama Smiles) CD2 - Mysterium 01) Beyond Yonder 02) When Midnight Falls 03) Forevertron 04) Holy Of Holies (Waiting For The Night) 05) Mysterious Mysterium 06) Orson's Ghost 07) Back Of Beyond 08) Who's That Floating Above The Trees? 09) Mystere 10) Astra 11) Luna Rosa 12) Ghosts Of Ancient Orchestras 13) Only One Blue Moon 14) A Long Time Ago 15) Alone In A Lunar Light CD3 - Plus U ltra 01) Dali's Dream Of Venus 02) March Of The Metaphysicians 03) The Science Of Extraordinary Things 04) In The Neighbourhood Of Normal (My Style Of Writing) 05) Aqua Celeste 06) There Is A Moment 07) Whirlaway 08) From Another Place 09) The Eye Of Heaven Shines 10) In The Land Of Far Beyond 11) Super-Hyper Hocus Locus 12) Waiting For The Midnight Flyer 13) Plectricity 14) Rockers Of The Rosy Cross 15) An Ordinary Man 16) The Last Transmission ALBUM NOTES: Auditoria is a triple album of vocal pieces and instrumental tracks issued on the Sonoluxe label in a limited edition of 500 copies. The Auditoria album was recorded between February and August 2018, and was especially created to tie in with Nelson's 70th birthday event, Plectronica – Bill Nelson at 70, staged at Leeds University Clothworker's Hall on 1 December 2018. The album began life as a single album initially given the title Stylus , but was barely a month into production when it grew into a double album with a revised title These Stars Are Fire . Never one to let his plans remain fixed for too long, Nelson continued recording more material for the album and expanded his plans a second time, resulting in These Stars Are Fire becoming his first triple album (of entirely new material). With over 40 tracks completed for the project Nelson was forced into replacing his trusty drum machine, an Akai MPC 2500, that had served him so well over the past decade or so. As a replacement unit, Nelson invested in a new Akai model, an MPC X. By August, Nelson had accumulated an astonishing 55 new recordings for the project, at which point he was settling on the final track listing and considering how the 3 CD set should be packaged. Not only had the album been expanded into a triple, Nelson also assigned a new title to the work, Auditoria . However, each album within the package would be given individual titles. Disc 1 of the set retained These Stars Are Fire as its title, with disc 2 named Mysterium . Nelson had several alternate titles for disc 3, with his initial choices being either State of Play or This Way or That . Soon both titles were abandoned in favour of Secret Knowledge , only for that title to be replaced with Plus Ultra . The album was mastered by John Spence at Fairview between 29 August and 31 August 2018, although not without a nerve-wrecking incident that threatened to derail the entire mastering session. The frustrating tale involves a jammed DAT tape, a malfunctioning back up disc, and in general - gremlins! For a detailed account of these unexpected hurdles see Nelson's journal entry here . With the album successfully mastered, Nelson then turned his attention to the artwork. Initially he had intended that the album would be housed in a triple fold out digi-pack. But concerns over the costs of that design caused him to re-think, settling instead for 3 individual jewel cases to house each album, all contained within a card slip case. Assembly of the sleeve design fell to Martin Bostock working from images that Nelson had selected in early September 2018. Among the material listed for possible inclusion on Auditoria, but omitted from the final track listing, are a number of currently unused pieces, namely: "The Clock that Tells the Time", "Drifting Through Your Dreams", "The Woman of Tomorrow", "The Driving Force", "Through These Windows Wonder Comes", "Billy's Blues", "My Shadow Cast By Midnight Moon", and "Everycat". It remains to be seen what Nelson does with this surplus material. Auditoria was initially made available exclusively to attendees of the Plectronica – A Celebration of Bill Nelson at 70 birthday event held on 1 December 2018. All copies sold that evening had been signed in advance by Nelson. The remaining 325 copies went on sale through SOS on 3 December 2018 and sold out in less than 24 hours. CURRENT AVAILABILITY: Available for purchase as a digital download here in the Dreamsville Store . BILL'S THOUGHTS: "Feeling very positive about everything on the sessions so far, though I've yet to call a halt and sort through all the finished material to choose the album's final running order. I'm really enjoying the process though and feel completely at one with my guitars which, in their various guises, are providing me with lots of inspiration. The album will cover a lot of the musical territory I've traversed over the years. There's rock, pop-rock, left-field jazz, ambient, experimental, a touch of acoustic, some synth based stuff and plenty of vocals and instrumentals. I intend to mix it all up and not divide the three discs into separate generic categories...a surprise on every track for every listener." _____ "Many of the vocal pieces have surreal, 'stream of consciousness' lyrics that contain their own illogical kind of logic. An example: "The driving force is in the fuse/Eddie sings the 'Summertime Blues'/The square of the hypotenuse is not my style..." And so on... " _____ "The track I remixed [today] is titled "The Science of Extraordinary Things". It's a vocal piece in an almost '70s country waltz style but mutates into a jazzy coda which then mutates again into a kind of abstract sonic assault. A track that, on one level, is quite straight but, on another level, utterly bizarre. Don't know whether to love it or hate it. Emi, it seems, loves it for some reason. Says it reminds her of Be Bop Deluxe. (She hasn't heard the chaotic racket on the end though!)" _____ "It's not a perfectly honed, tightly arranged album. It has many rough edges and spontaneously improvised components, but it is, nevertheless, an interesting amalgam of many facets of my music, a kind of cornucopia of styles...maybe something for everyone?" _____ "It's a very rich feast though...I would recommend that listeners don't attempt to take the entire three discs in in one listening session. Just enjoy one disc at a time, allowing it to sink in. It's one of those albums that will grow with repeated listenings, some of it is easy, some of it challenging, but all of it will be satisfying, over time. " FAN THOUGHTS: Skyrocket : "Loving it! Some very beautiful stuff on all 3! Been listening to it a lot! Fave of the whole set at the moment is CD2, track2, 'When Midnight Falls'...Just beautiful! Too short!" Axe Victim: "Bill never fails to amaze me, and always produces quality albums. Auditoria has been on constantly since I was fortunately able to get a copy at Nelsonica. Beautiful sounds, layers & textures. I have recently had some bad news and this album has been a huge help to me when I've been in the deepest and darkest of places and because of this I will treasure this piece of work/art/music. Thank you Bill." Palladium: " 'Immersive' seems an overused term these days, but I think it applies to Auditoria . Also, after noticing the varied styles, it now seems a very cohesive trilogy to me. I think the packaging helps in that (I was lucky enough to get the physical album) and certainly colours the way I experience the music - in a subtle way at least. I've been listening to it a lot; it really does create a whole universe you want to spend time in to recharge the batteries of poetic sensibility, as it were (and to get away from the more depressing and tedious aspects of everyday living!)." Mr. Curt: "Any amount of Mr. Nelson never seems enough. Single, EP, album, multi-album, MEGA-ALBUM - he's a prolific whiz that will never stop. Bravo, sir!" Albums Menu Future Past

Dazzlebox Bill Nelson double album - 30 April 2021 Albums Menu Future Past Purchase this download DISC ONE TRACKS: 01) Antique Gods 02) Show Home 03) Art Deco Dance 04) Sleepless City 05) In A Streamlined World 06) Reverse Engineering 07) We Run Before The Wind 08) My Amigo 09) Covered In Chrome 10) Our Friends In The Stars 11) The Road To Elsewhere 12) The Clockwork Light Machine 13) Otherworld 14) A Cottage On The Moon 15) Unearthlings DISC TWO TRACKS: 01) Squeaky Toytown 02) Radio Rialto 03) North Yorkshire Moors Rain (For Harold Budd) 04) Blue Spin 05) Venetian Submarines 06) Tweetime 07) Green Tiger In The Gold 08) Selectatone 09) Tremola 10) Experimental Erotica (Scene One) 11) In The Realms Of The Unreal 12) Billy's Blues 13) Footsteps In Rain 14) Spy Vs Spy 15) Experimental Erotica (Scene Two) ALBUM NOTES: Dazzlebox is a double album of instrumental pieces issued on the Sonoluxe label in a limited edition of 1000 copies. The album was recorded throughout 2020 and during January and February 2021. The 30 tracks included on Dazzlebox represent a fraction of the material assembled during the above period. Dazzlebox represents the second Bill Nelson album to be released since the composer moved to his recently established Cubase recording set-up assembled in 2019 and which he began utilising from January 2020. Plans for the album were first announced on the Dreamsville forum on 16 December 2020 when Nelson provided a list of 22 tracks recorded with this album in mind. However, the proposed track listing, revealed on 25 February 2021, included just 16 of the original tracks considered for Dazzlebox alongside 13 new titles included since that initial forum post. For a brief time, Nelson considered delaying the release of Dazzlebox in favour of Phantom Fuzzbox , an album completed back in 2014 which remains unreleased. Within days though, he reverted back to his initial plan to release Dazzlebox as his first album of 2021. However, Nelson was concerned that the material might prove too much to absorb as a double album. Consequently, he revealed an intention to reduce Dazzlebox down to a single album, the unused material being allocated to a separate album called In Tick Tock Land . In spite of these conflicting plans, on 23 February 2021 Nelson confirmed that, in line with his initial intentions, Dazzlebox would indeed be a double album. As the deadline for the mastering session approached Nelson made a couple of late changes bringing the number of featured tracks to 30. Dazzlebox was mastered at Fairview Studios by John Spence on 19 March 2021with artwork created by Martin Bostock working with images selected and manipulated by Nelson. With the UK still dealing with the Coronavirus pandemic any sort of public event to launch Dazzlebox was understandably out of the question and consequently the album received no such fanfare. Pre-orders for the Dazzlebox were announced by Burning Shed on 25 March 2021 with it being released on 30 April 2021. Physical copies of Dazzlebox sold out in November 2025. CURRENT AVAILABILITY: This digital download is available to purchase in the Dreamsville Store . BILL'S THOUGHTS: "Dazzlebox is the second release of recordings made using my relatively new Cubase recording software. It is an instrumental double album with a variety of stylistic twists and turns. The tracks sometimes use 'distressed' drum and percussion sounds, electronic effects and keyboards but always layered with a rainbow of electric guitars. "The thirty tracks presented here provide a rich, sometimes complex listening experience. It will require a patient and attentive ear to fully appreciate, but I hope you will take the time to unlock the music's charms and find much to enjoy." Albums Menu Future Past

Nelsonica 03 Live Archive For the third annual 'Nelsonica' convention, Bill again put his band The Lost Satellites together to perform a one-off gig, held for the second year at 'The Duke of Cumberland' in North Ferriby near Hull. A slightly different line-up from the previous year, as it saw the return of Nick Dew on drums for the first time with Bill since the 'Axe Victim' days. The band rehearsed for just three days and performed 12 songs, including a cover of Fleetwood Mac's 'I Need You Tonight'. The band consisted of... Bill Nelson - Guitars & Voice Nick Dew - Drums Ian Nelson - Saxophone Ian Leese - Bass & Backing Vocals Dave Standeven - Guitar Steve Cook - Keyboards Jon Wallinger - Keyboard & Acoustic Guitar Elle & Elliot Nelson also performed as support act, with their band Honeytone Cody. Here's a few pictures from Martin Bostock...if you have any you would like to add, please get in touch!

2005 2006 2007 2008 2009 2010 2011 2013 William's Study (Diary Of A Hyperdreamer) February 2011 Jan Mar Apr Dec Wednesday 23rd February 2011 -- 4:00 pm Begun:- Tuesday 15th February 2011. Lots going on. Finding a spare moment, (and a long enough one), to bring the diary up to date hasn't been easy. One of the main things occupying my mind has been an invitation to perform on television with my once-in-a-blue-moon 'Gentlemen Rocketeers' band. This was quite unexpected. It's for an ITV series titled 'Legends' which seems to feature bands such as Van Der Graff Generator and Camel and solo artists such as Roy Harper. The idea is that the band or artist performs in front of a select audience of no more than 125 people for a maximum of 90 minutes. Audience members are given a champagne and wine reception and get to attend a meet 'n' greet session with the artist after the show. Apparently, a DVD of the performance will eventually be released and each member of the audience will receive a free copy and have their name listed on the DVD and on the tv credit roll. The tickets, which are sold by the companies who produce the show, are rather expensive, but perhaps this reflects the exclusivity of the event to some degree. Truth be told, despite my ego momentarily waking up from its half-sleep, I almost turned down the opportunity to perform as the production costs to assemble a band and rehearse sufficient material for the show far exceeds the artist's fee. However, if we manage to sell out all the seats to our performance, the tv company have agreed to increase the basic fee to help reduce the shortfall. If we sell out, that is. Otherwise, I'll be substantially out of pocket. Despite the up-market nature of this event, I'm really hoping that fans will support the show and bring their enthusiasm with them. Aside from the financial considerations, the sight of a full house and appreciative faces will go a long way to restoring confidence in myself. I suppose it could be seen by some fans as a mildly 'historic' occasion, particularly as television appearances of your dear diarist are extremely rare these days... Anyway, the show will be filmed 'live' on the 26th of March and will be broadcast later, sometime in June. I would imagine that the DVD will become available even later in the year, or maybe early next year. As for now being officially deemed a 'legend' I suppose I should feel honoured. In my case, however, a wry and somewhat cynical smile crosses my face, accompanied by a quizzically raised eyebrow. I must admit that performing a live television concert focussing, (in the main), on 35 year old songs, at the age of 62, isn't exactly a dream I've secretly harboured, but, hey, what the hell...maybe it will be ok. Just don't expect me to watch myself afterwards, that's all. Horror of horrors. I avoid household mirrors on a regular basis so tv screen images of myself are even more unappealing, especially with the knowledge that what they reveal will travel much further than the four walls of home. Gut instincts aside, I've signed the somewhat old-school contract that the tv company have presented me with, (nine signatures required, no less), and am now trembling with both anticipation and trepidation. Ahead lies the task of re-learning certain songs for the show. We've scheduled five days of rehearsal to tackle this. The band will be a seven piece and we will mostly concentrate on what have, in recent years, become 'classic' concert songs for me, (at least since the Be Bop Deluxe And Beyond Tour of 2004. And, my goodness...even that's already SEVEN years ago!) I'll also try to include a couple of solo pieces as we don't have enough suitable band material to fill the entire show. At least the solo pieces will provide me with an opportunity to present a little taste of the music of more recent years. To say that I'm suffering a certain amount of, well, as I've already said, trepidation about all of this is something of an understatement. For the last few years, the only live performances I've given have been at the Nelsonica fan convention. So, basically, it's been just one show per year. (And even then, only in front of loyal fans who I've become to regard more as family than an actual 'audience.') However, this 'Legends' tag puts a different spin on things, and added pressure to live up to it. Television is a much more intimate and less forgiving medium than Nelsonica's fan convention stage and DVD's of live performances do tend to set everything in aspic. I'm not sure that I'm particularly comfortable, or even physically and psychologically prepared, for such intense scrutiny...but, there's no turning back now. Is it scary? As the late radio DJ, (and Be Bop Deluxe fan), Alan Freeman would have said: "Not half!" (Apologies for the quip...nerves are kicking in already.) Meanwhile, the Cherry Red/Esoteric Records back catalog re-issue program gathers pace. I've spent several days working with Mark Powell of Esoteric Records on the content and sequencing of the epic career retrospective compilation box-set that will officially kick-off the series of re-issues. What started out being a six cd set has now expanded to become a seven cd set. It could quite easily have mutated into an eight cd set too but a wee bit of restraint was perhaps advisable! Anyway, the final running order and track choices have all been decided upon and so it is now down to Cherry Red/Esoteric to secure agreements from the various major labels to license some of the selections that they still control. I've also added a few examples of recordings from the last ten years of my career so that some of my more recent music will be represented too. I was amazed to discover that the tracks the box set will contain covers a period of forty years, beginning with selections taken from the 'Northern Dream' album. Haven't really been counting, just getting on with it, but, that's a LOT of work across a relatively expansive musical territory. Maybe I should call it, 'Time Travel For Beginners,' (even though I've already used that title for a live solo performance piece). Yes, and there's another unsolved problem...I'm still struggling with finding an appropriate title for the box set. Naming an 'ordinary' album is a little easier. Usually, there is a thematic starting point or a specific atmosphere to be evoked, but with a compilation of this size and stylistic/generic variety, coming up with an appropriate title is proving tricky. Most of the titles I've short-listed so far have been abandoned after living with them for a few days. My antennas are still out and awaiting signals but reception is, at the moment, rather poor. Hopefully, they will pick up something soon. In my previous diary entry, I wrote about the Rosewell guitar amplifier that has been built for me by Dave Gascoigne. Dave is now working on what will become a Bill Nelson Signature Model. (Gosh, was that the sound of my ego stirring itself from its ancient sleep again?) The signature amp will be built to the same technical specification as the tweed combo that sits in my studio, (photographs of which appeared in my previous diary entry), but, in this instance, it will feature a cosmetic design more appropriate to what some observers would regard as my signature 'retro-futurist' visual style. The signature combo will sport a two tone burgundy and cream tolex finish and a 'tv' front. Very 'BN' for want of a better description! Dave is still working hard on the amp's design so I haven't as yet seen anything in a finished state, but, as you might imagine, I'm very excited about it. Once we're happy with the prototype, Dave will hand-build these amps individually, as a commercially available item, and each one will carry a metal plaque bearing my hand-written signature. (Not mechanically engraved, mind you, but personally and individually signed with an indelible ink specially formulated for writing on metal.) These will be custom items and quite different from the mass-produced, production-line amplifiers on offer from mainstream companies. On a totally different subject: My nephew Julian, (my late brother Ian's eldest son), and his charming wife Lyndsey, have just been blessed with the arrival of their first child, a daughter who has been named Bethany Anne Nelson. Bethany is my late brother Ian's first grandchild. Had Ian still been with us I know how proud he would have felt. Ian used to rib me about my own grandfather status when my own grandson, (Luke), was born. I regret that Ian isn't here now so that I could return his 'grandfather Bill' witticisms in equally affectionate and brotherly fashion. I deeply miss him and always will. I also know that Julian is profoundly sad that his father isn't here to share in this joyful family moment. But, perhaps he is here in spirit. I'm convinced that the warm-hearted soul of Ian hovers benignly over this happy event. Such things radiate beyond the limitations of flesh and blood. God and Buddha bless and welcome to the world, Bethany. Another shift of gears: Media interviews are being lined up to promote the 'Legends' tv show and the career retrospective box set. I have a 'phone interview on Monday morning for 'Classic Rock' magazine. It's based on the subject of songwriters. Apparently, the idea is that I should choose and talk about a songwriter whose work means something to me. It seems that my initial choices have already been covered by previous interviews in the series so I've had to dig a little deeper. (Probably all the better for that too.) So, my main choice is Hank Williams, and I might also discuss my appreciation of Smokey Robinson's songwriting. I had originally thought of Brian Wilson, Bob Dylan, Joni Mitchell, Tom Waites or Neil Young, but it seems that they have already been taken by other interviewees in the series. (Hmm...maybe a mention of the great and now, sadly, late Captain Beefheart might also be worth sneaking into the picture. 'Blabber And Smoke' from 'The Spotlight Kid' album, is one of my favourite songs of all time, by any artist.) Last night, in a fit of wine-fuelled nostalgia, Emi and I decided to watch the DVD of the excellent 'Tribute To George' concert. This, along with 'The Last Waltz' is, in my opinion, one of the very best rock music concert videos ever made. It serves George Harrison's memory beautifully, a touching and heartfelt tribute to the man by his fellow musicians, many of whom were also George's personal friends. And what fabulous musicianship is on show here. Eric Clapton gave his all to this concert, both in the role of musical director and performer. His devotion to the project is something to treasure. Only a philistine could denigrate the genuine love in evidence throughout. The quality of playing from everyone involved is masterful and deeply heartfelt. It's far too easy for some people to knock the 'old guard' these days but the performances here really set the bar high. A sharp reminder that rock music can have emotional depth and transcendant beauty when written and played by musicians of this calibre and experience. It's a concert that makes me feel proud to have been a rock guitarist, rather than my usual feeling of being embarrassed about my past associations with the genre. Click, buzz, whirr: On the more mundane domestic front: My car's battery is as flat as the proverbial pancake, as is one of its tyres. Haven't driven the thing since before Christmas and my indifference to its condition shows. Emiko's little VW Polo hatchback has served as our chariot of choice for more than two months now, but I really need to get my own vehicle up and running soon as I'll need to travel to and from rehearsals for the tv show, when they begin next month. Also need to decide on which guitars to use on which numbers for the 'Legends' performance. I thought of cutting it back to three or four guitars for practicality's sake but, I suspect that won't be nearly enough. Television, being such a visual medium, may actually benefit from me using several colourful instruments on the programme, rather than adopting a more limited, sensible approach. I do have some beautiful examples and it would be nice to have them make an appearance for posterity's sake. And, as a bonus, they might take the viewer's attention away from the person playing them! As for the two unfinished albums sitting here in the studio...virtually no progress since Christmas. Too many other distractions. It's most unusual for me to not work on the recordings for such a length of time. However, I did fire up the studio last week to try and complete one of the tracks I'd been working on, only to discover that my Yamaha SPX 90 processor has given up the ghost. I suspect it's the internal battery that powers the program memory. It's lasted quite a long time...I bought the unit in the early 1980's and only now has it broken down, despite punishingly intense use over the years. Unfortunately, the battery isn't an easy item to replace. It requires the unit to be fully disconnected from my fx rack and the casing opened up. It's not a common battery either and is in fact soldered or hard-wired into the unit. It requires someone with more experience than myself to remove and replace it. It will have to wait until I have more time and energy to pull the studio gear apart to get at it. Having said that, I'm almost at the point where one of the tracks I've been working on is ready for a final mix. Although the Yamaha SPX 90 is crucial to the vocal sound I get on my recordings, it may well prove worthwhile to try and attempt a mix without using this unit on the vocals and guitar tracks. Over the years I've become reasonably adept at working around various equipment failures and technical shortcomings so...perhaps it might be ok. Time, as always with these things, is the major limiting factor. I do spend rather a lot of time dealing with forum postings on my website, (another daily task I feel duty bound to engage with, and regularly moan about). Also, writing these increasingly lengthy diary entries takes up more time than readers might realise, despite the casual air of my writings. It may well prove more productive to leave such things to themselves for awhile and instead try to advance the 'Model Village' and 'Lampdownlow' albums. (Let alone the long overdue 'Last Of The Neon Cynics' project.) Even though I've decided to abandon 'Nelsonica' this year, it seems that the space vacated by it is already filling up. But, more of that later as things develop. It's said that nature abhors a vacuum...well, yes, apparently so. Another cliché, perhaps...but also a truism. An inevitable gap here in the diary, between one day and another. I've now completed the 'songwriters' interview for 'Classic Rock' magazine. It is now Monday and the Hank Williams piece was conducted by Max Bell. Max, rather like myself, has been a devotee of music for many years. He recalls seeing Be Bop Deluxe on the Cockney Rebel tour in the early '70s. He probably recalls more about that tour than I do. Anyway, it was nice to speak with him. Got involved in a lengthy debate on my website. It's a recurring topic. Nebulous downloads versus CD albums or other physical sound carrier pigeons. As may be evident from these diary entries, I'm a tactile sort of chap. I like to get my hands on stuff, touch and feel it, stack it on my shelves, involve myself in the sensory experience. I need something 'solid' rather than a bit stream sent down my 'phone line. I also prefer the shopping in a store experience to browsing the luminous fishtank of my computer screen. But that's not to say that there aren't times when the musical equivalent of fast food consumption isn't handy. (Though for me, it's not so much handy as it might be for other people.) There is still something sad and unsatisfying about accessing music via downloads, or even streaming. It doesn't engage my heart and soul and feels cheap and commonplace. I'm a sucker for something special and, well, 'physical. 'I also object to being herded like a doe-eyed cow into a future that treats everyone the same, a future that presumes we're all palpitatingly desperate to have the next flavour of the month gizmo in our pocket, regardless of whether it is of any damn use to us or not. There's a great deal of subtle consumer manipulation at work here, sometimes of such psychological sophistication that we find it difficult to resist. Advertising as hypnotism, fashion as Fascism, desires twisted and turned until they squeak like hungry mice in innocent minds already over-stuffed with over-ripe cheese. Whilst I'm in the 'grumpy old man' mood here: 'Smart' 'phones and their associated apps raise yet another cynical eyebrow with me. Kiddie stuff. Sci-fi for beginners. Star-Trek communicators that 'really work'...but communicating what exactly? Facebook? Twitter? Low resolution photographs of drunken partygoers letting it all hang out? Hmmm... 'Smart' 'phones...More like 'dumb' 'phones. But, hypocrite that I am, I actually upgraded to one the other day as my previous basic mobile was well over five years old and about to give up the ghost. Didn't cost me anything to upgrade, of course, other than the price of my capitulation, (which can't be measured in any other terms than those of embarrassment and frustration). But...Hallelujah! I can now access this website from my mobile! The fact that it's a pain in the bum to read the forum without donning spectacles and carting a powerful electron microscope around with me is totally beside the point. At least I can now sit in any bar, train, or restaurant bleeping and pecking and peeking away at a tiny little screen with the rest of the herd. What should I twitter, I wonder? "Just got out of the bath, fed the cats, ate a croissant for breakfast?" Better not go down that route or this diary will be rendered redundant. Only joking, of course. The 'phone may well prove useful in some situations. (But not if I can avoid those situations first.) Bought Jeff Beck's 'Rock N' Roll Party' DVD today. A tribute to Les Paul filmed at The Iridium Club in New York where Les had a weekly residency for several years, right up until his passing. Not watched the DVD yet but will try to find time tonight. I'm looking forward to it. Also bought Neil Young's 'Le Noise' album. Just had a quick first listen and really like the guitar treatments that producer Daniel Lanois created for Neil. It's like an acoustic guitar based singer/songwriter album except that Neil is playing electric and singing without any band. Nice photo', (on the inner sleeve), of Neil playing his big Gretsch 'White Falcon' guitar during the recording of the album at Daniel's LA house. The entire recording sounds wonderfully distorted, delayed and filtered, quite unique in its approach. My favourite track on this first toe-in-the-water listen is titled 'Rumblin.' I continue to feel an affinity with Neil's work and have done so ever since his Buffalo Springfield days. We're driving in two different cars but down similar highways. (And both own and appreciate Gretsch White Falcon guitars.) Browsing guitar web pages the other day, I came across a picture of a beautiful Monteleone archtop guitar. It is loosely based on a famous D'Angelico archtop known as 'The Teardrop' but adds even more flair to that instrument's design. (See pic accompanying this diary entry and also check out www.tgpwebzine.com Not only does it have the D'Angelico Teardrop's lower 'fin' but incorporates a mandolin-like scroll to the upper bout...and a 'german carve' too. If I ever get to build the signature, 'Gentleman Rocketeer' archtop I've been dreaming of for the last few years, I think I'll base its design on this, but with my usual retro-futurist twist, plus a vibrato arm and Charlie Christian-style pickups. And a two-tone grey and buttermilk paint job. The Monteleone is way out of my price bracket though. But very classy. How long is this diary entry? I'm sure I've missed out several things that were meant to be meaningful and interesting. But I've completely forgotten what they were. Mustn't have been important, as my mum used to say when she forgot something or other that she meant to tell me. I've become a 21st Century sort of chap...skating the surface of everything. ***** The images accompanying this diary entry are as follows: 1: 3 black guitars. L to R: Eastwood Saturn 63, Les Paul Custom, D'Angelico NYS33 2: 3 white guitars. L to R: Airline 'Map' guitar, Gretsch White Falcon, Burns Marvin Anniversary. 3: 3 quirky guitars. L to R: Campbell American Nelsonic Transitone, Campbell American Del'Drago 'Rocketship' Nelsonic, Italia Mondial. 4: 3 jazzy guitars. L to R: Peerless Deep Blue Custom, Musima 'Record', Peerless Monarch. 5: Monteleone Teardrop. 6: A flyer for the 'Lampdownlowland' album. (Photography and treatments by Bill Nelson.) Top of page

Dreamsville is the website for Wakefield born guitarist and musician Bill Nelson, formerly of Be Bop Deluxe and Red Noise. Orchestra Futura - Live At Nelsonica & Clothworkers Hall CD and vinyl pre-order details here My Private Cosmos (Disc Five) digital download now available from Bandcamp

Warriors single - 1983 Gary Numan Production/Contribution Menu Future Past BILL: Producer, Guitar and Keyboard. Production/Contribution Menu Future Past

Mick Ronson Memorial Concert live album - 1997 Various Artists Production/Contribution Menu Future Past BILL: Guitar on the seven songs attributed to the Spiders From Mars: "Width Of A Circle", Ziggy Stardust", "Angel No. 9", "Don't Look Down", "Moonage Daydream", "White Light/White Heat" and "Suffragette City". Production/Contribution Menu Future Past

Charade single - 1979 Skids Production/Contribution Menu Future Past BILL: Producer and Keyboards Production/Contribution Menu Future Past

My Secret Studio, Vol. 1 Bill Nelson album box set - December 1995 Albums Menu Future Past CD 1 - Buddha Head: 01) My Philosophy 02) Killing My Desires 03) Buddha Head 04) The Way 05) Big River 06) Karma Kisses 07) We Will Rise 08) Signs And Signals 09) Lotus In The Stream 10) Enlightenment 11) Eternally 12) Duality 13) Perfect World 14) The Heart Has Its Reasons 15) Sun Will Rise 16) The Big Illumination 17) Life As We Know It Purchase this download CD 2 - Electricity Made Us Angels: 01) Begin To Burn 02) Heaven's Happy Hemisphere 03) God In Her Eyes 04) Float Away 05) Big Blue Day 06) Sweet Is The Mystery 07) If Wishes Were Horses 08) Fair Winds And Flying Boats 09) Ocean Over Blue 10) River Of Love 11) This Is Destiny 12) Wonders Never Cease 13) Nothing Yet 14) God Thundered Boy 15) She Sends Me Purchase this download CD 3 - Deep Dream Decoder: 01) Things To Come 02) God Bless Me 03) Rise (Above These Things) 04) Snowing Outside 05) It's All True 06) A Head Full Of Lights And A Hat Full Of Haloes 07) The Girls I've Loved 08) Amazing Things 09) Deep Dream Decoder 10) Dissolve 11) Year 44 (The Birthday Song) 12) Wing And A Prayer 13) Dreamnoise And Angel 14) Tired Eyes 15) Golden Girl 16) The Spark Purchase this download CD 4 - Juke Box For Jet Boy: 01) She's So Extreme 02) On A Train I Never Boarded 03) Sail Away 04) Only Dreaming 05) Swing With The Rhythm Boys 06) The King And Queen Of Now Or Never 07) Hold On To Your Heart 08) Turn Me Over 09) Runaway 10) It' s Always Maybe 11) Dream Up, Billy 12) All You Need To Know 13) Warm And Wonderful 14) A Thing About That 15) No Fool For You 16) Living For Today 17) Birds In Blue Sky Again Purchase this download ALBUM NOTES: My Secret Studio is a 4CD boxed set issued on the Resurgence label, issued as a limited edition of 2000 copies. All 4 albums were compiled from Nelson's archive of previously unreleased recordings made between 1988 and 1992. The tracks were arranged non-chronologically, making it impossible to know for sure when any track was recorded. The album sleeve notes that the recordings were made at The Echo Observatory, Studio Rose Croix, and Tape Recorder Cottage. The 4 albums in the set were efficiently packaged in 2 two double slimline jewel cases housed inside a thick paper slip case, and were accompanied by a set of small cards in a polythene wallet. The package retailed at around £30 and was on catalogue for approximately 8 years before selling out. PAST RELEASES: Unlike previous Bill Nelson box sets, where the individual albums were soon released separately, My Secret Studio was handled slightly differently. The albums Buddha Head , Electricity Made Us Angels and Deep Dream Decoder were granted individual releases in 1997 on a Resurgence off shoot label, Populuxe, with each repackaged into its own jewel case. However, Juke Box For Jet Boy remained exclusive to the set. The 4CD box set was reissued on February 24, 2017, as part of the Esoteric/Cherry Red reissue series. With this version, Cherry Red has separated each disc into its own mini-lp sleeve. The result is a design which is both less cluttered and more appealing. They also took the opportunity to remaster the set, which now boasts better sound than the original Resurgence box and Populuxe issues (both of which used the same master). Although the difference is not considerable, on the whole, the remastering brings more definition and clarity to the sound. CURRENT AVAILABILITY: All albums are available to purchase individually as digital downloads here in the Dreamsville Store . BILL'S THOUGHTS: "For many years now, I've tried to apply what some people might think of as 'painterly techniques' to my music, at least to that aspect of it that lends itself to such techniques, (and sometimes to that which doesn't). "I suppose this involves a non-linear approach, treating sounds as blocks of colour, words as blips and signals, suggestions, rather than specific storytelling. Of course, (inevitably), my ingrained pop-sensibility comes into play, often unbidden, and creates certain recognisable shapes from the apparent formlessness, giving the listener an illusion of a song, even when my original intention is quite the opposite. "The music has a mutant form, perhaps, or, to employ painterly terms, it's a nebulous mix of expressionism and pop-art. But I strive not to become too po-faced or precious about it. (An arty-fartist is not an artist). I try to quash such self-indulgent pretensions as soon as they raise their ugly head. ('Though I sometimes allow them to peep above the parapet so that they can be shot down with the chuckling gatling gun of self-deprecation). "At the end of the day, it's all about a search for a unique and personal voice, one that expresses my life and inner experience as authentically and appropriately as possible. Whether it's considered by others to be rubbish or genius is besides the point. It's not about competing in the rock/pop music marketplace, or hitting certain technical/athletic 'muso' standards...it's simply about a very personal take on life itself, with all its trivia, magic and mystery." _____ "The 'ambient' things, the 'rock' things, the 'pop' things don't exist as separate, discreet entities in my creative heart, they're just facets of one, personal, unchanging musical expression. I personally regard all these categorisations as outward manifestations of a single interior vision, rather than some kind of split-personality or any desire to appear 'multi-talented'. And I've never really abandoned anything, it's all still there...the guitars, the pre-occupations, the same world-view...I've not 'gone ambient' or 'gone rock' as if changing my spots. I guess it's not the form that's important, it's the inner content, the motivation, the 'soul' that sets it reeling. The musical garment I've woven over all these years, from Northern Dream to now, constitutes a single, seamless piece of material. Study it closely from top to bottom, going beneath the immediate surface and you'll see what I mean. It's a single organic piece of work, rather than a linear, chronological series of dislocated cuttings. Just thought I'd point these things out as they are very much a part of the philosophy than provides the foundation of everything I do in creative terms. It's all one continuous song, sung over a lifetime. It's the only song I know." FAN THOUGHTS: swampboy: "After listening to all 4 discs multiple times, I fell in love with this set. The whole thing has a warm, intimate feel to it that also radiates joy, hope and compassion. There are a few dark moments here and there, but for the most part is positive and uplifting, lyrically and musically. I'm glad that Bill never got the chance to translate these song into a band setting. The sense of warmth and intimacy may have been lost with a band. What we get with this set is raw Bill, at his most vulnerable and hopeful. An intimate evening with Bill. Highly recommended! This set will be re-issued by Cherry Red sometime in the future. Miss it at your own loss!" wadcorp: Deep Dream Decoder : "What's really amazing is what an understated yet complex collection of tunes this is. Bill's vocals are laid-back, but wrestling with universal issues & emotions. Nothing is "downer" in any way. There is a continual focus on the positive here. And it goes without saying, that the guitar & instrumentation is spot-on throughout." Phil_Graham: Which of Bill's albums would you take on an island: "The box set of My Secret Studio Vol 1 . Mr N seemed to have found himself in fine form with ideas to spare on that collection, and it's the one I return to the most." tommaso: " MSS1 is among the most perfectly constructed of Bill's 'archive' releases. It's a shame that Juke Box for Jet Boy is so rare, as I think it's the best of the four! "Swing with the Rhythm Boys" is one of my favourite Nelson tracks ever; nothing better to wake up after a long night out. But Buddha Head also has very, very beautiful tracks, think of "Big River" or "Lotus in the Stream". And somehow these lyrics say much more to me than the later songs about rocketships and satellites... " Juke Box for Jet Boy was never released individually, but incidentally I find it the best of the four! Some real stand-out tracks on it like "A Train I Never Boarded", and the extremely catchy "Swing with the Rhythm Boys", but it has a wonderful flow to it that never ceases and in my view not a single weak track." Westdeep: "One of my favourite Nelson ditties is relatively rare as it's on Juke Box for Jet Boy . "Hold On to Your Heart" is worth the price of the box set alone. 2:16 of pure magic and some wonderful vocals. MSS 1 and 2 are both wonderful slices of BN and worthy of your attention though radically different. Buy them if you see them." BenTucker: "Is it really as long ago as 1995 that this was released? Scary how time goes by so quickly. Such great songs - lost none of their resonance over time. "Heaven's Happy Hemisphere" is still a favourite of mine. And also "Perfect World", "Wonders Never Cease"...and several others..." sneakypete: " My Secret Studio really opened my eyes. I personally think it is Bill's greatest work and still listen to it to this day." Marshall: " MSS Vol. 1 is one of my absolute favorite chunks of Nelsonica... MSS 1 yields rich rewards with prolonged exposure. The warm, dense mix beautifully complements the vulnerability of the lyrics and the singing...On MSS the songs are intricately constructed and fully fleshed, while the portrait I glean throughout is of a man coming out of a funk and reclaiming his confidence and his muse. That moment, on "Begin to Burn," where he shyly asks, "May I play my guitar for you?", and then rips out this searing lead - that's where Nelson returns after some (again, for me) lost years in the ambient haze. And he hasn't let up since.” Kalamazoo Kid: "I like the original 4-disc Secret Studio quite a bit. For me, it fills out a pretty distinct episode in the story - which also includes Luminous , Blue Moons , and (off to one side) Demonstrations of Affection . This is the period when Nelson took up "pop" song writing again in earnest, moving quickly from (IMHO) a rather creaky start around '87 to a whole lot of classic songs. "And this is where Nelson honed the low-key narrative-voice vocal style that would soon deliver the excellent beat-poet-derived lyrics of the techno-fied shiny spaceship period ( Practically Wired , After the Satellite , Secret Studio 2 , Atom Shop , Noise Candy )." Albums Menu Future Past

Silvertone Fountains Bill Nelson album - 16 June 2008 Albums Menu Future Past Purchase this download TRACKS: 01) Beauty Rides The Last Bus Home 02) The Fabulous Whirlygig Of Now 03) Autumn Drowns Apples In Golden Tides 04) Silvertone Fountains 05) La Vie Moderne 06) Slow Clouds 07) Happy In My Helicopter Hat 08) December Waltz 09) The World Sleeps Late On New Year's Day 10) Young Dreams, Whirled Away 11) Spearmint And Moonbeams 12) We Vanish At Shadowfall 13) The Bells Of Villefranche 14) Fish Are Dancing In The Fountain Of Dreams 15) Shower Of Sparks ALBUM NOTES: Silvertone Fountains is an instrumental album issued on the Sonoluxe label in a single print run of 1000 copies. The album was recorded as the first part of a trilogy of complementary releases, the associated albums being Illuminated at Dusk (issued concurrently with Silvertone Fountains ) and Mazda Kaleidoscope . Work on the album effectively stretches back to mid-2007 when Nelson was developing an album project called Frankie Ukelele and the Fire in the Lake . Before that album had been fully realised much of the completed, material was transferred to what became the And We Fell into a Dream album, with the residual material initially retained for a revised Frankie Ukulele album. Around the time of Nelsonica '07 , Nelson re-thought his plans and abandoned the Frankie Ukulele concept altogether and shifted his attention towards a new album called Silvertone Fountains , which initially contained a mixture of both new material as well as tracks slated for inclusion on Frankie Ukelele and the Fire in the Lake . Nelson revealed in a diary entry dated 4 December 2007 that he had prepared a CDR of the new compositions ear-marked for this album which he distributed to members of the Nelsonica team. In the event though just 2 tracks included on that early draft version of Silvertone Fountains would make it to the finished album, with all but one track ("The Lost Art of Doing Nothing") distributed among four other future album releases, namely Illuminated at Dusk , Clocks and Dials , The Dream Transmission Pavilion and Here Comes Mr Mercury . In January 2008 Nelson produced another album's worth of guitar instrumentals that would signal completion of both Silvertone Fountains and Illuminated at Dusk , the track listings for which were simultaneously confirmed in February 2008. 2008 was clearly an important year for Nelson who would celebrate his 60th birthday in December, and each album issued that year would bear a special 60th birthday insignia in recognition of this fact. The year would see Nelson issue a total of 5 distinct albums in a period of around 7 months, making it as prolific a year as 2004. It would set a standard that, more often than not, would be matched in future years. Silvertone Fountains sold out in January 2019. CURRENT AVAILABILITY: Available for purchase as a digital download here in the Dreamsville Store . BILL'S THOUGHTS: "Each album is designed to bring its own distinctive colour to the trilogy. My original concept involved listening to the albums in a fixed order...Which is as follows: Silvertone , then Illuminated , followed by Mazda . "Silvertone sets out the stall, as it were, introducing a calm and contemplative note in the listener but also hinting at things to come on the companion albums. It is a quite intense album in some ways, exploring various corners of my work in an introspective fashion, though there are light-hearted moments too. The tracks should not be judged by only hearing the first minute or so of each track in 'channel-hopping' fashion though. The pieces sometimes go through quite dramatic changes within each composition, often ending up in a different musical space from the one in which they started. (For instance: "Young Love Whirled Away" begins as a melancholy, other-worldly waltz, then mutates into a brief 'ambient noise' interlude before plunging enthusiastically into a hot 'jump-jive' barnstorming guitar section.) "It's important to hear each piece in its entirety. This album requires complete, concentrated listening...rather than a skimming through the intros of each track to seek something instantly appealing. It will reward the listener who appreciates subtleties, detail and cross-references to other styles of music. It's also quite an emotional album for me, containing much tenderness, as well as careful thought." _____ "I was listening avidly to the great jazz guitarists long before I became a professional player with Be Bop Deluxe and I've always 'had a thing' about the sound and feel of a traditional archtop acoustic-electric guitar. My recent instrumental music fuses these long-time jazz leanings with rock, avant and ambient tendencies...it's not 'fusion' music but something beyond that, something personal. "The recently released instrumental albums, Silvertone Fountains and Illuminated At Dusk , provide particular examples of this approach. The guitar playing on them mixes more traditional, rich and luxurious jazz guitar sounds with bright n' shiny rock n' roll tones. (The former from my Peerless 'Monarch', the latter courtesy of my Campbell 'Nelsonic Transitone' signature solid-body guitar and my Eastwood/Airline retro-styled instruments.) I've always derived a perverse pleasure from playing games with musical expectations, whether those expectations are mine or my audience's." _____ Bill's Listening Suggestion of the Day: "A track with a sort of 'split' personality today: "Young Dreams Whirled Away", an instrumental from the Silvertone Fountains album. The track opens with a short blast of weird amusement arcade bleeps and buzzes before turning into a light, jazzy waltz with arpeggio guitar chords and a clean, reverb-tinted and echo-delayed Space Guitar solo, improvising over the previously mentioned chord changes...a contrapuntal feel to this section...then a short but ambiguous, floating, almost ambient bridge into section number two: A fast, tricky, almost '50s Be Bop jazz meets '70s funk guitar jam with harmony lead guitar overdubs and a sound that brings to my mind the idea of a non-existent album titled 'Les Paul on the Moon'. This is one of my favourite guitar recordings from my albums, though it was quite demanding to record. Play it nice and loud to get the full effect!" _____ "The album's title comes partly from the old 'Silvertone' guitar company of America. Think of it as a fountain of shining, silver strings." FAN THOUGHTS: BenTucker: "On Silvertone Fountains , the track, "Autumn Drowns Apples in Golden Tides", alone is worth the price of admission. That's followed by the sublime title track. That's enough beauty to last the whole day, but you're still only at track 4! An absolute must-buy." Holer: "This is a lush, exciting, thrilling sonic experience, and reaffirms why I am such a fan of Bill's work and have been for so many years." Peter: "The standouts for me so far are "Happy in My Helicopter Hat" and "Young Dreams, Whirled Away" which is heartbreakingly beautiful. Oh...and Bill, your guitar playing has never been more wonderful. Thank you." Andre: "The song "Silvertone Fountains", so sensual, followed by "La Vie Moderne' with its changes and moooods...This has got to be at the top of the list of the best Bill Nelson music, of all eras." chromiumlad: "It's like sipping from a tall glass of lemonade while lounging in a hammock on a warm breezy day. I love Bill's playing! "Young Dreams, Whirled Away" is incredible!" Swan: " "Young Dreams Whirled Away": Could go on forever as far as I'm concerned!" Mr. Mercury: "I can't recommend Silvertone Fountains enough. It's one of my favourites." noggin: "I have listened to both new albums [ Silvertone Fountains and Illuminated at Dusk ] several times now, and I have to say I'm very impressed. At this early stage, Silvertone is my pick of the two, but this could change. I struggled with And We Fell Into a Dream at first but play it often now. On a different note, I find it remarkable that 33 years! after purchasing my first Bill Nelson recording ( Futurama ) I still feel that same sense of anticipation and excitement whenever I hear a new album as I did way back then. I can't think of any other musician/artist that has had that affect on me. It must be quite an achievement to have maintained a career in such a fickle industry for so long, particularly as an independent artist, and it's a great tribute to Bill's abilities and creativity that he's still around." Space Buddha No1: "I guess what really keeps me listening is the sense of being called along on a journey I don't really understand. I listen to a vast amount of different musics all the time but always return to discover this one obsessive journey into creativity. It's sometimes tempting to try and imagine a linear narrative connecting all the ideas but it's also clear that it's a futile game. Side paths, loops and eddy currents are all part of the flow. I guess I launched my own boat into the stream of the Nelson oeuvre after hearing "Do You Dream in Colour?" and "Revolt Into Style" back to back and became fascinated with the juxtaposition and continuity. These latest two [ Silvertone Fountains and Illuminated at Dusk ] just push me further into discovery." Kalamazoo Kid: "He's doing everything right musically. I'd burn my entire Be Bop and Red Noise collection before I'd part with Silvertone Fountains ." Albums Menu Future Past

Simplex Bill Nelson album - November 1990 Albums Menu Future Past Purchase this download TRACKS: 01) Awakening 02) Almost Unchanging 03) Bittersweet 04) Ringing True 05) Celestial East 06) Some Distant Time 07) The Profaned Sanctuary Of The Human Heart 08) Forms In Open Spaces 09) Raindrum 10) Female Form 11) Archetypes 12) Solid Spaces 13) Abstracted 14) Heptarchia 15) Climbing 16) Waiting For Rain 17) Aqua Magica 18) Summer Shower 19) Hammertheme 20) The Cloud Of Unknowing 21) Bending A Knee At The Altar Of Sacrifice 22) A Parting Of The Ways 23) Bronze 24) To Jan From The Shining Stars 25) Arrangement Of Roses 26) Likewise Is Said Elsewhere 27) Child Of The Dream 28) The Enclosed Garden 29) The Christmas Gift 30) Heros De Lumiere 31) Your Morning Blessing Digital download version bonus tracks: 32) Wondering Why? 33) The Celestial Steam Locomotive 34) That's The World 35) Bliss And Abyss 36) True North ALBUM NOTES: Simplex is an instrumental album initially issued on Cocteau Records by Nelson's then manager Mark Rye, without the artist's permission. This period of Nelson's career was mired in managerial misdemeanours, which was not helped by the unstable relationship that existed between the artist and Mark Rye at the time. Nelson also had the distraction of a failing marriage to contend with. Nelson had previously mentioned the Simplex album within the pages of Acquitted by Mirrors as a future project, and it had even been assigned a US catalogue number as part of the Enigma series of reissues (released just ahead of that record label's collapse). One track from the album even appeared on the US Enigma compilation The Strangest Things : A Collection of Recordings 1979-89, but the full album release never came to fruition. Simplex 's first appearance occurred in late 1990 when Mark Rye apparently took it upon himself to press up approximately 1000 copies of the CD, and offered a copy to each of the 295 members of The Cocteau Club in lieu of issue 16 of Acquitted By Mirrors . The magazine and Club EPs had appeared with decreasing regularity since 1986. Surplus copies of the CD were eventually released to UK high street record shops, most likely resulting from further business dealings centring around Mark Rye's activities. Nelson has stated on a number of occasions that none of this activity was done with his knowledge or approval. PAST RELEASES: Simplex was finally given an official release in 2000 (with redesigned artwork) when issued on the Toneswoon label. Sadly, even this release of 500 copies appears to have not directed the due royalties to the artist. The album was deleted in this form sometime around 2004. Simplex was then reissued in 2012 in a third sleeve design as part of the Esoteric/Cocteau Discs series of releases. Although this album is out of print as a physical CD, it is available as a digital download via major online retailers. CURRENT AVAILABILITY: In June 2025, Simplex was released as a digital download. This specially extended version contains five previously unreleased bonus tracks which were selected from material gathered from the original recording sessions. Available for purchase as a digital download here in the Dreamsville Store . BILL'S THOUGHTS: "Simplex contains only a fraction of the music I made for the film ['Henry Moore and Landscape']. Simplex isn't meant to be a soundtrack album as such, the vast majority of the music on the album was created quite separately from the film's soundtrack and has no real connection with the documentary. However, the recordings were made in a similar frame of mind and could be said to be in the same short-form, minimalist style." _____ " 'Short form' or 'miniature pieces' can be very beautiful, simply because of their brevity and directness...kind of musical 'haikus'. (A Haiku is a very short Japanese zen poem). I made an entire album of these musical haikus once...it's called Simplex and contains lots of tracks but each one is relatively brief. For those of you who don't know this album, it's well worth checking out. One of my own favourite projects from the past." _____ "Part of their charm is that they were recorded using very basic, (and by today's standards, primitive), technology. The Trial By Intimacy box set and Chance Encounters in the Garden of Lights are particular favourites of mine from that period and point towards my more recent keyboard based adventures. Simplex is another favourite of mine from that time. "Like all forms of artistic self-expression, music grows and develops along with the artist's personal development. Those albums paved the way for many of my more recent recordings, albums such as Theatre of Falling Leaves , Gleaming Without Lights , Mazda Kaleidoscope and Non Stop Mystery Action . (To give just a few examples). The Signals From Realms of Light album, (to be released later this year), also has its roots in that sort of thing. So, the core attitudes and concepts behind those early instrumental albums is still influencing my work but expressing itself in increasingly sophisticated ways and using a richer pallette of tonal colours." ALBUM REVIEWS: Review by Dmitry M. Epstein FAN THOUGHTS: alec: "What a top-flite collection!! Whether you're locked into specific era(s) of Bill or if you're like me and you hear Bill's oeuvre as one great era, Simplex is essential! It revives the weary and leaves room for deep dreaming and contemplation. It is like pure water for a parched throat. Two thumbs up." ianthomas37: "What a wonderful album, this has gatecrashed my top five." Debtworker: "Simplex is a really beautiful CD, full of ambient sounds that are in the same vein as Chance Encounters in the Garden of Lights - a must have for any serious fan of Bill. You will not regret buying Simplex , it's one of my favourite CDs." paul.smith: "In my opinion Simplex is one of those albums which proves the point that sometimes 'less is more' - an album which conjures up great atmospheres and 'landscapes of the mind' as they say - love it." felixt1: "Absolutely brilliant! Bill, your more ambient works like this are for me, pretty much as good as it gets... Genius." Palladium: "Simplex is off-the-scale sublime in my opinion. An essential album." Alan Cawthorne: "How Bill got some of those sounds from his keyboards at the time is beyond me. Some sound manipulation. It just goes on and on and on. No fillers whatso...Masterpieces." BenTucker: " 'Awakening' (first track) would get my vote for most evocative piece of music under 2 minutes long ever recorded. Other remarkable pieces: 'Archetypes', 'Summer Shower' (and many others - the album is full of them)." swampboy: "This is an album that needs to be heard on a good stereo system or headphones. It contains many details and nuances that might go un-noticed if you were to try to listen to it in your car (I tried) or on a mediocre system. This album made me feel like I was wandering through a different place with each piece. I got distinct impressions of large spaces like caverns and cathedrals, rolling hills and outdoors imagery, and many other images, that are strangely, all in black and white. I wish I could see the images that Bill attached these pieces to, as to see his original intention. I'm glad that I took the chance and got this album. It evokes feelings and imagery that seem to change with each listen. I think that I am going to enjoy this album for a long time to come." Albums Menu Future Past

Home Studio Recording Home Studio Recording was a UK monthly music magazine which reviewed equipment and interviewed musicians about how they recorded their music. Editor Ian Gilby travelled to Yorkshire to interview Bill in his home studio which was called The Echo Observatory. The interview was probably the most in-depth any musician had given the magazine, running to some nine full pages, and provides a wonderful insight into what equipment Bill was using at the time. In 1984 Bill's trusted Fostex B16 was at the leading edge of multi-track home recording technology and was used to record many albums over the years. When the time came to 'retire' the ageing analogue gear and acquire a Mackie digital system, Bill sold off many items from his studio and Ian was fortunate to purchase the B16 which he still owns today. Also seen pictured in the studio at the time is a Sony PCM F1 stereo digital recorder. In the interview Bill mentions how he had given up mastering onto his 2-track Revox and was now using this new 'digital technology'. By the early 1990s the PCM was broken and many album's worth of material lay in the studio on digital tape inaccessible for years to come. Then around 2005 a second-hand machine was located and purchased with the help of fans. The tapes were transferred to CDr and as of 2012, Bill is now in the process of re-mastering these archive recordings for selective release under the series title 'These Tapes Rewind'. The first album in the series is 'Return To Tomorrow'. The interview was published in two parts in the HSR Dec 1984 & Jan 1985 issues. Click to download the PDFs below (or right-click and save). Part 1 Part 2

Trial By Intimacy (The Book Of Splendours) album box set - 25 January 1985 Bill Nelson Albums Menu Future Past The Summer Of God's Piano: 01) Antennae Two 02) Transmission (N.B.C. 97293) 03) The Sleep Of Hollywood 04) The Celestial Bridegroom 05) Under The Red Arch 06) Orient Pearl 07) Sacrament 08) Falling Blossoms 09) The Difficulty Of Being 10) Zanoni 11) The Chinese Nightingale 12) Tantra 13) Soon September (Another Enchantment) 14) Rural Shires 15) Perfidio Incanto 16) The Lost Years 17) The Charm Of Transit 18) Night Thoughts (Twilight Radio) 19) Wysteria 20) Swing 21) Snowfall 22) Realm Of Dusk 23) Over Ocean Purchase this download Chamber Of Dreams: 01) The Blazing Memory Of Innuendo 02) Into The Luminous Future 03) A Dip In The Swimming Pool Reactor 04) Tomorrowland (The Threshold Of 1947) 05) Listening To Lizards 06) Endless Torsion 07) My Sublime Perversion 08) Eros In Autumn 09) Sleeplessness 10) The Latest Skyline 11) Train Of Thought 12) Parks And Fountains, Clouds And Trees 13) The Golden Bough 14) Forever Orpheus 15) In Arcadia 16) Sentimental 17) Autumn Fires 18) Wild Blue Yonder Pavilions Of The Heart And Soul: 01) Gift Of The August Tide 02) Loving Tongues 03) Blue Nude 04) In The Realm Of Bells 05) Your Nebulous Smile 06) The Glance Of A Glittering Stranger 07) Another Kiss For Your Slender Neck 08) The Warmth Of Women's Eyes 09) Seduction (Ritual With Roses) 10) Dreamed Embraces 11) Herself With Her Shadow 12) The Exquisite Corpse 13) Ardent Hands 14) Her Laughing Torso 15) Migrating Angels 16) Les Amoureux 17) Meshes Of The Afternoon 18) Mountains Of The Heart 19) Willow Silk 20) Tender Encounters (States Of Grace) 21) Melancholia 22) The Eternal Female Purchase this download Purchase this download A Catalogue Of Obsessions: 01) Sex Party Six 02) Wider Windows For The Walls Of The World 03) Time In Tokyo 04) Happily Addicted To You 05) Snakes With Wings 06) The Boy Pilots Of Bangkok 07) Erotikon 08) Birds In Two Hemispheres 09) Windmills In A World Without Wind 10) Love's First Kiss 11) Initiation Of The Heart's Desire 12) Edge Of Tears 13) Test Of Affection 14) Words Across Tables 15) A Promise Of Perfume 16) This Dangerous Age 17) The Glass Breakfast 18) Talk Technique 19) The Last Summer For Dancing 20) View From A Balcony Purchase this download ALBUM NOTES: Trial By Intimacy was initially issued as a 4 LP boxed set, limited to 5000 copies, containing four previously unreleased instrumental albums, a set of 8 postcards, and a book of Nelson's photography entitled, The Arcane Eye . The 4 LP set was originally to be called Sensoria , and was to have included Sounding the Ritual Echo rather than The Summer of God's Piano . But as the album was nearing completion, Nelson switched the 1981 album for a brand new collection, reissuing Sounding the Ritual Echo separately later in 1985, but in artwork that complemented the 4 albums housed in Trial By Intimacy . All copies of the vinyl box featured an unfortunate typo in the subtitle (The Book Splendours). PAST RELEASES: After the box had sold out, albums 1) and 2) were re-issued separately on vinyl (Cocteau 1986). Although some discographies list 3) and 4) as having separate vinyl releases (1989), (it was reportedly announced in the press), this seems to have not happened. CD versions of all 4 albums did appear around that time both in the UK (Cocteau) and in the US (Enigma). Any vinyl copies of albums 3) and 4) seen for sale as separate items have almost certainly been liberated from the 1985 box set! Trial By Intimacy was remastered and reissued on CD in 2012 as a miniature version of the original box set. For this release Esoteric did a particularly fine job in packaging the reissue in a compact version of the original box that housed the vinyl release. CURRENT AVAILABILITY: All four albums from this box set are available individually for purchase as digital downloads here in the Dreamsville Store . SAMPLES: "Sleeplessness": "features the voice of Sir Compton MacKenzie, advertising Horlicks in the early days of British commercial television." - Bill BILL'S THOUGHTS: "I have often found a painter's sketchbook and his finished work to be of equal interest. Despite their apparent lack of sophistication, sketches invariably posses a simplicity and freshness encapsulating all the essential qualities of an idea. It is with this promise in mind that I release Trial By Intimacy , a musical sketchbook of instrumental moods captured during many private moments over the last few years. "Although recorded on 'low-tech' domestic equipment, these eighty-three pieces of music are not to be confused with 'demo-tapes' but as a continuation of the process begun in 1979-1980 with my Sounding the Ritual Echo album. The set is presented unpolished and complete with all its technical deformities for which I offer no apology. Despite or perhaps because of this, these previously unreleased pieces have become very dear to my heart. "Intuition, spontaneity and the high disregard for error correction were the only rules adhered to during the recording process (Laziness sometimes possessing its own virtue). Each piece of music was dealt with as an infant deals with building-blocks and instinct was always given precedence over reason. "A great deal of time has been spent editing the material into the four albums contained here although there are as yet another forty or so pieces not represented. I acknowledge the difficulties presented to the listener by such a large volume of music and can only suggest that listening should not be rushed in any way. Time and patience will, I hope unveil the innocent charm of what for me has been both a labour of love and a personal exorcism." - Bill Nelson, Oct '84. [from the liner notes] _____ "These were all recorded on very simple equipment, (which is all I had at the time), hence the 'home hobbyist' sound. They were created over a few months, rather than years, if my memory serves me. As always, the titles play an important role in how I intend the music to be heard. They set up a context, an anticipation and an imaginary or real environment for the music to unfold in. My favourites of the set are probably The Summer of God's Piano and Pavilions of the Heart and Soul . What listeners may not realise is that some of the pieces on those two albums were composed to reflect my initial (and deeply emotional), entanglement with Emiko, a long time, (nine years or more), before we were finally able to hook up together as man and wife. Our fleeting but deeply felt love affair in the early '80's inspired a great deal of music, much of which served to encode our relationship in metaphor and mystery. Because of the relationship's covert nature, instrumentals were often more appropriate than lyrics, (which may have been too revealing). But "Les Amoureux" is a particular example of that inspiration, though there are many others. In fact, I sent Emi copies of the recordings to Tokyo, on cassette, some time prior to them being released in the box set. So there's a great deal of longing, melancholy and romance embodied in those two particular 'favourite' albums." _____ "It was an interesting period of my life and I devoted a lot of time to collecting and reading books on occult philosophy, magical practices, mystical secret societies, Alchemy, Rosicrucianism, Martinism, Gnosticism, The Golden Dawn and obscure branches of esoteric Freemasonry. I have retained most of these books, some of them quite rare. "I also became involved in a Rosicrucian Chapter in Leeds in which I eventually served for one year as Master of the Chapter. I was initiated into a French Freemasonic Lodge in London and into a French Martinist Order, (which also had a UK branch in London). I brought almost as much energy and passion to these pursuits as I did to my music and the 'journey' I undertook helped shape some of the music I made at that time...particularly Sounding the Ritual Echo , Trial by Intimacy and Chance Encounters in the Garden of Lights . "I was involved with such things in a practical sense throughout the 1980's although I'd begun researching these subjects back in the early 70's." _____ "I was originally planning to call the 4 album set 'Sensoria'...but, before I got to the artwork and manufacturing stage, Sheffield's 'Cabaret Voltaire' came out with something bearing the same title...so I switched it to Trial By Intimacy (The Book of Splendours)." FAN THOUGHTS: twilight_radio: "The Trial By Intimacy recordings were singularly responsible for my BN obsession..." "I got a hold of the Trial By Intimacy box set and was blown away by the Bill's massive wealth of creativity - not only in the music he individually conceived, played, and recorded, but also by the collages and drawings that accompanied the vinyls." Parsongs: "Trial By Intimacy was and is WAY ahead of the curve. These CDs are often on my player, and they are enjoyed and treasured like the jewels that they are." "I loved the charming simplicity of the Cocteau years, the way Bill would start with a blank slate and build up songs one sound and idea at a time. For a lot of synthesists, when keyboards became polyphonic, they lost some of the simple creativity of creating a piece one mono track (with a monophonic synth) at a time." Waspy: "I got hooked on Bill's early instrumental work. It had (and still has!) a very idiosyncratic charm. I'll always have a soft spot for it. In spite of being generated by electronic instruments, it has so much warmth. Very..."painterly" I suppose one could say. I think there is a lot of playfulness and humour too in the use of vocal samples, and even just in the track titles. Some pieces are so evocative in the mental images they conjure; I'd always dream up little video clips in my head while listening. Luddite that I am, I still prefer the old analogue sounds..." BobK: "Trial By Intimacy was a defining moment in my musical listening career. "At the time I was in awe that an individual could produce 4CD's worth of such interesting and gorgeous instrumentals in such a variety of styles. Whilst an admirer of others who ploughed a similar furrow, this was way ahead of them. I still think this collection is one of the most impressive achievements in BN's career." "This has always been one of my favourite collections. Certainly one of BN's 'Essential Purchases'. The music, the box, the cards, the song titles...everything is so damn perfect!" stormboy: "Bill's early electronic albums? I love 'em. I mean, really, really love 'em. Summer of God's Piano , Pavilions of the Heart and Soul , La Belle et La Bete , Chance Encounters , all that period. I think Bill was massively underrated as a synth player/pioneer. It's been said before that he was one of the musicians that paved the way for modern artists such as Aphex Twin, Fourtet, Boards of Canada, the Ghost Box Artists, etc." tommaso: "Actually, this box set was largely responsible for me becoming a fan of Bill's music way back in the 80's; it was the first of his solo instrumental work I heard after getting to know of him via David Sylvian's 'Gone to Earth'. I was absolutely struck by the variety, sheer inventiveness and poetry of the music, which sounded like nothing else (and actually, nothing else in Bill's later work sounded like Trial ). The visual part of it is also absolutely beautiful, the 'art direction' and the various references in the titles and on the covers subsequently led me to discover artists like Cocteau or Man Ray, for which I will be eternally grateful... "So I guess, a lot of personal memory in my admiration, but it's a fabulous set of recordings...Well, probably it's just nostalgia (or conservatism), but it's Bill's music from the 80's that appeals most to me, although I love Satellite Songs and Sailor Bill ..." Kalamazoo Kid: "This set of four albums was huge for me when it came out. Vast, varied, packaged beautifully (the box, the black, the bonus items), crammed with evocative song titles, and unlike anything I had heard before. I judge Trial to be the high water mark for the instrumental approach that began with Ritual Echo and ended with Map of Dreams ." felixt1: "An absolutely fantastic collection of predominantly electronic music, I am really impressed and somewhat blown away by how much Bill's music continues to delight and surprise me... "Overall, Pavilions of the Heart and Soul is so far, the stand-out set from the collection for me - "Gift of the August Tide" being my latest obsession. "But as a complete set Trial By Intimacy (The Book of Splendours) is an absolutely essential work, not only in terms of sheer musical enjoyment, but in terms of further understanding how Bill has progressed as a musician, composer and producer. You can hear even on this technologically limited recording, hints of the rich, layered music that we enjoy from Sonoluxe nowadays but even more importantly, I think this collection beautifully demonstrates the sheer depth of Bill's compositional skills and his sheer talent as a musician (bearing in mind that his guitar playing hardly registers throughout). And all with no formal training. Astounding!" Boat to Forever: "What I really like about the instrumental albums of that period - Ritual Echo , Trial By Intimacy , Chance Encounters - is the strange, ethereal and completely unique sound of those records. A kind of other worldly quality that is only enhanced by the low-fi and basic production of the albums." thunk: "I still have never heard (or seen) anything quite as unique as Trial By Intimacy ... "I spotted it in my local record emporium, this deep intriguing 'box', hiding in-between various other vinyl offerings, yet simply drawing my attention through its presence - the artwork very dark & grainy, against-the-grain of the other 'shouty' record covers. I had to delve further to peruse the contents of this strange & enchanting package...The sprawling list of tracks with the most evocative titles suggested a further mystique within. Just out of reach as out of pocket I had some saving to do!! Would it still be there when I returned? To my joy I cobbled my coins together within days and returned to the store to see it ready & waiting. "To me, this was an uncovering of a potential treasure-trove of Nelsonic magic! And to this day it remains so...locked in that 'wonder-moment' of its time, refreshing memories of when & where the music made its impact on life's twists & turns...It's obviously made a big impact on many other Nelsonians too!" "Its undeniable charm lies in the stark & beautifully simplistic keyboard touches, the unfussy synthetic rhythms, intriguing voice cut-ups, and a much-appreciated 'understated' approach to guitar-work...And all wrapped-up in sensuous artwork like no other." tom fritz: "I flipped when i found the original vinyl box. Still love it today & always seem to come back to it. Many of my friends have enjoyed it, as well. Another example of how Bill takes something on a small level & elevates it. Old vintage equipment, a little creativity & a man in a musical sand box. "Boys with toys", as it were. Now 30 years on we're celebrating this effort again...& again. Keep smiling your Buddha smile. Cheers" wonder toy: "Would listen to that music for hours and hours. I like the drum machine programing from that period, nice and primitive in technology and technique and the warm analogue synthie bits. Those sounds, combined with the tape loop parts and 'found object' approach to sound recording, really opened my eyes as a youngster. Instantly, a whole lot of music became obsolete to me." "It will change your life. You will stand back in awe. For real. One of the most amazing musical achievements ever released to the public." Scooter59: "As both a collection of music and a piece of art, Trial By Intimacy has always been an important part of my library. I am so happy to see what an outstanding job Esoteric have done with the reissue, even down to the postcards." chriz1976: "The little box set replicates the original vinyl version and includes the book and postcards. It is simply a lovely item to hold. "However, the music contained in the box outperforms the packaging. The instrumentals BN were producing at the time were lo-fi. Regardless of the technology you can hear BN's musical thoughts clearly and expressively. "I am eagerly awaiting the release of the previous instrumental albums to the box set: Ritual Echo ; La Belle and Das Kabinett ." JMH: "Allow me to mention that listening to Pavilions ...is the aural equivalent of taking a bite out of the proverbial "Fruit of the Tree..." Once you hear this album you will stand in wonder on how you got along in life without it. (Hmm, was that a bit too much praise??...No, I do not think so). Do not hesitate to acquire this set." mark smith: "This brilliant box set in vinyl was my first purchase of Mr Nelson and is still one of the few things I would put in my treasure chest (if I had one). Even owning the CD versions already will not stop me from purchasing them again all over again so hearing them being made available in remastered form has made my day. Do yourselves a favor and check these stunning sketches from the master!" BenTucker: "[The reissue] looks superb. I'm envious of those who'll be having the experience of hearing it the first time. The music is unique and accessible - it conveys mystery & wonder, often extremely haunting and moving. The recording set-up may have been minimalist, but the effect on the listener is anything but." Albums Menu Future Past

Tripping the Light Fantastic Bill Nelson live album - 5 September 2017 Albums Menu Future Past Purchase this download TRACKS: 01) Introduction 02) Hypnos 03) Luxeodeon 04) Golden Dream Of Circus Horses 05) Gloria Mundae 06) Mars Welcomes Careful Drivers 07) If I Were The Pilot Of Your Perfect Cloud 08) The Awakening Of Dr Dream 09) Beyond These Clouds, The Sweetest Dream 10) I Always Knew You Would Find Me 11) The Raindrop Collector 12) Beatniks From Outer Space ALBUM NOTES: Tripping the Light Fantastic is a live album of guitar instrumentals released on the Sonoluxe label in a limited print run of 500 copies, with a simultaneous download release via Nelson’s Bandcamp page. The album was first mentioned on the Dreamsville Forum on 14 June 2017, and released on 5 September 2017 . The album was recorded at the New Northern Dream album launch held at The Cloth Workers' Hall, Leeds, in October 2016. Nelson's full set performed that night is featured on the album. On 15 September 2017 it was announced on the Dreamsville Forum that the album had sold out. CURRENT AVAILABILITY: Though out of print as a physical release , Tripping the Light Fantastic is available for purchase as a digital download here in the Dreamsville Store . BILL'S THOUGHTS: "Tripping The Light Fantastic is only the second live album I've ever officially released. The first was Be Bop Deluxe's Live In The Air Age album, way back in the distant 1970's. A great deal of 'time saturated' water has flowed under all our rickety bridges since then, but this new live album captures a brief moment in that same flow of time. "Sensibilities change, both on the part of the audience, and also every artist worthy of the term 'artist' over the years, but I'm very happy to say that my audience has grown with my own development and peculiar sensibilities throughout the years. This isn't music from then, but music from 'now,' (though the now is always in flux and shifting, as am I.) "So, it is to those loyal, enthusiastic, brilliant listeners that I dedicate this album." _____ "One of the things that might throw some extra light on the live album is that I was very unwell at the time of its recording. I was suffering from a nasty 'flu virus which had threatened to cancel the event. But, there was no way, short of being totally bed-ridden, that I could do such a thing, so I forged ahead and hoped for the best. And that is why my voice might sound a little nasal, and also why, at the conclusion to the performance, I said that I'd managed to get through it without falling over. Those of you who were not there, (and some of you who were), might not grasp the meaning of that pronouncement, or my impaired voice quality. It was a bit of a struggle but the adrenalin rush helped me through it..." FAN THOUGHTS: Peter: "Oh, boy....what a treat. I have had the pleasure of seeing Bill perform in this format (with backing recordings) on a handful of occasions, and found this very much an accurate capturing of the experience. This is a wonderful selection of songs, all superbly performed. I was struck while listening by how amazing Bill's playing is...in far too many instances, seeing a musician live reveals shortcomings that the studio can hide...but Bill sounds as amazing live as he does in recordings. Thank you SO much for releasing this one, Bill." Returningman: "Hypnos": "This was a spine-tingling start to a magical hour of music." "Just love live recordings and this one is a stunner. Many thanks Bill." market: "Eeeeeee lad it's flippin' great... Wish I'd been there... At least I can listen..." RMD: "Another great offering from Bill - a genuine "live" album. My favourite track is "The Awakening of Dr Dream" - sublime playing even by Bill's standards." Big Dunc: "A truly magnificent masterpiece... Mars, welcomes careful drivers = Superb." Merikan1: "Just arrived. I am halfway thru first listen. It sounds amazing. Thanks for this one Bill." Captain Custard: "This is bloody brilliant Bill, yet another fantastic gift to us." alec: "Listening often to this. The production is quite robust and satisfying at loud volume through earbuds or through big, proper headphones." Albums Menu Future Past