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Acquitted By Mirrors - Issue Seven - Published September 1983 Back to Top

Drastic Plastic Be Bop Deluxe album - 10 February 1978 Albums Menu Future Past Purchase this box-set TRACKS: 01) Electrical Language 02) New Precision 03) New Mysteries 04) Surreal Estate 05) Love In Flames 06) Panic In The World 07) Dangerous Stranger 08) Superenigmatix 09) Visions Of Endless Hopes 10) Possession 11) Islands Of The Dead ALBUM NOTES: Drastic Plastic is the sixth and final album by BeBop Deluxe, and was recorded using the Rolling Stones Mobile Unit on location in Juan le Pins in Southern France during May and June 1977. The album was stylistically a departure from their past work and signalled a transition in Nelson's work to a more electronic approach, closer to New Wave music than 70s Rock. As a result, some fans found this change difficult to fully accept. Drastic Plastic was the fourth Be Bop Deluxe album in succession to feature the now established line up of Bill Nelson, Simon Fox, Charlie Tumahai and Andy Clarke. The album appeared on vinyl and cassette, and was promoted by the release of two singles "Panic in the World" and "Electrical Language". Like their two previous singles, both of these failed to chart. Vinyl copies were released in a single sleeve, and the record was housed in an inner sleeve featuring lyrics to all songs. In North America the album appeared with a slightly revised track listing, with the track "Visions of Endless Hope" replaced with the UK only single, "Japan". Canadian collectors were treated to a limited edition white vinyl edition. When reissued on CD in 1991, EMI elected to enhance the album by adding 3 bonus tracks, although they represent a mixed bag in the context of this album and the reissue programme as a whole. "Blimps" in chronological terms belongs with Sunburst Finish , and "Lights" with Futurama , leaving just "Lovers Are Mortal" as the only appropriate inclusion. If you no longer kept your vinyl copy of Futurama , but require song lyrics, then this CD edition satisfies that need. The informative sleeve notes penned by Kevin Cann provide useful context. In April 2017 Cherry Red and E soteric R ecordings , who, since 2011, have done so much to raise the profile of Bill Nelson's solo recordings from the period 1980 to 2002, acquired the rights to release the Be Bop Deluxe and Red Noise material issued between 1973 and 1979. While this resulted in the deletion of existing physical editions, Cherry Red kept Drastic Plastic on catalogue from 1 June 2017 via the usual download sites such as Amazon and iTunes while an expanded edition was prepared for a 2021 physical release. On 21 February 2021 Drastic Plastic became the fifth Be Bop Deluxe album to be issued as a Deluxe Edition comprising: a freshly remastered version of the original album. a 2021 remix of the full album. 9 bonus studio recordings comprising of single edits. unreleased tracks and material that later appeared on the 'Best Of And The Rest Of' retrospective compilation. previously released live 'BBC In Concert' recorded for Radio. 4 recordings from a 1978 John Peel session. a bonus CD of previously unreleased Bill Nelson demos. the original album presented in a 5.1 mix. Bill Nelson's previously released 'Be Bop In The South Of France' video. the BBC TV 'Sight And Sound In Concert' appearance from 19th January 1978. The album is presented in a triple fold out digi-pack and contains a 68 page booklet with an essay penned by Bill Nelson, previously unseen photographs from the period, postcards and a replica poster. A 2CD edition of the album is also being released at the same time as the Deluxe Edition which will also replace the standard download edition. The full track listing for the Deluxe Edition is: Disc One: 1. Electrical Language 2. New Precision 3. New Mysteries 4. Surreal Estate 5. Love In Flames 6. Panic In The World 7. Dangerous Stranger 8. Superenigmatix (Lethal Appliances For The Home With Everything) 9. Visions Of Endless Hopes 10. Possession 11. Islands Of The Dead 12. Japan 13. Futurist Manifesto 14. Panic In The World (Single Edit) 15. Blue As A Jewel 16. Electrical Language (Single Version) 17. Love In Flames (Single Version) 18. Face In The Rain 19. Islands Of The Dead (Take Four) 20. The Saxophonist (Juan Les Pins Version) Disc Two: 1. Autosexual 2. Lovers Are Mortal 3. Blimps 4. Speed Of The Wind 5. Quest Of Harvest For The Stars 6. New Precision (BBC In Concert 1978) 7. Superenigmatix (BBC In Concert 1978) 8. Possession (BBC In Concert 1978) 9. Dangerous Stranger (BBC In Concert 1978) 10. Islands Of The Dead (BBC In Concert 1978) 11. Panic In The World (BBC In Concert 1978) 12. Lovers Are Mortal (BBC In Concert 1978) 13. Love In Flames (BBC In Concert 1978) 14. Blazing Apostles (BBC In Concert 1978) 15. Superenigmatix (John Peel Session 1978) 16. Possession (John Peel Session 1978) 17. Panic In The World (John Peel Session 1978) 18. Love In Flames (John Peel Session 1978) Disc Three: 1. Electrical Language (New Stereo Mix) 2. New Precision (New Stereo Mix) 3. New Mysteries (New Stereo Mix) 4. Surreal Estate (New Stereo Mix) 5. Love In Flames (New Stereo Mix) 6. Panic In The World (New Stereo Mix) 7. Dangerous Stranger (New Stereo Mix) 8. Superenigmatix (Lethal Appliances For The Home With Everything) (New Stereo Mix) 9. Visions Of Endless Hopes (New Stereo Mix) 10. Possession (New Stereo Mix) 11. Islands Of The Dead (New Stereo Mix) 12. Japan (New Stereo Mix) 13. Futurist Manifesto (New Stereo Mix) 14. Blue As A Jewel (New Stereo Mix) 15. Autosexual (New Stereo Mix) 16. Face In The Rain (New Stereo Mix) 17. Lovers Are Mortal (New Stereo Mix) 18. Speed Of The Wind (New Stereo Mix) 19. Quest For The Harvest Of The Stars (New Stereo Mix) Disc Four: 1. Speed Of The Wind (Bill Nelson Demo 1977) 2. Surreal Estate (Bill Nelson Demo 1977) 3. The Saxophonist (Bill Nelson Demo 1977) 4. Electrical Language (Bill Nelson Demo 1977) 5. Visions Of Endless Hopes (Bill Nelson Demo 1977) 6. Possession (Bill Nelson Demo 1977) 7. Islands Of The Dead (Bill Nelson Demo 1977) 8. New Mysteries (Bill Nelson Demo 1977) 9. Japan (Bill Nelson Demo 1977) 10. Dangerous Stranger (Bill Nelson Demo 1977) 11. Blue As A Jewel (Bill Nelson Demo 1977) 12. Autosexual (Bill Nelson Demo 1977) 13. Quest For The Harvest Of The Stars (Bill Nelson Demo 1977) 14. New Precision (Bill Nelson Demo 1977) 15. Love In Flames (Bill Nelson Demo 1977) Disc Five: 1. Electrical Language (5.1 Surround Mix) 2. New Precision (5.1 Surround Mix) 3. New Mysteries (5.1 Surround Mix) 4. Surreal Estate (5.1 Surround Mix) 5. Love In Flames (5.1 Surround Mix) 6. Panic In The World (5.1 Surround Mix) 7. Dangerous Stranger (5.1 Surround Mix) 8. Superenigmatix (Lethal Appliances For The Home With Everything) (5.1 Surround Mix) 9. Visions Of Endless Hopes (5.1 Surround Mix) 10. Possession (5.1 Surround Mix) 11. Islands Of The Dead (5.1 Surround Mix) 12. Japan (5.1 Surround Mix) 13. Futurist Manifesto (5.1 Surround Mix) 14. Blue As A Jewel (5.1 Surround Mix) 15. Autosexual (5.1 Surround Mix) 16. Face In The Rain (5.1 Surround Mix) 17. Lovers Are Mortal (5.1 Surround Mix) 18. Speed Of The Wind (5.1 Surround Mix) 19. Quest For The Harvest Of The Stars (5.1 Surround Mix) Disc Six: Video Content: 'Be Bop Deluxe In The South Of France' - Bill Nelson's Home Movies Filmed Whilst Recording 'Drastic Plastic' BBC TV 'Sight & Sound In Concert' 19th January 1978 1. New Precision (BBC TV Sight & Sound In Concert) 2. Superenigmatix (BBC TV Sight & Sound In Concert) 3. Possession (BBC TV Sight & Sound In Concert) 4. Dangerous Stranger (BBC TV Sight & Sound In Concert) 5. Islands Of The Dead (BBC TV Sight & Sound In Concert) 6. Lovers Are Mortal (BBC TV Sight & Sound In Concert) 7. Panic In The World (BBC TV Sight & Sound In Concert) CURRENT AVAILABILITY: This 6-Disc box set is available to purchase in the Dreamsville Store . BILL'S THOUGHTS: "I came up with that TV heads image way back in the 1970s, before even some of you good folks might even have been old enough to notice. "It eventually was photographed for the '70s album, Drastic Plastic , (by 'Sleazy' of Throbbing Gristle), and was originally intended for a front cover, but sadly got relegated to the back cover due to Hipgnosis, (the favoured designers at EMI back then), who supposedly had a 'better' front cover image showing paint being thrown over an artificial kitchen. Well, what the heck this ever had to do with the musical concept of the album still escapes me and it is one of those record company decisions that simply baffles...But there you go...Art, in the hands of the infidel, turns to banality." _____ "Getting my first Mini-Moog was exciting because previously you would have had to invest in a bulky and very expensive modular system. The Mini-Moog brought the possibility of synthesis to a much wider range of musicians, myself included. And I wanted to break away from being stereotyped as a 'guitar hero' at that time, but mainly liked the added textures that the Moog brought to the songs." _____ "Several of the tracks on Drastic Plastic feature drum tape loops rather than 'live' playing. Basically, we recorded a few bars of Simon playing the basic beat, then mixed it to a reel of stereo tape whilst feeding it through a guitar fuzz box and compressor, then we'd cut the tape so that it contained just a couple of bars of drums, then joined the ends of the tape together so that it formed a physical tape loop and then ran this 'round and 'round, on constant repeat, copying it back to the multitrack, adding gated reverb to make it more explosive. The band then played to the tape loop rather than to a live kit. Thinking about it now, it was like an early, primitive, version of 'sampling'. The idea was to get a repetitive, neo-mechanical, machine drum feel to the rhythm, rather than the usual rock approach. The home demos I made for the album have a very similar feel and we often spent time in the studio trying to re-create the groove of those demos." _____ "Visions of Endless Hope": "from Drastic Plastic has birdsong and wind sound...but it's all live in real time, as the guitar parts were recorded in the open-air in the garden of 'Villa St George' in Juan Les Pins in the South Of France. Every bird cheep and breezy tree shimmer was picked up by a ring of microphones as I played the Ovation 12-string guitar whilst sitting in the middle of the villa's garden." ALBUM REVIEWS: Review on JP's Music Blog Review on Goldmine Review on AnneCarlini.com YouTube review by Pete Pardo Review on Daily Vault Review on Spill Magazine Review by Dmitry M. Epstein Review on Music Street Journal Review on Immersive Audio Album FAN THOUGHTS: peterc62: "When I first played Drastic Plastic and heard the song "Electrical Language". I thought WTF is this? I grew to love the track and wished there was more pure electronica like it on the album. Although I suspect Simon Fox would have been a bit hacked off not playing a real kit." Michael: "I remember back in 1978 my friend's older brother, who was the first person I ever knew with Be Bop Deluxe records, thought you had lost it with Drastic Plastic . I thought it was the best thing I'd ever heard! Perhaps that was the first but far from the last time you challenged your fanbase." Andre: "I have to say, living in this insane planet, that I bought Drastic Plastic when it was first released and I loved every song on first hearing. It is ALL hit potential...in a sane world." paul.smith: "After absorbing Drastic Plastic in early '78 I remember considering what the next development would bring...tracks like "Possession" and "Superenigmatix" were so not of the previous, and kind of gave a hint of things to come, albeit in hindsight as we now know." andygeorge: "Who would have thought that "Electrical Language" from Drastic Plastic was about people communicating via 'electronic devices' and not talking face to face?...Ring any bells with today's norm of texting and emails?...and Bill predicted this over 30 years ago!" Ian Nelson (from Music In Dreamland by Paul Sutton Reeves): "There are phrases in the English language which, if not entirely original, have passed unobtrusively into common usage after being coined by Bill. How often do you see the term 'Drastic Plastic' used as a strap line for an album review?" Jon Wallinger: "I first heard Be Bop Deluxe as I walked/cycled around the village I grew up in (and live in once again). You could pretty much hear them all around the village as they rehearsed in an old war memorial building that served as a village hall. We used to stand on our bikes to spy through the windows, then when we got a bit braver, we'd sneak into the hall to watch from the back. This will have been rehearsals for the Drastic Plastic tour as I can distinctly remember them rehearsing 'Panic In The World'. How bizarre that 30 years later, I was in a band with Bill Nelson playing some of those very same songs!!!" Albums Menu Future Past

The Dreamer's Companion Volume Two retrospective collection - 13 January 2014 Collections Menu Future Past Bill Nelson Purchase this download TRACKS: 01) Superadventure (Sound On Sound) (Arcadian Salon) 02) Once More Around The Moon (Monitor Mix) (Dream Transmission Pavilion) 03) Never A Dull Day (For Les Paul) (Here Comes Mr Mercury) 04) Everything Changes With The Weather (Fantasmatron) 05) Neil Young (Captain Future's Psychotronic Circus) 06) Pilgrim (Gleaming Without Lights) 07) Mystery Vortex (Oberon Touchstone) (Clocks And Dials) 08) The Darcy Bussell Rubberwear Fantasia (Theatre Of Falling Leaves) 09) Clocks Wind Slow (Clocks And Dials) 10) Young Dreams Whirled Away (Silvertone Fountains) 11) Merry Are The Windblown Crows (Model Village) 12) Steam Radio Blues (Return To Jazz Of Lights) 13) The Sky, The Sea, The Moon And Me (Alchemical Adventures Of Sailor Bill) 14) Wonder Of The Moment (Luxury Lodge) ALBUM NOTES: The Dreamer's Companion is a three volume series of compilation albums designed to introduce both new and lapsed fans to Nelson's recordings from the 21st Century. These are significant in that they represent the point where Nelson embraced the notion of downloading as a way of generating additional interest in his music. Prior to their announcement in August 2013, there had been frequent mention by fans of the advantages that Nelson would see from going down the download route, but the artist consistently resisted doing so on the basis that he remained unconvinced that it would yield much in the way of sales. What seemed to change his opinion, or at least convince him to give it a go, was a Be Bop Deluxe Facebook page which clearly indicated that there are a significant number of fans who knew little of Nelson's work over the previous 30 years. Nelson therefore set about compiling three volumes in The Dreamer's Companion series that provided a detailed overview of his output since 2003. Even for fans who had rediscovered Nelson's music at some point in the period from 2003 to 2013, these offer some out of print material. And for the lapsed fans that knew nothing at all from this period, they offer them a chance to find out precisely what they have been missing. For those who aren't willing or able to spend £30 on a full set, each volume of The Dreamer's Companion is available at £10 each. The 42 tracks featured are taken from a total of 28 different albums, and provide a healthy mixture of vocal and instrumental pieces covering a range of styles and moods. CURRENT AVAILABILITY: Available for purchase as a digital download here in the Dreamsville Store . BILL'S THOUGHTS: "There's nothing difficult or tricky about any of my music, it's all very easy to listen to. I certainly don't aim at purely esoteric targets, I just make pop music with a twist. But, if you're feeling a bit nervous about buying some albums, it doesn't get less esoteric than Fancy Planets , Joy Through Amplification , and Songs of the Blossom Tree Optimists . Easy listening all! Or, to get a great overview of my 21st Century recordings, try downloading the digital three volume compilation set, The Dreamers Companion from Bandcamp. It acts as a really nice taster or 'grazing' menu. A bit of everything on there." Collections Menu Future Past

download single - 21 December 2017 Variation on the Theme of a White Christmas Bill Nelson Singles Menu Future Past TRACKS: 01) Variation On The Theme Of A White Christmas NOTES: CURRENT AVAILABILITY: Available as a free digital download on this page, or in the Free Downloads section . BILL'S THOUGHTS: "My younger brother, Ian, (who passed away almost 12 years ago now,) and I shared some very poignant memories of Christmas together. Those Christmases, in the late 1950s, were uncorrupted by the kind of 'knowing' that children have today. We were naive and innocent, in a way which would be now thought of as embarrassingly 'uncool,' yet the memory of those times burns bright and warm and meaningful. "I remember he and I sharing a bed on Christmas Eve and me reading to him from a book which contained the story of 'Peter And Pam's Christmas,' beautifully illustrated by an artist that, to this day, sadly, I have no idea of who he was. "Ian and I would become so excited by the story and what it promised for Christmas morning and, even though I suspected that Santa Claus was really just mum and dad, I never revealed my suspicions to Ian who still held on to that magical idea of a white-bearded old man with a jolly laughing face coming down the chimney with the gift of toys. "My father, (who worked as the manager of 'Broughton And Son's' shop in Hunslet, Leeds,) always made a great effort to create a magical Christmas Day morning for us. The shop sold, amongst other things (such as radios and televisions,) a selection of Dinky Toys, Meccano construction kits and Hornby 'Dublo-O' Train sets, which always found their way onto the lavish, (as I remember it,) display laid out on our living room floor on Christmas morning. "Ian and I would wake early in much excitement and await our parent's permission to go and see what 'Santa' had brought us...and it always was wonderful. "Not only Dinky Toys, Hornby trains and Meccano sets but Dan Dare ray guns, Roy Rogers cowboy outfits, magnetic Driving Test games, Magic Robot Quiz games, Eagle, Dandy, Beano, Beezer and Topper annuals, sweets and chocolates and a host of other goodies. These things would keep my brother and I occupied throughout the day whilst we had visits from relatives, my grandma, sometimes my aunt and uncle or neighbours. "And somehow, though I now know it's not really accurate, those childhood Christmases always seemed blessed by snow. There was certainly snow at times, though whether prior to, or after the Christmas festivities I'm not sure. But I can vividly recall building snowmen and, one time, an actual Igloo in the front garden of our house at 28, Conistone Crescent on Eastmoor Estate, an Igloo which was built and shared in collaboration with our upstairs neighbour's daughter (and childhood friend,) Bronwyn Jackson, who was just a little bit older than myself. She was someone I had a very warm friendship with, back in those long ago 1950s childhood days." Singles Menu Future Past

Contemplation 2007 Bill Nelson download single - 3 December 2007 Singles Menu Future Past Download here TRACKS: 1) Contemplation 2007 NOTES: "Contemplation 2007" is a re-recording of a song which was issued in demo form on ABM Club EP # 3 in 1983, and later recorded professionally for the Getting the Holy Ghost Across album in 1986. The 2007 version runs for over 11 minutes long, and was performed live at Nelsonica 07 before shortly afterwards being presented to the Dreamsville Community as a free download using a guide vocal track. The download was later added to Nelson's Bandcamp page once it was established for the very reasonable price of £1. CURRENT AVAILABILITY: Available for purchase as a digital download from Bandcamp. BILL'S THOUGHTS: "It was kind of adapted from the version I'd performed live on the 2004 Be Bop Deluxe and Beyond Tour...by that, I mean the extended version with longer improvisational sections. I didn't refer back to the '80s recording too much but tried to give it a slight twist here and there." _____ "Contemplation" is STILL one of my favourite songs from that era, which was why I included it in the 2004 anniversary tour set with my band. And both versions of the song have their merits for me." Singles Menu Future Past

Blackwater single - 1991 Rain Tree Crow Production/Contribution Menu Future Past BILL: Guitar on A-side. Production/Contribution Menu Future Past

Live! In The Air Age Be Bop Deluxe album - 22 July 1977 Albums Menu Future Past Purchase 3-CD Set TRACKS: 01) Life In The Air Age 02) Ships In The Night 03) Piece Of Mine 04) Fair Exchange 05) Shine 06) Sister Seagull 07) Maid In Heaven 08) Mill Street Junction 09) Adventures In A Yorkshire Landscape 10) Blazing Apostles ALBUM NOTES: Live! In the Air Age is the fifth album by Be Bop Deluxe, and was recorded at unspecified gigs staged in 1977. It would prove to be the only live document of the band to be released during its existence. The album appeared on vinyl and cassette, but had no single release at the time to aid its promotion (which is unusual, but not unheard of). However, the album itself included a 7" EP (as sides B and C of the album) that helped push playing time to around 55 minutes - which would have been too much music for a single album. Vinyl copies were released in a single sleeve, and the record was housed in an inner sleeve bearing a few live photos and a few explanatory words concerning the album's content. For North American release, the EP included with the album was pressed on 12", and the package appeared in two pressings: standard black vinyl; and a combination of white vinyl (for the album) and black vinyl (for the EP). The musicians appearing on the live recording were the now established quartet of Bill Nelson, Simon Fox, Charlie Tumahai and Andy Clarke. Although the credits include an apparent fifth member in the shape of "Cabasa El Dubova", providing percussion on "Shine", this was in fact later revealed to be Nelson himself, who provided some post-production overdubs. When reissued on CD in 1991, EMI chose not to include any additional material, although the songs that comprise the 3 track EP were designated as "bonus tracks" and tagged on to the end of the CD, rather than being placed in the centre as they had been on the original vinyl release. As with other releases in the series, informative sleeve notes penned by Kevin Cann provide useful context. On 27 August 2021 Live! In The Air Age became the sixth Be Bop Deluxe album to be issued as a Deluxe Edition comprising: a deluxe 16 disc limited edition box set of the classic 1977 live album by Be Bop Deluxe the original album is newly remastered from the original master tapes restoring the correct album running order with an additional 14 CDs featuring every concert recorded on the Be Bop Deluxe UK tour of February and March 1977 all newly remixed from the original multi-track tapes by Sephen W. Tayler includes a BBC radio one John Peel session from January 1977 also includes a DVD (NTSC/region free) of the 'Star Rider In Concert' TV film first screened in 1977, released here for the first time includes a lavishly illustrated book with many previously unseen photographs and new essay by Bill Nelson also includes postcards and a replica poster The album is presented in a triple fold out digi-pack and contains a 68 page booklet with an essay penned by Bill Nelson, previously unseen photographs from the period, postcards and a replica poster. A 3CD edition of the album is also being released at the same time as the Deluxe Edition which will also replace the standard download edition. The full track listing for the Deluxe Edition is: Disc One: "Live! In The Air Age" Re-Mastered 01) Life In The Air Age 02) Ships In The Night 03) Piece Of Mine 04) Fair Exchange 05) Shine 06) Sister Seagull 07) Maid In Heaven 08) Mill Street Junction 09) Adventures In A Yorkshire Landscape 10) Blazing Apostles Bonus Tracks 11) Still Shining (BBC John Peel Session – January 1977) 12) Mill Street Junction (BBC John Peel Session – January 1977) 10) Adventures In A Yorkshire Landscape (BBC John Peel Session – January 1977) Disc Two: Leicester - De Montfort Hall 12th February 1977 Previously Unreleased 01) Introduction - Blimps 02) Life In The Air Age 03) Fair Exchange 04) Piece Of Mine 05) Sister Seagull 06) Mill Street Junction 07) Ships In The Night 08) Swansong 09) Maid In Heaven 10) Shine 11) Adventures In A Yorkshire Landscape Disc Three: Leicester - De Montfort Hall 12th February 1977 Previously Unreleased 01) Bill Nelson's Introduction 02) Twilight Capers 03) Modern Music Suite 04) Forbidden Lovers 05) Terminal Street 06) Blazing Apostles Disc Four: Leeds - Grand Theatre 13th February 1977 Previously Unreleased 01) Introduction - Blimps 02) Life In The Air Age 03) Fair Exchange 04) Piece Of Mine 05) Sister Seagull 06) Mill Street Junction 07) Ships In The Night 08) Swansong 09) Maid In Heaven 10) Shine 11) Adventures In A Yorkshire Landscape Disc Five: Leeds - Grand Theatre 13th February 1977 Previously Unreleased 01) Bill Nelson's Introduction 02) Twilight Capers 03) Modern Music Suite 04) Forbidden Lovers 05) Terminal Street Disc Six: Leeds - Grand Theatre 14th February 1977 Previously Unreleased 01) Introduction - Blimps 02) Life In The Air Age 03) Fair Exchange 04) Piece Of Mine 05) Sister Seagull 06) Mill Street Junction 07) Ships In The Night 08) Swansong 09) Maid In Heaven 10) Shine 11) Adventures In A Yorkshire Landscape Disc Seven: Leeds - Grand Theatre 14th February 1977 Previously Unreleased 01) Bill Nelson's Introduction 02) Twilight Capers 03) Modern Music Suite 04) Forbidden Lovers 05) Terminal Street 06) Blazing Apostles Disc Eight: London - Hammersmith Odeon 25th March 1977 Previously Unreleased 01) Introduction - Blimps 02) Life In The Air Age 03) Fair Exchange 04) Piece Of Mine 05) Sister Seagull 06) Mill Street Junction 07) Ships In The Night 08) Swansong 09) Maid In Heaven 10) Shine 11) Adventures In A Yorkshire Landscape Disc Nine: London - Hammersmith Odeon 25th March 1977 Previously Unreleased 01) Bill Nelson's Introduction 02) Twilight Capers 03) Modern Music Suite 04) Forbidden Lovers 05) Terminal Street 06) Blazing Apostles Disc Ten: London - Hammersmith Odeon 26th March 1977 Previously Unreleased 01) Introduction - Blimps 02) Life In The Air Age 03) Fair Exchange 04) Piece Of Mine 05) Sister Seagull 06) Mill Street Junction 07) Ships In The Night 08) Swansong 09) Maid In Heaven 10) Shine 11) Adventures In A Yorkshire Landscape Disc Eleven: London - Hammersmith Odeon 26th March 1977 Previously Unreleased 01) Bill Nelson's Introduction 02) Twilight Capers 03) Modern Music Suite 04) Forbidden Lovers 05) Terminal Street 06) Blazing Apostles Disc Twelve: Bristol - Colston Hall 27th March 1977 Previously Unreleased 01) Introduction - Blimps 02) Life In The Air Age 03) Fair Exchange 04) Piece Of Mine 05) Sister Seagull 06) Mill Street Junction 07) Ships In The Night 08) Swansong 09) Maid In Heaven 10) Shine 11) Adventures In A Yorkshire Landscape Disc Thirteen: Bristol - Colston Hall 27th March 1977 Previously Unreleased 01) Bill Nelson's Introduction 02) Twilight Capers 03) Modern Music Suite 04) Forbidden Lovers 05) Terminal Street 06) Blazing Apostles Disc Fourteen: Bournemouth - Winter Gardens 28th March 1977 Previously Unreleased 01) Introduction - Blimps 02) Life In The Air Age 03) Fair Exchange 04) Piece Of Mine 05) Sister Seagull 06) Mill Street Junction 07) Ships In The Night 08) Swansong 09) Maid In Heaven 10) Shine 11) Adventures In A Yorkshire Landscape Disc Fifteen: Bournemouth - Winter Gardens 28th March 1977 Previously Unreleased 01) Bill Nelson's Introduction 02) Twilight Capers 03) Modern Music Suite 04) Forbidden Lovers 05) Terminal Street 06) Blazing Apostles Disc Sixteen: Be Bop Deluxe - Star Rider In Concert Previously Unreleased 01) Fair Exchange (Star Rider In Concert Film) 02) Ships In The Night (Star Rider In Concert Film) 03) Maid In Heaven (Star Rider In Concert Film) 04) Bring Back The Spark (Star Rider In Concert Film) 05) Blazing Apostles (Star Rider In Concert Film) On 18 June 2022 Live! In the Air Age (The Hammersmith Odeon Concert 1977) was released separately to the above Deluxe and 3CD editions as a 3LP set, pressed on white vinyl released by Esoteric Recordings in a limited edition of 3,500 copies for Record Store Day available while stocks last at participating independent record shops. The track listing for the vinyl set is: A1) Introduction - Blimps A2) Life In The Air Age A3) Fair Exchange A4) Piece Of Mine A5) Sister Seagull B1) Mill Street Junction B2) Ships In The Night B3) Swansong B4) Maid In Heaven C1) Shine C2) Adventures In A Yorkshire Landscape D1) Bill Nelson's Introduction D2) Twilight Capers D3) Modern Music Suite E1) Forbidden Lovers E2) Terminal Street F1) Blazing Apostles PAST RELEASES: The original edition of Live! In the Air Age was deleted sometime around 1979/80 and was never reissued on vinyl in this form. However, following the release of the Deluxe Edition by Cherry Red in 2021, one of the previously unreleased shows, that recorded at Hammersmith Odeon on 26th March 1977 was released as part of the Record Store Day on 18 June 2022. CURRENT AVAILABILITY: The 3-CD set is available for purchase in the Dreamsville Store . BILL'S THOUGHTS: "Some of the Live! In The Air Age album was recorded there, (at the Grand Theatre), and my mother came along to one of the shows. I remember that I played a few bars of 'Jeanie With The Light Brown Hair' as part of my free-form solo guitar improv at the close of the concert for her. (Mum's name is Jean, you see.) So long ago, so far away..." _____ "The "Shine" track started life as a jam at Abbey Road studios. Charlie was away, (in New Zealand, I think), and the track was created simply by Simon, Andy and myself having a 'mess about'...a bit of fun. I played bass on the track as well as guitars. I also tried to make the bass part have some reference to Charlie's own style. In fact, we eventually did the number live with Charlie. I dreamt up the name 'Funky Phaser And His Unearthly Merchandise' to allow for the fact that it wasn't a 'proper' Be Bop Deluxe track as Charlie was missing from the equation." _____ "The recently released Futurist Manifesto 5 CD set from EMI contains the only previously unreleased Live! In The Air Age recordings in existence." * * This was correct until Cherry Red/Esoteric Recordings issued the Deluxe Edition on 27 August 2021. _____ "I also got permission from the widow of Fritz Lang to use stills from the film as cover art on Be Bop's Live! In The Air Age album." _____ [In response to a question from a fan regarding the equipment Bill used on the tour to get that guitar tone] "Although it was recorded over 40 years ago, I can tell you exactly what equipment I used: My guitar was a 1964 Gibson ES 345 STD Stereo guitar. My amp set up was two separate 100 watt Carlsbro amp heads feeding six 2x12 custom built speaker cabs. I also used a Pete Cornish custom built pedal board and an HH echo unit. The pedal board contained a Big Muff, a Little Muff, an MXR Phase 90, an Electric Mistress Flanger and a Univibe." ALBUM REVIEWS: Review on Outsider Rock Review on Echoes And Dust Review on Goldmine Review by Pete Pardo on Sea Of Tranquility FAN THOUGHTS: BFD: "Recorded in England, Spring Tour 1977 - and still one of the very best (mostly) live albums of the 70's and a hard earned Top 10 hit in the UK. We are not worthy." old_goat: "It was 1977, I'm a sophomore in high school, over at a friend's house one afternoon playing backgammon. He's at the turntable blocking my view and says, "check this out", and cues up "Adventures in a Yorkshire Landscape" from Live in the Air Age . Eight minutes later, I'm trading my original Apple label blue album straight across for it." Paul Andrews: "Was it really thirty-five years ago I sat in my friends bedroom listening to Live! In The Air Age , ever so slightly "borrowed" from his elder brother's record collection? It was a world away from my normal listening habits at the time, hormonal teenager that I was. I remember it like the cold white light of revelation." swampboy: "I was at work when "Shine" from Live! In The Air Age came over the ceiling speaker. I slowly put down my tools and stared at the speaker as guitar licks bounced all over the room. The DJ announced the song and album and I bought it the next day. Of course, this led to me buying the rest of what Be Bop Deluxe had to offer." felixt1: "I can tell you that the live version of "Adventures In A Yorkshire Landscape" from Live! In The Air Age is one of the best pieces of rock guitar I've ever heard by anyone. I put it right up there with anything that Hendrix or Clapton etc. have done." jazzman1: "For me at the time of the release of Live! In the Air Age , that album was a musical milestone. The way Bill looked, his level of playing, particularly the solo on "Adventures in A Yorkshire Landscape" raised my aspirations." Holer: "Mid-70's - hanging out in someone's bedroom, listening to records. (Do kids still do that? I guess I still do!) My buddy played "Mill Street Junction" off of the BBD Live! In the Air Age LP. That was also the first time I ever saw a White Vinyl record." Telecat: "I was at the Grand Theatre for that show and remember going down the street at the side and seeing the Trailer with the "Studio" in it. I do remember having to leave early as at the time I was still at School and had limited funds so had to catch the Bus home!" Paul Simpson (of The Wild Swans): "Last time I saw them was doing the Live! In The Air Age stuff. Wonderful group and a big influence on me." John Spence: "A few years ago, when Bill and I mixed some previously unreleased recordings from that tour, the original session sheets showed that some recording also took place at the Colston Hall, Bristol. All done using the Stones Mobile and under the watchful eye of John Leckie. An absolute delight to work on." JohnR , commenting on the 'Music In Dreamland' book: "Live! In The Air Age is stated to be based on four concerts - two at the Hammersmith Odeon, one at Bristol and one at Bournemouth. However, I went with a group of friends to a concert at a large theatre in the centre of Leeds where the Rolling Stones mobile was parked outside. I can remember it being announced that the concert was being recorded for a live album, which certainly galvanized the audience. At the end, when it came to the obligatory Terminal Street singalong, we dashed down to sit on the edge of the stage and face the audience to help drum up the singing. To my amazement, we weren't immediately booted off by bouncers and Bill seemed happy enough - we left thinking he was a top bloke!" Albums Menu Future Past

Acquitted By Mirrors - Issue Eleven - Published November 1984 Back to Top

Music Discography Buy Bill's Music Free Downloads Bill Nelson - Live! Bill's Band History

New Vibrato Wonderland Bill Nelson album - 18 December 2020 Albums Menu Past Future Purchase this CD Purchase this download TRACKS: 01) Hide And Seek 02) Welcome To Wonderland 03) I Oil The Ticking Of Antique Clocks 04) Crazy Dreamer 05) The Golden Hour 06) Complicated 07) Mercuria Magnetica 08) Crazy Right Now 09) Bless Me, Bless You 10) New Vibrato Wonderland 11) The House Of A Hundred Clocks 12) In The Middle Of A Dream 13) Earthbound 14) Some Times, These Times ALBUM NOTES: New Vibrato Wonderland is an album of songs issued on the Sonoluxe label in a limited edition of 1000 copies. The album was recorded throughout 2020 and comprises 14 tracks selected from a total of well over 100 songs and instrumentals that Nelson produced between January and October that year. New Vibrato Wonderland represents the first Bill Nelson album to be released since moving to his recently established Cubase recording set-up that he had assembled in 2019 and which he began utilising from January 2020. The title of the album implies a sense of optimism although the music itself, at times, betrays that notion through its melancholic and reflective content. The album was mastered on the 16th November at Fairview Studios by John Spence with artwork created by Martin Bostock working with images selected by Nelson. With the UK still in the grip of the Coronavirus pandemic any sort of event to launch New Vibrato Wonderland was understandably out of the question and consequently the album received no such fanfare. Pre-orders for the New Vibrato Wonderland were announced by Burning Shed on 17th November 2020. CURRENT AVAILABILITY: Available for purchase here in the Dreamsville Store . BILL'S THOUGHTS: "Last year I installed a Cubase Pro advanced recording system in my home studio, after my much loved Mackie hardware based system finally gave up the ghost after 20 years of constant use. I had been reluctant to go down the purely software based route but now there was no other choice. The learning curve was fairly steep and it has been a slow process but I'm gradually getting used to it. "Since installing the new system I've recorded over 100 tracks, putting ideas down spontaneously, just to get to grips with how the equipment works. It's been a sometimes frustrating process but now is the time to begin releasing some of this material. "I've chosen 14 tracks from the 100 or so recordings I've made and assembled them into an album. This is the first album to be released using the Cubase system, but more will follow. The album is titled New Vibrato Wonderland and is vocal and guitar based with a hint of modern psychedelia coupled with electro-glitch percussion sounds and a touch of string orchestra. But don't take that description as accurate, you might hear something quite different. Whatever it is, it is certainly recognisable as a 'Bill Nelson album'. How could it be otherwise? Hope you like it!" Albums Menu Future Past

Return To Jazz Of Lights Bill Nelson album - 14 October 2006 Albums Menu Future Past Purchase this download TRACKS: 01) Return To Jazz Of Lights 02) Fearless Beauty (Kisses And Cream) 03) Mysterious Chemicals Of Love 04) It's A Big World And I'm In It (The Great Rememberer) 05) October Sky 06) For You And I 07) Velocity Dansette 08) Now Is Not And Never Was 09) Windswept 10) Always You 11) Steam Radio Blues 12) All These Days Are Gone (For Ian) ALBUM NOTES: Return to Jazz of Lights is a mainly vocal album issued on the Sonoluxe label in a one off print run of 1000 copies. The cover features a photograph of Nelson's wife Emiko taken on her 20th birthday on the driveway of her parents' house in Japan in the 1960s. The final track "All These Days Are Gone (For Ian)" is a tribute to the artist's younger brother Ian Nelson, who passed away on his 50th birthday on 23 April 2006. The album was first made available at Nelsonica '06 before going on general sale through S.O.S two days later. Return to Jazz of Lights sold out in January 2014. CURRENT AVAILABILITY: Available for purchase as a digital download in the Dreamsville Store . IF YOU LIKED THIS ALBUM, YOU'LL PROBABLY ENJOY: Secret Club For Members Only , Here Comes Mr Mercury , Arcadian Salon , Silvertone Fountains , Illuminated At Dusk , Mazda Kaleidoscope , Rosewood One , Rosewood Two , Luxury Wonder Moments , BILL'S THOUGHTS: "As some of you have discovered, (possibly to your surprise), it's not REALLY a jazz album at all, but an album that simply is inspired by jazz. At its root, it is an almost genre-less collection of melodic, positive and heartfelt songs. You'll hear touches of many of my musical interests in there, from pop and rock to blues and electronica..." _____ "As for 'jazz', there's a jazz influence in nearly all of my guitar work, even the old Be Bop Deluxe stuff! I've listened to jazz since I was a teenager, even before that, as my father played some jazz as a saxophonist. I love the genre, (which actually covers a LOT of different ground). I try to find a way to have some jazz sensibility in everything I do, without it being limited to just jazz." _____ " "Windswept" is one of my favourites on the album. I was writing that song around the time my brother passed away and it suddenly took on a new significance. One of the things I'm particularly proud of with this album is the vocals. I think I've found a comfortable place for my more 'mature' voice with these songs. It's an album that, for me at least, marries emotion and intellect in a harmonious way and without strain or pretension. It's a very direct, unmasked statement." _____ "The front cover photo' of Emiko was taken in the drive of her parents house and the Jaguar car in the background belonged to her father, (who also took the picture). The original photographs were somewhat over saturated and rather 'orangey' but I manipulated them in photoshop to create a sort of '50s/'60s technicolour movie tint. I wanted them to look as if they were stills from an early James Bond movie, something that the viewer might read a storyline into." On the cover: "The Verve/Blue Note thing was exactly what I had in mind, and my lovely wife Emiko is the perfect model. Isn't she beautiful?" _____ "I can't tell you how pleased I am at the number of positive comments I've received regarding the Return to Jazz of Lights album. It's gratifying to know that so many of you have picked up on and enjoyed its moods and also understood the general onward thrust of my music over the years. It's thanks to fans such as yourselves that I gain the confidence to follow my muse and take these leaps into what, for me, is always exciting territory." _____ "I was working up here in my studio last night. Downstairs I could hear that Emiko was playing the Return to Jazz of Lights album on the dining room stereo. After a while, it finished. A couple of seconds later, Emi appeared in the doorway of my studio room. Visibly moved, she just said, "It's SO beautiful." Well, she' bound to be biased to some degree...I am her husband after all and she IS on the cover, but she genuinely felt moved by the album. I couldn’t wish for a better appraisal. When the one you love most deeply digs your work, that's all that really matters." FAN THOUGHTS: Holer: "Bill has done it again, transcending a whole genre and taking another huge creative leap into unknown territory. Ever since the Romance of Sustain album, it seems to me, each official release seems to confound expectations as to what Bill will do next, and Jazz is certainly no exception. Whereas Sailor Bill slowly revealed (and continues to reveal) its intricate pop melodies over repeated listenings, Jazz drilled directly into my pleasure center immediately. This record has amazing energy and I can easily picture Bill and a tight little combo tearing through these tunes with vigorous abandon in a smokey jazz club. I doubt if I can add anything brilliant too all that has already been said here. Suffice to say that this is as strong a set of songs as Bill has ever produced and it’s a most worthy addition to his ever growing catalog." "Bill's vocal chops are quite extraordinary lately. Not only Arcadian Salon , but especially on Jazz of Lights . A true singers album, and I think has some of Bill's best vocal performances ever." felixt1: " Return to Jazz of Lights only comes close to what some may call Jazz on the opening title track, the rest of the album is essentially pop. It's an album that stands out in that it has its own individual style. A life affirming vibe on this album." "The guitar playing throughout the album is just sublime. The tone that Bill delivers is on a level that only the very best achieve, so warm!...It's Jazz, but it's Bill Nelson Jazz!" paul.smith: "This wonderful album is a must have...it's got less to do with jazz and more to do with Bill - if anybody is put off by the title - forget it...it's a nod to jazz in my humble opinion...and a wonderful nod at that...but it's one of Bill's best ever as far as I'm concerned...so get the bloody thing before it goes...mad if ya don't." swampboy: " Jazz of Lights turned out to be a total delight. I should have known that it wouldn't be a straight jazz album. While it is primarily a jazz album, it also features blues, pop, and other guitar styles over jazz backdrops. The song "Windswept", may be the most beautiful melody Bill has ever composed. The whole album pumps and jumps along nicely, with a wonderful energy that leaves a warm afterglow after the last song fades out. Miss this one at your own risk!" MondoJohnny: "I figured it would probably be a strictly instrumental album with really long meandering jazz tracks, with out much form, but that couldn't be further from the truth. Great album, and I find myself humming the tunes as they are stuck in my head all the time now!" Mick Winsford: "It's a great CD. Don't be fooled by the Jazz reference in the title - there are strains of Jazz for sure but its not the dominant style. The closing track "All These Days Are Gone (For Ian)" is simply pure class." Sandwich Man: " Jazz of Lights is so cool. After seeing Bill do his guitar seminar and play bits of videos of his guitar heros, it brings a real insight into this album. It's smooth, beautifully constructed like Sailor Bill and the songs are varied. Bill, how can you keep producing such great works? Totally different direction but so wonderful. The bar is raised yet again! In fact I'm going to stop typing this and listen to it again." Marshall: "Have to say it's hands down one of Nelson's best records in some time--which is exactly what I said about Satellite Songs ! In fact, his vocal records over the last two or three years have been absolutely spectacular, unexpected career highlights in an amazing career...it's instantly accessible and yet richly textured at the same time, with mind-boggling guitar playing and lush, catchy melodies." jazzman1: "My Favourite Bill Nelson albums now are Jazz of Lights and the Rosewoods . I love Bill eclecticism and diversity. I hope Bill lives long and prospers, because true individual artists are very thin on the ground in this time of production line mass produced wannabes." kreiger: "One song got my heart: "Velocity Dansette". I wonder why no one in this forum has talked about it... it's incredible! It's one of the best musics Bill has ever recorded - and this is something. The lyrics, the guitar, piano, drums, they are all wonderful. Above all, his voice in this song is something to sit back and listen. Thank you, Bill!" Catherine Bradder: "I just love Jazz of Lights , and I'm sat listening to it now, relaxing and dreaming and loving the music, it's all oh so rich. Just simply rich to sink into and enjoy. Thank you." Panoramicon: "I was (gently) blown away. Driving the rural backroads the other day and I placed Jazz of Lights in the deck for the first time; suddenly I'm back in the 'Sixties with my Dad talking about the jazz music on the radio, as he attempted to explain to me how to follow the melodies' shifts and swerves. Through "..Chemicals" and "October Sky", "Windswept" and "Steam Radio Blues" and on, happily navigating the winding roads with the music playing loud, it all came back to me. How your music manages to do this is still a sweet mystery to me, but I sure appreciate it. Dad (long gone now) was a clarinet player way back but everyday life and work took it away from him and he sorely regretted losing his chops, but I really believe he would have enjoyed this album. Even from a young rebel like you! Dig those crooning vocals, and your guitar lines never cease to pop an occasional warm tear from the corner of my eye. I'm always afraid to sound like just another sycophantic dweeb when I post but...wherever you want to go with your music...just go - you're just so damned coool!" chromiumlad: "I even hear touches of lounge and exotica in Return to Jazz of Lights . I feel the really quality stuff from that genre, like Les Baxter and Martin Denny, had lots of the same devil may care attitude of tossing up and intermingling styles and sounds from all sources. That spirit of adventure is one of the things I've always loved about your music Bill. And I have only noticed it increase with each album, especially since around the Atom Shop and Noise Candy times. Thanks once again for the music and inspiring words." Mungo: "Folks, I'm delighted. I got RTJOL a week ago and I just love it, but more to the point, so do my cows. I got 89 of Ayrshire's finest dairy cattle in Scotland and I've been playing them RTJOL during milking for a week. Not only has production gone up 6%, an enormous amount, but they are all mellow and behaving themselves. Even Jessica, who is a cantankerous and evil old crow at the best of times, has a jolly swagger in her back end when I play "Fearless Beauty". The last time I saw an effect like this was when I played Barry White to them years ago, but that made me grumpy so I gave it up. Bill, many thanks for more wonderful music and for increasing my income. It looks like I'll be able to get shoes for the bairns feet this Xmas after all." Peter: "Very evocative and timeless, it takes me back to many places I have passed through in my life, reminding me of people, places and experiences. "All These Days Are Gone" is a gorgeous tear-jerker (so beautiful, Bill), while "Steam Radio Blues" hits a chord with me, missing and always remembering my dad tinkering in his woodshop.... And the cigarette smoke was stinging my eyes listening to "Windswept' (I think the slightly world-weary blonde at the end of the bar was making eyes at me over a watered-down bourbon and soda)... I'm going to put another nickel in the jukebox (maybe "Fearless Beauty" this time) and go over and say hi to that blonde....the night is young (even if I'm not) and the music is right." Albums Menu Future Past

Stupid Serious Bill Nelson album - 13 January 2023 Albums Menu Future Past Purchase this CD Purchase this download TRACKS: 01) Polishing The Chromes 02) Time Is A Mechanism 03) Silver Rain (Marooned In A Fairytale) 04) Paging Mr. God 05) Lo And Behold 06) I Drift Away Amongst The Stars 07) Domain Of Echo 08) A Trembling In The Air 09) Stupid-Stupid (Deep And Serious) 10) Meek And Wild (The Ghost In Joe's Studio) 11) We Were Young 12) It's A Simple Life 13) Tongues Of Fire (Resist) 14) Nevermore 15) A Face In The Mirror 16) Dreams Turn To Dust 17) Twilight Planetarium ALBUM NOTES: Stupid/Serious is an album featuring a mixture of vocal and instrumental pieces released on the Sonoluxe label in a limited edition of 1000 copies. Work on Stupid/Serious began concurrently with the later recordings used for the Awakening of Dr Dream album back in October 2016 but the two projects have little else in common. The album was announced as "complete" in a Dreamsville forum post dated 11 January 2017 with a list of 12 tracks confirmed for inclusion with the final running order still to be decided upon. However by the time the final track listing was posted on 1 February 2017 it was evident that recording work on Stupid/Serious had continued throughout January with the album content expanded to feature a total of 17 tracks. Interestingly two tracks initially announced as being part of the album had been removed finding a home on Aqua Moon , another separate project that was largely recorded concurrently with Stupid/Serious . Once completed Stupid/Serious would be added to Nelson's list of unreleased albums which at that point totalled 14 with no indication of when it could appear. That day finally arrived almost 6 years later. The album was mastered at Fairview Studios by John Spence week commencing 21 November 2022 with artwork compiled by Martin Bostock using images selected by Nelson as the album approached release. Pre-orders for Stupid/Serious were announced by Burning Shed on 2 December 2022 with a CD release date of 13 January 2023. CURRENT AVAILABILITY: Available for purchase here in the Dreamsville Store . BILL'S THOUGHTS: "Stupid/Serious is one of several albums recorded between 2016 and 2020 that have accrued in my archives whilst awaiting an opportunity for release. The album contains 17 tracks, some of which are vocal and some instrumental. The mood varies between light and dark, surreal psychedelia and avant-rock. Recorded on my old hardware-based recording system, prior to the installation of my current software-based system, the sound is richly textured and full. As always, there's a lot to take in and, hopefully, much to enjoy." Albums Menu Future Past

William's Study Diary Of A Hyperdreamer 2005 2006 2007 2008 2009 2010 2011 2013

The Dreamsville Gallery Bill Nelson Pictures Ancient Guitars Essoldo Cinema Memorabilia

2005 2006 2007 2008 2009 2010 2011 2013 William's Study (Diary Of A Hyperdreamer) December 2011 Jan Feb Mar Apr Saturday 24th December 2011 -- 9:00 pm Good grief! My previous diary entry was in April of this year: Spring! Now we're well into December, (it's Christmas Eve as I post this), and 2011 has flown by at light speed without sight of any further diary entries until now. These increasingly long gaps between entries are, even for me, something of a concern, and this is certainly the longest gap yet. So, why the radio silence? Well, constant, off-mike activity of one kind or other I suppose...Maybe more frustrating distractions than usual, much of them taking up valuable time and diverting energy away from the creation of these pages. Plus, (I'm almost afraid to admit), an equally increasing disinclination on my part to transfer my day to day life to text, whether typed publicly on-screen or inked privately on paper. It has always seemed inconsequential and of little interest but, as the years roll by, it feels even more so than ever. My inner life manifests more naturally in the music I create, which occurs spontaneously without either presumption or resentment. It seems to require little in the way of explanation. I'll just say that it's grown-up enough to speak for itself, and to choose who it speaks to. Actually, I did attempt to write a entry in May of this year but it ended up languishing in some dusty corner of my computer's hard-drive, unloved and eventually forgotten. For the record, the following snippet is all that survives. It's dated Monday 2nd of May 2011 and reads: “A long, blank, bank-holiday weekend, plus Friday's televised Royal Wedding of the lovely Kate to the rather lucky Prince William seems to have put paid to several productive plans I had...the UK's gears appear to have have ground to a halt on an excess of sticky sentiment. Lots of domestic practicalities to sort out but everything is set against me. The main focus of my energies right now should really be my upcoming solo instrumental concert on May 7th in Sheffield at the 'Showroom' Cinema. I've only this last week assembled the concert's backing tracks over at Fairview studios with John Spence, (who will be mixing the front of house sound at the venue next Saturday), but I still need to find time to sit down with the set list and a selection of electric guitars so as to familiarise myself with the complexity of the arrangements. The 'top lines' of the majority of these pieces are improvised during the concert itself but it's useful to at least go through the motions, here in my ultra-compact studio, so that I build up a subliminal mental map of where the various key changes and mood shifts occur. Also, which damn pedals might produce the required, spur-of-the-moment sounds...it's as much about tonality and atmosphere as note choices. There are one or two new pieces to be performed too, particularly a long opening piece, complete with video.” Well...that's as far as that particular diary entry went. In the rapidly rolling and tumbling months since then, I've almost forgotten about the Sheffield concert. Nevertheless, as far as I recall, it went well and attracted a full house. The cinema's screen, behind me, provided a huge canvas for my videograms to be projected on, and I was told that it all looked, (and sounded), extremely impressive from the auditorium. As is far too often the case though, the onstage sound monitoring was not conducive to relaxation on my part. Getting sufficient clarity on stage from the pre-recorded backing tracks is an all too familiar headache. To be able to interact comfortably with these tracks requires something more akin to a full-range studio monitor speaker system, rather than the stereotypical rock-band wedges. It's frustratingly difficult to get right because everything I hear on stage emanates from these very basic monitor speakers. There are no guitar amps on stage, no other musicians or live band, no acoustically separated drum kit or individually amplified back line...just a pre-recorded, pre-mixed, fixed-forever in time backing track, fed to those relatively crude blackspeaker boxes at my feet. Even my live improvised lead guitar parts are sent to the very same speakers, (speakers which are designed to punch a vocal through a band's on-stage racket, rather than faithfully reproduce every nuance of a carefully recorded and detailed full-range backing track). All I can tell you is that it makes for an often muddy and uncomfortable performing experience, more shackled to guesswork than free improvisation. But, hey-ho...it's only rock 'n' roll, is it not? Despite the above confusions, the concert was enthusiastically greeted and I received many positive compliments from members of the audience over the following weeks. I guess it's impossible for me to hear what the audience hears...or to pre-judge their expectations. My own are often unreasonable and impractical...maybe I need to be less demanding. This year saw the delivery of a new guitar amplifier to my home. It's the revised, re-modelled signature combo made by Dave Gascoigne, the mastermind behind 'Rosewell' amplifiers. It's essentially the same technical spec as the earlier tweed version mentioned in a previous diary entry but this one is different cosmetically, having a more retro-futurist look to it. It is two-tone, dark-red and off-white and really looks the business. (See attached photo'.) Looking forward to trying it out on stage with a full band... The annual Nelsonica event had to be put on ice this year as I'd been encouraged to go out on tour instead. The master-plan was for the tour to occur in November of this year. However, I was told that it would not be possible to take the 7-piece 'Gentleman Rocketeers' band out on the road due to budgetary constraints, so I had to re-think the line-up and reduce it to a more economically viable five-piece. Not as easy as it might seem. In many ways, this would be untried territory, a technically uncertain undertaking as, for the last few years, I've become reliant upon a SEVEN-piece line up, one that, other than a couple of musician changes, I've been fortunate enough to perform live with since 2004. The same number of musicians have proved reliable and effective at Nelsonica events too, as well as at the now rather controversial 'Legends' DVD recording in March of this year. And what a peculiar project that turned out to be. Despite being told that the 'Legends' series was going to be on television in June, (which is the only reason I accepted the offer in the first place), nothing has happened other than a rush-release of a DVD of the performance. As it happens, 'The Gentleman Rocketeers' DVD went quickly into the BBC's top ten music video charts and seems to have been a big hit with fans (though I still can't bring myself to watch the damn thing...plus I'm still out of pocket with the project, due to the artist-unfriendly nature of the deal). Anyway, back to the tour: pragmatic choices had to be made for the reduced in size band: a new, experienced keyboard player, (Richard Cottle), was recommended to me and then put on stand-by, rehearsal rooms were pencilled in to prepare material for the, (allegedly), confirmed November UK tour and I began to look at potential material choices. I was also asked to come up with a concept, name and graphic art for the proposed extravaganza, and was told that this was urgently needed for promotional purposes... I cobbled something together very quickly:- I decided to call the five-piece band 'Combo Deluxe,' (an intentional and rather obvious reference to Be Bop Deluxe but with the word 'combo' suggesting something more compact than the 7-piece GR line-up). I then named the tour 'Return To Tomorrow,' (to make a connection with the older material that I'd been told was part of the tour's remit). I then designed a flyer for it, (as also did my graphic artist collaborator David Graham). Our two flyers were immediately sent, (via Opium Arts), to the promoter...Everything was in place and a sigh of relief was due...or so I thought. Two days later I was informed that the promoter had unexpectedly decided to postpone the tour until next year. The reason I was given was that there were 'too many bands out on the road in November.' But, surely, in a sane world, wasn't that rather late in the day to decide this? Surely that sort of consideration should be taken into account before getting so far into preparations? I very much suspected, (and still do), that there was far more to the alleged 'postponement' than met the eye. By now, of course, I'd abandoned all plans for a 2011 Nelsonica in favour of the UK tour so there was no time left to re-schedule the annual fan-convention. (Several months of planning are needed to put these Nelsonica events together.) As you might imagine, this unexpected postponement was a frustrating waste of time and energy. In a last-minute attempt to recover lost ground, I decided to work towards an art and memorabilia exhibition combined with an solo (plus trio), instrumental concert at Leeds University's Faculty Of Music in the university's 'Clothworker's Hall,' a beautiful venue well suited to my instrumental concerts. I'd performed there on previous occasions and very much enjoyed the experience. I was provided, (by the Faculty Of Music), with a stunningly beautiful Steinway grand piano, AND an even larger Marimba than the one I personally own but find so difficult to transport. My own Marimba is now rather careworn but was originally bought from Abbey Road studios in the late '70's/early '80's, where it had appeared on several Beatles recordings, way back when... I also took along a small selection of percussion instruments: a small gong, a selection of chimes, shakers and so on, plus, (of course), a large and interesting selection of guitars, an ebow, a small transistor radio, a now ancient Casio VL-1 Tone pocket synth AND, (very important this), my custom-built Gus G1 midi-equipped guitar. The latter has become an essential part of my kit with the 'Orchestra Futura' trio, (Dave Sturt on bass and laptop and Theo Travis on saxophone and flute), who were also appearing at the Leeds concert with me. Dave and Theo employ live looping, digital delays and treatments in their playing so it generates a very eclectic and spontaneous performance. The concert's accompanying exhibition celebrated more than 40 years of my career and placed on display several years of ephemera and memorabilia, including framed posters, artwork, (some going back as far as the psychedelic 1960's), personal letters and other previously unseen items from my musical life. I was helped in assembling and exhibiting this material by members of the Nelsonica team who did a wonderful job of mounting the visual material on the walls of the exhibition room adjoining the concert hall, as well as assisting with ticketing and so on. Due to the tour postponement, the Leeds event, (which I titled 'The Art School Ascended On Vapours Of Roses'), ended up being the only live performance to mark this year's 40th anniversary of my recordings. The tour itself became a missed opportunity. It's a shame that little focus was given to the anniversary...it could have been used as a springboard to draw attention to the body of work I've created over all these years. Rather too late now, of course. Truth is, 40 years may seem little more than ink on a page to some people, but it's a significant slice of my life as an artist. Not all was lost...A much more appreciative and welcome celebration of those 40 years came in the form of the luxurious box set of 8 CDs released, (this December), by Esoteric/Cherry Red Records. Titled 'The Practice Of Everyday Life,' this more than 150 track compilation, drawn from almost the entire span of my recording career, is the jewel in whatever crown I might presume to be wearing. Although not 100% comprehensive the box set compiles a feast of tracks from 1971 through to more recent years. I invested a fair amount of time and energy in this particular project, as archivist, interviewee, and advisor. The real mastermind behind it all though, is Mark Powell. Mark founded the 'Esoteric' record label and has been responsible for setting in motion a professional re-issue programme focussed on many of my back catalogue recordings, (mostly material drawn from the '80's and early '90's). The 40 year celebratory box set compilation, ('The Practice Of Everyday Life'), covers a wide territory...from my first solo album, 'Northern Dream,' through Be Bop Deluxe and Red Noise, including rarities, to my '80's Cocteau Records solo era and then beyond, including a selection of tracks from the last 10 years or so. It's an epic journey. The set has been beautifully packaged with brilliant attention to design detail by renowned graphic artist/designer Philip Lloyd- Smee. I'm extremely pleased with the way the whole thing has been handled and am proud of the end result. It will be, I expect, a big hit with fans and will stand as a testimony to my enthusiasm for making music, as well as chronologically illustrating the still unfolding development of my work over the years. Simultaneously with this, EMI Records have released a compilation set of Be Bop Deluxe's studio albums, comprising five CDs. The fifth CD in the set contains some previously unavailable recordings, including several of my original home demo cassette recordings of songs which were eventually recorded by the band itself. I was involved in the preparation and shape of this compilation too, particularly in the mixing of several live recordings that have, until now, never been previously available to the public. The set, (which is jewel-cased rather than boxed), is titled 'Futurist Manifesto' after a 1970's recording released by the band. These complex re-issues have taken up quite a lot of time, both in terms of preparation and promotion. I spent several days giving radio and press interviews to help spread the word to a wider audience. A very enjoyable part of the promotional work was giving an interview to Mark Radcliffe and Stuart Maconie for their BBC 6 Music show. Two really knowledgeable and likeable fellows who genuinely care about music and have the talent to talk about it in entertaining and intelligent terms. Whilst the primary focus has been on these re-issue projects I have devoted a lot of time to new recordings. 'Fantasmatron,' 'Signals From Realms Of Light' and 'Model Village' are the three new albums that have been released this year. Two more albums have also been completed and are ready for release early in 2012. These are: 'Songs Of The Blossom Tree Optimists' and 'The Last Of The Neon Cynics.' (This latter album is the long-awaited collaboration with American comic-book artist/writer Matt Howarth.) But already on the drawing board for 2012 are a further two albums. One is a rock-style vocal-based album currently titled 'JOY THROUGH AMPLIFICATION: THE ULTRA-FUZZY WORLD OF PRIAPUS STRATOCASTER.' The other new album will be a long-form instrumental affair which, as yet, has no title. Both these albums are, at this moment in time, incomplete so I'll need to set aside some time to work further on them. My involvement with the day-to-day Dreamsville website forum seems to have increased. The site's registered membership continues to grow and I receive a larger number of private messages (or 'PMs' as they're known), than ever before. This results in a full-to-the-brim inbox which I find difficult to keep up with. It's simply become impossible to answer every single PM I get, though I try my best. I tend to focus more on the public forum on the site, engaging with fans there on a daily basis. In fact, I spend every morning just dealing with website related work. Have recently created a new Christmas videogram for the website...it's titled 'The Christmas Book' and uses images from a children's annual I had in the 1950s, when I was a very young boy. These videogram Christmas cards of mine are always nostalgic and sentimental but designed to re-create the festive spirit of more innocent times. I am, though, as usual, way behind with my Christmas shopping and the writing and posting of real Christmas cards. I've already missed the deadline for overseas cards so will have to send email greetings to my friends in other countries. There's still a lot of preparation to be done with regard to family this Christmas too. I'm bringing my mum over to us on Christmas Day and she will stay here through Boxing Day when Elle and Elliot will join us. Also on Boxing Day, my nephew Julian, (my late brother Ian's eldest son), his wife Lindsey and baby daughter Bethany will be paying us a visit. I need to clear the spare bedroom for mum to stay over on Christmas Day night. At the moment it is filled to the rafters with large framed artworks from the Leeds exhibition, plus cases of memorabilia and musical equipment, not to mention piles and piles of clothes. Where all this stuff will go is both a mystery and a problem. My guitars and musical gear occupy so much space in our modest-sized house...and there are more books on shelves and stacked on the floor than our village library could hold. Speaking of books, my recent bedtime reading has been comprised of the following: 'Austin Osman Spare: The Life And Legend Of London's Lost Artist' by Phil Baker; 'John Piper and Myfanwy Piper: Lives In Art' by Frances Spalding; 'Here And Now! The Autobiography Of Pat Martino;' by Pat Martino with Bill Milkowski; 'Go Ahead John: The Music Of John McLaughlin' by Paul Stump; 'Romantic Moderns: English Writers, Artists, and the Imagination from Virginia Woolf to John Piper' by Alexandra Harris, and 'We Called It Music' by Eddie Condon. The latter book I read a long time ago, in 1962 when in my early teens, I think, but recently picked up a copy at Ray's Jazz bookshop at Foyles in London and am enjoying re-aquainting myself with it. A very sad loss, only a couple of months ago: My cousin Ian Boyle passed away suddenly as a result of illness. Those of you who are long-term readers of my diary will recall how I re-gained contact with Ian and my other cousin Walter, (who now prefers to be known as James), after many years in the wilderness. Both were born to my father's sister, (my Aunt Nell), and had a profound influence on me when I was a child, particularly as they were both creative people and both musicians. (See my autobiography for more on that.) Cousin Ian was a painter and a talented jazz trumpeter and, in recent years, I'd helped him to embark on a home-recording hobby which he seemed to enjoy very much. He attended the 2009 Nelsonica convention in Harrogate and also came to some of my UK concerts, including the Bloomsbury Theatre show in 2004. We spoke on the telephone quite often, (though not, now, sadly, often enough), and I enjoyed his dry sense of humour. He lived a long way from here, near Cantebury, so it wasn't easy for he and I to get together socially. I liked Ian very much and was shocked and deeply saddened to hear of his passing. I'll remember him with great fondness and miss his warm and witty 'phone calls. And, even more sadness: Mike Levon, the man who was behind Wakefield's legendary HOLYGROUND record label, also passed away suddenly in September of this year. Another unwelcome shock. I had been in touch with Mike only a few weeks before his passing. I had recorded my 'Northern Dream' album at the 'Holyground' studio in 1970. (It was released, as a very limited edition, on my 'Smile Records' label in 1971.) The Holyground studio was literally a spare bedroom at Mike and Shirley Levon's Cass Yard abode, just off Kirkgate, in Wakefield. It was recorded with a simple home-made mixing desk and a two-track tape recorder. I'd first become involved with Mike and the local hippie scene in the 1960's and had donated my musical services to two independently released albums which were recorded by Mike at his Holyground 'studio.' The albums were titled 'A to Austr' and 'Astral Navigations.' There was a very small, but minty-fresh, creative local scene back then...students from Bretton Hall College mixed with various Wakefield 'heads.' 'Heads' was the slang term applied to anyone who had: A: smoked marijuana, or at least tried to get high by smoking a banana skin, (a myth which originated from Donovan's song 'Mellow Yellow'), or B: actually read 'The Politics Of Ecstasy' by Timothy Leary, or C: owned a copy of Richard Farina's 1966 novel, 'Been Down So Long It Looks Like Up To Me.' At the time, I qualified on all counts, except that I'd never smoked dope...and the banana experience was once tried and forever abandoned as little more than a 'yellow herring.' I was also a subscriber to the 'International Times' newspaper, (or 'IT,' as it was known), and also 'OZ' magazine and various other counter-cultural publications. These were proverbial 'happy hippy days' and my youthful experiences at Holyground are still fondly remembered, as is Mike Levon and his wife Shirley, Chris Coombs and all the other colourful denizens of Cass Yard. I was terribly sorry to hear of Mike's passing and attended a memorial event at Wolley Hall on the outskirts of Wakefield where I met several old faces from those times. Mike's life was warmly celebrated by everyone and I was very glad that I was invited to attend the memorial. He will be missed by many of us. And so, another Christmas, right on the doorstep, then, one week hence, New Year...2012. The economy is still going downhill here in the UK, despite the Government's attempts to talk it up. I'm no fan of this lot at all, too smug and authoritarian. It might just be politics but the personalities involved are a complete turn-off. Can't see things improving in the short term...or even in the long run, to be honest. All I can do is stay true to whatever drives me and continue to attempt to make music, and thereby some sort of sense of the world... There are several things/events that I've omitted from this diary entry, but this will have to do for now as it has already taken up more time than I have available. There are gifts still to wrap, and I'm exhausted. Perhaps I'll try to create more regular diary entries next year, (well, at least more than I've been able to do THIS year.) So...all for now. A VERY Merry Christmas to all readers of these pages...and every good wish for 2012! bill nelson: december 2011 ***** The images accompanying this diary are as follows:- 1: Promo flyer for the abandoned November tour. 2: The cherry blossom tree in Bill's front Garden...Spring 2011. 3: A photograph of Be Bop Deluxe enjoying dinner in Villa St. George, Juan-Les-Pins, South of France, during the recording of the 'Drastic Plastic' album in the late 1970s. (Pic by John Leckie.) 4: Bill Nelson signature model Rosewell combo guitar amplifier. 5: Personal greeting card from Bill and Emiko, 2011. 6: An alternative 'Rocket Rabbit' shot by Martin Bostock. Top of page

Nelsonian Navigator - Issue Six - Published September 1997 Back to Top

Japan Be Bop Deluxe single - 2 September 1977 Singles Menu Future Past TRACKS: A) Japan B) Futurist Manifesto ORIGINALLY: Both were non-album tracks. NOTES: Japan was the eighth Be Bop Deluxe single issued during the band's existence. The single came in a generic record company sleeve. Promo copies exist with the words "Demo Record Not For Sale" and a large 'A' printed on the label. Note that the B side is printed as "Futuristic Manifesto", but the correct title is "Futurist Manifesto". PAST RELEASES: Both tracks were recorded during the Drastic Plastic sessions, but neither would feature on the eventual album (in the UK at least). Their first appearance on album was on The Best of and the Rest of Be Bop Deluxe double album (1978) and were also featured on the Singles As and Bs compilation (1981). Oddly, "Japan" would not be included as a bonus track on any of the CD reissues that appeared in 1991, whereas "Futurist Manifesto" would next appear as a bonus track on the Modern Music album when it was issued on CD in 1991. CURRENT AVAILABILITY: The single is long deleted, but both tracks can be found on the Cherry Red/Esoteric Recordings reissue of Dr astic Plastic (2021 ) - both in physical form and as a digital download. Singles Menu Future Past

Dreamsville Staff A who's who of all things Nelsonic Bill Nelson The Boss Whip-cracking and keeping everyone in line! Jon Wallinger Webmaster After being involved with various Bill Nelson related projects for almost 30 years, Jon has been tasked with building, updating and maintaining the Dreamsville website and Bill's Bandcamp digital download site. He also coordinates Bill's CD manufacturing with Burning Shed. Please use the contact form to report any website issues. info@billnelson.com Martin Bostock Photography & Album Cover Design Nelsonica team member Martin is also Bill's first choice of photographer. His extensive work with Bill can be found throughout this website. He also works closely with Bill on the package design for his albums. www.martinbostock.co.uk John Spence Sound & Recording Engineer Based at Fairview Studios, John has been recording and CD mastering engineer for Bill's albums for many years, he is also sound engineer for Bill's live appearances. www.johnspencerecording.co.uk Ian Haydock Live Event Coordinator Ian has been a crucial part of the Nelsonica team for many years and is currently managing Bill's CD Launch Party Events. Eddie McSheffrey Nelsonica Team If you've got a Bill Nelson related question...Eddie will know! He knows stuff about the music of Bill Nelson that even Bill doesn't know. He has been involved with the Nelsonica team from the start and is the man you have to 'get past' at any live event, so pray he likes the look of you! 'Big' Dunc Noons Nelsonica Team Big Dunc has been involved with the Nelsonica team longer than anybody can remember, he could be found at any live event extracting money out of anyone who happens to wander too close to the merchandise stall. Sadly Duncan passed away in 2023 and is dearly missed by Bill and the Nelsonica team. Paul Gilby Sound On sound Paul's roles have included co-ordinating the CD manufacture of Bill's music, website maintenance and technical support, video projection at live events and he is a long standing member of the Nelsonica team. Tony Adamo Merchandise Tony looks after the merchandise stall at live events, he also has to look after Big Dunc to make sure he doesn't get up to any mischief. Andy Newlove Guitar Technician Andy has the task of preparing and maintaining Bill's guitars and on-stage equipment throughout his live shows...A task made trickier by the fact that Bill usually likes to use a different guitar for each track! Stephen Weis Designer For the last few years, the live event posters, tickets, badges etc. have been designed by Stephen. His fantastic design are now also gracing some of the official merchandise available in the Dreamsville Store. www.stephenweis.com John Fisher Assistant Web Designer After John spent 18 months building an extremely extensive downloadable Bill Nelson Discography & Guide, Bill thought it would be a fantastic idea if it could somehow be incorporated into the website. This was the catalyst that drove us to start from scratch with a new website and John's initial work produced the foundations for a new and improved discography, which can be found in the 'Music' section of Dreamsville. The Dreamsville design team would like to express a special word of thanks to John Goddard, who spent endless hours archiving Bill's fan magazines and also scanning hundreds of covers from his extensive collection of Bill's music for this website. The initial information featured in the Dreamsville Discography was pulled from Northern Dreamer - A guide to the music of Bill Nelson, created by John Fisher and Mick Winsford. Mick wrote the album notes, while John was responsible for gathering the other elements and construction. They would like to thank the following members of the Guide Team for their advice and technical assistance:- Above and beyond the call: Phil (Wadcorp) Jim (James Warner) Tom (Parsongs) Jon (The Mayor) Jeremy (Iron Man No. 28) John (Puzzleoyster) Eddie And the rest of the Guide Team, who assisted with the album suggestions:- Adam (Chimera Man) Andy (andygeorge) Bob (BobK) Bruce (Merikan1) Chris (Novemberman) Dave (sauropod) Ian (felixt1) Keith (Returningman) Mike (TheMikeN) Neill (neill _burgess) Peter Reg The foundation of the A-Z song list was compiled by:- Benny (The Bronxapostle)

Songs of the Blossom Tree Optimists Bill Nelson album - 9 January 2012 Albums Menu Future Past Purchase this download TRACKS: 01) The Blossom Tree Optimists 02) Standing On Tiptoes, Reaching For The Sky 03) Memory Is A Data Cloud Forever Primed With Rain 04) Rambling Through The Meadows (Wonder Wise) 05) Garden Of Cascades 06) My Botticelli Angel 07) When Boys Were Lost For Words 08) Lovers In The Pleasure Gardens 09) The Buzz, Buzz, Buzz Of The Forever Bee 10) The Girl Who Was Electrically Carried Away 11) One Summer Night 12) Silent Glides My Armstrong Siddeley 13) These Are The Dreams 14) Gathered In At Gloaming 15) The Blossom Tree Optimists (Alternative Mix) ALBUM NOTES: Songs of the Blossom Tree Optimists is a vocal album released on the Sonoluxe label issued in a single print run of 1000 copies. The album grew out of the early recordings for Model Village , once Nelson had decided to make that album entirely from instrumental tracks. Songs of the Blossom Tree Optimists was the second release that Nelson designated as part of his 'Super Listener Series', which indicated it to be a more challenging prospect. The series has currently run to four albums, with the prospect of continuing in the future. Physical copies of the album sold out in December 2020. CURRENT AVAILABILITY: Available for purchase as a digital download here in the Dreamsville Store . IF YOU LIKED THIS ALBUM, YOU'LL PROBABLY ENJOY: Model Village , All That I Remember , The Alchemical Adventures of Sailor Bill , Stereo Star Maps , The Years , Fables and Dreamsongs , Rosewood One , Rosewood Two , Northern Dream , New Northern Dream BILL'S THOUGHTS: "A personal homage to a kind of long-lost, romantic, utopian 'Englishness'. Many of the songs on these albums attempt to capture an elusive, ancient spirit, a spirit of a place inhabited by quiet ghosts unique to old Albion, an English Arcadia, an imaginary Eden that only exists in the gentle souls of artists and poets. It's quite artificial, dreamlike, ethereal, a figment of Faerie, a Midsummer Night's Dream...Beautiful, fragile and utterly, seductively unreal." _____ "Something just struck me about the Songs of the Blossom Tree Optimists album that I'm currently working on. Some of the tracks could almost constitute a new Northern Dream album...a Northern Dream for the 21st Century. It has a sort of rusty-rustic vibe, a similar innocence and charm. "I was aiming for an album that used acoustic guitar and orchestral sounds but there are moments when it hints at some of the approach I used 40 years ago on Northern Dream . This wasn't something I planned, but, magically, it seems to offer a weird echo of certain aspects of that early album." _____ "This album can be appreciated as a companion piece to last year's Model Village or as an independent project in its own right. It is a song-based album with the emphasis on vocals and acoustic guitar but with added orchestral colours and percussion to give a neo-baroque flavour to the music. The album could also be thought of as the missing link between Northern Dream , Rosewood and The Alchemical Adventures of Sailor Bill. " _____ "It's a warm, heartfelt fantasia with lots of detail and cross-references. An album for grown-ups who can appreciate music that paints pictures." _____ "The cover image comes from an antiquarian print I bought in Paris, several years ago now. In fact, it was this image that conjured up the album's title. The entire project grew from me wanting to use that image on an album cover...then, after some years of it hanging on my bedroom wall, the title finally rose to the surface and the fun of writing and recording the music began. So, the album was actually inspired by that particular image, rather than the image being chosen afterwards." FAN THOUGHTS: felixt1: "A breath of fresh air, the sounds of a hopeful spring and better times ahead. Fond memories, words of love - beautiful playing, singing and a song writer's muse showing no signs of diminishing - quite the opposite...all these factors combining to lift the spirits and help to believe that hope really does spring eternal... Utter brilliance, one of Bill's absolute best. I cannot give higher praise than that, the music alone changed how I felt for the better, it healed me. If Bill had released nothing else in his life, that one album served to produce a profound effect on me in what was a relatively dark time. If any of us can have that effect on another person at least once in our lives, our work is almost done. I know for a fact having read the pages here in Dreamsville , that Bill has achieved this time after time over the years..." "I have not been able to get this album off my player...it's simply just a stunning album... How do you keep coming up with all these amazing compositions Bill?" Analog: "This is a totally beautiful album, different from anything that went before and possibly my personal top favourite of Mr. Nelson's more recent output (Or his total output for that matter. Love the Be-Bop Deluxe albums of course, great rock of my youth...just had to say. Lots of great music came my way from Mr. Nelson in the years between then and now. Long may it continue.) Hard to pick a top one from as fabulous a catalogue as Mr. Nelson has produced, but this would have to be it. This, though, is quite a different beast from all the rest. A very soothing, cohesive album that paints a lovely sonic picture-scape, truly evocative of dreamy pastoral vistas. A 'Put the feet up and kick back', type of album." chymepeace: "Pure joy. Each release you never know what you're going to get and that's part of the thrill and anticipation. I've pretty much everything Bill. Model Village has gone into my top 6 or 7 and Blossom Tree may be hard on its heels. How this consistent level of quality is achieved I have no idea. Thanks Bill. Please keep doing what you're doing - no pandering! Eternally grateful." Lonnie: "Not since Chance Encounters in the Garden of Lights have I been soooo moved by one of Bill's albums. It just takes me away." novemberman: "I got to the "Buzz Buzz Buzz Honey Bee" track, and I was sold, the rest of the album was wonderful. "As is with so many of Bill's albums they require more than a cursory listen. His styles are so diverse any album should be treated with an open mind, and see where it takes you." play my theremin: "Well, I'm always late to the party, but I love this album. I live right on the north east coast, and Blossom Tree made an absolutely magical and uplifting soundtrack to my frosty early morning walk by the pier and along the promenade. "As for favourite tracks, so far the title track (alt mix), "Buzz, Buzz, Buzz of the Forever Bee" and "When Boys were Lost for Words" particularly grab me. But as with most of Bill's albums, the tracks that end up as my absolute favourites tend to lie in wait for a while and hit me by stealth." "If anyone else has yet to buy this album, I recommend it!" MG: "I can't help myself: "Silent Glides" is like a head on collision with a rainbow after a sun-shower. This is a truly illuminated set, this CD." alec: "May I just state that the title track of Songs of The Blossom Tree Optimists must certainly be up there very near the top of Bill's Top 10 Best All-Time Vocal Performances. "The guitar trickles all throughout the listener like dancing diamonds upon rivers, streams, leaves of grass, blossom trees, clouds, etc., brings immediately an idyllic state of conscious, 'a glorious domain is shining' indeed." stpetelou: "Always especially appreciate Bill's vocal works. His voice has been a soothing and warm companion throughout a good part of my life, enhancing good times and helping to diminish bad times." DWGBG: 2012 Poll: "I have all these excellent albums, but one stands head and shoulders above all of them and that is Songs of the Blossom Tree Optimists . It should get two votes from me as the bg half of dwgbg completely agrees with me." "Bill's most uplifting album ever. Without it I wouldn't be here. I have been in a very dark place for about seven months now and listening to this album has saved my life on more than one occasion. Thank you from the bottom of my heart Bill, for making it." Oracle: "Washes over you like a warm, peaceful blanket and soothes the spirit! Spoken like a true poet, ahem!" andygeorge: "What a lovely collection of songs! Bill's knack of combining imagery and melodic tunes are very strong on here and I was very taken first time with some of the songs... "The Buzz, Buzz, Buzz of the Forever Bee"...Arthur Askey comes to mind! Oh, what a wonderful thing to be, A healthy grown up busy busy bee." "The Girl Who Was Electrically Carried Away"...couldn't stop singing this all day yesterday! "My Botticelli Angel"...another track destined to be a Bill favourite. ...So, mission accomplished Bill...you've done it again with another album that will, I'm sure, be considered a classic in years to come... ...if you're still not sure about getting this CD, DON'T hesitate...get it now!" Ged: "This is one of my fav Bill albums already. Wonderful lyrics and great melodies - I would strongly recommend those of you who are thinking about buying the album - go for it - you won't be disappointed." Peter: "Waiting for the next Bill Nelson creation is SUCH sweet torture, ain't it? I mean, I have had Songs of the Blossom Tree Optimists for what, 2-3 weeks? And loving it. And yet talk of another album in the works has me all excited again. Just can't get enough! Yeah...I have an addiction! But one that I enjoy greatly, that enhances my life and that I see no reason to quit." Albums Menu Future Past

Animals They Dream About album - 2016 The Units Production/Contribution Menu Future Past TRACKS: 01) Animals They Dream About 02) Bones 03) More Alike 04) Blue Or White 05) Interstate 5 06) Straight Lines 07) Jack 08) Get That Funky Thang Off Of My Shoe 09) Warpaint 10) Your Face 11) Sidewalk Reel BILL: Co-Producer. Synthesizer, Guitar and Drums. NOTES: Recorded in 1981, but unreleased until 2016. Scott Ryser: "It just so happened that at the same time, Bill Nelson, of Be-Bop Deluxe and Red Noise fame, had also changed his musical direction, and had embarked on his "Practical Dreamers" tour in May of 1981 after the long-delayed release of his Quit Dreaming and Get on the Beam LP. He was a fan of our music and we had been corresponding for a while. When his tour passed through San Francisco we finally met him. We were fans the Quit Dreaming LP, but also really liked the instrumental music he had recently finished, Das Kabinett (The Cabinet of Dr. Caligari) album in 1981 as well as the La Belle et La Bete (Beauty and the Beast) soundtrack LP he had recently composed. "He asked if we'd like to collaborate on something and we invited him to fly out to San Francisco, sleep on our couch in our little one bedroom apartment for a couple of weeks and try co-producing the second album we were working on, Animals They Dream About . To our surprise Bill said yes. We already had all the material and had been rehearsing it and playing some of it live, but just like our first three records, we hadn't signed anything with a record label yet. We all figured some label would pick it up and several labels eventually made offers…but they were all really bad offers. We couldn't afford to release it ourselves at that point, and were all busy working on other projects. So those tapes we worked on in our studio with my 8 track tape machine have been sitting in closets in all the apartments and houses Rachel and I have occupied in San Francisco and New York for close to 35 years now." ______ Check out these Facebook and Bandcamp links for the Units. Production/Contribution Menu Future Past

Dreamland To Starboard Bill Nelson album - 3 October 2004 Albums Menu Future Past Purchase this download TRACKS: 01) Girlfriend In Mini-Skirt 02) Creamy Clouds 03) Gondola 04) The Singing In The Air Above The Village Green 05) Lost To Tomorrow 06) I Am The Only Monster Here 07) Burnished 08) Tarnished 09) Radio Waves Lap Memory's Shore 10) Moments Flash Like Stars Between Them 11) Ghost Of Gilded Ruin 12) Circo Infantil 13) Standard Fireworks 14) All A Dream, After All 15) The Diving Bell 16) My Ever Gleaming Dreamertron 17) All's Well In Wonderland ALBUM NOTES: Dreamland to Starboard is an album of guitar instrumentals issued in a one off print run on the Universal Twang label. It is believed that 1000 copies were pressed. The album was one of three albums issued on the same day (initially available on the merchandise table on the Be Bop Deluxe and Beyond tour). Copies were then sold via S.O.S. Dreamland to Starboard sold out in January 2006. CURRENT AVAILABILITY: Available for purchase as a digital download here in the Dreamsville Store . BILL'S THOUGHTS: "Dreamland to Starboard is one of those albums that I'll always be able to stand by, to be eternally proud of, and one which, I predict, will rate high in my list of musical achievements. I think that it is a FAR more sophisticated recording than Romance of Sustain and, for me at least, fits perfectly into a guitar pantheon alongside Plaything and Rosewood Volume One . Add Practically Wired to these three and you have, perhaps, THE defining statement regarding my guitar instrumental work. A quartet of six-string dreams." _____ "There is a thread that runs from The Romance of Sustain right through, Plaything , Wah-Wah Galaxy , Dreamland to Starboard , Rosewood Vol 1 and Rosewood Volume 2 . It's the story of my instrumental guitar style in 21st Century terms. All these albums, along with some of the guitar instrumental tracks from Luxury Lodge and Astral Motel give you a complete picture of where my guitar dreams are these days." FAN THOUGHTS: BenTucker: "This album presses all my buttons. I regard it as a crime that it's not enjoyed by millions." "Dreamland to Starboard sounds, to me, almost crystalline, cerebral - but also has that romantic/emotional depth characteristic of Bill's music." Peter: "A fascinating album, this one. Rich with guitary goodness, dripping with invention and adventure. Not one of those albums with lots of layered production -- more stripped down and airy. Many songs don't even include percussion. "One major stand-out for me, personally, is "I Am the Only Monster Here," which struck me as what it would sound like if you could clone Bill, give the other Bill a guitar and then have the two Bill's face off in a jazz-style "guitar duel". The wonderful jazzy soloing is amazing. Another one I especially like is "Tarnished", which is just really lovely, as is the next track, "Radio Waves Lap Memory's Shore". So much to like here, Bill...love it." krieger: "Can't avoid listening Dreamland to Starboard without a smile on my face..." Sue: "Loved it, beautiful perfection in one album." Twilightcapers: "Dreamland is better than Romance or Custom Deluxe . As you say, deeper, more textural. Very trippy and dreamlike." Dar: "My Ever Gleaming Dreamatron": "The sort of thing you could go get lost in and never come back, finding yourself with no reasons to ever want to either." steve lyles: "I had Dreamland to Starboard playing at high volume and was struck (once again) by the absolute beauty of this recording, it is one of those rare pieces that flows and entwines the listener...a timeless quality." "My Ever Gleaming Dreamatron": "is pure brilliance...Dreamland to Starboard I have never found to be difficult listening...but Bill's work just seems to hit my G spot." "I often wonder how Bill Nelson can come up with so many beautiful pieces of music...and then go on to do even more." Albums Menu Future Past

William's Study (Diary Of A Hyperdreamer) May 2006 Tuesday 9th May 2006 -- 8:20 pm Two weeks and two days have passed since my brother Ian died. Although I frequently note, in these diary entries, how quickly time flies, the last two weeks have gone by at hyperspeed. Life has been a blur, a world in a spin, glimpsed through a watery lens. I'm tempted to say 'dreamlike' but it's been more like a waking nightmare. I am still struggling to grasp the reality of it, to understand just what has happened and why. The 'why' evades me. Ian's funeral was held on Tuesday the 2nd of May. Exactly one week ago today. Already. I should try to capture a little of that painful event here in my diary, both for posterity and my own failing memory's sake. The funeral service was held in a little church in the village of Walton on the edge of Wakefield, (not far from Ian's home), followed by burial at the city cemetary in Wakefield itself. Ian's wife Diane had been a little unsure about Ian's wishes in this regard, whether he would have preferred a cremation or burial. She said that she seemed to recall Ian saying that he'd never felt comfortable with the idea of cremation. I remember that Ian and I, in our distant youth, talked about the subject sometimes. We talked about it in the casual way that young men do when life seems to stretch on infinitely ahead of them and death seems nothing more than a vague, abstract concept. Nevertheless, neither of us were favorably disposed towards cremation and thought that a burial, in pleasant surroundings, would offer more comfort to loved ones and leave some form of an indication to others that we'd existed in this world. So, with all this in mind, Diane decided that Ian would have opted for a burial. My mother and myself felt that this was more appropriate too. It provided us with some small comfort that there would be a place where we could visit him from time to time, a kind of 'bridge' to his ethereal world, even though he would always be close inside our hearts. This need came as a surprise to me as, in recent years, I'd adopted the attitude that there would be no survival of spirit, soul or essence when life ends, just a slow dissolution of the elements, a scattering of atoms in the void. A poetic, zen-like emptiness. But of course, religious belief isn't for the departed but for those who are left behind to grieve. Any comfort, no matter how scant, furnishes our consolation. We grasp at any passing detrius the ocean of mortality throws at us, in the hope of staying afloat. My cousin Ian Boyle travelled all the way from Cantebury to attend the funeral. He stayed here with Emi and I from Sunday through to Wednesday. My brother Ian was actually named in honour of my cousin Ian, who is the youngest of our father's sister's two sons. (Dad and his sister passed away many years ago now.) My brother's middle name, Walter, was also chosen to honour family members. 'Walter' was both my father's name and my father's sister's eldest son's name. Sadly, cousin Walter was away in Venice so couldn't attend my brother's funeral. The passing-on of family forenames seems to extend to me too: I'm named after my father's younger brother, Bill, who was killed in a motorbike accident before I was born. The Nelson family history has many lost chapters. It is shrouded in mists and forgotten memories, as I discovered when I began work on my autobiography a few years ago. Trying to piece together a complete picture is almost impossible. My mother, though originally from the Griffith's side of the family, is the oldest living repository of our family history but, as she admits, she has limited recall of the facts. My autobiography does what it can with what little information is available but a perpetual twilight mist hovers over certain aspects. Perhaps I'll never know the full story. My two daughters, Julia and Elle, travelled up from their homes in London to attend the funeral. It was the first time that the surving members of the Nelson clan had all been together in the same place for quite a while, the last time being a Christmas gathering at my home some years ago when cousins Walter and Ian, my mother, my youngest daughter Elle, my son Elliot, brother Ian and Diane, joined Emi and I for a pleasant day of family talk and seasonal celebrations. I can remember my brother Ian's laughter on that day. As usual, his ability to make people feel at ease in his company was clearly evident. Emiko created the family's funeral flower arrangements. It was nice to have that personal touch and I think that Ian would have been pleased that Emi took care of his flowers, rather than a stranger treating it as just another job. Emi made a very large arrangement with Lillies and Roses from Diane, an arrangement spelling out the words DAD in delicate, tiny blue blooms with cream roses from Ian's children, a posy with roses and other flowers from my mum and an alto saxophone constructed from flowers from myself and Emi. I created a short verse to go with the message on the card that accompanied the floral saxophone. The verse part of the message read: "Go blow your Saxophones of Golden Eternity, wild and free in The Blue Beyond... Go blow your Saxophones Of Golden Eternity, safe and sound inside our hearts..." I felt that it had something of Kerouac and The Beats about it that Ian might have enjoyed. Jack Kerouac shared Ian's sense of the immediate moment being all that mattered. The days leading up to the funeral were filled with grief and a kind of dread. We all knew that the day of the funeral itself was going to be a grim one, an inescapable confrontation with our loss. I travelled over to Wakefield to see my mother almost every day. Although we were all devastated, we knew that my mother was suffering in a way that only a mother does when she loses her youngest son. Mum is 77 years old and fighting her own battle with illness. That she should have to face this kind of grief too is so very sad. But my mother is an amazing, beautiful person, (and yes, I'm aware that all sons think that of their mothers). She has borne the weight of so many problems throughout her life, as many mothers do. My father's long illnesses, his confinement to a wheelchair after suffering the amputation of both his legs, her own medical problems, the worrying, wayward nature of both her sons, my two failed marriages and their unpleasant side-effects, etc, etc. Through the years she has always cared more about other people's sufferings than her own. She has never complained, never been judgemental. Mum has always been steadily supportive, a perfect example of unconditional love. Her generosity, strength, dignity and compassion are self-evident qualities, recognised by all who know her. And she thinks the world of Diane and Ian's children. And I realised, this last couple of weeks, that they think the world of her too. On the morning of the funeral, Elliot and Elle and Julia travelled in Elliot's car whilst my mother, Emi, cousin Ian and I travelled in one of the two funeral cars, Diane and Ian's family led in the other, directly behind the hearse bearing Ian's casket. The emotional moment of the arrival of the hearse at Ian and Diane's house that morning, prior to setting off for the church, is beyond my ability to describe. I'll never forget it. A conformation of everything I'd tried to deny. The little church was filled to capacity with Ian's friends. As part of the family, the church's front pews were reserved for us and Ian's flower covered coffin was displayed a couple of feet away from where we sat. Here was the hard reality of it all: my brother, the one person (other than my mother and late father), who had been a stable part of my life for so long, was now about to be laid to rest forever. Sitting there, looking at that polished, crafted, dreadful symbol of finality, I remembered so many things that we'd shared, both as children and as adults. The sadness engulfed me, drowned me, crushed me. The vicar, whose first name, I believe, was Rupert, (somehow appropriate as Ian and I grew up with Rupert The Bear stories), read a few Biblical passages. I could almost hear my brother, a passionately non-religious person, groaning, " Get ON with it!" Ian would have favoured an Irish style wake or a New Orleans style musical blast off with Bachanallian revels and joyous memories. He wasn't really one for morbid melancholia. That curse, it seems, has been left to me. Then Ian's sister-in-law Angie read a tribute to him, after which, as part of the service, some recent recordings of Ian playing saxophone with his friend John were played to the congregation. The music unlocked the floodgates.The grief was unbearable. Everyone wept openly. So poignant and sad. After the church service, the funeral procession slowly wound its way out of the village and headed towards Wakefield and the cemetary. We travelled in silence and tears. I kept getting glimpses of the hearse ahead of us as it turned this way and that through the blossom filled, tree-lined lanes that had been so familiar to Ian in life. In the car in front of us, Diane, Julian, Louis and Lucy followed Ian on his last ride. I can only begin to imagine how painful it must have been for them, losing a husband and a father so suddenly, and at such a relatively young age. The morning weather had started out reasonably spring-like but, when we arrived at the graveside, the sky had turned a uniform grey and a cold wind animated the priest's vestments as he stood at the head of the grave that had been dug to receive Ian's casket. Ian's family, my mother and myself were beckoned forward to stand at the edge.The coffin was lowered down to rest at the bottom.The grave was much deeper than I'd imagined but I could clearly read Ian's name and the date of his birth and passing on the polished brass plate that was fastened to the lid of his coffin. I really can't begin to describe the emotions and thoughts that flooded me at that moment. Here was my little brother, whose coming into the world had been part of my own life and whose exit from it will haunt me forever. Ian was born at home, at my parent's ground floor flat, number 28, Conistone Crescent on Eastmoor Estate on the 23rd April 1956. When mum went into labour, the midwife had suggested that my bed would be more comfortable or suitable for Ian's birth than my parent's one, so I was moved into my parents bedroom whilst mum occupied mine at the front of the house. (The move was softened by a pile of comic books that my father had bought for me.) As a result, Ian was actually born in my bed, in my bedroom. It was in this same room that we would spend so much time playing with our toys when we were kids. I remember Ian being a big fan of Gerry Anderson's 'Supercar', as was I. My dad bought the family an early domestic tape recorder, a two-tone grey plastic Phillips model with a 'magic-eye' device that flashed whilst recording to show the level of sound. Ian and I recorded little 'plays' on that machine, often re-creating 'Supercar' or 'Stingray' stories. I can still hear his high-pitched young voice saying " Stand by for action! Anything can happen in the next half-hour!" (A phrase from the opening sequence of 'Stingray.') I wish I still had that recording. Our bedroom was filled with model cars, aeroplanes, trains, toy spaceships, books and games. We shared that room for many years, our theatre of youth, filled with the symbolic contents of our nascent imagination. And now, here I was, gazing down at all that remained of that life, those far memories, reduced to just a name and two dates etched on a brass plaque. I could feel my mother shaking as she clung to my arm next to me. I was shaking too, an icy combination of the cold wind and the deep emotions we were suffering. It seemed unreal, surreal, film-like. Ironically, Wakefield Cemetary features briefly in one of my favourite films, 'This Sporting Life' and Wakefield Trinity football ground, which plays a big part in the film, is almost next door to the cemetary. Richard Harris played the central role in the film, a hard-living, down to earth character. I'm sure Ian would have appreciated this connection and felt it appropriate. I can remember long-ago visits to Wakefield cemetary when I was very young. Walking trips on Saturday mornings with my mother to place flowers on the grave of my great grandfather, John Henry Griffiths, (who died when I was three or four, I think). My great grandmother is buried somewhere in there too and also my father's brother Bill, mentioned previously in this diary entry. I've been unable to locate their graves in recent years and my mum can't recall exactly where they were buried. I think they had extremely small, modest headstones. Maybe just initials and a date. The area where I seem to remember my great grandfather's grave being located has several such small stones, now heavily worn away by the weather. Impossible to decipher. I'll try to locate them through the cemetary archives later this year...they must have official records of the graves, maybe a plan to help me locate them. I'd like to take flowers to my ancestors. They've been neglected for so long. My brother Ian's grave is in a newer part of the cemetary, across the quiet road called 'Sugar Lane,' that runs off from the main, busy, Agbrigg Road. Sugar Lane divides the newer cemetary from the older part. The older section is mostly filled with Victorian and Edwardian graves, some of them marked by grandiose monuments, obelisks and angels. The 'newer' part, opened in 1961, is simpler, without the gothic trappings. Ian rests at the end of a tree-lined walk on the right hand side of the path. After the burial, everyone went on to the Yorkshire Sculpture Park where a reception had been organised in Ian's honour by his former colleagues, including park director Peter Murray, (one of my painting tutors from Wakefield Art School days), and Ian's sister-in-law Angie who has worked there for many years. Ian's children had prepared a slide show of photographs of their dad, taken at different points in his life, which moved everyone deeply and reduced me to tears again. Ian's eldest son Julian, after giving a moving and eloquent speech which impressed everyone there, proposed a toast to his dad. Ian would have been so proud of his children. I had the opportunity to speak with many of Ian's friends including members of 'Bolt From The Blue', the band that I'd enjoyed playing a few gigs with back in the late '80's (or very early '90's). Ian had been a member of the band, as had an old art school friend of mine from the '60's, drummer Martin Foye. (Martin sadly passed away in the 90's, another one gone too young.) 'Bolt From The Blue' had been very kind to me back then. At the time of those gigs I'd been struggling to survive. My problems with business management and the music industry were at their peak and I had virtually no income at all. My life was filled with stress and fear. It was suggested that, if I performed a handful of gigs with Bolt From The Blue in local pubs, I could make a little money to help me out of some of the financial mess I was in, or at least pay an outstanding bill or two. I hadn't played live for quite a while and was understandably nervous about performing, but I ended up having fun with the band. The first performance I gave with them was in Wakefield at a pub called 'The Post Haste.' I recall playing covers of Van Morrison's 'Dweller On The Threshold' and Muddy Water's 'Got My Mojo Working.' The local Wakefield Express newspaper kindly wrote a generous review about the show. We even travelled to Manchester, if I remember rightly, to do a gig in a pub there. It was an enforced return to my roots, a reminder of what it was all about. The generosity and care that Ian and the rest of the band showed me has never been forgotten, so it was good to meet up with some of the original members again at the Sculpture Park last week, despite the terrible circumstances. Amongst many other people attending the Sculpture Park reception were musicians who had been part of my 'Lost Satellites' band: Dave Standeven, Steven Cook and my long-time friend Jon Wallinger. They all have fond memories of Ian from the 'Be Bop Deluxe And Beyond' 30 year anniversary tour that we undertook in 2004, and from the annual Nelsonica fan conventions. As they're much valued friends of mine, it was extremely supportive for me to see them there. Two more, very dear friends were also present to honour Ian: John Spence who had worked with Ian in various musical situations over the years and Paul Gilby who had worked alongside the Lost Satellites on the 2004 tour. It was so comforting to have all these familiar faces close by at such a difficult time and everyone recalled their experiences of Ian generously. Another warm and welcome gesture was the presence of several loyal fans and regular members of the 'Dreamsville' on-line community. Everyone was extremely kind and I was touched by their considerate and compassionate concern. At the end of the afternoon, people began to drift away. In a manner that Ian would have approved of, I was feeling somewhat woozy from the wine that had been served up by the Park's staff. I was hoping it would act as a kind of anaesthetic but it simply heightened the unreality of it all. Paul and Elliot provided transport to get Mum, her husband George, Julia, Emi and I back to our cars which had been left at Ian and Diane's house that morning. We then collected my grandson Luke from his grandmother's house, (my first wife Shirley). Once Luke was on board, Julia, Luke, Elle ,Elliot, Emi, Mum, George, my cousin Ian and my friend Paul Gilby, drove out to Heath Common, another old village on the edge of Wakefield. We all went to 'The Kings Arms' pub, a place that still has gaslight and stone-flagged floors. I used to go there as an art student in my teens and have also visited it several times with my brother in the past. After the day's stresses and strains it was theraputic to sit and eat and drink together in this old haunt with its history, both local and personal. My little grandson Luke, with his positive, wide-eyed wonder, inspired a smile for us amidst the sad recollections. I too, inadvertantly provided some humour by accidentally setting my hair on fire whilst standing beneath one of the pub's wall-mounted gas mantles. The first we knew of it was when we smelled something burning. Then the top of my head felt very hot. I managed to move away from the gas light just in time. I could almost hear my brother Ian laughing at my folly. That evening I sat up with cousin Ian, talking about this and that. He's a lovely guy, good company, intelligent and knowledgable, (as is my other cousin, Walter). The next morning, cousin Ian set off on the long drive back to Canterbury. We plan to get together again before too long...a summer break. I went back to the cemetary last Friday with my mother. It was a warm, sunny, spring day...a clear blue sky overhead, the trees leading to Ian's grave heavy with pink blossom. Such a contrast to the day of the funeral and so much new-life and fecundity evident in the immediate environment. By coincidence, Diane had also chosen to re-visit the spot at exactly the same time. As mum and I arrived, Diane was just helping her mother and father from her car. Diane's mum and dad are lovely people and it's plain that they both were very fond of my brother. I was conscious that we might be intruding on their privacy but my mother said not to worry and we joined them at Ian's grave. Emi's flowers were still in place though the more delicate ones had either become wilted or blown away with the winds and occassional rain of the previous day. The floral saxophone, magically, seemed reasonably intact. I fetched water to nourish the remaining flowers in the hope of keeping them going a short while longer. After a while, when Diane and her parents had left, Mum and I walked around the older side of the cemetary, looking at the old gravestones in the hope of maybe locating John Henry Griffiths, (mentioned above), my great grandfather on my mother's side of the family. He was, in the 1920's and early '30's, a lamplighter, going around the Wakefield streets at twilight, lighting the gas lamps, then going around again at dawn, putting them out and knocking on people's windows with his lamplighter's pole to wake them up to go to work in the local textile mills. My mother tells me that she sometimes accompanied him in the evenings when she was a young child. She has told me of walking the rainy cobbled streets with him and watching the gas mantles burst into light as he switched them on, one by one. A poetic and beautiful image. However, his resting place still eludes us. After dropping mum off at her home, I bought a copy of 'The Wakefield Express' as I'd been told that there was an article in it about Ian's passing. Ironically, in another part of the newspaper, (as I was later informed), there was a photograph of myself, printed as part of an article about a local radio station that was apparently planning to broadcast my instrumental recording 'Radiant Spires.' How I wish that the only announcement in the paper could have been about Ian and myself performing somewhere together, as we'd done at the Wakefield Arts Festival at the end of the '90's, instead of the sad news that Friday's Express carried. That we won't be able to share a stage again in that way is an extra blow for me, something that will hurt every time I perform solo from now on. Since the funeral, there's been an attempt by us all at some kind of adjustment, an attempt to come to terms with things. Not at all easy. Impossible right now. I travelled to London on Saturday to attend the London Guitar Show at Wembley Exhibition Centre where I'd promised to appear on the Campbell American Guitar stand. Readers of this diary will know that Dean Campbell and his team are developing a signature model guitar for me. I picked up the prototype of the signature model and brought it back home, along with an intense blue 'Precix' model that has a vibrato arm fitted. It was actually the first time I'd met Dean 'in the flesh', (despite many emails and 'phone conversations), and I was made to feel very welcome by him. He's a warm, genuine, lovely guy and couldn't have been kinder to me. His care helped ease what was going on behind my smile and he, plus his colleague Dan, plus Music Ground's Rick Harrison, (who travelled down on the train and back with Emi and I), helped me through what might otherwise have been a difficult day. And so here I am, one week after the funeral, still in a dark cloud despite all attempts at moving on. Too soon, of course, but I have to try to pick up my workload again. The song 'Steam Radio Blues' that I was working on just over two weeks ago needs to be finished. It's just a matter of the mix really. But then I have to write and record more songs for the 'jazzy' album. I realise that it will be impossible not to write something about this recent tragedy and sadness. In fact it may be a way forward for me, an attempt to exorcise some of the pain. I also hope to make a special tribute album for Ian later in the year, something that might directly benefit Ian's family. I have some ideas regarding this that I need to work on, but will announce more about it when things begin to fall into place. Meanwhile, the sun shines outside my window, the swallows have arrived from Africa and swoop around the rooftops of the house. A cuckoo can be heard in the distant yellow meadow and fat bumble bees buzz amongst the flowers by our front door, oblivious to human suffering. Next month, Emi and I will fly to Tokyo for two weeks to visit Emi's mum and two brothers. And the work of making music will continue. Life goes on, though much more tenderly and tearfully than before. Finally, I'd like to thank all those good people, family, friends and fans, whose words and deeds have brought a measure of comfort and kindness to what has been an extremely difficult time. Everyone's life is a work of art and everyone's life is precious. Heartfelt love to all. ****** The photographs accompanying this diary entry show: 1. Emiko working on Ian's flowers. 2. The floral Saxophone. 3. Ian (in foreground), and Bill behind. Photo taken at Reighton Gap on the East Coast Of Yorkshire during a 1950's holiday. Top of page Thursday 25th May 2006 -- 8:20 pm It's now just over a month since my brother Ian passed away. I'd like to think that I've begun to accept the situation and am coping reasonably well...but the truth is a little different. There's an underlying depression at work here, dark and muted but insistent, insidious. So, how does one deal with bereavment of this kind? What's the precise formula? I presume that there isn't one. It just takes time. Maybe several years and, even then...I'm still in shock. Was else can I say? I'm doing my best? I've immersed myself in work this last week or so. Concentrating on the 'Return To Jazz Of Lights' album. The hard work doesn't remove the sadness but at least temporarily distracts me from it. It has to be said that some of the more melancholy pieces on the album, even though they were written before the events of 23rd of April, seem remarkably apt with hindsight.There are several poignant, prescient moments. This album has been an unexpected struggle...perhaps even more so than 'The Alchemical Adventures Of Sailor Bill.' Maybe it doesn't have Sailor Bill's sense of absolute completeness, or maybe I personally don't have a sense of completeness right now. The whole album seems to comprise one big fragmented statement and could be judged tenderly flawed, 'though for special reasons. It's subtle imperfections may be interpreted by some listeners as seductive come-ons. ( Well...I DO hope it slides the pants off you.) So, yes...It's another personal, unique thing, sentimental, but with a dash more irony than Sailor Bill. It has a bizarre mix of inspirations / influences, containing elements of jazz, big band swing, jive, lounge, electronica, easy listening and Vegas show music, shot through with what, I guess, an objective ear might describe as archetypal Bill Nelson ' whimsicality.' It's somewhere to the left of post-modern...not easy to describe in precise terms at all. The truth is, I don't really know what to make of it. But it's finished, as of this last, exhausting hour. I've decided upon the final song selection and running order and now have to arrange time at Fairview to master the damn thing. It's gone through several mutations. It started life as a throwaway side-project, a light-hearted six song ep or mini-album, everything recorded quickly, something that I hoped might be reasonably painless to put together. But, despite those modest intentions, over the last few months it has taken on a peculiar life of its own and I've had no choice but to follow wherever it led. The project grew from six tracks to ten.Then to 12 and now, this week, to 15. (Although I've recorded 18 songs for it in total.) Listening back to the 15 track version last night, I decided it was too long and have spent all of today re-working the running order to get it back to a more easily digested 12 track album. I think this latest 12 song version works better. The six songs left over from my final selection will be moved to the list of possibilities for this year's fothcoming Nelsonica fan convention cd. In that respect, the project has gone down almost the same path as Sailor Bill. Last year's Nelsonica cd, 'Orpheus In Ultraland', provided a home for tracks that didn't make it onto the Sailor Bill project. Ironically, people snapped that one up faster than the Sailor Bill album. Anyway... The final selection, as of this moment in time, looks like this:- BILL NELSON: 'RETURN TO JAZZ OF LIGHTS.' 1. 'Return To Jazz Of Lights.' 2. 'Fearless Beauty. (Kisses and Cream.)' 3. 'Mysterious Chemicals Of Love.' 4. 'It's A Big World And I'm In It. (The Great Rememberer.)' 5. 'October Sky.' 6. 'For You And I.' 7. 'Velocity Dansette.' 8. 'Now Is Not And Never Was.' 9. 'Windswept.' 10. 'Always You.' 11. 'Steam Radio Blues.' 12. 'All These Days Are Gone. (For Ian.) ' As I noted above, the six songs that didn't make it to the album will be held over for this year's Nelsonica limited edition album. Their titles are:- 'Premium Standard Number One.' 'Distant Towns With Different Lights.' 'Memory Skyline.' 'The Girl In The Galaxy Dress.' 'Take It Off And Thrill Me.' 'The Song My Silver Planet Sings.' There will be a few more tracks to add to the convention album, including the song that proved very popular on last year's concert tour, 'Snow Is Falling.' (But how that will fit with the above 'jazzy' stylings is another mystery.) So...for the moment, that is ALL the music I have to offer, other than the completed though not yet mastered 'Neptune's Galaxy' album. As usual, there are other concepts percolating in the coffee shop of dreams but I'm feeling genuinely tired right now and need a break. Perhaps the trip to Tokyo in June will give me a breather of some kind, 'though it won't be particularly relaxing. To be honest, I'm not looking forward to the journey at all...I don't enjoy flying, especially long haul flights to Japan that involve several hour's stop-over, awaiting connections at some Europen airport or other, (in this case, Amsterdam). But cheap tickets require one to endure such tedium. I'll take my camcorder, still camera and small sketchbook/watercolour set with me. Perhaps there may be a moment's grace during our Tokyo stay when I can capture the tranquility of a Zen temple garden amidst the city's hustle and bustle. I fear there will hardly be time to relax though, as Emi needs to hook up with long-missed family and friends. It will be a very busy schedule, once we arrive. I bought a book dealing with aspects of the history of Wakefield, yesterday. Wakefield, in the West Riding of Yorkshire, is my birthplace. In the book, there is a section dealing with the history of Wakefield's 'yards.' Amazingly, there is mention of Marriot's Yard, around which Marriot's Buildings were located. (I've searched for years to find reference to this personally important location.) Marriot's Buildings was where my grandmother lived and where I was born. (Now long since demolished.) The book quotes from an ancient report written by a medical official in the 1800's. He comments on the unsanitary conditions of the housing there and briefly describes the setting. When I was born there, in 1948, Marriot's Buildings and its yard had not changed at all from those dark Victorian times. There was still no hot water, no electricity and only a communal outside privy with newspaper for toilet paper. An old tin bath for the once-a-week bathnight and a stone floor that would later, briefly, receive the 'luxury' of linoleum. Unbelievable. Nevertheless, I remember the place with clarity and great fondness. As I've often mentioned in these diary pages, my autobiography contains elaborate descriptions of that dwelling, exactly as it was when I was a very young infant, not yet able to walk but definitely able to retain strong visual impressions of my surroundings, albeit from ground level. How I wish I could trace some photographs of the building as it was around the time of my birth. Or at ANY time before its demise. My old pal John Spence called me last night. We spoke for quite a while, talking about my brother, (and life and its struggles in general). John has come to play an important part in my life over the years, not just because of his talents in the realm of studio engineering, but because of his understanding of me as a human being. I value his friendship tremendously and feel priveleged to know him. I'm still receiving kind messages of sympathy from various people. So many that it is proving difficult to answer every single one of them, although I'm still attempting to. I've certainly felt the spiritual embrace of many good hearted people these last few weeks. A lot of love has come my way and I'm very grateful. I've been reading some Buddhist texts before sleeping. In the mornings I've watched the clouds passing overhead, glimpsed through the bathroom skylight as I lay in the bath. I've also watched the recent torrential rain hitting the vast pool of water in our garden, making rippling circles of light on the driveway. Our garden and drive doesn't drain and becomes a virtual lake when the weather turns wet. One of dozens of flaws that this place has. It needs lots of money spending on it at the moment, but things are tight and it will have to wait. I live in a perpetual state of 'make-do', and that includes the recording of my music. It's a never ending compromise. But, isn't everything? I've been playing the first prototype of my Campbell American 'Transitone' signature guitar and have refined my initial ideas for the instrument's development which I'll be passing on to the campbell company soon. It is, unsurprisingly, a very unique instrument and will become even more so as its development continues. Meeting Dean Campbell himself at the London Guitar Show a week or two ago was a real pleasure. I actually saw Bert Weedon there too, 'though just from the back as he walked the show's corridors with, (I presume), his wife. He looked very frail. His 'Play In A Day' book was purchased for me by my father when I got my first guitar. I did absorb the info in the tutor book about which way up to hold the instrument and how to attach the strap but, beyond that was a mystery to me and remains so to this day. I have fond memories of Bert on 'Five-O'Clock Club' on television in the late '50's, early '60's. He used to have very thick, crinkly, shiny hair in those days. It's very white, faint and wispy now. Top of page Jan Apr Jun Jul Aug Sep Oct Nov Dec 2005 2006 2007 2008 2009 2010 2011 2013

Acquitted By Mirrors - Issue Four - Published December 1982 Back to Top

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

2005 2006 2007 2008 2009 2010 2011 2013 William's Study (Diary Of A Hyperdreamer) November 2010 Jan May Jun Sep Dec Friday 12th November 2010 -- 9: 00 pm Begun 9th November 2010 Should I attempt this diary entry when I'm so desperately behind with my preparations for this year's Nelsonica? Can I manage to keep it brief and to the point? The answer, judging from past experience, is a resounding "no"...to both questions, but as usual, I'll throw caution to the wind and try to fill in the now statutory cavernous gap since the previous diary entry. So, here goes... I'll own up and confess that I've spent far too much time attempting to write and record several new backing tracks for my Nelsonica 10 solo set. This year's Nelsonica is now looming dangerously at the end of the month and I really shouldn't have been chasing the muse around her musical bedroom in search of new thrills. There are so many more down to earth tasks to deal with...but, she's been her usual seductive self and I've succumbed to her charms, as a gentleman always must. Actually, I've recorded enough new backing tracks to fill an entire album. But, having said that... how many of them have I actually chosen to use at Nelsonica? Well, humble apologies to both the muse and Nelsonica attendees, but the answer is just one. Yes, ONE. All is not lost though, apart from many days of intense work recording the damned things. The unused pieces have been set aside and will eventually receive overdubbed guitar parts and emerge next year as a studio instrumental album, or at least something along those lines. (Provided the muse doesn't unlock the bedroom door and waggle her finger at me again.) I've also created several new Orchestra Futura backing tracks, five of which WILL, hopefully, feature in the relevant section of the Nelsonica live performance. Theo and Dave and I have yet to test them out at the rehearsal sessions scheduled for the week immediately prior to Nelsonica. It may well be that some of them will not prove suitable, in a practical sense, but, who knows? Certainly not me at this stage. Anyway, we'll see how we get on with them at rehearsals. Improvisation is the basic nature of Orchestra Futura so, even though these new backing tracks have a formal structure, what Theo, Dave and myself play within that structure in a live situation is entirely subject to the moment. I've also spent considerable time transcribing lyrics for the various pieces to be attempted by the 'Gentlemen Rocketeers' band. I used to have most of these lyrics, (and the musical arrangement charts), archived on my old computer but the files wouldn't transfer across to my current iMac due to an 11 year operating system difference, (and partly because the new Macs now use Intel processors). The charts came out scrambled and wrongly formatted. So, in the end it seemed that the solution was to start again from scratch, and transcribe the songs line by line from the old recordings. Tiresome and time consuming but unavoidable under the circumstances. I suppose one problem is that I almost never listen to those old songs for personal pleasure and rarely give concert performances of them. Every time I'm in a position to perform the songs live, it's a little like approaching them as a complete stranger. People say, "oh, it must be just like riding a bike...as soon as you begin to play, it will all come back to you..." Well, truth is, it's not really like riding a bike at all. If it IS, it's a bike I seem to keep falling off. Actually, for me it's much more akin to climbing a very steep mountain, against a headwind, with my feet coated in rapidly drying cement. However incomprehensible that might seem to some, it's no surprise to me whatsoever...I've travelled so far from the music I made when I was in my twenties that songs from that era feel increasingly alien. Well, perhaps alien is not quite the right word. But, if I hadn't moved on, then what would be the point of continuing, other than to exist as a human jukebox? Creativity requires a certain degree of bridge burning. (And several boxes of matches constantly to hand.) Perhaps it's just the sheer amount of music that I've recorded since the 1970's that makes Be Bop Deluxe seem so many light years distant from whatever musical planet I currently broadcast from. Whatever the reason, it doesn't feel as natural for me to play those old songs as it did 35 years ago. Returning to them requires a considerable shift of focus, not just with regard to the practical aspects, but also because of the philosophical/aesthetic insights that maturity inevitably brings to the table. I guess I'm in a different head space, Or, to paraphrase the old saying: 'lots of water has flowed under lots of bridges,' (and the latter all burning furiously). No doubt when Nelsonica rehearsals are completed and the convention live performances are safely in the bag, (despite the nerves and crises of confidence that inevitably accompany these rare outings), I'll probably be hankering after performing live again. Perhaps I'll feel like that for a day or so too, once my guitars have been safely placed back in their cases. Then the old doubts and reservations will slowly return and I'll change my mind, retreat to my little 'garret' and get on with what I enjoy most, ie: working steadily and quietly in the studio, continuing to make the recordings that have defined my musical life these last few decades. Small marks, carved daily and diligently onto the hard-drive of dreams. That, I suppose, is my real passion. So, putting this existential stuff to one side for a moment, what else have I achieved, abandoned or fumbled since my last dusty diary entry? Well, wonderfully, I got to watch my first ever guitar hero, Duane Eddy, perform two live concerts here in the UK. The first at The Royal Festival Hall in London, the other in York at The Opera House. A year ago, I would not have thought such a thing possible. However...these two concerts were not my first experience of hearing Duane in a live situation. I'd actually seen him perform in concert once before, at 'The Savoy' supper club, in Wakefield, way back in my rose-tinted, sealed-in-amber days of youth...in the 1960's. Back then it seemed unbelievable that Duane Eddy would travel all the way from mythical, magical, movin' n' groovin' technicolour America to give a concert in, of all places, the drab, grey, northern town of my birth...let's face it, Wakefield wasn't the most sparkling location for a legendary American golden age of rock n' roll guitarist to appear. Of course, I seized the opportunity and bought tickets for the show, and with my then girlfriend Lynne Holliday in tow, went to 'The Savoy' supper club to witness Duane's performance. It was a special night out for both of us at the time, especially meaningful for me as I was a little older than Lynne and had such a strong connection with Duane's playing. Lynne and I had been part of the local mod scene before becoming early adopters of the blossoming hippie/psychedelic movement. English interpretations of American blues via John Mayall, Eric Clapton, Chicken Shack, Fleetwood Mac, etc were already well established and I had built up a collection of imported American West coast underground albums by bands such as Moby Grape, Buffalo Springfield, Love, The Mothers Of Invention, Jefferson Airplane, and many others. Home grown bands such as The Nice, Syd Barrett-era Pink Floyd, The Crazy World Of Arthur Brown, etc, had already taken the American psychedelic blueprint and developed it along very English lines. It was a time of creative cross-fertilisation and cultural eclecticism. As I've often noted in these reminiscences, it seemed, back then, that there were no insurmountable boundary fences. Once distant and exotic horizons were now within reach. Lynne and I enthusiastically tuned into this idealistic 'everything is possible' ethic, ('though perhaps I fell for it the most). We were both fashion-conscious, optimistic and curious. Hip teens with a seemingly infinite future ahead of us. I recall boarding a Wakefield corporation bus to travel from my parent's house at 37, Woodhouse Road, Eastmoor Estate to Lynne's parent's house at 37, Chantry Road, Lupset Estate, (curious coincidence of house numbers,) whilst wearing full flower-child regalia, complete with beads and bells. This, as I've probably said before, required a certain amount of nerve. Looking back from this relatively remote 21st century vantage point, it seems that I must have had some sort of self-belief, or 'bottle,' though I wasn't quite aware of it in those terms at that time. It just felt right. So...were they happy days? Yes...of course. If only because I was lucky enough to not get beaten up for dressing like a freak. Imagine doing that today in the environs of a contemporary council house estate, patrolled by gangs of mono-syllabic hoodies. Looking back, Duane's rare UK performance at the Wakefield Savoy Supper Club in the 1960s was just as inspirational to me then as my very first exposure to his music when I was 10 years old. And when Lynne and I returned to her parent's house on Lupset Estate after the concert, Duane's guitar still ringing in my ears, we furtively made out on the rug in front of the open fire until her mother's footsteps were heard coming down the stairs: "What on earth are you two doing?" She said, as she opened the living room door and caught us trying to look nonchalant and unflustered on the hearth-rug... (Nervous shufflings and a secretive attempt at re-arranging teenage nether-garments.) "Oh...er...just talking about Duane Eddy and watching the embers die down," I said... Back now to 2010 and whatever coherent, current report I can muster... Well, Duane's concert at The Royal Festival Hall proved rather emotional for me. I generally tend to ignore, dismiss or pour scorn upon my own fans' demands to reproduce my older music in concert. Especially if such demands are fuelled more by a desire to recapture lost youth, rather than to pursue anything of any real musical value. But, hypocrite that I am, there I was, front and centre stalls in the Royal Festival Hall, tears joyously welling up as Duane proceeded to remind me of exactly why I was inspired to take up the guitar in the first place, 50 years ago. It was a wonderful evening and Richard Hawley's band, who backed Duane, did a marvellous, respectful job of interpreting Duane's legendary back catalogue. And, one more pleasant surprise: Duane's guitar tech turned out to be Gordon White, the ace guitar repairer/set up guy who fettles my own instruments so superbly for me. Good man! It turned out that Duane was highly impressed with Gordon's professionalism. After the show, Emiko and I went back stage. I'm not really one for hanging out with bands after their gigs. I'm always rather shy, and from my own experience, aware of the performer's situation and the need for them to have time and space to recover...but the personal invitation to attend the concert was very special and I wanted to thank Duane for his kindness. It was good to meet a couple of guys in the band as well as chat with Professor Arthur Moir who runs the Duane Eddy Circle. (Of which I'm a proud honorary member!) Duane and his wife Deed were pleased to see us and we chatted about their experiences in England so far and the warm reception they'd been given by the Festival Hall audience. Emi and I eventually walked through the rain back to our hotel on the Southbank having enjoyed a memorable evening. A couple of weeks after the Festival Hall concert, Duane performed at the Opera House in York and I was generously invited to attend this show too. The night before the York show, I received an email from Duane's manager informing me that Duane would like me to get up on stage at The Opera House and play one of his numbers with him. I was totally blown away. When I was a skinny ten year old listening to 'Because They're Young' and miming along to the record with a home-made cardboard cut-out guitar, I could hardly have imagined that such an invitation would ever be extended to me. In fact, it's pretty unbelievable even today. But, dream-fulfilling as this opportunity was, there was one serious obstacle. The date of Duane's York concert coincided with the formal dedication of a bench to the memory of my late brother Ian, at the Yorkshire Sculpture Park, near Wakefield, (as mentioned in my previous diary entry). My mother, Ian's family, Emiko and myself were attending the dedication and a reception afterwards. Unfortunately, it would have been impossible for me to get from the Sculpture Park to York in time to rehearse something with Duane at the soundcheck before the concert. I had to apologise and explain my dilemma. Duane completely understood and it was suggested that we might be able to do something along similar lines next year, when Duane is hoping to return to the UK. The dedication of Ian's bench at the Sculpture Park was an emotional, melancholy but warm affair. Emi and I collected my mum from her home in Wakefield and then drove out to West Bretton, on the southern edge of the city, where the Sculpture Park is located. Ian worked there for quite a few years, starting out as an assistant in the park's shop when he was quite young, but eventually moving up the ladder to become a respected member of the administrative staff. He was due to be made one of the park's directors until he suffered a stroke in his early 40s. Unfortunately, his illness and other unforseen problems conspired against such a thing happening. I remember when the Sculpture Park first opened. As I've written in this diary before, it was the brainchild of Peter Murray, one of my fine art tutors when I was a student at Wakefield School Of Art during the mid 1960s. Peter conceived of the idea of a Yorkshire sculpture park in the late '70s and was instrumental in getting the project off the ground. I recall bumping into him in Boots The Chemist store in Leeds around that time. I hadn't seen him since leaving art school and was very pleased to meet him again. He told me of the sculpture park project and invited me to the opening. I seem to recall that I drove there in the pale metallic blue Rolls Royce Silver Shadow I owned in those days...Somewhat showy by current standards but this was what post-war working class kids such as myself grew up to regard as 'aspirational.' Not at all the sort of thing I aspire to now, of course. Anyway, Peter had read an article about my work in a Sunday Times colour supplement and seemed pleased that his former student had achieved some sort of wider recognition. And I, naturally, was pleased that he was pleased. I've always been fond of Peter and still very much value his professional input during my art school years. Those were extremely influential and inspirational times for me and I continue to benefit from the creativity and experience that my art school years blessed me with. Much of what I absorbed back then, at the now demolished School Of Arts And Crafts building in Wakefield's Bell Street, informs my approach to music to this day. My brother Ian's family, plus his close friends and colleagues, were present at the dedication of the wooden bench which bears his name. The bench is situated in an area known as, (I think), 'The Bothy Garden.' It is at the apex of a semi-circular lawn, just outside the door of what used to be the park's cafe, back in the days when Ian worked there. The location is just lovely. Anyone sitting on the bench will be rewarded with beautiful, stunning views across the rolling country landscape that comprises the Sculpture Park. It would be hard to find a more appropriate spot to locate this memorial to my dearly missed brother. Peter Murray gave a heartfelt tribute to Ian before declaring the bench 'open' and my mum became the first person to 'officially' sit on it. How fragile and alone she looked. She's suffered so much these last few years. But she was so pleased to see the bench with Ian's name carved on it. We had both talked about having something which bore testimony to Ian's musical gifts, and the bench's inscription does exactly this. I'm very grateful to Peter Murray and Ian's sister-in-law Angie for helping to facilitate such a memorial. An informal reception followed the dedication with drinks and sandwiches. Even the weather blessed the day with an absolutely breathtaking display of autumnal colour and an arch of beautiful blue, blue, sky. Ian, I know, would have been touched, pleased and proud. I hope that, somehow, the love that he generated in those who knew him caused ripples in the ether that day, and spread beyond our little gathering in the Bothy Garden to wherever his spirit resides. Ian is deeply missed. Half of me vanished with him when he left us and life will never be the same. After the reception, Emiko and I drove back to York, arriving just in time to grab a meal at a nearby Italian restaurant before Duane came on to play his set at The Opera House. He seemed relaxed, enjoying himself despite recovering from an unpleasant cold virus that had struck a week or so previously. During the show, Duane graciously dedicated 'Because They're Young' to me. This was an unexpected thrill and one I'll never forget, even though very few of the audience, (who were mainly of the '50s rock n' roll generation), seemed to have heard of me or my music. Amusing, if somewhat embarrassing, to discover that it's not always the younger generation who are out of one's loop...it's sometimes the older ones too... After the show, I was reluctant to trouble Duane as he was engaged with a very long line of fans awaiting his autograph. (Prompting thoughts of the 3 hour autograph sessions I undertake every year at Nelsonica.) I attempted to signal a farewell to his wife Deed but, she, being the thoughtful and caring person that I've recently been privileged to know, insisted that I should not feel bad about interrupting the long line of admirers to speak to Duane. She took me by the hand and tapped him on the shoulder. Seeing me, he immediately stood up and made me feel warmly welcome. A lovely man, as noted in my previous diary entry, and a hero forever. Well, what else? More worries about Django the cat who, though much better than he was a few weeks ago, has, it seems, suffered permanent damage to his eyes. Toxoplasmosis may be the cause, or possibly an injury to his head. The end result is that his eyes don't adjust to bright light in the way that they should. In fact, they don't adjust at all...he's on permanent night vision. In bright daylight he has to squint to reduce the impact of light on his retina. Poor Django...He's suffered a lot in the last 12 months, what with the severe injury to his tail and all. Such a sweet natured creature too. He doesn't deserve any of this. I guess I'm pretty soft when it comes to animals. I can't help but put myself in their place and feel their pain. And, in practical terms, put my hand in my wallet to pay the vet's bills. Ouch! The big bugaboo, for me now, of course, is Nelsonica. Rehearsals begin in just over one week...and they lead straight into the two day convention itself. This year's ambitious, extended anniversary event has brought extra demands. The three live performance sets are daunting, especially considering, (as noted previously), how rare my live concerts are these days. Learning everything, prior to rehearsals, is the big worry at this moment in time. There are 33 individual compositions spread across the three live sets...That's a LOT of music to try and remember. Working out the chords, riffs, melodies etc, will take time...more than there is available, to be honest. I'm also currently attempting to create some artwork for the annual Nelsonica auction, but have fallen way behind. Yes, there will be some items for people to bid on...but probably far less than usual. The star piece at the moment though, is a four panel, framed set of drawings titled 'Four Fantasy Guitars.' Wouldn't mind holding onto this piece myself...but into the auction it must go. Domestic issues have come into the time scale too. Lots of household tasks to deal with but Emiko has been ill, which has pre-occupied me in various ways. She picked up a nasty flu-like virus and had to stay in bed for a few days. She's not completely recovered and, in fact, seems to have suffered a relapse, (or maybe caught another bug). She isn't feeling at all well at the moment. I'm deeply concerned about trying not to catch the virus from her. If I fell ill now, it would have disastrous consequences on Nelsonica rehearsals and the convention itself. I've been taking the usual vitamins, immune system boosters and so on, in the hope of keeping illness at bay. A few other things now, and I'll try to be as brief as possible: Had a call from John Leckie this evening. He's coming up to Yorkshire to attend Nelsonica again this year and we will do another on-stage interview/Q+A session together. My old friend Nick Dew, (who will be occupying the drum chair in 'The Gentleman Rocketeers' band at Nelsonica), has also kindly agreed to submit to an interrogation about his experiences as Be Bop Deluxe's first drummer in the very earliest days of the band. My regular guitar tech, Pete Harwood, is unfortunately unavailable to take care of me at this year's Nelsonica, (He's out on tour with Marillion), so Fairview Studio's Andy Newlove has bravely stepped into the breach. Pete and Andy came to the house a couple of weekends back so that Pete could give Andy an idea of how my complex live set-up fits together. In fact, we spent an entire afternoon trying to figure it all out! It will be the first time that anyone other than Pete has taken care of this important job, at least for several years now. Andy seems confident enough but it will be a 'baptism by fire' situation for him. Unfortunately for Andy, I'm not the sort of guitarist who simply plugs an overdrive pedal into a valve amplifier and clings to a single guitar all evening. I'm more of the mad-scientist type, with an entire laboratory of flashing lights, buttons and black boxes...everything rigged up in 'glorious technicolour and stereophonic sound,' as the old movie musical song would have it. (And there will definitely be more than one or two guitars for Andy to keep tuned up!) As mentioned in my previous diary entry, I was invited to write a review of two re-issued King Crimson albums for 'Classic Rock' magazine and the piece has now been published. It was fairly daunting task as the music is complex and not easy to critique in a few words. Although my review ended up containing far more words than the magazine had requested they were generous enough to print it in its entirety. I enjoyed writing it and was proud to see it in print. I wonder if Robert, (Fripp), saw it and what he made of it? Whilst on the subject of writing: Volume one of my autobiography, 'Painted From Memory,' is finally at the printers and will definitely be available at Nelsonica. It ended up costing me rather more to manufacture than originally anticipated but, hopefully, the extra expense will be worth it as the quality of the family archive photographs the book contains has been improved. My good friend and Nelsonica staff photographer Martin Bostock has been a terrific help in interfacing with the printers and I'm extremely grateful to him for all his help in getting this project from the manuscript and into book form. Also, for this year's special 10th anniversary Nelsonica, attendees will be given a free gift from myself, a copy of a DVD titled 'Picture House.' It contains several home-produced video 'sketches,' plus an emotive 8mm cine souvenir of the period when Be Bop Deluxe recorded the 'Drastic Plastic' album in the South Of France, in the latter part of the 1970s. This was shot by myself during the band's stay in Juan Les Pins, near Antibes. There are other videos included in the package, some of which are intended to compliment the publication of volume one of my autobiography. 'North-East' and 'Memory Codex' are two that fall into this category. These pieces are preliminary sketches for something I hope to refine and define more fully in the future, but, for now, they offer the viewer a raw glimpse of work in progress. As with the autobiography, this specially produced, limited-edition item has, for various reasons, exceeded its original production/manufacturing budget. However, it will now no longer only be exclusively available to Nelsonica attendees. 'Picture House' is scheduled to be offered for sale via the Dreamsville website's regular store so that non-Nelsonica attendees may purchase it, (at least for as long as limited stocks last). The DVD features a splendid package design by Dave Graham and myself, which I'm very pleased with. This year's special Nelsonica album, 'Captain Future's Psychotronic Circus,' (whose title evokes the 1960's psychedelia mentioned earlier in this diary entry), PLUS the next 'main' album release, ('Fables And Dreamsongs'), are also ready for Nelsonica. And will be put on general release sometime during the week following the convention. So...provided I can find enough time to work on a couple more original drawings for the auction...and also get to grips with the complexities of the 33 pieces of music I hope to perform live, Nelsonica 10 should, more or less, be roughly on course. I still need to find time for a haircut though...and to choose and iron some stage outfits! And get some guitar repairs and set-ups sorted with Gordon. A quick observation whilst on the subject of guitars: In my last diary entry I mentioned that I'd borrowed a Fractal Audio Axe-Fx guitar processor from my friend Clive English. Whilst I had my reservations about the unit, I'm currently of the opinion that, although it IS exorbitantly expensive, it is much more satisfying to use than the Line 6 Pod HD500 unit I purchased a couple of weeks ago. So far, I've been somewhat underwhelmed with the latter, 'though I'm hoping that, when time allows, I might be able to program the unit to produce sounds that are closer to my own tastes. At the moment though, it seems to favour cliched rock guitar tones, and fairly brittle sounding ones at that. Of course, if I'm to be fair, the Fractal Axe-Fx, is, (compared to the HD500), substantially more expensive...(and I do mean substantially). Maybe it's that old thing of 'you get what you pay for.' But I'm still open to persuasion...after all, I've been using Line 6 products for many years and I want the brand to succeed. For the time being though, and certainly for Nelsonica's live sets, I'll be continuing to use my faithful Pod 2, Digitech Valve FX and Zoom 9050S units. Better the devil you know, etc... Ok, that's four thousand six hundred and sixty three words that I didn't originally intend to write. Enough for now, at least until after the convention is done, don't you think? ------------------------------------------------------- The images accompanying this diary entry are as follows:- 1: A mobile-phone camera snap of Ian Nelson's bench at the Yorkshire Sculpture Park. 2: Bill's mum sitting on the bench dedicated to Ian. 3: Emiko and Bill sitting on Ian's memorial bench. 4: Some of the drawings by Bill that will be auctioned at Nelsonica 10. 5: Another view of the Nelsonica 10 auction drawings. 6: A closer view of the Nelsonica 10 drawings. Top of page Sunday 21st November 2010 -- 9:00 pm Just returned from the first day of rehearsals for the live concerts of this year's Nelsonica convention. Decided to write a very short diary entry to inform fans of progress. I may write one or two more throughout the coming week...a sort of rolling report on progress prior to the event itself. Today's rehearsal was dedicated entirely to my solo set, so there were no other musicans involved...a relatively solitary experience. It was, however, also a rehearsal for my 'stand-in' guitar tech, Andy Newlove. Andy has bravely volunteered to substitute for my regular tech, Pete Harwood, who is out on tour and can't make the convention this year. Andy drove over to my place from his home near Hull this morning, to pick up my equipment. I'd finally lugged everything downstairs the day before and had it all packed up, ready for collection. A lot of it too. Far too much for one solo musician. We loaded up the van in the cold morning air, light rain falling. Then Andy set off for the rehearsal studio in Leeds whilst I drove into town to purchase a new folding table, required for my rack of guitar processors to occupy on stage. (My old table has been comandeered by Emi for her printer and some other computer peripherals.) By the time I arrived at the rehearsal room in Leeds, Andy had just about everything wired up, but there were a few teething problems and a certain amount of head-scratching as some of the set-up wasn't functioning as it should. Eventually, these problems were solved and, much to Andy's relief, my guitars sang loudly from the monitor speakers, signalling that rehearsals could begin. Andy admitted that he had been feeling a little nervous about the whole thing, which I perfectly understood as there was definitely an element of being 'thrown in the deep end' about it all. Despite his trepidation, he did a splendid job under pressure and I'm sure he will be able to cope confidently with the Nelsonica performances on Friday and Saturday. Even if it will mean him tuning at least 18 guitars! I worked my way through my solo set numbers, trying out several of my guitars and trying to decide which ones to use on which numbers. Coming back to my full stage rig after a year of working in my home studio is always something of a shock...My recording set up is relatively simple but my live performance equipment is far more complex and I have to spend time re-familiarising myself with the various pedals and switches and the variety of sounds that they allow me to access. And, of course, I have to work on the music itself too. I ran through each number of my solo set once...(a couple of them twice to try alternative guitar selections), but didn't labour the process by going over and over any of the ones that I was unsure of. Perhaps I should have but I like to keep an edge on things, reserve some 'cliff-hangers' for the actual day of the live show, rather than have everything written in stone. This may involve making the occasional mistake but sometimes these mistakes can divert things in interesting ways. And there's always quite a lot of improvisation involved, even though the backing tracks are relatively rigid. Tomorrow will be the first day of rehearsals for the 'Gentlemen Rocketeers' band although we wont be up to full seven-piece strength until Tuesday when Theo Travis joins us. (Theo can't make tomorrow's rehearsal due to prior commitments.) However, we have three songs to learn that have never previously been performed live, (by this band or any other...) so I guess tomorrow's rehearsal will give us an opportunity to work on the foundation of those particular pieces. I won't reveal here the titles of those songs as I'd like them to be a surprise for our audience. Besides, there's always the possibility that we may not end up using all or any of them. They have still to be tested in terms of performance practicality and general suitability. Fingers crossed though...we may get lucky. Original Be Bop Deluxe drummer Nick Dew is pounding the skins for us tomorrow. It will be the first time that Nick has worked with Dave Sturt, (and, on Tuesday, Theo Travis). And the first time for Nick to play with the band since 2004's Be Bop Deluxe And Beyond Tour. So, plenty to get to grips with in the next few days. Ok, that's today's news. I'm about to have dinner, then will try to work on the video piece that I'm hoping to complete in time for Nelsonica. Somehow though, even if I work on it for a few hours every night after rehearsals, I don't think it will be finished in time. And tomorrow's rehearsals require that I sing...which puts an extra strain on things, (not least my voice). So I may be feeling too exhausted to deal with video editing after a long day with the band. Anyway...I can onlydo as much as I can. Which may not be enough. Nelsonica has become more and more demanding every year. There's a powerful urge to build on previous years and make each one better than the last. It's not as if I'm getting any younger either. Which is why, as I've mentioned before, Nelsonica 10 may be the final one in the series, or perhaps it will mutate, change shape and concept, becoming something less intense but, despite that, even more curious and magical. Or maybe I'll manage to lift my foot to the next rung on the Nelsonica ladder and step the game up to something even more fabulous for the future. Right now though, I've more than enough on my plate. Except for my dinner which I am now about to eat. More rehearsal news later, during the week. ***** Images are of Bill's guitars during day one of Nelsonica rehearsals and of two flyers for the convention. Top of page Monday 22nd November 2010 -- 9: 00 pm Just a quick note on today's rehearsal: The band assembled and began to work on the 'Gentelman Rocketeers' set, 'though Theo will not be with us until tomorrow. As is usually the case with these first day things, there were quite a few rough edges and lots of time was spent refreshing memories, (mine included), AND trying out different arrangement possibilities. I decided to not waste time on one particular number as it was apparent after only a few minutes that it wasn't going anywhere. As it has been deleted from our list of possible inclusions, I can reveal that it was 'Propellor Of Legend.' It's a song I really like but it just didn't seem to adapt itself to the band. With only a couple of days to learn rather a lot of numbers, there's no time to waste on tunes that don't begin to gel within the first few attempts...so into the bin it went. Other numbers sounded immediately more promising, though some clearly needed detailed examination and clarification, or the occasional rethink...Much concentration and energy was expended and, by the end of the day it had turned into an exhausting session. However, we've cracked the first layer of the ice and now must see what tomorrow brings. Everyone worked hard and gave of their best, which is all any band leader can hope for. But we've really only just scratched the surface. Today was rather cold and at one point the rehearsal room felt like a meat storage locker...then, when the heating blowers were switched on, the atmosphere gradually became warm. Then too warm. This, of course, plays havoc with guitar tuning as the wood of the instruments expands and contracts. Correct pitch is essential for inspired playing. There's nothing worse than trying to concentrate on arrangements and 'feel' whilst simultaneously listening to instruments that are gradually drifting further away from their shared tuning because of changing atmospheric conditions. My voice certainly felt the strain too. It's the first time I've sung in a band situation for two years. Singing in this sort of environment is totally different from that of the studio. (And it's several months since I've sung in my studio.) Trying to hear my voice clearly through the monitors, (which were also my only reference for hearing my guitar), was at times a struggle. It's easy to overstrain the larynx by forcing one's voice to overcome the general volume levels in the room. Anyway...my throat feels quite raw at the moment and I must try to pace myself tomorrow if I'm not to lose it for Friday's event. Working in my studio produces a much more polished sound...not just in terms of balance but also the tonal quality of the instrumentation. Rock music stage monitors are not the most refined or smooth sounding reference points. It always involves compromise and often produces a quite disheartening, depressing experience when musicians hear their subtleties reduced to a coarse-sounding grind. But this is what we must work with and work with it we will. And now I'm going to take a rest before bedtime, 'though I still have several emails to deal with. It really has felt like a non-stop obstacle course these last few months. I only hope that Nelsonica will prove enjoyable for attendees, despite my usual reservations and concerns. The photographs accompanying this diary entry were taken by Andy Newlove using my camera, but several of them ended up as damaged files and couldn't be reproduced. (I need a new camera.) The ones which HAVE been reproduced here were dramatically out of focus due to reduced light in the room but I've posted them anyway. I'll see if we can capture something better tomorrow. All for now. Top of page Tuesday 23rd November 2010 -- 9:00 pm Just a very short diary entry today: Got home from rehearsals around 7:30 after stopping off at the supermarket to buy something for my dinner and put more petrol in the car for these daily trips to Leeds and back. Emi was attending a meeting this evening and couldn't be there to cook for me so I bought a 'ready meal' that wouldn't involve me having to cook anything complicated. As I may have mentioned in the diary before, Emi does voluntary work at a centre that helps people with learning difficulties. This evening was a meeting of all the centre's voluntary workers to discuss methods and ideas and to socialise, hence her absence. Emi has just got back home and I've only now finished my meal due to constant telephone calls which have occupied me since 7:45. (It's now 9:45 as I type this sentence.) There are several things I must deal with before the end of the evening, not least this diary entry, so it appears it's going to be another late night for me. Today was another fairly intense day of rehearsals with the band, now fully manned due to the arrival of Theo Travis. Some numbers are sounding tighter than yesterday but we only have one more day for the Gentleman Rocketeers to rehearse before Orchestra Futura takes its turn. And, on the same day as Orchestra Futura begins rehearsals, (Thursday), all the equipment has to be dismantled, packed, loaded into a long-wheelbase Transit van and transported to the venue in York. Which doesn't give Dave, Theo and I much time to decide what we're going to play in the trio format. It looks as if it is going to be a 'flying by the seat of our pants' experience. Late as the hour now is, I have to come up with a final running order for the band tonight and get it printed out. This is always a tricky thing to get right. It must take into account the need to warm up my voice, number by number, until it becomes possible to sing certain songs that are now at the edge of my reach. My voice has changed over the years, darkened a little and doesn't have the higher range it once had. Not that it was anything special then. I only ever sang to express the personal nature of the songs I composed...I was never under any illusions about being some sort of proper vocalist. My fingers are sore. Haven't had to play guitar for so many consecutive hours for quite a while. Probably not since two years ago when we last put together The Gentleman Rocketeers. Throat sore too, but that's to be expected. Right...I'm not going to ramble on...too many other things to do before I can go to bed tonight. Martin Bostock, Nelsonica's official super-snapologist came to rehearsals today and grabbed some shots of the band. Here they are. Much better than previous snaps I've posted since rehearsals began...(But Martin IS a professional!) Top of page Wednesday 24th November 2010 -- 10:00 pm Ignore the automatic time stamping at the top of this page...it appears to be one hour behind British winter time. It's already 11 pm on Wednesday night and I'm still dealing with Nelsonica essentials. AND this diary...It really is non-stop. Today was the final chance for the band to work on the songs for Friday's Gentleman Rocketeers performance. 14 songs in total. We've been really pushing hard to get to grips with the music in a very short space of time. If we had another couple of days to rehearse, plus a warm-up gig or two, we might be able to blow quite a few more well known bands into a cocked hat but time is fiercely against us and we will have to trust to luck. I'm hoping that I will rememember the finer details of the arrangements and that my voice will hold up... it's feeling raw and sore this evening again. Re-shuffled the running order today to try and pace the strain on my voice a little better. I need to step up to the more demanding songs a little bit at a time. Unfortunately, there are more demanding songs than warm up pieces! (I hope the audience will be gentle with me.) The band members have worked very hard too, we've attempted different twists and turns in some songs, only to revise them on the next run through. We may get confused on Friday, (I know I will), but our audience will be guaranteed TONS of fun, no matter how rough the ride may get in places. Some old favourites in the set and a couple of surprises too! Tomorrow is set aside for the Orchestra Future rehearsal. It's a sort of 'work in progress' thing. It may contain some set pieces AND some completely off the cuff, spontaneous improvisation. We'll see what happens... Tomorrow is also when the equipment has to be packed away, put into a truck and driven over to York. So, there's rather a lot to accomplish in just one day. I have to say how marvellous the musicians in the band have been these last three days...Dave 1, Steve, Nick, Jon, Dave 2 and Theo...I can't thank them enough for their dedication and support. They're all wonderful people and I'm very lucky and genuinely feel honoured to share a stage with them. I hope they realisethis...I know I can appear somewhat distracted and worried at these times, particularly when Nelsonica involves me in several activities at once alongside the performance of the actual music. My mind is all over the place and it's sometimes hard to think about the more 'humane' aspect of playing with in a band. Anyway...it's going to be a very special two days and something for fans to enjoy and, hopefully, remember with great fondness. Here are a few more amateur snaps taken by myself. The first is of my brave stand-in guitar tech Andy Newlove, holding my Gretsch 6120. The second is a pic of Jon and Steve, intrepid keyboardists. The third pic is of Dave Standeven, packing his Duesenberg guitar into its case. Top of page Thursday 25th November 2010 -- 6:00 pm Well, the final Nelsonica rehearsal now complete. No band today...just the trio. Orchestra Futura sessions are relatively painless, just Theo, Dave and myself sitting together on stools with various loopers and effects pedals at our feet, dreaming via sound. A lovely day with no need to sing or play loud rock guitar solos...all I had to do was just gently drift on the sonic breeze. Lovely! I've abandonded some of the backing tracks I'd recorded for the Futura set...(including 'Reginald Dixon And The Tower Of Tomorrow'). But these abandoned pieces WILL appear in studio form next year, on an album or two. Instead, we're aiming for a looser set which will alternate between pre-recorded interactive backing tracks and totally improvised pieces comprised of live loops and spur-of-the-moment shifts of atmosphere. These are mainly modal pieces based on evolving drones and enigmatic/ ambiguous tonal centres. None of these improvisations have titles as they will literally be created in front of the Nelsonica audience's ears and eyes. Fresh, instamatic and chaos-magical. There's no predicting what might happen! I'm featuring my Gus G1 midi guitar prominently throughout the Orchestra Futura set, playing various ambient pads, strings, choirs and Japanese flute sounds from the guitar, as well as more orthodox guitar sounds. I'm looking forward to this element of Nelsonica very much. Didn't take any photographs during rehearsals today...totally forgot. Totally lost in sound you see. Snow hit York this morning. The lane outside our house was really slippy. Main roads were not too bad but the forcast for tonight and tomorrow is not good. Icy cold at the moment...there will be some travel problems tomorrow I guess. Hope everyone attending Nelsonica will be ok. Tonight I have to re-arrange my charts for the band set, get all the lyrics in the right order, etc. Also need to write out the general Orchestra Futura set list. Decided to drop the solo number I was going to open this set with, ('Stardust and Pearl'), and must tonight choose an alternative solo piece to break the ice. (Literally, if the weather forcast is to be believed.) I also must decide on stage clothes and iron and pack them. Actually, I had commissioned a Japanese friend of Emiko's to make a rather unique stage jacket for me using rare velvet and Japanese print fabrics with applique and bead trim. Unfortunately, it hasn't arrived from Japan so it looks like I'll have to rethink my outfits for the next two day's performances. A shame as it's turned out that the cost of making the jacket is far more than I expected. Perhaps I can put a couple of live concerts in, sometime next year, to show it off...and help pay for it! Ok, that's it. Nothing between me and Nelsonica 10 now except another sleepless night, worrying if everything will be ok after all these months of intense hard work and planning. But, before that, a few hours of final double checking, belt and braces style. I'll be seeing some of you tomorrow...please be gentle with me. Top of page

Culturemix album - 1995 Culturemix Production/Contribution Menu Future Past BILL: Collaborator and Producer Production/Contribution Menu Future Past

Discography Menu DVDs and Video Productions The following compilations do not link to full entries yet...They will soon. Filmed Live At Metropolis Studios 2012 DVD Picture House 2010 DVD Flashlight Dreams...And Fleeting Shadows 2003 DVD

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Rice Music album - 1982 Masami Tsuchiya Production/Contribution Menu Future Past TRACKS: A1) Rice Music A2) Se! Se! Se! A3) Haina-Haila A4) Tao-Tao A5) Neo-Rice Music B1) Kafka B2) Rice Dog Jam B3) Secret Party B4) Silent Object B5) Night In The Park BILL: E-bow guitar on the tracks 'Rice Music' and 'Tao-Tao'. Production/Contribution Menu Future Past

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