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Iconography album - 19 December 1986 Orchestra Arcana Albums Menu Future Past Currently unavailable TRACKS: 01) Christ Via Wires 02) Clock Conscious 03) I Wonder 04) Eastern Electric 05) Search And Listen 06) News From Nowhere 07) One Man's Fetish Is Another Man's Faith 08) Right, Then Left 09) Iconography 10) The Gods Speak 11) Life Class 12) Altar Natives 13) Sex, Psyche, Etcetera Extra tracks added to the 2013 CD edition 14) Several Famous Orchestras 15) Who He Is ALBUM NOTES: Orchestra Arcana was a Bill Nelson pseudonym, used to avoid contractual issues with CBS/Portrait, to whom Nelson was then signed. Iconography was the first album released under the Orchestra Arcana name, and was distinctive for the Nelson's imaginative use of 'found voices' taken from various radio, TV and film sources. These were weaved into the fabric of the music, in a technique first used on the albums Chamber of Dreams and The Summer of God's Piano contained in the Trial By Intimacy box set (recorded between 1981 and 1984). Issued on LP and cassette, Iconography represented the first new Bill Nelson album on the Cocteau imprint since Trial By Intimacy nearly two years previous. CURRENT AVAILABILITY: This title is currently out of print, but may see a digital download release at some point. SAMPLES: In the 1960 film of H.G. Well's 'The Time Machine', Rod Taylor says: "Gentlemen, what I'm asking you to do now, is witness a demonstration of the possibility of movement within the fourth dimension." Robert Hughes: "And so a chasm opened between the true language and what the young knew to be reality...Like a mutilated saint...Half machine, half angel...The spirit of our time he called it..." BILL'S THOUGHTS: "It was the first of the albums I released under the 'Orchestra Arcana' moniker. It contains instrumental recordings, many using 'found voices', and was recorded in my then home studio 'The Echo Observatory'. It's predominantly synth/keyboards based and created with old-school analogue technology. It's a must-have for any fan of my instrumental music." _____ "The samples on "Clock Conscious" came from 'A Matter of Life and Death', a must-see film for anyone who hasn't had the opportunity to enjoy it. The film is part of a famous body of work by film director Michael Powell and screenwriter Emeric Pressburger who worked together using the name 'The Archers'. They were not only responsible for 'A Matter of Life and Death' but also 'The Red Shoes', 'The Life and Death of Colonel Blimp', 'Black Narcissus' and 'I Know Where I'm Going'. All recognised as masterpieces of the cinema. It's remarkable stuff and essential viewing." FAN THOUGHTS: wadcorp: "No vocals from Our Man Bill, but tons of "found vocals". Cuts from movies, news broadcasts, etc. Great stuff. This, and the follow-up Optimism are absolute musts." "One Man's Fetish Is Another Man's Faith": "is an interesting mix of Bill's styles. It starts off like something from Summer of God's Piano or Pavilions of the Heart & Soul , with the found-vocals that are the hallmark of most all of the Iconography album. Just after 2.10 into the song – almost halfway through this piece of music – things change from the ethereal & introspective into an outright anthem. Said anthem can hold its own against "For Stuart", even though it's lacking the dynamic lead guitar. An amazing, keyboard-driven theme for sure!" stormboy: "This...is my absolute favourite BN album. "One Man's Fetish" is a superb track, but then again, the whole album is chocca full of gems. There are so many amazing tracks and beautiful details that it's really difficult to pick one track or aspect of it. From the jaunty synthlines on "Life Class", to the amazing guitar work on "Altar Natives", or the vocal snippets and samples, or the production... bliss!" "For the record, "Altar Natives" is my favourite ever Bill Nelson instrumental track - the perfect mix of his synth, sampling, rhythm and guitar work." Quinault: "It has that international dance classic: "Sex, Psyche, Etcetera!" I might have to pull out my copy just to hear "Eastern Electric"." mitchellmichael: "I can't wait to get the re-issued Orchestra Arcana stuff! Bill is a master at using "found voices" I think." felixt1: "I have been very pleasantly surprised at how much I have enjoyed the music from this period of Bill's career. On paper, the idea of it should not work for me, but it very much does. It is arguably within these recordings that the true extent of Bill's talent as a composer began to surface. Arguably the first inkling that there was some level of genius within." paul.smith: "A cool lo-fi track I really like is "Right, Then Left"...A great montage of 'found voices' and swirls of sound with hidden layers that peel off with repeated listening...there's loads from this time I love...I think I enjoy them even more now than years ago in many ways...'little miracles of sound and song' they are." "If you don't have it I urge you to acquire this reissue....essential!!!" Albums Menu Future Past

Noise Candy Bill Nelson 6-CD box set - 7 June 2002 Albums Menu Future Past CD 1 - Old Man Future Blows The Blues: 01) Humming In The Void/Girl With The Thousand-Watt Smile 02) Vista-Dome-Railcar 03) Behold Dumb Wonders 04) Dreamland Avenue 05) Jet Town 06) Atom Blasted Cadillac 07) Rocket Science Ranchboy 08) No Meaning 09) Whatever I Do 10) Emerald City 11) One Way Track 12) Nowhere Fast 13) Real Thing This Time 14) Buddha's Eyes Are Everywhere 15) Rockarolla 16) Swing Song 17) Edge Of Recall 18) My Paranoia 19) Tomorrow's World 20) Blowin' The Dust Off The Book Of The Future CD 3 - Sunflower Dairy Product: 01) Baby Ruth's Big Special 02) First Boy On The Moon 03) Down Comes The Rain 04) Don't Cry, Space-Guy 05) Peppermint Forever 06) Magic Hill 07) The World Wakes Up 08) Dumb-World 09) Lay-Zee Boy Receiver 10) Nevertheless 11) Bright 'N' Breezy 12) The Hipster Gimmick 13) Dreamgirl 14) Soakin’ In The Bathtub 15) Star Sugar Sky 16) Dreamboat Situation 17) God's Own Neighbourhood 18) Looking For A Lantern 19) Existentialism 20) Stars Will Shine Currently unavailable CD 2 - Stargazing With Ranger Bill: 01) Great Plains 02) Big Yellow Moon 03) Hot-Rod Racer 04) That Was Then 05) Space Ranch 06) Monorail 07) Ghost Train 08) All This And A Girl Like You 09) More Rain 10) The Lonesome Cowboy Radio Show 11) Sleepy Snakes 12) Wild Lilac 13) Perdita Rose 14) World Of Dreams 15) Real Gone 16) Time Today 17) The Cowboy Club 18) High And Mighty CD 4 - King Frankenstein: 01) Planet Of Guitars 02) Half-Man, Half-Static 03) Monster Over The Fence 04) Buddha Smoked My Cigarettes 05) The Invisible Venus Of New York City 06) Sunny Bungalows 07) Glittering Star 08) Elevated Railway 09) Luminous Intelligent Sexy Adults 10) Sweet Little Dreamer 11) My Luminous Planet 12) Zip, Boom, Bang 13) Reality Check 14) Somewhere, Nowhere, Everywhere 15) The Flower Thief 16) Art For Art's Sake 17) A Hat Like This 18) Blink Of An Eye 19) When Accident Became My Bride 20) Horse Eats Hat 21) King Frankenstein CD 5 - Console: 01) Quietly Now (Manipulating The Phonograph No. 2) 02) Hello Children 03) Ethel's Attic (No. 3, Marriot's Building, 1948) 04) Clouds Above The Corn 05) Wonderful Weather In Woodgates Lane 06) Filligree 07) Memo Recorder Dream Narrative No. 1 08) Pink Poodle Parade (Piano Version) 09) The Clock That Time Forgot 10) Holiday Express 11) No Bee In His Bonnet 12) Dust And Sunbeams And The Ticking Of A Clock 13) Adventure Annual 14) Dreamstate USA 15) Boy With Bubblepipe 16) American Moderne 17) Fuzzy Dux 18) Rain On A Caravan Roof 19) A Short History Of The Future 20) Ectoplasm Turbine 21) Painted Boats On Still Waters CD 6 - Playtime: 01) Futura 02) Bakelite (The 50th Birthday Song) 03) Lucky Sometimes 04) Life Is Like This 05) The Astral Tramways Of England 06) Be Here Now 07) Aloha Niagra 08) My Elevated Sweetheart 09) Ladders Leading Nowhere 10) The Now That Never Was 11) Enigmatron 12) Bamboozled 13) Hieronymous Bosch Beyond 14) Being And Nothingness Land 15) Lights Of Kingdom Come 16) Before We Fall 17) World Still Turns 18) Dreaming Of A Girl 19) What We Wish For 20) Big Empty Sky 21) Endless Autumn ALBUM NOTES: Noise Candy is undoubtedly one of the most impressively presented albums in Nelson's back catalogue. Housing 6 CDs of (mostly) previously unreleased material, the packaging and accompanying lyric booklet are awash with colour images and illustrations. The album was issued on the short lived Toneswoon label (reserved for this and a reissued Simplex ). The 6 albums worth of material on Noise Candy were recorded over the period from 1990 to 2000, with the bulk of it hailing from the Atom Shop sessions. The box set was designed as a final farewell to Nelson's analogue recording, assembled ahead of his conversion to a digital home recording set up. It effectively draws a line under what had been his basic approach to home music making that in essence began in 1979/80 (with what became Sounding the Ritual Echo ). Issued in a limited edition of just 2000 copies, the set would remain on catalogue for approximately 18 months before copies started to dry up. For around 10 years the only way to acquire Noise Candy was to track down a second hand copy on eBay, Amazon etc, but eventually the long lost set came back into print. Reissued by Esoteric/Cocteau Discs as part of the Cherry Red series of remasters in 2015. Cherry Red faithfully reproduced the original packaging, but without the gloss embossed bees on the front of the box. None of the material issued after Noise Candy wa s included in the licensing deal with Cherry Red. CURRENT AVAILABILITY: Currently unavailable, although expected to be made available as a digital download at some point. BILL'S THOUGHTS: "Noise Candy isn't a retrospective compilation in the manner of The Practice of Everyday Life . When it was originally released, apart from a handful of tracks that had appeared on Whistling While the World Turns , it was all previously unavailable material. It rounded up lots of unreleased stray tracks from my analogue studio era and was a way of 'clearing the decks' prior to my shift to digital." _____ "I'm very proud of the collection. Not only does it gather together some of my favourite songs, it presents just about every facet and style of my music in one epic work. There's something for everyone on there and, for those who share my own broad listening tastes, there's something for every mood. It's a collection that requires an ongoing involvement from the listener. You need to revisit it often, explore different parts of it in isolation from the other parts. Once you've got to grips with the 'sections', the whole picture starts to make sense." _____ "These tracks were, in the main, songs left over from earlier albums, one's that either didn't fit a particular album's concept or that physically could not be incorporated on the original parent album. I eventually gathered them all up and found that they could be slotted into concepts of their own, hence the structure of the discs in Noise Candy ." _____ "One of my personal favourites from the set is: "The Astral Tramways Of England". It captures my childhood visits to Blackpool on the west coast of England in the 1950's, AND my fondness for 'The Eagle' comic that contained the adventures of 'Dan Dare, Pilot of the Future', drawn by Frank Hampson, who was a genuine genius of comic strip art and a huge inspiration to me." _____ "Another thing about Noise Candy is the packaging, which is the most detailed and elaborate of any project I've ever been involved in. It took months to get all of the images and design elements together." FAN THOUGHTS: Marshall: "Noise Candy is one of the key recordings in the entire Nelson canon." "An endless candy box of discovery. It's the Nelson I play the most, I'd say. And I play his music all the damn time. Years down the road, I'm still discovering creamy little centers I missed first time through." Disc 1: Old Man Future Blows the Blues : Atom Shop -like techno blues-pop. Includes the sublime "Dreamland Avenue", plus "Jet Boy", "Atom Blasted Cadillac", and "One Way Track", which sounds to my ears like an outtake from After the Satellite Sings . Disc 2: Stargazing with Ranger Bill : A futuristic outer-space cowboy campfire singalong, with lots of kitschy country twang. Here Nelson fully indulges in his Gene Autry, 1950s cowboy obsession. Also fascinating in its extended use of samples, mostly of old kids' records, over which Nelson layers his candy coated drums and guitars. Key tracks: "Big Yellow Moon", and "The Cowboy Club." Disc 3: Sunflower Dairy Product : Pure Pop for Tomorrow People. The theme here is Populuxe suburbia, as almost all the songs concentrate on suburban fantasies and household comfort. It's like a collection of snappy singles, this one. "First Boy on the Moon" is one of the more elegant numbers Nelson has done in ages, almost Roxy Music-esque. Disc 4: King Frankenstein : Opening track here is called "Planet of Guitars," which pretty much covers it. "Sunny Bungalow" is the big number here, shoulda been on the radio, that one, but there's also a great sequence near the middle that includes "Glittering Star", "Elevated Railway", "Luminous Intelligent Sexy Adults", "Sweet Little Dreamer" and "My Luminous Planet". Disc 5: Console : This is the ambient instrumental album, and for many, the prize inside the candy box. One of his better instrumental albums, I'd say. Features alternative versions of tunes that appeared on the sorely unavailable Caliban album. Disc 6: Playtime : Supersonic space-age rock, with dense washes of lush ambience. Points forward to Luxury Lodge and Whimsy and Satellite Songs . My personal favorite CD of the six. Superb line up of melodic, intricately crafted, accessible pop songs, including "Futura" (sends shivers down my spine, this one), "Bakelite", "Ladders Leading Nowhere" and the gorgeous instrumental closer, "Endless Autumn"." Holer: "Each record is much more than just a collection of tunes, but a flowing, thoughtful, beautifully sequenced ALBUM experience, which of course, is one of Bill's trademarks. Taken as a whole, it really does create an incredible tapestry of sound. It's hard to name a favorite but Ranger Bill is so weird and wonderful, it always makes me gleefully happy to listen to it. "Just absolutely amazing that Bill was able to produce and put out this much music and be so solidly consistent throughout. Prolific barely begins to describe it." "Bill, it's common knowledge that what you often consider sketchbook and demo material, most of us would give our eye teeth to be able to produce music that good. I might contend though that perhaps the reason Noise Candy has stood the test of time for me all these years and is one of my favorites is that sense of anything-goes abandon and experimentation. I think a case could be made that, when you keep it loose like that, a certain joyfulness can sneak through that absolutely transcends any technical limitation or clunker note or whatever." "To my ears, Noise Candy is the sound of a man falling in love with the pure joy of making music all over again, and works best when experienced full stop with all the weirdness and wildness intact." Peter: "Holy moly! Wow. This "album" is SO much more...this is an stunning, amazing, overwhelming magnum opus - a veritable encyclopaedia of Nelsonia. Across these six CDs are found the entire breadth of Bill's unmatched versatility and talent. It is actually hard to describe how amazing Noise Candy is. Over a hundred great songs, stunning musicianship, creativity galore...all wrapped up in a physical package that is a work of art. No Bill Nelson collection is complete without it." Alan: "It's a great piece of work. The music, the packaging, everything is exquisite. It has a wide range of music. The lyrics are included, along with fantastic art work. Everything you could wish for." johnofdeath: "Reality Check": "Am I the only person that thinks this is the most awesome track ever?" Dar: "Luminous Intelligent Sexy Adults": "is atop my list for its...well, power and grace. "Big Yellow Moon" is atop another list, and "Buddha's Eyes" was one that crept up on me in a funky, fascinating rhythm (but I feel it's gone too far) kind of way." Lonnie: "Bill's use of spoken word soundbites really shapes those songs and gives them a mood, if not a meaning. I especially like it when the cadence of the words fits in with the rhythm of the tune. Lots of songs on the Noise Candy albums have that pattern. Even when some words are spoken seemingly randomly (now there's a two word song title) over a rhythm, after a few repetitions, they 'fall into' the beat like they belong there along with the other instruments. 'More spoken word' in future songs, I say!" doublefugue: "I actually didn't know what to make of Noise Candy at first, but there's this weird thing that happens one day while you're listening to it. A lightbulb comes on in your brain, and you're like "Oh, okay wait a minute". That doesn't happen very often to me; music that challenges your opinion of it. What I like about Noise Candy is that it is very cozy and safe, but it manages to be super eclectic and creative at the same time. I don't think I can say that about anyone else's music." JovialBob: "I managed to wean myself off Mr Bill for a while in the early 90's but now I'm bleedin' hooked again...Nurse! Close the doors. I'm off on a Noisy-Candy-Bender till Monday." Albums Menu Future Past

Axe Victim Be Bop Deluxe album - June 1974 Albums Menu Future Past Purchase this double CD TRACKS: 01) Axe Victim 02) Love Is Swift Arrows 03) Jet Silver And The Dolls Of Venus 04) Third Floor Heaven 05) Night Creatures 06) Rocket Cathedrals 07) Adventures In A Yorkshire Landscape 08) Jets At Dawn 09) No Trains To Heaven 10) Darkness (L'Immoraliste) ALBUM NOTES: Axe Victim is the debut album from Be Bop Deluxe, recorded at Air Studios, London during March 1974. The album was the first Be Bop Deluxe recording made after signing to EMI, providing Nelson with his first opportunity to record in a professional studio. The line-up for this record was Bill Nelson (guitars and vocals), Ian Parkin (rhythm guitar), Rob Bryan (bass guitar, vocals) and Nicholas Chatterton-Dew (drums). The album appeared on vinyl and cassette, and was promoted by the release of the single Jet Silver backed with another album track "Third Floor Heaven". Neither release resulted in any significant commercial success, although the album would be discovered by Be Bop Deluxe fans as their career developed in particular after their commercial breakthrough in 1976. The album was released in a gatefold sleeve which contained the lyrics and musician credits. With the track "Rocket Cathedrals", Rob Bryan holds the distinction of being the only musician to have provided (and sung) an original song for a Bill Nelson/Be Bop Deluxe album. When reissued on CD in (Feb) 1991, EMI elected to enhance the album by adding 3 live bonus tracks (taken from the band's official live album Live! In the Air Age ). Given that the live album was also part of the same reissue campaign, this was a missed opportunity, and the inclusion of the band's debut single would have certainly appealed to collectors far more. If you no longer kept your vinyl copy of Axe Victim , and require song lyrics, then this CD edition satisfies that need, and the informative sleeve notes penned by Kevin Cann provide useful context. In April 2017 Cherry Red and Esoteric Recordings, who from 2011 to 2018, had 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 Axe Victim on catalogue from 1 June 2017 via the usual download sites such as Amazon and iTunes while an expanded edition was prepared for a 2020 physical release. On 17 July 2020 Axe Victim became the fourth Be Bop Deluxe album to be issued as a Deluxe Edition comprising: a freshly remastered version of the original album. a 2020 remix of the full album. 2 alternate mix studio recordings. 2 alternate version recordings. a previously unreleased John Peel session from November 1973. previously unreleased tracks recorded for a 1973 Decca session. a previously released John Peel session from May 1974. the original album presented in a 5.1 mix. The album is presented in a fold out digi-pack and contains a 68 page booklet with an essay of recollections penned by Bill Nelson, previously unseen photographs from the period, postcards and a replica record store poster. A 2CD edition of the album is also being released at the same time as the Deluxe Edition featuring Discs 1 and 2 which will also replace the standard download edition. The full track listing for the Deluxe Edition is: Disc 1 1. Axe Victim 2. Love Is Swift Arrows 3. Jet Silver And The Dolls Of Venus 4. Third Floor Heaven 5. Night Creatures 6. Rocket Cathedrals 7. Adventures In A Yorkshire Landscape 8. Jets At Dawn 9. No Trains To Heaven 10. Darkness (L'Immoraliste) 11. Teenage Archangel (1973 Single) 12. Jets At Dawn (1973 Single Version) 13. No Trains To Heaven (First Mix) 14. Axe Victim (Album Version - First Mix) Disc 2 1. Axe Victim 2. Love Is Swift Arrows 3. Jet Silver And The Dolls Of Venus 4. Third Floor Heaven 5. Night Creatures 6. Rocket Cathedrals 7. Adventures In A Yorkshire Landscape 8. Jets At Dawn (Full Version) 9. No Trains To Heaven 10. Darkness (L'Immoraliste) 11. Axe Victim (First Version) 12. Night Creatures (Spoken Word Version) 13. Rocket Cathedrals (First Version) Disc 3 1. Axe Victim (BBC Session November 1973) 2. Bluesy Ruby (BBC Session November 1973) 3. Tomorrow The World (BBC Session November 1973) 4. Axe Victim (Decca Session 1973) 5. I'll Be Your Vampire (Decca Session 1973) 6. Adventures In A Yorkshire Landscape (Decca Session 1973) 7. Bluesy Ruby (Decca Session 1973) 8. Third Floor Heaven (BBC Session May 1974) 9. Mill Street Junction (BBC Session May 1974) 10. 15th Of July (Invisibles) (BBC Session May 1974) 11. Adventures In A Yorkshire Landscape (BBC Session May 1974) Disc 4 1. Axe Victim (5.1 Surround Mix) 2. Love Is Swift Arrows (5.1 Surround Mix) 3. Jet Silver And The Dolls Of Venus (5.1 Surround Mix) 4. Third Floor Heaven (5.1 Surround Mix) 5. Night Creatures (5.1 Surround Mix) 6. Rocket Cathedrals (5.1 Surround Mix) 7. Adventures In A Yorkshire Landscape (5.1 Surround Mix) 8. Jets At Dawn (Full Version) (5.1 Surround Mix) 9. No Trains To Heaven (5.1 Surround Mix) 10. Darkness (L'Immoraliste) (5.1 Surround Mix) 11. Axe Victim (First Version) (5.1 Surround Mix) 12. Night Creatures (Spoken Word Version) (5.1 Surround Mix) 13. Rocket Cathedrals (First Version) (5.1 Surround Mix) PAST RELEASES: The original edition of Axe Victim was deleted sometime around 1979/80, but was reissued as a budget release in 1983 by EMI as a double album, combined with the band's second album, Futurama . CURRENT AVAILABILITY: The 2-CD set is available for purchase in the Dreamsville Store . BILL'S THOUGHTS: "As was hinted at in the song "Axe Victim", my guitar is a time machine, and the entire history of music is within reach of its glowing dials. Past, present and future are my natural territory and I feel free to dance joyfully and positively within it." _____ "Jets At Dawn" - "was actually written on the first of August, sometime back in the early '70s, probably 1972 or '73. Around 46 years ago. It was before the band made any recordings and definitely before we recorded it as the b-side of the Teenage Archangel single, which was independently released on my 'Smile' label, quite a bit before the EMI deal. "This was the first line-up of Be Bop Deluxe and we were driving home after a gig somewhere in the far north of England. The gig had a very late finish and by the time we'd got the equipment dismantled and packed away it was the early hours of the morning. "As we entered the Yorkshire area in our van, the dawn came up, a glorious day was promised as the sky was a beautiful deep blue and the rapidly rising sun tinted the few clouds that were there with gold. I was looking out of the van's window at this and noticed vapour trails of aeroplanes high above. It sparked a childhood memory of laying on my back in my parent's front garden, gazing up at the clouds and imagining WW2 Spitfire pilots flying their aircraft across the skies. "As a boy I'd briefly had a thing about becoming a pilot and used to read stories such as 'I Flew With Braddock'. I also had copies of 'Flying Review' and 'Flight' magazine and built many model aeroplane kits, which I proudly displayed in my bedroom. "This memory, coupled with seeing the vapour trails in that August dawn sky, got me thinking about making a song which might capture something of the magic of my childhood flying fantasies coupled with the feeling of wonder that filled me when I looked out of the band's van window. "The first line of the song, ( 'The calendar said first of August') came straight to me, right there and then. The rest of the lyrics, along with the song's chord structure, was written at home that same morning. It's a tale of aeroplanes returning home in peacetime, after a war, on a glorious morning with their womenfolk hanging out washing in the gardens below, and who are waving at the pilots as they sail overhead. A celebration, not so much of victory, but of a long awaited peace." ALBUM REVIEWS: Review by Julian Cope on Head Heritage Review on Hi-Res Edition Review on Music Republic Magazine Review on Fabrications HQ Review on Louder Sound Review on Louder Than War Review on At The Barrier Review on The Progressive Aspect Review on Music News Review on Pocketmags Review on Music Street Journal Review by Dmitry M. Epstein YouTube review by Pete Pardo Review by Zachary Nathanson FAN THOUGHTS: Mark Hodkinson: "Axe Victim established several musical and lyrical themes that became Nelson trademarks: blistering guitar runs, an obsession with his native Yorkshire, a deep interest in French film director and writer Jean Cocteau (one of his quotes was reprinted on the sleeve), and the analysing of his own status as a 'victim' of his art/axe. This last element was suggested by the cover painting by John Holmes, of a skull incorporated into the shape of a guitar body." (Record Collector, December 1997) Geetar Homer: "The computer I'm typing this post on stands in the exact spot where the record player stood 40 years ago on which I first played Axe Victim (a loaned copy from a school friend). I remember being blown away by the power of the opening title track even though the deck was a cheap low quality device. Didn't get my own copy until a couple of years later but its still the Be Bop album I play most often. Even if I was stone deaf I would get it out on a regular basis and just look at the sleeve smiling inanely. :) "Had a period (80s/90s) when I viewed it less than favourably, even with embarrassment. Now I love it for the exact same reasons I disliked it then. I think I've come to the conclusion it's a 'keeper'...Oh! and it's improved my air guitar playing no end." Parsongs: "Winter of 1976 was when I bought it. I had seen the Sunburst Finish tour, with BBD supporting Kansas; the Earl Slick Band opened the show. First paycheck after the show, I bought Sunburst Finish . Next paycheck it was Modern Music and Axe Victim . When I saw the latter, I thought hey, these aren't the guys I saw in concert! I thought they all looked a little glam compared to the suits on Modern Music ! Loved the music within though, a real rocker that one." paul.smith: "In the summer of '76 my brother and I were looking through LPs in the branch of WH Smiths in Bolton when I came across this rather fetching cover - all black and skull and guitar as I remember...pointing it out to him he was immediately interested, having heard it at some mate's place, and immediately bought it...he was the older brother with the cash - I had the bus fare home and bugger all else as I remember. Anyway, the said album became the soundtrack to that fantastic summer that went on and on and on...we played it constantly, and later made inroads into other Be Bop stuff and, of course, the rest is history as they say... It's a kind of silly thing to be asked to select your favourite song of all time, but "Adventures In A Yorkshire Landscape" comes very, very close...my memories of playing as a kid in the semi-rural/semi-industrial landscape of Wigan/Blackrod/Rivington/Horwich of that time are so evoked in the lyrics and music of that song, that it sometimes makes me ache inside for a timeless flight of childhood that has gone forever... I knew it was a great song when I was a kid...it just got better with 'repeated listenings'." RJR: "Bill, out of the hundreds (thousands?) of songs you have created in your career, "Jets at Dawn" remains my favorite song of all time. Axe Victim was the second BBD album I had purchased in 1978 (Drastic Plastic being the first) -- and I was so amazed at how different the two albums were, but equally awesome. "Jets" was, for some reason, the first song I played on the a album, and it quite simply blew me away. Being an amateur artist, I have created many "renditions" of that song in many forms of media (pen and ink, oils and even Photoshop). In my mind, there is a ragged soldier walking along a valley-like pasture with a dog in tow, looking up at a large and ancient church in front of him. Of course, there are clotheslines in the distance and a trio of jets making their way across the sky. I remember being 16 years old and having a high fever and listening to that song over and over while I lay in bed blanket in hand. For some reason, the song touched me and has remained with me to my post middle aged days." yorkshiretb: "I remember marvelling at how BN managed to be so creative in his guitar playing as the album is chock full of guitar solos each one a composition to fit the song as opposed to a solo. The version of "AIAYL" here has for me the most lyrical guitar solo I have ever heard, all contained in a wistful ballad evocative of a journey through my home county. But it was also the songs that I remember as well as to me it was all very different to anyone else I'd heard despite later reading of what journos put in as Bowie comparisons. I guess like BBD and Bill's later work each record is self contained as it is a shot at the time and the style is not repeated for the next album or record - entirely frustrating for rock journos trying to categorise I guess? My fun categorisation of Axe Victim is that it's a baroque, gothic, romantic, free form, folk, orchestral pop and rock record." Gavin Baker: "Well, I would travel all around South Yorkshire to see Be Bop Deluxe with my mates & would hear the songs from that album time & time again. I still have "Teenage Archangel"/"Jets at Dawn" single I bought at a gig in Bolton Upon Dearne. Being a wanna-be guitarist I've lots of influences but in them days it used to be Nelson, Kossoff & Hendrix. Loved your music then Bill, love your music now." Albums Menu Future Past

2005 2006 2007 2008 2009 2010 2011 2013 William's Study (Diary Of A Hyperdreamer) November 2007 Jan Feb Apr May Jul Sep Oct Dec Saturday 3rd November 2007 -- 4:00 pm Although the following diary entry has only just been posted, I began writing it on the 29th of October, intending to post the following day. However, various post-Nelsonica distractions have taken up the time that I intended to devote to it. So, rather than re-write the whole thing to suit its later appearance on my website, I'll add the most recent section at the end. Monday 29th October 2007 -- 6:00 pm. Still trying to take in the fact that this year's Nelsonica convention was, on Saturday, finally seen through to its proper conclusion. And with real style and panache too. I'm now able to wake up without the sense of panic that has filled my life these last couple of months. The event was a joy on all levels. The feedback from attendees, both on the day and afterwards on the Dreamsville forum, has been joyously positive. The most commonly expressed opinion is that this was the best Nelsonica to date and in the best venue so far. A happy result, especially after all the hard work that the convention team and myself had put into the creation of the event. I've recently found myself wondering whether Nelsonica is a sensible thing to continue to stage, especially when so many other projects demand my attention throughout the year. And this year has seen one task bleed seamlessly into another, leaving no time to gather my wits or recover energy. I'm ashamed to admit that all kinds of things have suffered as a result. I'm way behind with answering emails from friends, even close friends. My family haven't had the attention from me that they deserve, and I feel as if my emotional and physical batteries have been drained to the point where the world flows through me with hardly a blip on my internal radar. These last few months I've been working in a kind of fog, a mysterious, hypnotic state, guided by things beyond my control. It's been instinct and improvisation, thinking on my feet, flying by the seat of my pants, playing it by ear. Somehow, though, it gets there in the end. Things fall into place and the target is hit, albeit with the collusion of smoke and mirrors. The life of an independent artist certainly imposes peculiar and surreal demands, demands that I never had to think about when I was, (many years ago now), somewhat more 'gainfully employed.' People I worked with at that time said "don't give up your day job..." The truth is, despite the inevitable struggles and frustrations, I think I'd put up with just about anything not to have to return to the life I lived before I threw myself 100% into the arms of the muse. The work I do now makes the desk job I once held down feel like sonambulism. Those days of shuffling paperwork from one side of the desk to another and back, the glassy-eyed answering of office telephones and the ritual morning and evening clocking in and out, the endless rattling of filing cabinets and the gossipy whisper of inter-departmental political intrigue. All the sly, prejudiced comments I endured, simply because I wore a pink satin tie to work or didn't happen to have taken in last night's football on tv, or watched a popular soap opera or game show, or 'gone down the pub' with the boys or bought the latest Eurovision hit single. Hard to believe, nowadays, the insults that my disinterest in these things aroused in ostensibly, superficially decent people. But I've learned, over all these years, that fear of the unfamiliar or 'the different,' drives vitriol through the fuse. And, by the standards of local government politics back then, I must have appeared very unfamiliar. Sometimes, it was purgatory. So much so that I often dreaded going to work, simply because of the sly ridicule I'd have to endure. Liberal attitudes, an open mind, any sense of cultural adventure or notions of racial and sexual tolerance, (in fact ALL the hard-won advances of the 'sixties counter-culture), were regarded by these staunchly conservative fundamentalists as some kind of left-wing plot. It wasn't that I didn't TRY to communicate with my fellow workers, but the look of incomprehension in their eyes if I tried to explain what kind of things turned me on and why. Well...looking back now, it seems astonishing that such self-imposed limits of taste and ambition were regarded as some kind of 'standard.' I did what I could to understand and accept these attitudes but still found them disturbing, even a little frightening. I certainly felt intimidated. Things have changed these days though...haven't they? Well, we like to think so but I suspect we're not much further down the road to enlightenment. Thatcher's bastard offspring are everywhere, even in the damned government. Bearing in mind my natural inclination to plough my own furrow, I suppose it was inevitable that I would be regarded by certain captains of the office ship as some sort of freak from the deep, caught up in the local government net by an accident ofindiscriminate trawling. Certainly not one of their own but an unwelcome and uncertain entity. Maybe even, (check out that pink silk tie, boys), a raving queer! The first week I worked there, I accidentally overheard an office conversation. It went something like this: " Have you seen the new boy? He looks ill, like a skelton, too skinny, too pale. Something's wrong. I think he's on drugs. Dresses like a homo too. Wouldn't surprise me..." The speaker didn't know I'd overheard him. But I was just the other side of an office partition when these words were spoken. I've never forgotten them. Why? Because they didn't know or understand the first thing about me yet were prepared to pronounce judgement in such a dissmissive way. In truth, I couldn't have cared less about their accusations of homosexuality. I'd never been remotely homophobic, though from their derisory tone, I could tell they were probably typical of their generation. Back then, the slightest sartorial flamboyance got you labelled 'a puff.' I was actually mildly amused by the fact that they couldn't really work that side of me out. I considered myself to be reasonably sophisticated regarding sexual matters, knew exactly which side of the fence I sat on and was confident enough about my own hetrosexual orientation not to need to rush to its defence in these situations. What really got to me was the implication that I was ill, or strung out on something or other, no, maybe not even that, just the sheer audacity that they could presume to sum me up in such banal, conservative and inaccurate terms. The John Lennon/Yoko Ono 'Two Virgins' calendar that I pinned on the wall next to my desk in the office didn't help matters either. I soon found out that it was o.k. to pin up the usual cheescake busty nudes from the men's mags of the day but a naked John and Yoko was one nipple too far, even though they had their backs turned to the camera. Two obviously deviant perverts was how they were seen by the people sitting in the office with me. In their eyes John n' Yoko were nothing but anarchistic, dope-smoking hippies...filth, symbolising everything that was wrong with the country, eroders of 'true British values,' (and one of 'em was bloody Japanese for Christs sakes! Didn't we fight a war to rid ourselves of these types?) They gazed at the calendar, then gazed at me in horror. I was told to take it down or face serious consequences. Truth be told, I wore their angry glances like glittering medals. Their hatred felt like a badge of honour. I was glad to be the office enigma. But then, I was young, idealistic, enthusiastic, culturally ambitious. I shared none of their traditional aspirations although I quietly envied what seemed to me their lack of any philosophical complexity. The world to them was a simple thing, subject to a black and white moral and ethical absoluteness. There were no shades of grey and certainly no spectrum of colours. They regarded themselves as guardians of the British flame and anyone who dared disagree was labelled weird, crazy or worse. Of course, in many ways, I was just as ignorant of them as they were of me. Let's just say, I was ill equipped to be a local government officer. The beaurocratic ink was dry in my well. Nevertheless, I did try. I stuck it out, switching off at five pm every day, like everyone else, and never giving it another thought 'till next morn. The evenings were all mine, for writing, for drawing, for playing guitars and dreaming. I eventually was able to take those youthful dreams and blew air into them, float them over Wakefield's grey skies, and set their sails for tomorrow. And the only compass I had to guide me was that of my imagination. I had to escape and my need to do so may sometimes have appeared to others as ruthless, 'though that wasn't my intention. But that's what I did. One day, I walked away from it. And here I am now, doing what I once could only dream of. And now I complain that I'm exhausted. And still misunderstood. But, in reality..? I'm blessed. It's been a long hard struggle in many ways but I lead the life of an artist, not a pop star or rock guitarist. I've fought for the right to be free of all that. I hope it goes a little deeper. As always, I've drifted off-topic. I was trying to come to terms with the possibility of abdicating from the annual Nelsonica pressure. I don't think that I really could though. Abandon the convention, I mean. Whatever the mental uncertainties and physical stresses and strains, after Saturday's warm reception from the Nelsonica audience, and the wonderful support from the team, it's hard for me to think about drawing a line under the convention at all. It's become a surrogate family gathering with a group of people at its core who have been with me for some years. They're as committed and inventive as ever and it's impossible not to be swept along on their waves of energy and enthusiasm. I hope that they realise just how much their support means to me. Sometimes, it's difficult to communicate this without appearing maudlin or overly sentimental, but they're absolute gems, every one of them. I suppose I've never been particularly adept at expressing emotion, other than through my music. Other people, those really close to me, may disagree with this damning self-analysis, but that's my sorry take on it. Maybe it's because I'm frightened of pain and mortality and therefore scared of losing people who I deeply care for, (who isn't?) Perhaps I build barriers against losing them, or, even more so, them losing me. It's that old Buddhist thing of suffering though, isn't it? Existence is suffering. He was spot on, old Siddhartha. Absolutely on the money. Nevertheless, despite his realisation of suffering, (or because of it), he became a healer of souls and minds, an optimist, a viewer of the bigger picture. No one deserves trouble, no one deserves illness, no one deserves death and depression. The cruelty is that, whatever we DO deserve, we rarely achieve it. Things are generally unfair. Shit hits the fan with a regular dull thud. Suffering is as much our lot as breathing. To witness the struggle of others to maintain some sort of decency in the teeth of life's hurricane is often so heartbreaking that we avert our gaze. I've turned mine away too many times to presume the slightest hint of strength or honour in these matters. I look to those who prevail and endure and maintain their dignity in difficult circumstances with nothing but envy and admiration. And a deep sense of my own inadequecy and shame. And that's enough self-immolation for now, thank you very much. I'm going to open a bottle of wine and taste the sunshine. It's now Friday, 2nd of November. Time has moved on, as usual. Some of the above was written at intervals during the last week. I won't bother to date each tiny section, just the largest chunks. Nelsonica 07 was one week ago tomorrow. The pace hasn't slowed and I still owe some good people emails. Went to see Honeytone Cody at 'Fibbers' on Wednesday. The sound mix lost too much of Elliot's guitar for my liking but they played with their usual dark energy and mysterious atmospheres...and in Halloween costumes too. Even the staff in our village Co-op looked like extras from a Hammer horror movie. The young man who served me my 'Independent' newspaper was wrapped from head to toe in white bandages, like an Egyptian mummy. The parts of his face that were visible were covered in white makeup with dark rings shaded around his eyes. Fake blood oozed from gaps in the bandages at certain points of his body. He took my money and handed me the change as if there was nothing unusual about his appearance whatsoever . "You're looking well," I said. Elliot called 'round today to show me his new car. He's very proud of it and rightly so. My old banger is rotting on it's wheels. rust oozing from the inside out. Just had to spend almost four hundred pounds to get it through its MOT certificate. Two new tyres, a new silencer, couple of other things. I've had the car some years now and need to change it before it becomes totally worthless. But there are household/domestic priorities that need money spending on too. They're getting to the point where they can't go on in their present condition much longer. It's the same old story: As soon as any earnings come in, they're immediately spoken for. But, that's life. Dug out some black n' white photos that I took when I was working with The Skids in Rockfield Studios in Wales, a LONG time ago now. I'd created a cartoon/graffiti drawing, on the studio control room doors, of an alien family. I'd built it up a little at a time, over the duration that we were working there. (I've attached the pictures to this diary.) Also found some photos of myself with Elle and Elliot taken in the South Of France whilst on holiday. (Holiday? What's that?) Must have been a long time ago because they are so young. And I was so slim! Also found another picture of the first house I owned, 27, Anderson St. Wakefield. And a black n' white photo' taken of Haddlesey House from part way down the garden. It brought home the distance I'd travelled from Anderson Street to West Haddlesey. Quite a contrast! And all on the strings of a guitar. Things change constantly, of course, and that wonderful 3-acre garden is now a bland executive housing estate. And, in the intervening years since I lived there, I've been without a home of my own, then living with friends in Japan, then in rented accomodation, (for which I had to sell my guitars to pay the rent), and now in a home bought by my sweet Emiko from the sale of her Tokyo apartment. And I've got guitars again. Things are always in flux but two things I've learned to trust are love and music. It's 10:20 pm and I've had enough of sitting in front of this screen for today. I'll try to complete this entry tomorrow, 'though there are several things already scheduled to take my attention away from it. My friend Dave Standeven is calling round in the morning to collect Steve (Cook's) keyboards and amps which he left here last week, after Nelsonica. Dave's van should be able to accomodate them and then I can shift my own gear upstairs. It's all still in the hall and dining room as I need to clear Steve's stuff before I can find space in the spare bedroom to store everything. It's a real jigsaw puzzle, getting it all to fit into the house. Saturday 3rd November 2007 -- Afternoon. Dave called and we put Steve's gear in the van. Steve's ancient Fender Rhodes piano, which has been stored here since the 2004 tour, was a real backbreaker to get down stairs. How people used to lug those things around on a regular basis back in the '70's is beyond me. My lower back muscles have gone into spasm just dragging it from the spare bedroom downstairs and out to Dave's van. We're going to our friend's bonfire/fireworks party tonight. Lots of booms and whizz bangs. If my back holds out. Must make sure the cats are safely inside though. Just the two of them now...the two we've domesticated, 'Tink' and 'Django.' The others fell victim to our neighbours' desire to rid the area of them. Some went to the Cat's Protection League, some to a farm elsewhere, some mysteriously disappeared, and one, gentle and elegant Gizmo, was hit and killed by a speeding driver travelling at hellish speed down the lane outside our house. The two we've domesticated, (they were originally semi-feral), are funny, affectionate and dependent upon us. We'll have to sort out a cattery for the four days we're away in Paris. Something else to organise as soon as possible. Looking forward to our Paris break. I've finally got everything booked, Eurostar and a hotel. Have to decide on clothes to take yet though. Must make an effort to be stylish...it is Paris, after all. I'll make a start on the packing next week. I'm about to telephone my mother for a chat now, so will close here. Hard to take in that Nelsonica was exactly one week ago today. Time, as one strange scientific theory has it, is definitely speeding up. ***** The images accompanying this diary entry are as follows:- 1: Dreamsville Art Advert. 2: Bill Nelson on stage in the USA, 1980's. 3: Bill, Elle and Elliot in St. Paul, France. '80's. 4: Bill's Rockfield Studio art . 5: 27, Anderson St. 6: Haddlesey House, early '80's. Top of page Thursday 29th November 2007 -- 8:00 pm. Got back from Paris just over one week ago, 'though it now feels much longer than that. The timing of our French break was a little unfortunate as it coincided with a civil service strike which shut down the Metro system and caused traffic chaos in the city for the duration of our stay. It was difficult to get around and as a result, taxi's were almost impossible to find unoccupied. Emi and I eventually resigned ourselves to walking almost everywhere. Of course, walking in Paris is no great ordeal as the architecture is so breathtakingly beautiful, but the weather was cold and wet and we were glad of the warm clothing we'd packed. Despite the cold, we found ourselves stopping regularly to admire the exquisite details of the buildings, pointing out to each other little twists and turns of ironwork, the patina on door handles, the sculpting of stonework, the proportions of window frames, the art-nouveau richness of the stained-glass and so on. We also discovered exquisite, independent shops and galleries in the narrow streets of St. Germain Des Pres, not too far from our hotel in Montparnasse. I bought books at the 'Village Voice' bookshop and some beautiful little ruby red cut-glass, engraved goblets at a very chic interior design boutique. We also enjoyed browsing in the 'Agnes B' boutique, (one of our favourite designers, along with Margaret Howell, Paul Smith and Dries Van Noten), though the prices were high enough to be thought of as silly and certainly beyond our reach.. However, Emiko DID buy me an Agnes B black scarf that I took a shine to. It is to be one of my Christmas presents from her so has been hidden away until then. Our hotel, ('Hotel Raspail'), was situated on the junction of Boulevard Montparnasse and Boulevard Raspail, (actually on 'Place Pablo Picasso'), just across the road from three legendary restaurants, 'Le Dome,' 'La Coupole' and 'La Rotonde.' Whilst these venerable establishments are not quite what they were in the days when Montparnasse was an artist's village, the ghosts of Picasso, Man Ray, Leger, Kiki, Cocteau, Hemmingway, and even Lenin and Trotsky still haunt this area. It was once a vortex of creative energy, lit by the electricity of new ideas. Emi and I breakfasted at 'La Rotonde' and ate lunch at 'Cafe Flore' and 'Les Deaux Magots,' savouring the atmosphere and watching the elegant Parisians go about their daily business. I'm sure Emi caught me admiring the French babes out of the corner of my eye too, but she's magnaminous enough to not make a fuss. Jealousy is, thankfully, not her suite, 'though I'm sure she'd let me know if I ever overstepped the mark! On the Monday, we walked all the way to the Musee D'Orsay, only to find it closed. Damn, should have made enquiries first. So we walked a little further, crossed the Seine via Pont Royal and continued to the Louvre where we enjoyed a satisfying lunch with wine and an afternoon wandering through the museum's antiquities section, marvelling at the endless treasures on display. Afterwards, I bought myself cologne at the 'Fragonard' shop before ambling gently back through the charming streets of St. Germain (and the wintery weather), to our hotel, pausing to inspect more magical shop discoveries en route. That evening we went to the 'Casino D'Paris' to catch Rufus Wainwright in concert. He was his usual utterly charming and humungously talented self, chatting amusingly in French throughout the show and singing his heart out like the 21st Century Diva he is. This is the third time we've seen him perform live. I'm not in the habit of going to see concerts at all, these days, let alone three by the same artist in a concentrated period of time. But there's something about the boy. My only regret about this particular show is that I lost my favourite hat there, a black 'beanie' style cap that I often wore on stage at my own concerts. (Most recently at Nelsonica.) It suited me and is kind of irreplacable as that particular style isn't easy to come by at this point in time, at least in the U.K. (Not high street fashion, I suppose.) Anyway, I'd stuffed it into my coat pocket during the Rufus' concert, only to discover later that it had gone missing. I also lost my bio-magnetic bracelet in Paris, though I can't say that the aches and pains I bought it to relieve have become worse since it fell from my wrist somewhere in the Parisian streets, or maybe on the train coming back to the U.K. Getting a taxi back to Montparnasse after Rufus' concert wasn't easy. We'd met up with four of our friends from York at the show, (they'd travelled by car and ferry whilst we'd opted for Eurostar). We had dinner with them at a swish restaurant the previous evening. It was the first time they'd seen Rufus live and were duly impressed. I particularly enjoyed his beautifully sung version of 'A Foggy Day In London Town,' but then I'm a sucker for those old standards. After the show, we all decided to find a cafe bar to hole up in until the audience had dispersed, (beer and frites all round), then we waited at a taxi-rank until cabs arrived. Emi and I eventually got back to our hotel in the early hours and then packed in preparation for Tuesday's trip back home to England. On Tuesday morning, there was some panic about getting to Gare Du Nord from our hotel. The hotel receptionist said, with a stereotypical French waving of arms in the air, that it would prove impossible to get a cab but, miraculously, one arrived within minutes of our requesting it and we got to the station in plenty of time. I'm very impresssed with Eurostar. It was quick and comfortable and we were served champagne, wine and reasonably decent food. It really felt quite effortless. In fact, the least comfortable part of the journey was that from London back to Yorkshire on the standard GNER train, not least because of the boorish yobs in some of the coaches. I've reached the age where 'youthful high spirits' translates as 'ignorant louts,' I'm afraid. But this kind of senior-citizen grumpiness comes to us all, in time, I presume. Since returning home, it's been domestic catch-up time. The Nelsonica preparations occupied me for many weeks and, as a result, more prosaic tasks have accumulated. Mountains of emails to answer too. One of the first things we did on returning from Paris was to spring Django and Tink, (our feline friends), from the cattery where we'd left them. It was the first time they'd been away from their home environment and I was concerned about them whilst we were away...Needless to say, they appeared pleased to be back in familiar surroundings. Since we decided to look after them as domestic pets, (earlier this year), they've become a soulful part of the family and our home wouldn't feel the same without them now. Even though there's a LOT to occupy me domestically, I'm still thinking about musical work. Whenever am I not? I'm currently assembling an 'experimental' running order of tracks that will probably make up my next album. The album's title is 'SILVERTONE FOUNTAINS' and, at this moment in time, it consists of 16 instrumentals, a few of them left over from the now abandoned 'Frankie Ukelele And The Fire In The Lake' album. I'm planning to give the Nelsonica Team members a home burned cdr of the album's draft running order, (each CDr with an individually hand-drawn cover), at the annual team dinner party on the 1st December. Last year, I gave each of the team members framed drawings but thought that a preview of 'Fountains' with home-made packaging might be a nice idea for this year's dinner get-together. The album is still a work in progress though...I may yet decide to set aside some of the tracks for next year's limited edition Nelsonica album, whilst continuing to record further pieces for possible inclusion on 'Silvertone Fountains.' We'll see. here's the experimental track listing. (It will most likely channge by the time the album is released though.) 'Silvertone Fountains.' -BILL NELSON- (Experimental assembly only.) 1: 'The Fabulous Whirligig Of Now.' 2: 'Silvertone Fountains.' 3: 'Switch On The Sky, Light Up The Stars.' 4: 'The Walls Of Which Are Made Of Clouds.' 5: 'Marvelous Model Kit.' 6: 'No Memories Here To Make You Sad.' 7: 'Art Is My Aeroplane.' 8: 'The Standard Fireworks Stomp.' 9: 'Silver Sailboat On Samsara Sea.' 10: 'Summer Over Soon.' 11: 'Frankie Ukelele And The Fire In The Lake.' 12: 'The Phonograph Bird.' 13: 'Lakeside.' 14: 'The Lost Art Of Doing Nothing.' 15: 'Frankie Surfs The Milky Way.' 16: 'We Vanish At Shadowfall.' It's one of those albums that seems to be slowly evolving or mutating into something I can't yet quite grasp. The album has already been through several changes, giving birth to the 'And We Fell Into A Dream' album and parts of 'Secret Club' en route. And all this started from the 'Frankie Ukelele' concept. I wonder what the final result will be? The pleasure, for me, of course, is in the finding out, rather than in the end product itself. Once I feel it's arrived at its musical destination, I'll move on to the next thing, with my usual lack of interest in work completed. Current reading: 'Tripmaster Monkey, His Fake Book' by Maxine Hong Kingston. 'The Underground Man' by Mick Jackson. And 'Considering Genius, Writings On Jazz,' by Stanley Crouch. Oh, and Eric Clapton's autobiography, (this last a gift from a generous fan at Nelsonica). Current listening, (mostly in my car): Les Paul, Johnny Smith, Bill Frisell, Wes Montgomery, Chet Atkins and a selection of 1930's popular songs by various long dead artists. Nothing remotely modern, rock-oriented or new. Must be that age thing again. My problem is that I've heard so much music during my lifetime that work by younger artists rarely surprises me anymore. (There are a few exceptions, of course.) It all seems to be a re-hash of something originally made years ago at a time when the idea was really fresh. Even current day contemporary composition, the nouveau avant-garde, seems to be going over old ground. Some of it very nicely raked, but not startlingly cultivated or filled with beautiful and exotic blooms. Perhaps it's no longer possible, (or even important), to come up with anything truly new. Nevertheless, I tend to listen to music where the process of making it is invisible to me, where I can't quite understand how it's put together, technically or academically. I crave the surprise of not-knowing. Listening to ancient, promitive recordings of beautifully written and arranged music by the great composers and songwriters from the '30's and '40's appeals because, as well as being aesthetically beautiful, the music's inner clockwork remains a mystery to me. And, even more than this, I can hear time itself crackling in the ploughed circular furrows of the music's black plastic sound field. It conveys a poetic quality, a wistful, yearning dreaminess, a sophisticated, elegant sensibility transmitted from an imagined 'Golden Age.' At least, that's how I feel as I type these words. I may feel less romantic about it tomorrow. But mellow is my mood right now. ***** Images accompanying this diary are:- 1: Hotel Raspail, Paris. 2: Bill Nelson in Paris. November 2007. 3: Dreamsville windmill ad. 4: Dreamsville girl ad. 5: Dreamsville ad. Top of page

The Dreamsville Poetry Experiment Free download track Click image for cover Artwork Special FREE download track - Released December 2007. THE DREAMSVILLE POETRY EXPERIMENT Currently unavailable on any album The Dreamsville Poetry Experiment was based on contributions to the Dreamsville Poetry Experiment. Bill asked participants to submit a line for a 'found' poem. The project created a 69 line surrealist poem for which Bill composed a unique 13 minute musical accompaniment/soundtrack. Lyrics by the 69 contributors...see lyric sheet for details. Written, performed, recorded and produced by Bill Nelson. All rights Bill Nelson 2007.

Wildest Dreams Bill Nelson single - 3 March 1986 Singles Menu Future Past TRACKS: 7" Single: A) Wildest Dreams (Single Version) B) Self Impersonisation 12" Single: A1) Wildest Dreams (Wild Mix) A2) Self Impersonisation B1) Wildest Dreams (7" Version) B2) The Yo-Yo Dyne ORIGINALLY: A, A1 & B1 are exclusive mixes of a song from the Getting the Holy Ghost Across album. B, A2 & B2 are exclusive non-album tracks. NOTES: Wildest Dreams was the only single taken from the Getting the Holy Ghost Across album to be granted a commercial release. The single was pressed in 7" and 12" formats. Both formats were issued in picture sleeves, and a limited edition signed art print (with printed signature) was included in approximately 400 copies of the 12" pressing. PAST RELEASES: B2 was included as a bonus track on the Sonoluxe reissue of the Getting the Holy Ghost Across album (2006). CURRENT AVAILABILITY: All four songs are available on the remastered 2CD set of Getting the Holy Ghost Across (Cherry Red/Esoteric/Cocteau Discs, 2013). Singles Menu Future Past

Cinema Menu Miscellaneous Videos Interviews, appearances & selected oddities The Making Of Futurama - May 2019 Bill Nelson chats with Cherry Red's Mark Powell, telling the story behind the making of Be Bop Deluxe's 1975 album 'Futurama'. The Making Of Sunburst Finish - Feb 2019 In this mini-documentary, Bill Nelson & producer John Leckie tell the story behind the making of Be Bop Deluxe's legendary 1976 album 'Sunburst Finish'. Fairview @ 50 - Bill Nelson Interview - 2017 An interview with Bill which was included in the compilation album 'Fairview @ 50' Bill shares fond memories of recording at Fairview, both as a solo artist and on various other projects throughout the years. His track 'Playbox' was included on the album. Bill Nelson: Blip album launch and solo concert - 2013 Bill Nelson Blip album launch and solo concert at the University of Leeds, June 2013. This is very much a 'fly on the wall' video edited from available footage. It features live excerpts from 'Gloria Mundae', 'I Always Knew You'd Find Me' and 'A Dream For Ian'. Bill Nelson - 40 Years Of Recordings - Interview by Mark Powell - 2011 This interview covers the entire career of Bill starting from the recording of his first album, 'Northern Dream;' in 1971 right through to his 8 CD retrospective box set 'The Practice Of Everyday Life' released in 2012. Bill Pesents Award to Duane Eddy - 2010 The MOJO Icon Award presented to Duane Eddy by Be-Bop Deluxe's Bill Nelson. Bill Nelson Interview - Nelsonica 07 - Part 1 Mike Robinson, President of Eastwood Guitars interviews Bill Nelson at Nelsonica 2007 - Part ONE. Recorded Oct 2007, YORK, United Kingdom. Bill Nelson Interview - Nelsonica 07 - Part 2 Mike Robinson, President of Eastwood Guitars interviews Bill Nelson at Nelsonica 2007 - Part TWO. Recorded Oct 2007, YORK, United Kingdom. Bill Nelson Interview - Nelsonica 07 - Part 3 Mike Robinson, President of Eastwood Guitars interviews Bill Nelson at Nelsonica 2007 - Part THREE. Recorded Oct 2007, YORK, United Kingdom. Bill Nelson Interview - Nelsonica 07 - Part 4 Mike Robinson, President of Eastwood Guitars interviews Bill Nelson at Nelsonica 2007 - Part FOUR. Recorded Oct 2007, YORK, United Kingdom. Bill Nelson Interview - Nelsonica 07 - Part 5 Mike Robinson, President of Eastwood Guitars interviews Bill Nelson at Nelsonica 2007 - Part FIVE. Recorded Oct 2007, YORK, United Kingdom. The Rhythm Sisters 'Infotainment' - 1991 Produced by Bill Nelson Bill Nelson Interview - 1985 A great interview broadcast on the Tyne Tees television show TX45. Bill Nelson Riverside Interview, BBC 2 - 1983 Mariella Frostrup interviews Bill Nelson for the music show Riverside. Including some great footage of Bill at work in the 'Echo Observatory'. Bill Nelson on 'Pop Quiz', BBC 1 - 09-04-1983 This popular TV show was hosted by Mike Read, featuring Bill as a team member with Steve Askew, under the captaincy of B.A Robertson. The second team consisted of Rick Wakeman and Stella Barker with captain David Grant. Cinema Menu

The Strangest Things Bill Nelson retrospective collection - 4 October 1989 Collections Menu Future Past TRACKS: 01) The Strangest Things, The Strangest Times ( Giants Of The Perpetual Wurlitzer EP, 1984) 02) Acquitted By Mirrors (Furniture Music single, 1979) 03) The Spirit Cannot Fail (Chance Encounters In The Garden Of Lights, 1987) 04) Fellini's Picnic (Map Of Dreams album, 1987) 05) Dancing In The Wind (Touch And Glow single in the Permanent Flame box set, 82) 06) Instantly Yours (Do You Dream In Colour? single, 1980) 07) Heroes De Lumiere (Simplex album, 1990) 08) Um, Ah Good Evening (extra track from the UK CD version of the Optimism album, 1988) 09) Several Famous Orchestras (Sex-Psyche-Etc EP, 1985) 10) A Dip In The Swimming Pool Reactor (Chamber Of Dreams album, part of the Trial By Intimacy set, 1985) 11) Youth Of Nation On Fire (Quit Dreaming And Get On The Beam album, 1981) 12) Eros Arriving (The Love That Whirls album, 1982) 13) Short Wave (extra track from the UK CD version of the Optimism album, 1988) 14) Life In Your Hands (non-album single, 1989) NOTES: The Strangest Things is a compilation album issued by Enigma Records covering the ten year period immediately after Nelson had disbanded Be Bop Deluxe and is exclusive to the US market. While the UK market got Duplex , the US were treated to this rather different compilation, which is best described as falling somewhere between Duplex and The Two Fold Aspect of Everything . The collection (issued on CD and cassette) mixed album tracks with rarities, acting as a sampler for the Enigma series of reissues, but offering the collector something beyond that at the same time. CURRENT AVAILABILITY: There are no plans to reissue this compilation, although all but track 14 have been reissued fairly recently, or are expected to be again in the near future. Collections Menu Future Past

Take Me to the Girl single - 1985 The Associates Production/Contribution Menu Future Past BILL: Guitar on the A-side. BILL'S THOUGHTS: "I remember sitting in the recording studio with Billy and he sang the vocal lines to me, (which hadn't been recorded yet,) without a microphone, over the backing tracks so that I could get a feel for where the guitar might lay. We got on really well and he was enthusiastic and charming and, of course, an absolutely wonderful singer." NOTES: An essay by Mike Nelson (no relation): 1982 – 83 had seen a run of hit singles for The Associates. 'Sulk' had been judged Album of the Year in the music press' judgements of 1982 and … the band had promptly self-destructed as its first major US tour approached. Though it was still fairly straightforward for remarkable frontman Billy MacKenzie to acquire a major label recording contract with which to continue his musical career, the challenge was that of creating an album to follow the complex and unique 'Sulk'. By the beginning of 1985, The Associates 'brand' was in big trouble. The 'Perhaps' album had been recorded in full at least twice, had overrun all cost limits and had gone on to provide disappointing sales. The smooth, funky pop of "Those First Impressions" and "Waiting For The Loveboat" simply didn’t work for the pop-buying public, but, as ever for a commercial artist, that didn't mean that main Associate Billy MacKenzie knew what 'Perhaps' should instead have been. If you don't know what's wrong, what do you do to put it right? Meanwhile, whenever there were no financial and record label pressures, MacKenzie always preferred to be bold and experimental. Given a now-shaky relationship with the Warners label, where could this fit in to what might happen next? Billy was still performing live and including adventurous unreleased songs such as "This Flame" and "Obsession Magnificent" in his live sets. He had certainly not simply 'sold out' for commercial success. In June '85, MacKenzie recorded four demos in Edinburgh. Versions of two of these songs would eventually become tracks on 1990's 'Wild and Lonely', the first album he would release under his own name. Another song, "You Never Thought (That You'd Be The One)" seems to have vanished without trace. The fourth was "Take Me To The Girl", and this song, "an upbeat dance track with a loungey Euro-flavoured melody" (as MacKenzie's biographer Tom Doyle describes it) was selected as a possible single, probably to stand alone to remind the British public that The Associates were still out there. In London, in July or August, the single was recorded at Morgan Studios. Sitting at the recording desk for the sessions was Peter Robinson – known to UK chartwatchers as producer of the immensely successful but MOR-as-can be 'Breakfast In America' by Supertramp, and more recently producer of Rush's more challenging 'Grace Under Pressure'. The guitarist for "Take Me To The Girl" was none other than Bill Nelson, personally asked to take part by MacKenzie. Bill recounts: "It's certainly me on the funky, guitar rhythm parts and any e-bow stuff. I just remember Billy singing me the vocal over the backing tracks of some songs. His voice was really strong. " The only definite products of the sessions were four different versions of "Take Me To The Girl": a 7" single version, and extended 12" version, an instrumental and a slowed and stripped-down piano-led alternative entitled "The Girl That Took Me". Bill is to be heard most clearly on the 12" version (https://www.youtube.com/watch?v=ThT0sLihs00 ) and the instrumental (https://www.youtube.com/watch?v=te7OwbrXH9s ). The production on both of these and the 7" version now seems so obviously too smooth and syrupy, and there are indications that within weeks, MacKenzie felt uncomfortable about both it and its wood-nymphs-in-the-castle-ruins video. Notably, the only touch of sparky energy and humour audible and visible across the entire single release was a cameo appearance by one of Billy's whippets in the video. But the song is melodic, catchy and lushly romantic. What a pity it missed any chart success whatsoever. Bill Nelson said recently: “In my opinion, the production really dates the recordings in a big way, even more than my own recordings at that time. Billy's voice should have had far less reverb, been more solidly 'up-front' to show its strengths. But, it was the '80s, the era of Yuppies and power-lunches.” Of interest to Bill Nelson aficionados is the question of what else was recorded in those sessions. The only other B-side included across the 7" and 12" singles is "Perhaps Perhaps", an alternative take (produced by Heaven 17' s Martyn Ware) from the sessions for the 'Perhaps' album, but only weeks later MacKenzie was recording a Radio 1 session including "Take Me To The Girl", "Give", "Obsession Magnificent", and his first broadcast attempt at Blondie's "Heart of Glass". A Bill Nelson newsletter from Autumn '85 says that Bill "played on a couple of tracks from the new Associates album and indeed plays a short guitar part on the new single", and Bill more recently stated that he "played on a couple of tracks, maybe more". And Bill remembers being sung to by Billy, using backing tracks for "some songs so that [Bill] could get a handle on how they would end up". The question really is what other songs were these and where are the recordings to be found? It is likely that one, two or three more Associates songs (almost certainly unreleased ones) include the guitar skills and artistry of Mr Nelson. Any clues, dear readers? After a few Autumn gigs, Billy MacKenzie travelled to Europe for much of 1986 and half of 1987. Out of these adventures came collaborations with some bold, creative musicians from Switzerland, Germany and Austria, and his working relationship with Yello was particularly productive. His next album, however, 'The Glamour Chase', was a whole new kind of disaster – completed for release in 1989 but shelved until 2002. The next proper release was instead the 'solo' album, 'Wild And Lonely' in 1990. Tracking what happened to the Bill Nelson 1985 collaboration is fairly difficult, but Bill had a sad postscript to add to the story: "Later, in the '90s, and not long before Billy sadly committed suicide, he called me up wanting to collaborate with me on songwriting and playing. He had no studio budget but, at that time, I had no proper home studio set-up either, (living in a rented apartment after my divorce,) so had to explain that it was extremely difficult for me to provide him with the right recording facilities. We left it at that, but not so long after, he was gone. A great talent who should have been served, and advised, better." Billy Mackenzie died on January 22nd, 1997. Production/Contribution Menu Future Past

Crimsworth Bill Nelson album - 28 February 1995 Albums Menu Future Past Purchase this download TRACKS: 01) Crimsworth Digital download version bonus tracks: 02) Palace Of Gnosis 03) Out Of The Window, Into The Night ALBUM NOTES: Crimsworth is an instrumental ambient recording written for an art installation created by Rob Ward. The resulting music appeared on the Resurgence label, an off shoot of Voiceprint Records, who would issue several CDs worth of new (or archive) Bill Nelson material in the period 1995-97. Although the playing times for the CD track 1 and track 2 are different by a matter of seconds, it should be noted that the 2 tracks are in fact identical. Nelson's original idea was for the second track to be slowed down to play back at an octave lower...the record company failed to carry out these wishes and simply put the same version on twice. The album remained on catalogue for around ten years before Nelson personally purchased all remaining stock when it appeared that Voiceprint were about to dispose of what they had left. The remaining stock was then sold through the SOS store linked to Nelson's website Dreamsville until it was officially sold out in February 2008. A 2013 reissue was released by Floating World Records, which appears to be a genuine record company associated with Voiceprint. By then though, Nelson had licensed Crimsworth to Esoteric/Cherry Red. So when Esoteric label head Mark Powell approached Floating World Records enquiring about their entitlement to issue Crimsworth , they replied, saying the release was issued "by mistake", and have since removed it from their website. Unfortunately, Esoteric/Cherry Red were unable to release Crimsworth before their licensing deal expired, this release will likely be a candidate for future Bandcamp digital download release. CURRENT AVAILABILITY: In July 2025, an extended version of Crimsworth was released as a digital download. This version contains two previously unreleased bonus tracks which fit the long-form minimalist instrumental style of the original track, giving a total playing time of over an hour from the three tracks. Available for purchase as a digital download here in the Dreamsville Store . BILL'S THOUGHTS: "Crimsworth was a collaborative art piece. It was designed to act as the sonic component in a gallery art installation. The installation itself was created by Rob Ward and involved a room whose walls were covered in ceramic paper which had been painted in deep reds and green-golds. The floor of the room was flooded with a black oil-like liquid that reflected the walls, creating the illusion of an infinite space. Viewers entered the room one at a time and could move to the centre of the space along a slightly elevated walkway, laid over the liquid floor. The name for the piece came from an area of wilderness, called 'Crimsworth', near the artist's home. "The soundscape I made was played on a loop from speakers within the installation. The inspiration for the music was the artwork itself, rather than any other music, although I had the works of John Cage and Morton Feldman in mind. I think the music could rightly be called 'environmental' rather than ambient." _____ "Towards the end of 1993, I was invited by Rob Ward to create a piece of music for his installation ‘Crimsworth’. The installation comprised a rectangular room, the walls of which were covered with a special ceramic paper, painted by the artist. The floor of the room was then flooded with water over which a long, narrow platform extended allowing the viewer to enter the centre of the space. "The work was inspired by an area of landscape nearby the artist's home, known as Crimsworth. The music reflects this natural environment and is in turn refracted through Rob Ward's painting to create an elemental space pregnant with mystery and subterranean forces." _____ Bonus tracks: " ‘Palace Of Gnosis’ - was recorded at The Echo Observatory in 1988 and written as a piece for guided meditation for the Rosicrucian Order (Ancient Mystical Order Rosea Crusis) that I was involved with at the time. I was actually master of the Leeds Rosicrucian Lodge back then and devised a spoken scenario that I would narrate live over the music. The idea was to guide the people meditating on a journey down a river to a beautiful palace where they would encounter several symbolic and mystical beings who would impart occult teachings to them. I understand that the meditators found it very effective. " ‘Out Of The Window, Into The Night’ - was also recorded at The Echo Observatory, although a little earlier in 1985. It was originally intended as an opening sequence soundtrack to an animated film of Roald Dhal’s ‘The BFG’." FAN THOUGHTS: Steve Whitaker: "Crimsworth Dean is a valley that runs off the Calder Valley in the Hardcastle Crags area, and you couldn't find a more perfect spot to inspire art in any form." tommaso: "I always really loved Crimsworth , especially because unlike all of Bill's earlier 'ambient' work, this one really goes on for a long time, allowing you to immerse yourself in the sound." TheGlassGuitar: "I think an ambient piece should be long enough create an all-encompassing mood. Crimsworth does this better than any other ambient piece I know of." wonder toy: "It is not a song you tap your feet to and whistle while waxing kitchen floor. A song for every season and a song for every reason. If you have a spare 31 minutes to lay back and soak in some sonic bliss or if you just want some beautiful music in the background while performing some mundane tasks, reach for this one. I wish there were more albums just like it in the Bill Nelson catalogue. I am really looking forward to some of the long form pieces coming in the near future." Mr.Magnetism Himself: "From the alarm clock on "Sleep That Burns" and the radio transmissions throughout Modern Music to the manipulated sounds of water on Crimsworth , Bill delights me with his varied approaches to incorporating sounds from the worlds of commerce, entertainment, and nature." Babylonorphan: "I have always loved Crimsworth (If you don't "get it", you are not listening properly!) and play it as background music during my crazy noisy students' lessons, you should see them all, as soon as Crimsworth goes on they turn from marauding little devils into angelic little angels. The power of Bill's music knows no bounds!" Kalamazoo Kid: "In retrospect, I'd also call it a direct ancestor of more recent stuff - Sailor Bill , Neptune's Galaxy , And We Fell Into a Dream ." Puzzleoyster: "Anything with a hint of Crimsworthiness gets the heads up in my house!" Albums Menu Future Past

All The Fun Of The Fair Bill Nelson album - 3 November 2023 Albums Menu Future Past TRACKS: 01) Beams Of Light 02) Beep, Beep, Beep 03) Roundabouts And Swings 04) Man Of Dreams 05) Electric Atlanta 06) Push The Button, Spin The Dial 07) Wanderings 08) One AM 09) Chelsea Flash 10) All The Fun Of The Fair 11) Madam Midnight 12) Dance Of The Sonic Culture Gods 13) Running From My Own Shadow 14) The House Of Morpheus 15) The Silent Hour 16) Keep Your Telescope Focussed On The Stars Purchase this CD Purchase this download ALBUM NOTES: All the Fun of the Fair is an album comprising a mixture of song based and instrumental material issued on the Sonoluxe label in a limited edition of 1000 copies. The album grew from the surplus material assembled for Marvellous Realms , mainly recorded between November 2021 and May 2022, but with four tracks, namely 'Beams of Light', 'Roundabouts and Swings', 'Electric Atlanta' and 'Wanderings' being recorded later, between May and October 2022. All the Fun of the Fair was actually in the running to be used as the title of Marvellous Realms , when that album was known by its original title 'Man of Dreams'. Three songs, 'Man of Dreams', 'Running From My Own Shadow' and 'All the Fun of the Fair' were among the first group of thirteen tracks that Nelson published on the Dreamsville Forum as potential tracks for Marvellous Realms , but which ultimately would appear on All the Fun of the Fair . The idea for a second album to be made from these recordings, initially called 'Here on Earth', was announced by Nelson on the Dreamsville Forum on 11 March 2022. By this point a total of 33 tracks had been completed for the two albums, although no indication was given regarding which would appear where. In fact, nine of the songs featured on All the Fun of the Fair were on that list. Further progress on the album was reported on 1 June 2022, when Nelson posted in the Dreamsville Journal that he had by then completed a total of 53 tracks for the new album projects, again without revealing which tracks would appear where. Comparing that list with the final track selections, reveals that he had by then completed a total of twelve tracks that would eventually make up the All the Fun of the Fair album. All the Fun of the Fair was mastered at Fairview Studios by John Spence week commencing 21 November 2022, the artwork however, wasn't tackled by Nelson and passed over to Martin Bostock for preparation until September 2023. Pre-orders details for All the Fun of the Fair were announced by Burning Shed on 5 October 2023 with a release date of 3 November. CURRENT AVAILABILITY: Available for purchase here in the Dreamsville Store . BILL'S THOUGHTS: "All The Fun Of The Fair is a merry-go-round of an album, recorded in 2022. Its 16 tracks take the listener on a colourful journey, with the 'Fair' of the album's title representing a metaphoric symbol for life itself. Song-based vocal tracks make up the majority of the contents along with just a few instrumental interludes. I hope you'll enjoy its various rides and mysterious sideshows!" Albums Menu Future Past

Museum of Memory A collection of pictures from Bill's personal archives Pictures of Bill and his family as a youngster. Select image for expanded mode and description. Early pictures of Bill's family. Select image for expanded mode and description. Bill's Childhood locations. Select image for expanded mode and description.

Model Village Bill Nelson album - 1 October 2011 Albums Menu Future Past Purchase this download TRACKS: 01) Morning's Herald 02) Dance Of The Orchard Angels 03) The Curate's Cassock Is Troubled By The Breeze 04) Cross Country 05) Pamela And The Pony Club 06) Windmill Interlude 07) Thicket And Loam 08) The Fabulous Foals Of Faraway Farm 09) Thunder Blooms In The Heat Bruised Sky 10) The Wind In The Wood 11) Merry Are The Wind Blown Crows 12) The Tree That Dreamed Of Violas 13) Twilight And The River 14) The Village Dreams Beneath The Stars ALBUM NOTES: Model Village is an instrumental album released on the Sonoluxe label issued in a single print run of 1000 copies. The album represents a significant departure from Nelson's past instrumental work in that it employs a vast array of synthesised orchestral instruments conceived as a film score for an imagined movie. The album concept was first announced on the Dreamsville forum in August 2010 and initially was planned as an album mixing vocal and instrumental pieces. Among the songs written with this in mind were "The Blossom Tree Optimists" and "Gathered at the Gloaming" (later renamed "Gathered in at Gloaming"), both of which were transferred to the Songs of The Blossom Tree Optimists album. Model Village was the first release that Nelson designated as part of his 'Special Listener Series', which indicated it to be a more challenging prospect. The series has so far run to 4 albums with every prospect of this continuing. Pre-release copies of the album were first made available at the The Art School Ascended on Vapours of Roses event held at Leeds University along with Signals From Realms of Light on the 1st of October, 2011, before going on general release through S.O.S. just 3 days later. Model Village sold out in November 2019. CURRENT AVAILABILITY: Available for purchase as a digital download here in the Dreamsville Store . BILL'S THOUGHTS: "It's a pastoral 'sound painting' which attempts to materialise the romantic, poetic, English village of my dreams...a kind of 'Bill Nelson Brigadoon' I suppose. Every time you play the album, the village appears from the mists, unspoiled, sun drenched, and summer-sweet. It's an album which (I hope) works on several levels at once." _____ "Imagine an idealised, dreamily romanticised (but charmingly surreal) country village somewhere around the earlier part of the 20th century...maybe it's not far from the coast, surrounded by rolling hills, sun-kissed meadows, orchards and windmills...but inhabited by a smilingly perverse vicar and an eccentric pub landlord, buxom farmers wives, rampant milk-maids, all with an appetite for quietly illicit but gentle sensuality, all this coupled with summer thunder, fruity orchards, golden harvests and gorgeous twilights that backdrop magic stars...Well, that's what I'm aiming at." _____ "I guess it's partly inspired by the books I read as a child, many of them beautifully illustrated with scenes of an idyllic, unspoiled, endless-summer England, books which my own mother owned when she was young. "Inspiration also comes from certain works by the English neo-romantic painters, artists such as John Minton and John Piper. (Peter Blake once told me that he'd studied under John Minton at art school). Plus some paintings by Stanley Spencer. "Other inspirations for Model Village come from various British between the wars films such as 'Painted Boats' and certain films by Powell and Pressburger, (especially 'A Canterbury Tale'). Even some of the old GPO Film Unit documentaries have helped inspire the mood. "But also, I guess, it's the memory of school holidays in the 1950's when the neighbourhood kids would go off to play in the nearby orchard and wheat fields, becoming our own version of ' The Famous Five' or 'Secret Seven'." _____ "This one has its own unique place in my 'canon'. It's an imagined soundtrack to an equally imaginary inter-war, rural life, English film documentary...Powell and Pressburger perhaps...'A Canterbury Tale' filtered through the prism of a childhood adventure annual, Enid Blyton on hallucinogenics, Humphrey Jennings with a cup of whimsical breakfast tea." FAN THOUGHTS: John Spence: "Indeed a unique and interesting piece of work from Bill. We mastered it at the same time as Fantasmatron and for me Model Village just kind of jumped out of the speakers. I don't know why...sometimes things just grab you like that. The beauty of great music I guess. Enjoy it." Andre: "THIS IS ONE VERY SPECIAL ALBUM! It is so evocative. I have never driven through the English countryside (unfortunately), however I can feel it. "Model Village is not a guitar album. All music is performed by the renowned Sunday Best Symphony Orchestra at The Palace of Strange Voltages in Yorkshire. "The music is superb, and yes the album IS a masterpiece and a treat to your ears. HIGHLY recommended by at least 99% of those who have heard it. Bill released it on the Sonolux Super Listeners Series as it is rather special. I dare say it is worth your money." felixt1: "I'm amazed at how much Bill achieves with his keyboard. Let's not forget that most of this is played in real time...It's just so....open in its scope. It's very hard to imagine the amount of work Bill has put into this, I mean it sounds like an orchestra, in the true sense!!! "There's a certain sense of playfulness that is very much a part of Bill's music in general that I feel is represented on this album. I get the feeling that in Model Village , there is mischievousness to be found. It is not a place that takes itself too seriously. "The imagery it evokes is plentiful, almost too much to grasp in one sitting, that is until you are more familiar with the twisty paths and hedgerows within the Village and the adjoining fields. "Bill's musicianship and sense of melody are fully on display here, incredible when you consider his prime instrument (at least, as far as the casual listener is concerned) is not to be heard on this album at all!" JMH: "This is such a "must have" offering...I am at a loss for words... There is much that is satisfyingly familiar, comfortable etc, yet... I believe the Artist has also created something amazingly New with this record. I am dazzled by the beauty, nostalgia and light that is elicited by this album. Not to mention the stunningly deep and beautiful tracks: "Thicket and Loam" and "The Fabulous Foals of Faraway Farm." Sue: "I love this album...it's like a sleepy, dreamy Sunday afternoon on a warm summer day, totally relaxing and so easy to listen to." BobK: "As a lover of English pastoral music, (Vaughan Williams, Elgar, Delius, Holst - yes, he was English!), must say I find Model Village rather fascinating. As always, listen on headphones to enjoy the subtleties!" paul.smith: "It reminds me of Eric Ravillious' wonderful countryside illustrations from half way through last century and that feeling of timeless flight in childhood that we all mourn and lament." MG: "Windmill Interlude" - "is a beautiful piece... It creates images for me of couples on bicycles riding down country lanes with picnic baskets (in glorious monochromatic 1950's cinematic style)." martin jordan: "I need help - I can't stop listening to Model Village . Biggest problem is there is only one way to listen to it - from start to finish every time. Having myself left the Leeds/Wakefield city life 3 years ago and now living in a midlands village in the National Forest, I find Bill's new CD a fantastic soundtrack to village life. So many of the sounds and feelings are felt on an daily basis when taking the dog out for a walk." zebrapolish: "The one I was sure wouldn't click with, but now have to have a daily dose of. "I LOVE IT. Lush, beautiful, outstanding. I can really visualise the village and its inhabitants, and the artwork sets it off brilliantly." Albums Menu Future Past

Discography Menu Productions and Contributions Clicking on a cover below will take you to a full page devoted to that release...more details will be added to each page in the fullness of time! Fiat Lux - Hired History Plus Producer 2019 album (originally recorded in 1982/1983) Units - Animals They Dream About Co-Producer, Synthesisers, Guitar, Drums 2016 album (originally recorded in 1981) Dave Sturt - Dreams & Absurdities Guitar, E-bow, Co-writer 2015 album Sea Of Wires - Leaving The Electric Circus Guitar, Co-producer 2010 album Harold Budd, Bill Nelson & Fila Brazilia - Three White Roses & A Budd Collaborator 2002 ep Dr. Jan (Guru) - Alienshamanism Guitar 2000 album Honeytone Cody - Believe In The Promise Of Tomorrow Producer 2000 ep Honeytone Cody - Pink And Clean Producer 1998 ep Nautilus Pompilius - Yablokitay Producer, Various instruments 1997 album Various Artists - The Mick Ronson Memorial Concert Guitar 1997 album Gillcover & The Monkey - 360º Producer, Keyboards 1996 album Audio Active And Laraaji - The Way Out Is The Way In Guitar 1995 album Culturemix - Culturemix Producer, Collaborator 1995 album Su Lyn - Lines Of Desire Producer, Guitar, Bass 1995 album Joe Hisaishi - Earthly Paradise Guitar, Vocals 1994 album Bogus Brothers - Battle Of Big Soup Producer, Guitar 1993 album Roger Eno With Kate St. John - The Familiar Producer, Guitar, Percussion, Synthesisers 1992 album Ramon Tikaram - Chill And Kiss Guitar 1992 album Harold Budd - By The Dawn's Early Light Guitar 1991 album Jean Park - Lovesnake Producer 1991 album Rain Poets - Rain Producer, Guitar 1991 single Rain Tree Crow - Blackwater Guitar 1991 single Rain Tree Crow - Rain Tree Crow Guitar 1991 album The Rhythm Sisters - Willerby Producer, Guitar, Sitar, Keyboards 1991 album Various Artists - Heaven & Hell Volume 2: A Tribute To The Velvet Underground Producer, Keyboards (on the 'Mock Turtles' track) 1991 album Various A rtists - Loose Routes: Two Guitar 1991 album Various A rtists - Loose Routes: One Guitar 1991 album The Mock Turtles - Magic Boomerang Producer 1990 single The Rhythm Sisters - Infotainment Producer, Guitar, Sitar, Keyboards 1990 single Cabaret Voltaire - Code Guitar 1987 album Cabaret Voltaire - Don't Argue Guitar 1987 single Cabaret Voltaire - Here To Go Guitar 1987 single Crazy House - Burning Rain Guitar 1987 single Crazy House - Still Looking For Heaven On Earth Guitar 1987 album David Sylvian - Gone To Earth Guitar 1986 album David Sylvian - Silver Moon Guitar 1986 single The Armoury Show - Castles In Spain Co-writer 1985 single The Associates - Take Me To The Girl Guitar 1985 single Yukihiro Takahashi - Stranger Things Have Happened Vocals, Keyboards, Guitar, Bass 1985 single Sandii & The Sunsets - Viva Lava Liva 1980 - 1983 Lyrics 1984 album Yukihiro Takahashi - Time And Place Guitar, Vocals 1984 album Yukihiro Takahashi - Wild & Moody Vocals, Keyboards, Guitar, Bass 1984 album A Flock Of Seagulls - Listen Producer 1983 album Monsoon - Third Eye Guitar 1983 album Gary Numan - Sister Surprise Producer, Guitar, Keyboards 1983 single Gary Numan - Warriors Producer, Guitar, Keyboards 1983 album Gary Numan - Warriors Producer, Guitar, Keyboards 1983 single Yukihiro Takahashi - Tomorrow's Just Another Day Guitar, Vocals 1983 album Units - New Way To Move Producer, Guitar, Synthesizers 1983 mini-album YMO - Naughty Boys Guitar 1983 album A Flock Of Seagulls - A Flock Of Seagulls Producer 1982 album Fiat Lux - Feels Like Winter Again Producer, Guitar, Keyboards 1982 single Jobson And Nelson - Ieyasu Collaborator 1982 compilation cassette Monsoon - Tomorrow Never Knows Guitar, Bass 1982 single Monsoon - Wings Of The Dawn Guitar 1982 single Yukihiro Takahashi - Are You Receiving Me? Guitar, Vocals 1982 single Yukihiro Takahashi - What, Me Worry? Guitar 1982 album Masami Tsuchiya - Rice Music Guitar 1982 album A Flock Of Seagulls - Talking Producer 1981 single A Flock Of Seagulls - Telecommunication Producer 1981 single Last Man In Europe - A Certain Bridge Producer 1981 single Nash The Slash - Novel Romance Producer 1981 single Snips - La Rocca! Keyboards 1981 album To Heaven A Jet - Airfields Producer, Bass 1981 single Stranger Than Fiction - Losing You Producer 1980 single Moving Targets - The Boys Own Producer 1980 single Original Mirrors - Could This Be Heaven Producer 1979 single Skids - Charade Producer, Keyboards 1979 single Skids - Days In Europa Producer, Keyboards 1979 album Skids - Masquerade Producer, Keyboards 1979 single Skids - Working For The Yankee Dollar Producer, Keyboards 1979 single John Cooper Clarke - Disguise In Love Guitar 1978 album Lightyears Away/Thundermother - Astral Navigations Guitar 1971 album Lightyears Away/Thundermother - Gagalactyca Guitar 1971 album A To Austr - Musics From Holyground Producer, Guitar 1970 album Discography Menu

The Rumbler Bill Nelson download single - 30 October 2017 Singles Menu Future Past TRACKS: 01) The Rumbler 02) Perfidia 2017 NOTES: 'The Rumbler' and 'Perfidia 2017' are two exclusive instrumentals issued as a free 2 track digital single in honor of the launch of Bill Nelson's new website. Thus it also became the first single released on the new Dreamsville Download page. The track 'The Rumbler' was initially recorder for a compilation CD to be released by Hallmark Guitars. Unfortunately, Bill didn't quite get round to sending them the track in time for the production of the CD. CURRENT AVAILABILITY: Available as a free digital download on this page, or in the Free Downloads section . BILL'S THOUGHTS: On "Perfidia": "I have, somewhere on vinyl, the Ventures and Shadows versions but, to be honest, I couldn't be bothered to dig them out to check the correct way to play it, so I 'busked' my version from memory, (and it's a memory going back to the 'sixties so not particularly reliable!) Because of that, my version isn't a note perfect rendition of the tune, plus I also added a sort of psychedelic break in a couple of places, plus a slightly more modern sounding drum/percussion track, but, it seems to work ok, despite me taking certain liberties with it! " Singles Menu Future Past

That Old Mysterioso Bill Nelson album - 29 January 2018 Albums Menu Future Past Purchase this download TRACKS: 01) Queen Of The Infra-Red 02) Time Is A Thief 03) That Old Mysterioso 04) Reflect On This 05) A Dizzy Spell 06) The Nebulous Land Of Nod 07) Melancholy Dreams 08) Travels In The Spirit World 09) What Have We Got To Show For This? 10) To Disappear 11) Singing My Life Away 12) The Man Who Dreamed Of Glory 13) Loco-Motive (Off The Track) 14) Trembling Rainbows 15) Well, Well, Well (Rock N' Roll It) 16) Celestina Swoons 17) End Of The Future ALBUM NOTES: That Old Mysterioso is an album mixing vocal pieces and guitar instrumentals released on the Sonoluxe label in a limited print run of 500 copies. An album with this title was first mentioned on the Dreamsville Forum as long ago as 7 May 2012 but it failed to make much impact into Nelson’s busy schedule that year that would see him undertake the final Nelsonica. That Old Mysterioso would be referred to again on 10 July 2013 in another post on the Dreamsville Forum in which Nelson referred to it as a tentative title for an incomplete album project that he was then currently assembling. However it appears that material originally earmarked for the original version of That Old Mysterioso would be transferred to other, as yet unconfirmed, projects arising from this time. No further mention of the album by this title would be made by Nelson for over 3 years. Eventually though, in another post on the Dreamsville Forum dated 6 April 2016, Nelson revealed that a new album, tentatively titled That Old Mysterioso was "sounding good right now" and would go on to confirm that a "15 track album" was complete on 25 April 2016. By the time Nelson revealed the track listing for the album on 8 May 2016, it had gained an extra track and shortly after that, he added 'Time is a Thief' to finally complete it. Artwork for the album was also commenced around this time, the main image being "a rather sinister and surreal" photo of Nelson taken by Martin Bostock. Mastering of the album was undertaken with John Spence on 16 November 2017 at Fairview concurrently with another "download only" album called The Unrealist with the artwork for That Old Mysterioso completed later that month. The album was released on 29 January 2018. It only took 7 days to sell out. The album was then released as a digital download on 15 March 2018. CURRENT AVAILABILITY: Available for purchase as a digital download here in the Dreamsville Store . IF YOU LIKED THIS ALBUM, YOU'LL PROBABLY ENJOY: Golden Melodies of Tomorrow , Songs for Ghosts , Fantasmatron , Stereo Star Maps , Blip !, The Dreamshire Chronicles , Perfect Monsters , Electric Atlas , The Awakening of Dr. Dream BILL'S THOUGHTS: Upon having the album mastered, Bill wrote: " I was very pleasantly surprised by That Old Mysterioso . I haven't heard it since I completed mixing and assembling the draft running order sometime last year. But, I have to say that it's sounding very good, far better than I'd remembered. I'm extremely pleased with it and excited for you to hear it. John [Spence] said that he thought it would become a firm favourite with fans, though I think it will take several listens to really sink in for most listeners as it's a somewhat oblique and complex album, but also, perhaps, sweet and melodic and warm. The lyrics, which were written in a 'stream of consciousness' kind of way, seemed opaque at the time of putting them to paper, but now a definite theme seems to have emerged. Strange how even their author was unaware of their meaning until quite some time after. So, the concept, or theme, seems to be about my current pre-occupation with ageing, the quickness of time, the fragility of life, the persistence of memory, the shift between reality and dreams, the nature of love and longing and the acceptance of the inevitable. All wrapped up in a kind of 'psychedelic-prog-jazz,-pop-rock' musical style for want of a better description. Strangely, (though not planned,) the words, 'drifting away' re-occur on several songs for some reason or other... But, in other words...business as unusual." _____ "The visual theme for That Old Mysterioso will be a series of mysterious photographs of myself wearing different face masks." "This album will sport a fantastic cover photo of me by Martin Bostock. It's rather sinister and surreal." "The other photographs in the package will be a number of photographic self-portraits, manipulated by myself." "The photo's I've taken of myself are heavily treated and have an intensely graphic effect. I'm wearing various masks for the pictures, most of them strange or weirdly disturbing..." _____ "That Old Mysterioso is destined, I think, to become one of my favourite things. It has its own atmosphere but sits nicely alongside such albums as Golden Melodies of Tomorrow , Fantasmatron , Stereo Star Maps and The Dreamshire Chronicles . The album is mainly vocal-based but with a sprinkling of instrumentals. The tracks feature a cosmic combination of guitars, keyboards and electronics. The front cover features a surreal photograph of myself taken by Martin Bostock and the rest of the package has a range of bizarre self-portraiture. As always with my work, it will reward repeated listenings and, I'm sure, become one of your favourites as well as mine." FAN THOUGHTS: felixt1: "I have to say, I agree with what Bill wrote back at the time of release...I think it's destined to become one of my favourite albums also! I had a couple of listens earlier this evening and it is indeed an instant hit with me. Typical of my personal favourite kind of Bill Nelson album - lush, gentle strings, lovely melodies, beautiful guitar tone... It was truly an absolute joy to once again experience the thrill of receiving a new, Bill Nelson, album and be able to instantly put it on the CD player...life is good and balance is restored to the universe once again." Palladium: "Very much agree. That Old Mysterioso is album of the year for me so far. Really beautiful songs." The Sound: "This is certainly a special album. They all are. However, this strikes me on my first listen to be BN at his pinnacle so far. 'Songs for Ghosts' was resplendent but this improves on that stunning recording. Think I'll give it another play before bedtime." Returningman: "After a few detailed listens this seems to be destined to become one of my "go to" albums, without doubt one of the strongest albums released over the past 3 years or so (and that is an impressive feat). Track 8 - 'Travels In The Spirit World' absolute fire. Tracks like this are why I buy these albums, wonderful evocative music that takes you away and shows you places that you never thought could even exist. Joy...More please. CoachMatt: "There is no bones about it, Bill is relaying that time is ticking, and for us all. The album is full of deep, dark textures, yet has a sentimental beauty about it. So many layers of sound that only Bill can deliver. The maturity of Bill's music has come full swing for me and I am honored and pleased to have come for the ride since the mid 70's." Tourist: A great album...'Time Is A Thief' a personal favourite. Albums Menu Future Past

Tuesday 20th December 2005 -- 7:00 pm Such a long time since the last diary entry. Why? Well...partly an insane Christmas preparation schedule and partly the November tour dates. Five concerts in all...Not the 15 to 20 that were originally rumoured. A real disappointment that it ended up being so few after all the effort I put into preparing new material and video for the shows. (I'll draw a discreet veil over the reason for this.) Nevertheless, it was far from disastrous, despite a gremlin-infested first date. Here's my take on the tour, for what it's worth: The concerts I enjoyed the most (and thought musically the best), were the Bilston Robin 2 concert followed by the Manchester Life Cafe event. Enthusiastic and warm audiences at both, particularly at The Robin 2. And, surprise, surprise...more females in the audience than I'd seen for a while. Thank heavens that a set comprised of mainly instrumental guitar pieces had enough of a hint of, (ahem), the 'erotic,' to attract at least a few attractive ladies to say "hello" afterwards. As much as I enjoy talking to male fans about guitars and so on, female input is most welcome! Leeds and Liverpool tied for second place but London, I have to admit, was something of a struggle. It also was the first date of the tour but really should have been left until last. So many technical problems on stage that first night. A monitor system that sounded like it was infested with insects, a pa system without enough headroom, effects pedals that didn't work and a cock-up over projection screen hire. Plus a very nervous Bill Nelson, still trying to get to grips with the new set and the malfunctioning equipment. One good thing about the London show, though, was the contribution made by Theo Travis, whom I'd met for the first time at Harold Budd's concert at the Brighton Dome earlier this year. Theo played fabulously, completely unfazed by the monitoring problems. I'm glad that there was someone up there with me who actually knew what he was doing. I did end up feeling quite depressed about that particular concert though. Really wished I'd not agreed to make it the first date on the tour. Just as the tour came to a close, I was finally starting to relax and get the measure of things, playing much better and getting to use more suitable, better quality pa systems. Given more concerts, I suspect that it would have gone from strength to strength. Unfortunately, after concert five, it was time to pack the gear away for at least another year. Video projection duties on these shows were shared by Paul Gilby and also superfan Ian Clarke who, gallantly and efficiently, stepped in at the last minute to take over the shows that Paul wasn't able to do. When I perform these solo concerts, the video back drops are an essential part of the presentation. Psychologically, they help me to feel that I'm not entirely alone up there. (I like to think that I'm not the only point of visual focus for the audience.) Plus, of course, the videos provide a suitable counterpoint to the music, each piece being created to reflect the content of the songs. I do get stressed out about playing live without a band though. The solo concerts put a lot of pressure on one person playing alone for just over a couple of hours, especially as I'm not the most natural of performers...It's always a bit of an ordeal for me. One of these days, I'll retire back to the studio environment, as I did in the mid-'80s, and leave the live thing alone. The new thing about these concerts however, was the inclusion of some vocal pieces, something that I'd previously only felt comfortable performing within a band situation. But singing and playing guitar to backing tracks wasn't quite as traumatic as I'd expected. In fact, from what members of the audience told me afterwards, it seemed to provide a surprisingly workable solution and it is certainly something I'd consider including again in future solo shows. Already though, those November concerts are fading into memory. Other projects are already occupying my time and more are hovering on the horizon. I've been trying to read through the as yet unpublished 'Music In Dreamland' book, written by Paul Sutton-Reeves. Just before the tour began, I received a proof of the book (in email form), for me to read through. I'm told by the author that approximately 30,000 words may have been trimmed by the publisher from the original text, so it is important that we check for continuity errors as well as factual ones. Because of the tour and other duties, time has only now become available to work through the book. Nevertheless, I'm finding that, because of Christmas, I'm not as readily available as I'd like to be. I have spotted various things that might be corrected, (as has Paul), but there's a certain amount of pressure on us both to get the book corrected and out there...particularly as it has languished in the publisher's office for over a year since the author completed it. As of writing this diary entry, I haven't had available time to deal with it for several days. In fact, I've really only scratched the surface. I'm hoping that there will be more time after Christmas to give it proper attention. I would really like to do whatever I can to check any factual errors or misunderstandings but I expect that a certain amount of compromise will be necessary. Other projects looming on the horizon: 1: I have to mix the Be Bop Deluxe 'Decca Audition' tapes for release as an album. 2: Negotiations are underway for me to produce another recording by the Russian band 'Nautilus Pompilius' who are now known as 'Jupiter.' This may happen in February. 3: I would like to assemble a new guitar instrumental album based on the live pieces that I've incorporated into my solo shows this last two years and which have previously not been available. This means recording my solo guitar onto the various backing tracks and properly mixing everything to create a finished album of instrumentals. The album will include tracks such as 'Blackpool Pleasure Beach and The Road To Enlightenment,' 'Time Travel For Beginners,' 'Blue Amorini,' 'Sexy Buddha,' 'Electric Milk Cart Blues,' I Always Knew You would Find Me,' and 'A Telescope Full Of Stars' amongst others. They will become part of an album with the subtitle: 'Painting With Guitars, Volume 2.' 4: I intend to go through some of my '80's and '90's archive material and release an album of previously unheard music from those eras. There is a tremendous reserve of material from the past that would definitely be of interest to the committed listener. 5: I have already made a (very) slight inroad into what will eventually emerge as an autobiographic/poetic video about my life, told via images, dialogue and music. I hope to find enough time during this coming year to complete a larger section of it. 6: Nelsonica 06 requires planning. I'd like to take the current high standard a little higher this coming year. Research a new venue and add even more to the curriculum. I also need to create a new Nelsonica limited edition album for convention attendees. This one will most likely include the songs 'Snow Is Falling' and 'Ghost Show,' amongst others. 7: I'm burning to begin work on a brand new album. The bar has been raised by the 'Sailor Bill' project and the next step must be equally, if not more, important. This means working very carefully and abandoning anything that doesn't hit the target. A time consuming process. Right now, I'm favouring something a little more stripped down than the orchestral 'Sailor Bill,' BUT until I get to grips with the writing, it's hard to say which way things will go. Titles and mood are already falling into place though. 8: I need to consider what form any live concerts may take in 2006. I have some ambitious ideas but, whether they are practical or not will depend on the support I get from fans and business associates alike. One possibility is that they won't be in the form of a trek around the country's arts centres. I may attempt just two shows, one North, one South, but with a much more ambitious production than this year's concerts, and covering a great deal more musical ground than of late. Something really special is what I'm aiming at. It may be that I need to schedule this for '07 rather than '06, simply to get everything properly in place. But at my time of life, I can't afford to be cautious. Cocteau said that 'A young man should not make safe investments...' Well... I might add that an older man cannot afford to make safe investments! Time is of the essence as my youth is increasingly far behind me now. Speaking of which, it was heart warming to receive so many good wishes from fans on my recent 57th birthday. Frightening to think that, in a mere three years, I will be sixty. However, in my age-addled head, I'm still a seventeen year old. (O.K...twenty three at a push!) One really exciting bit of news is a connection that has been forged between myself and an American guitar designer by the name of Dean Campbell. I recently came across a Campbell 'Precix' guitar in Music Ground's store in Leeds and was knocked out by the instrument's sheer playability. It's a solid body guitar, hand made in New England, U.S.A. and is a very practical but high quality instrument. Dean Campbell's workshop is staffed by luthiers who have, in the past, worked for Guild guitars. I've had a Guild X500 archtop guitar since the '70's so I know just how skilled those people are. Dean and I have been in contact these last few weeks and he is building me a Precix model, tailored to my needs. The really exciting thing is that we are going to bat ideas back and forth about a brand new design that Dean has on the drawing board. He's asked for my input as to the ongoing development of the instrument and I'm thrilled to be able to add my thoughts to the project as it develops. The Precix model that I've been trying out, (and am keeping well within inspirational playing distance, an arm's reach from me as I type these words), has an action and response that really makes me want to play. It's one of those guitars that is difficult to put down, once picked up. I'm looking forward to using this instrument on my next set of recordings as it has a precision, resonance and clarity that is very special. For readers of this diary who are also guitarists, I recommend that you check out Dean's website at www.campbellamerican.com Well, there is probably much more to write...but I really seem to have exhausted my reservoir of memory for this particular diary entry. Life has been a blur of late and every day rushes by without enough hours in it to fulfil my intentions. For now, this will have to suffice. To all those who read these words, I wish you the HAPPIEST CHRISTMAS and a PEACEFUL AND HEALTHY 2006! May all your dreams come true... Thanks also to everyone who has given their time, their talent and their interest throughout 2005...Thank you so much for helping me to manifest my dreams. I'm eternally grateful and couldn't achieve any of this without you...At the start of 2005, there was a brand new website to design and construct. Then four new albums to create, plus the Nelsonica convention extravaganza and a solo concert tour. (And a few other bits and pieces.) Let's see what next year brings. Cheers!!! Top of page William's Study (Diary Of A Hyperdreamer) December 2005 Feb Mar Apr May Jun Jul Aug Sep Oct 2005 2006 2007 2008 2009 2010 2011 2013

The Dreamshire Chronicles More Listening Notes Go to Album Listening Notes to accompany the album The Dreamshire Chronicles by Bill Nelson DISC ONE: 1: 'Prelude: The Night Is Lit By Diamonds.' A gentle electronically treated piano and reverse guitar lead to a processed percussion loop. Chorused, echo chamber guitar floats languidly. A two minute forty four second instrumental. It suggests starlight shimmering above the slumbering towns and villages of Dreamshire, settling and centering the listener's mind in preparation for the movie in sound about to begin. 2: 'Welcome To Dreamshire.' (Monitor Mix.) A heavily treated percussion loop underpins this mid-tempo vocal ballad. A romantic but melancholy song whose opening lyrics are: "I dream of cities that don't exist, faces of people I've never met, empty streets bejewelled with rain..." Instrumental textures combine strings and woodwinds with Hammond organ and electric guitars. A couple of liquid, melodic, sustained guitar solos enhance the song. A brief toy xylophone line concludes it. This is the first of two mixes of this song. (The second appears on disc two.) This one is a monitor mix which is more or less as it sounded whilst I was still working on the piece in my home studio. It has a simple, intimate quality which I liked, hence its inclusion here. 3: 'The Pleasure Boaters.' Somewhat dark and mysterious. A one minute and thirty six second instrumental. Brushed drums and chiming guitars lead to an Indian orchestra and reverse guitar conclusion. Brief but moody. 4: 'This Everyday World.' (Vocal version.) Spooky opening cuts suddenly to piano and orchestra for this melodic song which is a distant cousin to certain tracks on 'The Alchemical Adventures Of Sailor Bill.' Time signature fluctuates between 4/4 and 3/4 (Waltz time.) Lyrics open with: "This everyday world is a haunted place...This everyday world, far from commonplace..." The song's coda shifts pace as a steam driven percussion loop enters and tremolo guitars accompany the repeated refrain "Voices in the darkness..." 5: 'Rainboy And Whistledog.' Thunder and rain opens this charming, chiming, freely improvised instrumental. A latin percussion loop suggests a mutant mix of cha-cha and bossa nova. (Spot the piano quote from 'Begin The Beguine.' ) Squelchy synth bass underpins twangy guitars and ghostly strings as Rainboy and his Whistledog wander the cobbled streets of a gaslit Dreamshire town sparkling with night rain. 6: 'Young Marvelman.' Opens with needle static, brushed snares, raindrop-piano and dreamy guitars, leading to a strange and moody song inspired by the 1950s comic book character 'Young Marvelman' who, in my imagination is a denizen of Dreamshire.' Lyrics include: "Young Marvelman hovers in halogen, miraculous powers under control...Ladies in lavender gaze at the bolt from the blue...so there he goes and everyone knows, Young Marvelman..." 7: 'Garden Railway.' A whimsical little instrumental which opens with synthesised 'steam' effects leading to electronic percussion, piano melody, choral motifs, plucked strings and backward harps as a miniature railway train puffs its way happily around the garden of one of Dreamshire's more eccentric lords of the manor. 8: 'The Shimmering Threshold (On Your Bike Emperor Ming.)' A vocal ballad this, beautiful but not a little strange. A sample of the lyrics: "Mandolin by the sea, broken clarinet, mandolin by the sea....My location on your dial, my name on the edge of your smile, roller coaster century...And there we stood, on the hilltop, looking at street lamps and stars...Chimney stacks and viaducts, smoke that blows away, blows away...The shimmering threshold..." An oriental melody enters followed by lyrics referencing 'Emperor Ming' from the old 'Flash Gordon' Republic film serials of the 1930s. A combination of orchestra and electric guitar leads to a change of tempo and fast synthetic phased drums as a weird coda kicks in with cellos, electric guitars and a lyric which sings, "Oh my God, this looks like, oh my God this looks like, some weird kind of apparition..." The song ends with a burst of heavily distorted guitars, running in both forward and reverse gear. 9: 'Evening Star Electric Park.' An eight minute forty six second instrumental featuring slightly oriental Marimba patterns with improvised jazzy guitar overdubs. Has an overdriven guitar break leading to a piano section, then key change into a four to the floor rhythm with fuzz guitar then a return to marimba and jazzy improvisation. Mood alternating throughout between jolly and sinister. Other worldly voices enter, leading to a 'musical box' loop coda over which Gretsch guitars intertwine and twang. A Mini-Moog synth enters and snakes its way through the undergrowth before vanishing. Ghostly voices return to conclude the piece. What exactly lurks in this mysterious Park? Sacred monsters or creatures of Faerie? 10: 'Sailing To The Moon.' A single sub-bass note begins this two minute and twelve second vocal-based song as a swell of processed guitars and soaring strings set the opening mood. A guitar loop enters and the vocal begins "This garden is a theatre in which colour casts its spell...This window is a portal through which ghosts are bid farewell..." A gigantic orchestra enters then dissolves as a woodwind loop gently ends the track. Short but widescreen. 11: 'The Milky Way (Burning Bright.) An abstract opening to this instrumental featuring 'found' voices. Insect-like high speed percussion kicks in and the textures shift between guitar, synth and strings, ending in a bizarre, haunted sound collage. 12: 'The Sparkling Idea.' Feedback guitar starts this song before tremelo guitar pattern enters with Indian orchestra, sitar, Moog and medium tempo drums. The lyrics begin: "My left hand holds a key, my right hand holds another...My mind defines the centre and all extraneous thoughts are dimmed..." A heavy guitar riff underpins an instrumental theme from the Indian Orchestra. More lyrics, "My left hand beats the drum, my right hand calls the thunder...Sometimes I'm struck by lightning, sometimes I'm struck by wonder..." A huge orchestra crescendo leads to quiet coda and oceanic synth and piano ending. 13: 'Ghosts Wind The Parlour Clock.' A one minute and twenty one second instrumental combining sample-and-hold synth sounds with strings, woodwinds and harp.The tick of the parlour clock sets the tempo. But who's hand is winding it? 14: 'Spooky Little Thing.' A poppy vocal in this whimsical song which cheekily references titles from several of my albums. (I won't quote from the lyrics on this one as it will spoil your fun!) Guitars, drums, slide guitar and orchestra all combined to create a melodic, catchy and concise number. 15: 'Now I Come To Think Of It.' This is one of my favourite vocal tracks on the album...psychedelic, trippy, fractured, non-linear. A sample of the lyrics: "Oh yes, now I come to think of it, oh no, maybe some mistake...Oh, yes, now you come to mention it, I guess, we were wide awake..." Guitars, synths, sitars and strings interact throughout. Enigmatic and dreamlike. 16: 'Spinning Pentagrams.' Weird opening that sounds as if the guitar has been put through a washing machine on spin cycle, over which a sampled voice speaks of 'the dark mystery of time and space.' This mysterious song develops into a strange kind of blues riff whose reverberating guitar hints at Howling Wolf mashed up with David Lynch's 'Twin Peaks.'. Here's a peek at some of the lyrics: "Here in the future, in an ancient England, pentagrams spin within electrical circuits...Swan boats drift on a beautiful river, beyond these oak trees, the glorious sea...who can tell if this is real or unreal, who can tell if this was meant to be..." The bridge section vocal has a subtle hint of mock-Cockney, Dick Van Dyke cheeky-chappie pronunciation about it as it sings, "Some days I feel special, some days I feel strange, some days I'm all metal, some days...disarranged..." An orchestral middle section then enters complete with cocktail piano and ripe flutes, sounding as if they're seeking refuge from a 1960's kitsch television spy series. The song suddenly finishes...but a shimmering loop of vari-speed guitars enters a heartbeat later and initiates a coda featuring underlying dark noise and overdubbed voice samples. Does this song suggest a bizarre fusion of '60s camp detective Jason King with Elizabethan occult Magus Dr John Dee? Hmmm...Orson Welles would say, "probably." 17: 'The Ruins Of Youth, The Twang Of Tomorrow.' A one minute and forty nine second instrumental with rippling piano and wiry electric twang guitar which quickly evolves into a picked blues feel. Phased noise ends the piece and ends Disc One of 'The Dreamshire Chronicles.' DISC TWO: 1: 'The Reality Of Imagination.' A five minute and thirty three second instrumental with various voice samples. The voices speak of 'The tomorrow people' and 'The reality of imagination.' The first two minutes of this piece feature guitar, synths and electric piano floating freely through a cathedral-like space...a low, compressed bass drum pulse enters, suggesting the tune's time signature. It is joined by cymbals and high percussion. The main guitar line is then fed through a modulating Leslie cabinet effect, which makes it sound like a hybrid of guitar and Hammond organ. The pulse gradually fades away leaving the guitar suspended in space as the track ends with more voice samples. The concept is of imagination being the key component in the worlds we create around ourselves. 2: 'Smoke Drifts Silent In Autumn Air.' Grand piano intro then tremolo guitars open this atmospheric and fragile vocal piece. Here are a few lyric examples: "Smoke drifts silent in Autumn air...over rooftops, chimney tops, here, there and everywhere...Colour coded, copper, bronze and gold...wonders to behold, wonders to behold....so pure, so clear, so far, so near..." Massed strings and underwater guitar enter as the vocal gains strength and rises to sing of "ghosts and shadows." Brass and woodwinds are added to the orchestra as the song's key changes, leading to a piano and flanged rhythm guitar section as the lyrics sing "Kiss me now and light the fire..." The electric rhythm guitar changes to an acoustic guitar and the lyrics tell of "walking in the sunshine...searching for a skyline..." French horns enter with a lovely theme, then strings and chugging electric guitar dropping away to acoustic guitar and piano and a re-iteration of the first verse's lyrics. Ends on chunky guitar chords, string figure and electric piano. All in all, an ecstatic evocation of a glorious Dreamshire autumn. 3: 'Bubbledreamer.' This one's a mid-tempo guitar instrumental in major key mode, underpinned by drums, dancing filigrees of silvery strings and filtered keyboards. A light, jazzy feel with delicate blues overtones as the guitar explores the spaces created by the various instrumental textures. Three minutes and forty one seconds of pleasantly bubbling, gentle euphoria. 4: 'My Little Book Of Secret Knowledge.' Opens with found voice samples talking about ritual Cabalistic magic. Leads into a piano led riff with lyrics which tell of "My little book of secret knowledge, the mirror in my hand...that old immortal blooming rose in the suburbs of the damned..." Spooky theremin-like sounds, cymbalon, piano and guitar followed by lyrics singing of "Beautiful phantoms..." A series of unusual and texturally contrasting instrumental changes begins, (including a heavy guitar riff,) as the song winds to a voice sample conclusion. Seems as if one of those grand gilded ruined mansions of Dreamshire is inhabited by an ancient Magus and his library of forbidden knowledge. 5: 'Robots On Parade.' This is a fun, whimsical instrumental, suggestive of clockwork and electric toy robots marching around a strange Dreamshire toyshop at night. A sampled voice interjects the word "electricity" as guitars and synths create a contemporary version of the English beat group instrumentals of the early 1960s. Think Joe Meek resurrected in the 21st Century and given digital technology to play around with. 6: 'Dark And Complicated.' Opens with the sounds of a mysterious electro-chemical laboratory, followed by spooky piano and guitar. Here are the opening lyrics to this constantly mutating song: "It's dark and complicated, deep and still...the chair in the corner sings of its own free will..." Piano, guitar, woodwind and string combinations rise and fall. More lyrics: "Ghostly apparitions, unbidden visions, strange traffic goes through this room..." A neo-classical instrumental section follows to be joined by rippling electric guitar as the opening lyric re-appears. Another song dealing with the elusive phantoms who populate Dreamshire. 7: 'Blue Beams.' (No drums mix.) A pure, clean sounding electric guitar duet, one instrument handling chords the other soloing freely over. No drums, no keyboards, no bass...just two guitars sweetly circling around each other. Music played for a Dreamshire night club ghost after the patrons have all gone home. 8: 'More Than Glory, More Than Gold.' Brushed cymbals and a lone guitar open this romantic vocal piece. Sweet lyrics: "Sunbeams dappled on ancient walls, Autumn rises as apples fall....sooner or later Winter calls and pours icing sugar over it all...When I stand naked, frail and old and every sound I've made has been bought and sold, I will love you more, truth be told, more than glory, more than gold..." Chiming, chromium guitars throughout with an orchestral middle section. A beautiful, melancholic love song. 9: 'The Lost Planet Of Sunday Afternoon.' Arpeggio guitar underpins this miniature instrumental. Overdubbed harmony lead guitars build to the track's conclusion. One minute and thirty eight seconds of pure yearning. 10: 'Mass Equals Energy.' A quirky little song in waltz-time. Surreal lyrics: "Spooky malfunction sparks arc of memory, upsets the applecart, mass equals energy..." Guitar reiterates the vocal line whilst a heat haze of soft synths hum in the background punctuated by raindrop piano. More lyrics: "Isn't this the strangest world in the universe?" More silvery guitar before a brief Giorgio Moroder style sequenced synth coda enters to end the song. It's the musings of a Dreamshire scientist, hunched over his microscope in a small art deco laboratory hidden in the heart of a misty forest. 11: 'The Light Gathering Garden Of Omar Kadiz.' Minimalist percussion and synthetic choir open this instrumental which features a simple but hypnotic piano melody, reverse guitars and lots of space. Orchestral counterpoint enters here and there, as does retro Moog synth in places. TR808 style hi-hats and hand-claps give an old-school trip-hop feel but the orchestra, electric guitars and choral parts hint at a kind of neo-classical sensibility whilst the guitar adds add a touch of psychedelia. Imagine a mystical garden where flowers glow with an inner neon-like light and trees shimmer silver against a dark thunderstorm sky. 12: 'Windsong Of The Flying Boy.' A vocal, slightly up-tempo with electric, filtered percussion. A song of the seasons. Some lyrics: "Rosy skies of Evening-land, apple blossom mercury...windsong of the flying boy, all seasons shall be sweet to thee..." More vocals, followed by a change of key then : "Speedboats from another world, mysterious comets, sounds that come and go, teenage electronics..." Which leads to a middle section featuring a wild, non-linear guitar solo before settling back into the melodic verse structure. More lyrics: "Thoughts set sail on silver ships, lost in clouds of mystery, windsong of the flying boy, all seasons shall be sweet to thee..." A melodic, clean guitar solo follows and a percussion break with hovering synths...a return to verse one...lap steel guitar and reverse guitar loop ends the song. 13: 'Henrietta Through The Looking Glass.' A climbing guitar instrumental with orchestral punctuation and piano cascades. The Henrietta of the title is legendary Soho sub-culture character Henrietta Moraes who was a model for Francis Bacon in the 'fifties. In my imagination she is now one of Dreamshire's gentle ghosts. In this piece she dances, languid and naked, smiling beatifically whilst several elderly gentlemen, dressed in tweed, watch in admiration through her window. 14: 'Luna On The Beach.' This song was originally recorded for the 'Joy Through Amplification' album but didn't make the final cut. It's a pop-rock thing with lots of wild wah-wah guitars. Some lyrics: "Give me a signal, wondrous being, draw down the power, the fire and the spark...send me a postcard, fabulous creature, bring me a souvenir from the realm of the heart..." A nice, fat, chunky guitar riff underlines the chorus. The bridge has these lyrics: "Elusive thoughts luxuriate in limpid pools of thoughtful gems...Venus swims amongst the fishes, far beyond the rings of Saturn...Rockets glimpsed in evening skies..." A wonderfully chaotic arrangement. 15: 'Neither Puck Nor Pan.' A moody, minor-key instrumental featuring processed guitars and electric piano. It evokes and conjures the more shadowy denizens of Dreamshire. 16: 'Welcome To Dreamshire.' [LuxeMix.] This is a more 'shiny' or polished mix of the song on Disc One. It brings 'The Dreamshire Chronicles' album almost full circle. 17: 'This Everyday World.' (Instrumental Version.') Whilst working on the vocal version of this piece, I realised that the 'backing track' could work in its own right with a couple of extra overdubs and a little tweaking. This is the result of that process and it ends the album in fine orchestral style as the listener bids farewell to Dreamshire...until the next time! Music and Lyrics Copyright Bill Nelson 2012 All Rights Reserved. More Listening Notes Go to Album

Dreams & Absurdities album - 2015 Dave Sturt Production/Contribution Menu Future Past TRACKS: 01) Mirage 02) Transcendence 03) Hollow Form 04) Bouncing Like Gagarin 05) Jaffa Market 06) (In My Head) I'm Swimming 07) Unique & Irreplaceable 08) Dreams & Absurdities 09) Whites & Greens In Blue 10) Vast Indifference BILL: Guitar, E-Bow and co-writing on one song, "White & Greens In Blue". NOTES: "Bill plays an absolutely beautiful solo that gets better every time I hear it! So understated and yet it's perfect for the track." - Dave Production/Contribution Menu Future Past

Dynamos And Tremolos Bill Nelson album - 2 July 2018 Albums Menu Future Past Purchase this download TRACKS: 01) City Of Tomorrow 02) Electric Railway Overhead 03) Baby Robot 04) Tales Of The Intergalactic Glee Club 05) The Beautiful Machine 06) Dynatron 07) Sine Waves Singing In A Silver Tower 08) Quick As A Flash 09) Halogen 10) Happy Little Hovercar 11) Spaceship Away! 12) Echoes Of The Age ALBUM NOTES: Dynamos and Tremolos is an instrumental album issued on the Sonoluxe label. The album was recorded in August and September 2015 and began life as an '80s synth retro album, before Nelson elected to mix in half a dozen guitar based tracks to provide an element of contrasting styles and sounds. Soon after the album was commenced in mid-August 2015, Nelson began to experience intermittent problems with his second Mackie mixing desk, bought second hand six months earlier, to replace his original machine which he had purchased at the beginning of his move to digital recording back in 2000. The mixing desk limped through the making of Dynamos and Tremolos (and the subsequent project Luxury Wonder Moments ) before finally packing in completely before the end of 2015. When completed, Dynamos and Tremolos joined an ever expanding backlog of unreleased material having to wait its turn for release alongside over a dozen albums' worth of material. Consequently Dynamos and Tremolos would lie dormant for two and a half years until Nelson began to assemble artwork for it in February 2018. The album was mastered at Fairview on 12 March 2018 at the same session as Drive This Comet Across the Sky. It was released as a 500 copy Limited Edition Digipak CD simultaneously with a Bandcamp Digital Download. It took just a few weeks to sell out, yet some extra copies were found and passed over to Burning Shed, these remaining copies sold out in just a couple of days. CURRENT AVAILABILITY: Available for purchase as a digital download here in the Dreamsville Store . BILL'S THOUGHTS: "Have been working on a new album project: I was planning an '80s retro-synth album. Well, I've decided to modify it a bit. I now have six pure synth tracks completed, very '80s in their own way, quite poppy, despite being instrumentals. But I've decided to make variations on the theme by recording six more tracks with synth and guitar. I'll alternate the pure synth tracks with the synth and guitar tracks to contrast and compliment each other. "Already completed one synth/guitar track titled 'Dynaflow.' Almost completed another, as yet untitled. I think this approach will make for a more interesting album than limiting it just to synths. Best of both worlds, so to speak. Working title for the album is 'Dynamos And Tremolos.' " ____ _ "Deliberating with myself over which images I've made will best suit a couple of upcoming albums. The main focus of attention at the moment is the 'Dynamos And Tremolos' album. I've built up more images for this than will be needed but I'm undecided as to which might be the most appropriate selection in terms of overall design. "The album is a combination of synths and guitar sounds and my initial idea was to reflect this using images of retro synthesisers and old guitars. But I also wanted to bring on board a more sci-fi touch with antiquated, distressed robot pictures." ____ _ "I should warn any '80s synth fans that it's not quite the retro-electronica excursion you might imagine it to be. It offers an affectionate nod to those old synth stylings, but sets them in a much more contemporary context." ALBUM REVIEW: Review by Jeff Brown FAN THOUGHTS: Alec: " 'Dynamos and Tremolos' is a unique album. It's got a giggle and smirk to it. Works well with physical activity, a soundtrack to accompany chores or a walk. Impossible not to find y'self in a giddy state, contemplatively giddy, at times when listening." John Mentzer: "This is a rare synth-centric offering from Bill Nelson which should wildly appeal to that certain subsection of fans! But worry not! There is still plenty of lush, amazing guitar work to go with it! Bill calls it "80s" but this is Bill we are talking about! Nothing sounded like him then and nothing does now! Singular talent!" Ronald Nelson: "Another brilliant album, they just get better all the time - just like a good wine, cheers." David Briggs: "Lots of melody and understated inventiveness." Albums Menu Future Past

Live In Concert At Metropolis Studios Bill Nelson and the Gentlemen Rocketeers double live album & DVD - 4 June 2012 Albums Menu Future Past TRACKS: Band Set 01) The October Man 02) Night Creatures 03) God Man Slain 04) Contemplation 05) Lady You're A Strange Girl 06) Adventures In A Yorkshire Landscape 07) Furniture Music 08) Do You Dream In Colour? 09) Ships In The Night 10) Lovers Are Mortal 11) Maid In Heaven 12) Sister Seagull 13) Wonder Of The Moment 14) Panic In The World Solo Set 15) Beyond These Clouds The Sweetest Dream 16) Golden Dream Of Circus Horses 17) A Dream For Ian 18) For Stuart 19) Interview (DVD only) ALBUM NOTES: The Recorded Live In Concert at Metropolis Studios, London album is a double CD + DVD package that had appeared the previous May as a DVD only release. The story behind the recording and the controversy that followed can be viewed here at the DVD page. The musicians that Nelson assembled for this one-off performance under the guise of The Gentlemen Rocketeers were: Theo Travis on flute and saxophone; Jon Wallinger on Keyboards and acoustic guitar; Steve Cook on keyboards; Dave Standeven on guitar; Dave Sturt on bass guitar; and Gavin Griffiths on drums. The rights to the audio and video recording at some point transferred to a company called Salvo, who re-packaged the whole show into a 2CD/DVD combo, released on 4 June 2012. The audio material was simultaneously released as a digital download with three video tracks. Salvo then followed this with a double vinyl edition issued on 28 April 2014, which loses the four tracks from Nelson's solo set that can be found on the DVD and 2CD/DVD editions. CURRENT AVAILABILITY: The album has been discontinued, but is available as an (audio) download. BILL'S THOUGHTS: "When I first started to revive some of this material back in 2004, it took a while for me to re-learn, as I hadn't played any of it, (or even listened to any of it), for many, many years. None of it is written out, apart from transcriptions of the lyrics for the songs we played. It's just a matter of sitting down with the old albums and trying to figure out what I played 35 years ago..." _____ "I don't want to seem too dismissive BUT...it was possibly the worst on-stage sound I'd ever experienced, absolutely horrendous to be brutally honest. (This isn't just my opinion, by the way, it is shared by the rest of the band too). So, we all found the performance aspect deeply unsatisfying and the monitor/on-stage sound problem distracting. (Not what any of us predicted, given that we were in a recording studio.) Someone said to me, "If you had known that the band would be expected to give their best under such difficult circumstances, would you have taken the gig on?" Well, truth is, I probably wouldn't. I think I'd almost certainly have turned the opportunity down. However, despite us feeling that we'd been lashed to a very creaky mast, our audience was terrifically supportive...they were the real stars of the show. Bless you all for being there for us and being so into it. I'm glad you had a good time. "Anyway, I've decided to take up the option of mixing the performance with John Spence and myself, rather than leaving it to chance. Maybe we can salvage something decent from it. Seems that, if I do this, the costs will have to come out of my own pocket, but I now need to take control of the quality of the performance to make sure the band comes across as favourably as possible. It's one thing to deal with it as one evening's live thrill, enjoyed for the moment, and unexamined...but anything more permanent requires extra effort and attention to detail if it is to hold up to repeated scrutiny. So, I'm now waiting to hear if it is possible to begin work on the recording at Fairview tomorrow. A few more days of hard work yet before I can feel more happy about it than I do right now." _____ "Have spent the last three days trying to get rid of microphone feedback overtones from the recording, correcting out-of-tune vocal lines caused by the poor quality monitoring and strange, muddy, overtone-laden room acoustics. Generally trying to minimise the problems caused by the conditions we had to deal with… …When I did finally get home from Fairview this evening, I found Emiko listening to "The Girl in the Galaxy Dress" on the kitchen stereo system. After three days of listening to old rock material played live, I was knocked out by hearing this more recent album track...it sounded fresh, sophisticated, 'cool' and alive, really made me feel proud of what I've achieved in recent years. This is what I'd like/prefer people to hear, this is where my heart lays, where whatever talent I have nowadays lives and breathes. The guitar playing on this track alone is something I would happily put up as a single example of my deep, almost life-long love affair with the instrument. I just hope that whatever the exhumation of those cobwebby '70s songs achieves, that it will direct listeners to the music I'm making now." ALBUM REVIEWS: Review by Pete Brown in Vintage Guitar Magazine FAN THOUGHTS: andygeorge: "Ever wondered what it would be like if Bill came and played in your front room? Well I found out last night. Talk about intimate, I feel even closer to my fellow Nelsonians than ever before...what a bloody good night that was!! Worth every penny... Bill and the band played a storming set, I got to hear "Sister Seagull" live again for the first time in over 35 years, hearing "Wonder of the Moment" was a bonus, as was hearing "Maid in Heaven" twice!, so close to guitarist Dave Standeven that his sweat was flying in my direction...A night to remember by all that attended, thanks to Bill and the Gentlemen Rocketeers..." Zoot: "It was tight and it was loud, but it was glorious and all of the guys worked their socks off. At one point I had the TV camera man using my shoulder to balance the camera so that he could get better low-down shots." Cary: "Did someone say it was erotic??? It was for me!! What an introduction to the world of Bill Nelson! I've been a long time fan of Be Bop Deluxe but when the hairs were standing to attention on the back of my neck & down the eternal spine when Bill performed "Contemplation", that was it for me!! Thanks Again Bill you still have a lot to answer for!!" markriley: "I was utterly knocked out by the new life, vigour and sheer joy that you and the Gentlemen managed to infuse the back catalogue with. Old things visited by the bloke you are now works for me!!! I've never heard a band quite so tight after only a few days rehearsal. They did you proud. I wish they could have been standing where my Missus and I were. The onstage problems would explain the look on the two Dave's faces when I spoke to them after - if I'd known I would have done a bit better at reassuring them how great a night it was. I was unbelievably touched by the good grace and time you lavished on us after the show. I understand what a demanding evening it was for you for all the reasons already stated." Douglas Barry: "The intimacy of this performance was absolutely mesmerising. To look around and see close up the reactions of all the fans was just brilliant. Bill, thanks for deciding to take a punt on doing the Legends show as you made it clear that it was a difficult decision. Thanks also to the Gentleman Rocketeers, who were just wonderful in their professionalism as I know it was hot up there on the stage. I hope the TV public will repay your courage when the show is eventually aired. And to all the fans who made it to Chiswick High Street on Saturday, it was a pleasure to be amongst you all." bingethink: "I had a fantastic evening at the Metropolis and felt very privileged to see Bill in such a 'cozy' venue. The solo set was a revelation for me, seeing and hearing Bill play live backed by his collection of 'gizmology' has given me a fresh perspective. The band set was of course a joy." "The evening had far too many magic moment to recall at one time. Let me think for a sec. "Maid in Heaven" played twice was very special. "A Dream for Ian" I have to confess never having heard before…wonderful and heartfelt. "Panic in the World" was a perfect ending and Bill letting rip at the end was amazing." hong_kong_simon: "All I can say is that, from the audience's side, it was fantastic - you've risen even further in our estimation, if that's possible! Some of my friends and colleagues here think I'm mad to have travelled all the way from Hong Kong to the UK for a weekend "just to see a concert", but I can tell you that since I got back here I've had a permanent smile on my face. Credit to you for being able to connect with and affect people so deeply! Your performance was perfect, whatever story the tapes may tell!" Tourist in Wonderland: "From the opening few seconds I thought wow, this is really good!...in fact much better than I was expecting, having read about some of the issues...I know Bill chose the expensive option of 'tweaking' things with John...thanks Bill...but it was surely worth it...absolutely fabulous playing, sound, vision, production." "I know Bill will always have reservations and doubts, and that's totally understandable, but I think the finished product of this project is a total success...and imho, it stands up on its own as a great recording that Bill and the whole band should be really proud of...I'm proud to own it...and it's got some knockout reactions from the friends I've played it to...So hopefully this will showcase what some of the Bill Nelson things are about and act as a springboard to get a lot more new people listening to (and buying) the more recent recordings. "When you think about it, what a great document this DVD is also...50 years from now, the people who watch this will be stunned, just as we are, and will see just what being able to play and compose at the very highest level is all about...they'll say 'Damn...these guys can really play!'...and then they can spend the next 40 years trying to figure out, just how did one guy manage to come up with all this wonderful music?...I guess, much like us, they will never know." ColinCaroline: "I can only speak for myself in this but it was a view echoed by everyone I spoke to on the night. I never thought at my age that I would experience such an intense, vibrant show and feel the way I felt 30 years ago when I was staring dumbfounded and awestruck at the performers on stage. I assumed I was too long in the tooth for that. How wrong was I? I wasn't alone either because when I looked around almost everybody was the same. "The stupid grin has not left my face yet. A guy a work asked me what I did at the weekend and must have regretted it 'cause I subjected him to about 30 mins of my weekend experience. He did nothing. "Still, I didn't need the title of a TV recording and a DVD to tell me what I already knew - the meaning of the word legend. You could have trebled the ticket price and I still would not have hesitated to click the 'Buy' button. (And I've got to buy two of the damned things). I will not forget that night. "I haven't got an appropriate thank you to say - there isn't one. You can rest assured that I will be talking about this for a long time. Our gratitude is boundless, Love Colin & Caroline" Theo Travis: "I know there were some contractual and financial issues relating to the Live at Metropolis DVD/CD, but I think it is great that the band got to be filmed and recorded in front of a live audience. That line-up played at a few Nelsonica Conventions in Yorkshire to die-hard fans and all those gigs were great. I am just pleased that this band of Bill's got properly recorded for a greater number of people to see and hear. "Despite the various setbacks, Bill sang and played fantastically well and it is a wonderful selection of songs from his enormous catalogue. Bill has written so many great songs, and he plays so beautifully. I am glad and grateful to have been a part of it." Albums Menu Future Past

2005 2006 2007 2008 2009 2010 2011 2013 William's Study (Diary Of A Hyperdreamer) September 2008 Jan Feb Aug Oct Thursday 4th September 2008 -- 5:00 pm The following diary entry was begun two days ago but I only now have found time to complete it and post it... I'm in a mood...and a low one at that. It may be exhaustion, or stress, or the depression that I always try to deny I suffer from, or all three demons colluding together. Whatever the cause, I wish I could escape it. Nelsonica is only eight weeks away and there's SO much still to do. I accept that there's always going to be a lot of pressure to get everything ready in time for the convention, but this year it feels even more extreme than usual. There have been lots of good intentions but the practical side is far more complicated than it might appear. One serious concern for me is that we're making little, or very slow progress regarding the confirmation of a band for the live concert side of Nelsonica. The band proposal has been on the agenda for several weeks now, yet it's no further advanced than it was when I last wrote about it in an earlier diary entry. Almost everything needed to make the band materialise, (apart from the time-consuming task of choosing, preparing, learning and rehearsing the songs), is in place. But there's still ONE essential component as yet unconfirmed. And unless this firms up soon, I fear that the whole idea will sadly have to be abandoned. Unfortunately, assembling and rehearsing a seven-piece band is not something that can be done at the drop of a hat. It needs the right combination of people plus a lot of careful planning and thought. The other tricky thing is that I really, here and now, should be finalising what material to assemble for the Nelsonica live performance. IF a band IS to be part of the day's programming, my solo set needs to be appropriate for that inclusion, both in length and in musical content. If the band set finally doesn't take any part in the day's schedule, then a much longer solo set will be required from me, and of a different nature. Not only do my solo performance backing tracks have to be chosen, then mastered at Fairview (and rehearsed) so that they make up a balanced and cohesive live concert, but I have to choose appropriate video backdrops to fit the set too. Once the sequence of music is settled upon, the video master-disc must be assembled with everything in the correct order of performance. I also have a couple of specially composed new solo instrumental pieces that I'd like to include amongst the older material but, at this point in time, there are no video backdrops to fit them. This will require the creation of new video pieces within what is rapidly becoming a frighteningly short space of time. I have to admit that my earlier feelings about completing all this work to a sufficient standard have not been particularly positive. I suspected that the idea of putting a band together and getting it rehearsed to a suitable level of accomplishment, within a less than ideal time frame, was going to be a risky proposition from the off. The fact that there have already been so many other pressing problems and commitments this year has not helped me either. I've been wondering whether I should not have not taken the band proposal on board to start with and instead just concentrated on the other things I need to do for the convention. Well...it's difficult to forsee how things might develop. I suppose there IS still a possibility, (albeit a faint one), that the band thing might come together, but it's looking very tight right now. Far more than I'm comfortable with. Unfortunately, I'm not the sort of person who can casually accept a poorly prepared performance as being o.k. I can't just scrape through then walk away and shrug it off as if it isn't particularly important. My basic attitude is, and has always been: 'if it's not good enough, bin it.' I'd also hoped to avoid an ill-prepared and manic few weeks before the event itself, to have a more enjoyable and less stressful lead-up to the day, (and throughout the day itself too). But this now seems highly unlikely. Something will have to give, something will be unavoidably compromised. There's just too many other Nelsonica-related things that I'm duty-bound to take care of within the time that remains. The fact is, my day to day life has been punishingly intense throughout the last 8 months, for all kinds of reasons. My tiny studio's output has been astonishing for that length of time...constant, obsessive, compulsive creativity. More than SIX album's worth of compositions recorded already, a massive amount of expended energy by anyone's standards. I still have no idea how I've been able to accomplish all this, considering the time-consuming domestic concerns that I've had to deal with, (especially my mother's ongoing and very stressful legal situation). Anyway, whatever the reasons for it, my self-imposed, highly driven work schedule has had a debilitating effect. To put it bluntly, I feel shattered, exhausted and drained by it all. Yes, I know I often complain about such pressures in this diary but, this time, it's gone just that little bit beyond what any sensible person would consider to be their reasonable limit. My own fault, to some extent, I suppose. So why did I jump through these particular hoops? To escape from other worries? Sheer stupidity? Concerns about income? A sense of time running out...sand slipping far too fast through the hour-glass? A kind of ego-driven mortal desperation? Or just trying to reach new heights within my personal dark sky? There's no real rationale involved whatsoever, (though trying to keep my head above the economic waters has to be one real-world motivating factor). Sometimes, I really should try to locate the off' switch, the 'not now' button, the 'pause' control... In fact, I really should let go of it ALL for a while, let it drop, float away, forget it, take a holiday. (A holiday? No chance whatsoever of that.) So here's the state of play as of this moment:- The recent instrumental trilogy is about to be completed with the upcoming release of the 'Mazda Kaleidoscope' album. A lovely, floating, drifting canvas of colours. Music to glide in, or swim in, or bathe in. (But the release date now delayed until the 8th Sept. Apparently a manufacturer's glitch.) I've also finally completed work on the vocal album, 'Golden Melodies Of Tomorrow,' nailed down its 18 song track-list and got the whole shebang mastered over at Fairview Studios with John Spence tweaking the frequencies. It's a darkly rich collection of songs which will take the listener a little while to absorb. Black lava reflecting ancient starlight. Actually, John paid me a wonderful compliment whilst we were listening to this material. He said he's not heard anyone else get such a warm and rich sound from digital recordings. I'm flattered as this is exactly what I'd hoped to achieve. The album seems to have taken on a character of its own. It's more like a location, an environment, than a set of songs. For me, it feels like a city from a long-forgotten tomorrow, the kind of place we wander through in our dreams, lost but unafraid, a labyrinth of memory and shadows, lit suddenly by lightning and sunbeams. The final running order for 'Golden Melodies Of Tomorrow' is now as follows: 1: 'Welcome To Electric City.' 2: 'Once I Had A Time Machine.' 3: 'Summer Hums In The Bee-Loud Glade.' 4: 'Frosty Lawns. (Snowballs And Oranges.)' 5: 'God Glows Green In Small Town Park.' 6: 'My Empty Bowl Is Full Of Sky.' 7: 'When Aeroplanes Were Dragonflys.' 8: 'Night Is The Engine Of My Imagination.' 9: 'The Old Nebulosity Waltz.' 10: 'Help Us, Magic Robot.' 11: 'Time's Quick-Spun Globe.' 12: 'Fountains Are Singing In Cities Of Light.' 13: 'The Emperor Of The Evening.' 14: 'I Saw Galaxies.' 15: 'Until All Our Lights Combine.' 16: 'Heaven Is A Haunted Realm.' 17: 'Golden Melodies Of Tomorrow.' 18: 'Golden Coda, (Farewell To Electric City.)' Besides the above, I've also made an adjustment to the track-list of CD 2 of the Nelsonica 'Clocks And Dials' double album whilst transfering all 38 tracks and before signing them off for mastering. This, again, over at Fairview with the professional and talented help of my long-time friend John Spence. The track-list adjustment is as follows: The instrumental track titled 'Dreamland Airships' has been removed and substituted with a new vocal track titled 'Clocks Wind Slow.' (And all better for it, I think.) As mentioned previously, I've also been working with David Graham on the packaging art for the 'Golden Melodies Of Tomorrow' album. We've just last night finalised that particular challenge. It looks fabulous and enforces the 'Busby Berkley Of The 22nd Century' mood that the music evokes. Now we're attempting to start on the 'Clocks And Dials' digi-pack artwork. I've spent most of yesterday and all of today trying to come up with images that I can adapt and tweak and send to Dave for him to lay out in the digi-pack format. Still lots more images required though. A LOT more. Putting these package designs together is not an exact science. Sometimes it can fall into place over a couple of days...othertimes it can take a couple of weeks or more. It's not nearly as quick and easy as it might seem. Unfortunately, due to holidays and other distractions, we don't yet have a template for the digi-pack. I need to chase up Paul on that score. (But he's away on holiday too.) Work that I still have to do before Nelsonica: Create a selection of drawings/artwork for the Nelsonica auction. Make new stage backdrop videos to fit the new solo-set pieces. Create this year's 'Nelsonica Workbox' art and contents Choose and master backing tracks and rehearse my solo set performance. Prepare performance charts for above. Choose and learn and rehearse a band set performance. (SHOULD the band finally materialise.) Prepare performance charts and lyric sheets for the above. Choose, repair and set up an appropriate selection of guitars/instruments for the live performances. Dismantle all musical equipment needed for the performances from my studio, (processors, cables, pedal boards, guitars, stands, etc, etc). Pack everything up and haul it downstairs ready to transport to rehearsals and convention. (There's a LOT of gear and it's damned heavy and I seem to get weaker and creakier every year!) Get a haircut! Choose and dry-clean my stage clothes and pack them ready for the event. PLUS: Several other things the Nelsonica team have asked me to do but that I've since pathetically forgotten. (Senior moments...don't ya just love 'em!) Enough already...I'm changing the subject. My mother's 80th birthday just over a week ago. I booked an Italian restaurant in Wakefield and her remaining family gathered around her to help her celebrate. She's had a very difficult six or seven months since her husband passed away, as noted in my previous diary entry. A rotten time for her which has been compounded by the hard-nosed calculations of others. My eldest daughter Julia and my grandson Luke came up from London just for the day. Also my youngest daughter Elle, my nephew Julian, my sister-in-law Diane and Julia's friend Michael attended the dinner, as did Emiko and, of course, myself. Unfortunately, Elliot was working and couldn't make it. My nephew Louis and nice Lucy were also unable to attend but it turned out to be a very pleasant evening with good food and warm conversation. My mother was much cheered by the support of her family. She is very much in need of love right now and that's exactly what we gave her, along with cards, flowers and birthday gifts. It's unfortunate that she still has all the unpleasantness of the legal struggle regarding her late husband's will to contend with. No love from that quarter whatsoever, it seems. The legal dispute is ongoing but is now moving firmly towards litigation. I've been helping my mother to deal with the preparation of witness statements for her Barrister and progress IS being made. We all want to see things sorted out for her and the support she is recieving from her close family is incredibly important, particularly in view of the shabby treatment she's received from what I'll simply refer to as 'the other side.' What else to tell? Something positive: My new Peerless 'Deep Blue Custom' guitar arrived and has helped to lift my own flagging spirits. Somewhere between a Gretsch and a Gibson but yet entirely its own thing. It's a beautiful matte-finish blue colour, a thin-line semi-acoustic without 'f' holes. It has a 'varitone' control similar in function to that on my Gibson 345 stereo guitar. It's also beautifully bound with abalone markings and feels comfortable and inspiring to play. I'm really enjoying playing it and have been using it on some new recordings. I've always been fond of guitars that don't strictly conform to popular or mainstream taste so the 'Deep Blue Custom' suits my personality and sounds great too. A character instrument, like the 'Monarch' archtop I've also been recording with of late. Every instrument has its own unique personality and inspires different aspects of one's creativity. A guitar's tone, shape, colour and feel are all factors that contribute to the playing experience. Choosing the appropriate guitar for any given piece of music is like choosing brushes and paint to work on a blank canvas. And I'm very lucky to have some wonderful instruments to work with. I'm really looking forward to the opportunity to line up several of my favourite guitars at Nelsonica and play them all in public. (Instead of keeping them to myself in the studio!) The Campbell Nelsonic, the Gus G1, a couple of Eastwoods, a Gretsch, a D'Angelico, and the two Peerless models should, between them, help to make the day a colourful one. Whilst on the subject of guitars: Most readers of this diary will be aware that I took up the guitar many years ago, around 1959. I started out messing around with a small toy guitar my brother Ian received as a Christmas gift, then I was given a slightly larger plastic 'Elvis Presley' toy guitar of my own, made by Selco. But what REALLY inspired me to continue with this initial interest and gave me the desire to aquire a full size, proper instrument, was hearing a particular guitar instrumental on the radio. Its title was 'Because They're Young' and it was recorded by Duane Eddy. Hearing Duane play that tune literally changed my life. Duane Eddy was my first guitar hero, followed by Hank B. Marvin of The Shadows. Then it was The Ventures, Chet Atkins, Les Paul and others. But Duane was the first. It's probably impossible for a youngster of today to understand what a mighty impact electric guitar instrumentals made on musically inclined 1950's schoolboys back then. It was the start of something that has, over the years, become a taken-for-granted aspect of popular musical culture. But it was startlingly fresh, even shocking, at the time. The reason I'm talking about this is because of a feature in the latest issue of 'Twangsville,' the newsletter/magazine of the 'Duane Eddy Circle,' (of which I'm a proud and honary member). The feature comprises an article with photographs relating to a recent special concert held at The Hollywood Bowl in Los Angeles. It was a 50 year anniversary concert celebrating the half-century since the Hollywood Bowl first put on rock n' roll concerts. This famous venue was originally intended for classical and light music but in 1958 it gave way to the tidal wave of rock and roll and put on its first rock concert. One of the stars of that original 1958 show was Duane Eddy who was enjoying hits with his raunchy, twangy guitar instrumentals at that time. The recent anniversary show, held in June of this year, brought Duane back to the Hollywood Bowl along with B.B. King and Liza Minnelli and an 80 piece orchestra. Duane opened the second half of the show with 'Rebel Rouser' and closed the concert with a epic rendition of 'Peter Gunn' featuring added guitar parts by B.B. King and the full strength of the 80 piece orchestra. (Plus Liza Minelli dancing on stage to the whole thing.) Sounds like a blast! But there's a nice and very personal aspect to this 50th anniversary concert: The special programme that was printed for the event contained a biography of Duane Eddy's career. (It's reproduced in the 'Twangsville' magazine, which is how I know about it.) The biography concludes with Duane talking humbly about how many world-famous guitarists have cited him as being the reason they first took up the guitar. And a handful of those guitarists are name checked in the Hollywood Bowl programme's biography: George Harrison, Hank Marvin, The Ventures, Mark Knopfler, Bruce Springsteen and...surprise, surprise! yours truly! I know I've been playing a long time now and I should be cooly jaded about such things, but to see my name listed alongside Duane, Hank Marvin, George Harrison and The Ventures in the official programme of such a special Hollywood Bowl concert gave me a genuine thrill. Still an awe struck kid with a guitar and a lot to learn? You bet I am! Still on the subject of guitars and guitarists...(and fandom.) I recently bought a copy of a new book titled 'The Les Paul Legacy.' It deals with the early years of Les Paul's career and makes a nice companion volume to the more elaborate limited edition Les Paul autobiography that I already own and treasure. I also recently received a message from a very kind fan in America who has obtained an autograph for me from Les, personally signed to myself. It's being sent to me soon and I intend to frame it and proudly display it on my studio wall. Les Paul plays every Monday evening at the Iridium Club in New York...two sets per evening, and he's now in his 90's! Inspiration? In spades! He even signed a Nelsonic Transitone guitar that the above mentioned fan owns...an honour in itself. A copy of my 'Return To Jazz Of Lights' album was also passed to Les. Hope he'll find time to give it a listen. Once again, another long diary entry, 'though I've missed out quite a few details. Actually, I may leave the diary alone for a while, perhaps until after Nelsonica. Every minute counts at the moment as there are so many pressing duties to attend to and not nearly enough time. As always, we'll see... Back to work. ***** The images accompanying this diary are:- 1: Flyer/advert for the 'Clocks And Dials' limited edition double album. 2: Advert for the Visu-Luxe DVD series, to be launched later this year. 3: Bill's Peerless 'Deep Blue Custom' guitar. 4: Another photo of the 'Deep Blue Custom.' 5: First of a series of 'dream' albums that don't actually exist. 6: Another 'Visu-Luxe' advert. Top of page Tuesday 9th September 2008 -- 9:00 pm Three hours ago, I returned home after a trip to Manchester airport. Emiko is winging her way to Japan as I write these words. I'm alone in the house and will continue to be so for the next two weeks and two days, until Emi returns. We had to arrange Emi's trip very quickly, consequently the last few days have been hectic. The reason for her departure is both unfortunate and unexpected. On Friday we received news that her mother had been admitted to hospital in Tokyo, suffering from intestinal cancer. Her mother, who is in her 80's and quite frail, must undergo an unavoidable operation this coming Thursday. It never rains but it pours. Naturally Emi became extremely concerned and wanted to fly to Tokyo to be with her mum. It's been two years since we last visited but we were hoping that we'd both be able to go to Japan again at the end of this year. This worrying news suddenly made the issue a much more urgent one. I desperately wanted to travel with Emi to Tokyo but I have so much personal responsibility here, (Nelsonica preparations and supporting my own mother with her litigation problems, amongst other things), that it would be impossible for me to just drop everything and fly to Japan. There are simply too many problems for me to deal with here and not even enough time to deal with them properly. But, clearly, it's extremely important that Emi sees her mother. The doctors seem to be reasonably optimistic about the outcome of the operation, at least at the moment. It seems that the cancer may be confined to one area. They'll know more as the surgery progresses but we're praying for a positive outcome. The last time Emi and I spent any lengthy time apart was around twelve years ago. I know that some married couples welcome a chance to get away from each other, but not us. We're a very close couple who genuinely enjoy being together, so parting at the airport this afternoon was a traumatic experience for both of us. I felt as if the world was suddenly empty when I travelled back from Manchester on the train after seeing Emi safely through the check-in proceedure. We'd had a stressful morning, trying to catch the Manchester airport train from York. The station car park was full when we drove into town so I dropped Emi at the station forecourt with her luggage and drove off to find alternative parking, telling Emi that I'd meet her on the platform as soon as I could. The search for an alternative car park ended up being a race against the clock. It seemed that there were no available spaces at any of the car parks within reasonable walking distance of the station. I finally found somewhere but I was then faced with a frantic dash to meet Emi on the platform and catch the train. In my haste, I hit my head on the car boot lid whilst grabbing my shoulder bag, resulting in a nasty cut to the top of my scalp. These days there's not much hair growing in that nebulous region to cushion any bangs or scrapes, I'm afraid. It hurt like hell and is still throbbing as I write these words. Anyway, after a heart-pounding scramble to get to the station, I made it back to Emi just in time for us to hop on the train. The route to Manchester airport took us through Dewsbury and Huddersfield, both towns holding old memories for me. When I was a schoolboy my mother and father used to take me to Dewsbury Market after school on Wednesdays. My father had a 'half-day' off work on that day and this meant he was free to meet me from school in the family jalopy. (An old 1940's 'Jowett'.) We would drive over to Dewsbury and browse amongst the market stalls and around the town. I recall getting a 'David Nixon Magic Set' from a shop there once. (David Nixon was a well known conjurer with his own tv show at that time.) Haven't really been there since though. Huddersfield figures a little later in my life. In the 1960's I had a three-piece psychedelic blues band called 'Global Village.' We had a fairly regular gig at a venue in Huddersfield called 'The Builder's Exhange Club.' It was an exploratory time for me, (and musically a magical time for anyone of my generation). The small club used to be packed to the rafters when we played there, a fabulous atmosphere, exciting and energetic. We took our cues from bands such as The Yardbirds, early Fleetwood Mac, Chicken Shack, John Mayall's Bluesbreakers, Cream and The Jimi Hendrix Experience. I related these memories to Emi as we trundled past the towns on the way to the airport. Soon we were out in the hills and then rattling through the Pennines, ancient mills crumbling in the rain... After we'd tearfully parted at the entrance to the departure lounge, ('ticket holders only past this point'), I walked back to the airport station, feeling sad and lost. The trip back to York was filled with brooding thoughts and dark clouds. It was raining when I alighted on the platform and started the walk back to where I'd parked the car. I hit rush hour, people commuting away from the city. As I drove beyond the city centre, my mobile 'phone rang. It was Emi. She had already landed at Charles de Gaulle airport in Paris where she was to make her connection with her flight to Japan. We spoke as I drove towards our home. I stopped in the lane that leads to our house and we talked for a few more minutes before she had to go to make the next leg of her long journey. When I opened our front door, our cats, Django and Tinkerbell came to greet me, then looked around for Emi. They've gone off into the surrounding fields now, as they usually do about this time, but it's clear they're wondering where she is. So, here I am...an enforced bachelor of sorts for the next two weeks and two days. I had a microwave meal at dinnertime and haven't done the washing up yet. I came up here to the studio to write this diary entry in the hope that it might ease my feeling of solitude. I need to keep myself occupied and try not to be too miserable. It's not as if I have nothing to do...in fact there's far too MUCH to do. And without my wife to help back me up with day to day 'real world' issues I'm going to feel even more stressed than before. Nevertheless, I must try to get on with it. Nelsonica is getting nearer and nearer with every panicky moment. Talking of which: one previously uncertain Nelsonica task has now been confirmed. There WILL definitely be a seven piece band performing at Nelsonica, although the component I was hoping would fall into place didn't actually materialise...but someone else has bravely offered to take up the challenge and help make the band more than just an idea. I'll try to post something on my website forum soon, revealing the members names and the band's name. (I've yet to decide upon the latter. It won't be 'The Lost Satellites' but something new.) I may even write another diary entry in order to record my bachelor misery for posterity. Or at least for Emiko to know how much she's missed. Right now, I'm going to go and mope into a glass of wine. Top of page

Believe in the Promise of Tomorrow ep - 2000 Honeytone Cody Production/Contribution Menu Future Past BILL: Producer Production/Contribution Menu Future Past

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

Wild & Moody album - 1984 Yukihiro Takahashi Production/Contribution Menu Future Past BILL: Vocals, Keyboard, Guitar and Bass. Production/Contribution Menu Future Past

Time and Place live album - 1984 Yukihiro Takahashi Production/Contribution Menu Future Past BILL: Guitar and Vocals. Production/Contribution Menu Future Past

The Practice of Everyday Life box set - 7 December 2011 Bill Nelson Collections Menu Future Past TRACKS: CD1 01) Photograph (A Beginning) (Northern Dream album, 1971) 02) Northern Dreamer (Northern Dream album, 1971) 03) See It Through (Northern Dream album, 1971) 04) Love's A Way (Northern Dream album, 1971) 05) Be Bop Deluxe - Teenage Archangel (non-album single, 1973) 06) Be Bop Deluxe - Jets At Dawn (Teenage Archangel single b-side, later re-recorded for Axe Victim album, 1974) 07) Be Bop Deluxe - Axe Victim (Decca audition version - Previously Unreleased, 1973) 08) Be Bop Deluxe - Adventures In A Yorkshire Landscape (Axe Victim album, 1974) 09) Be Bop Deluxe - Darkness L'Immoraliste (Axe Victim album, 1974) 10) Be Bop Deluxe - Night Creatures (Axe Victim album, 1974) 11) Be Bop Deluxe - Music In Dreamland (Futurama album, 1975) 12) Be Bop Deluxe - Maid In Heaven (Futurama album, 1975) 13) Be Bop Deluxe - Jean Cocteau (Futurama album, 1975) 14) Be Bop Deluxe - Sister Seagull (Futurama album, 1975) 15) Be Bop Deluxe - Between The Worlds (Futurama album, 1975) 16) Be Bop Deluxe - Swan Song (Futurama album, 1975) 17) Be Bop Deluxe - Crystal Gazing (Sunburst Finish album, 1976) 18) Be Bop Deluxe - Heavenly Homes (Sunburst Finish album, 1976) 19) Be Bop Deluxe - Ships In The Night (Sunburst Finish album, 1976) 20) Be Bop Deluxe - Crying To The Sky (Alternate Guitar Solo - Previously Unreleased) 21) Be Bop Deluxe - Sleep That Burns (Sunburst Finish album, 1976) CD2 01) Be Bop Deluxe - Modern Music (Modern Music album, 1976) 02) Be Bop Deluxe - Dancing In The Moonlight (All Alone) (Modern Music album, 1976) 03) Be Bop Deluxe - Honeymoon On Mars (Modern Music album, 1976) 04) Be Bop Deluxe - Lost In The Neon World (Modern Music album, 1976) 05) Be Bop Deluxe - Dance Of The Uncle Sam Humanoids (Modern Music album, 1976) 06) Be Bop Deluxe - Modern Music (Reprise) (Modern Music album, 1976) 07) Be Bop Deluxe - Kiss Of Light (Modern Music album, 1976) 08) Be Bop Deluxe - Forbidden Lovers (Modern Music album, 1976) 09) Be Bop Deluxe - Down On Terminal Street (Modern Music album, 1976) 10) Be Bop Deluxe - Life In The Air Age (Live! In The Air Age album, 1977) 11) Be Bop Deluxe - Piece of Mine (Live! In The Air Age album, 1977) 12) Be Bop Deluxe - Blimps ( The Best Of And The Rest Of compilation album, 1978) 13) Be Bop Deluxe - Futurist Manifesto ("Japan" single b-side in 1977) 14) Be Bop Deluxe - Lovers Are Mortal (The Best Of And The Rest Of Compilation album, 1978) 15) Be Bop Deluxe - Surreal Estate (Drastic Plastic album, 1978) 16) Be Bop Deluxe - Visions Of Endless Hope (Drastic Plastic album, 1978) 17) Be Bop Deluxe - Panic In The World (Juan Les Pins Mix/Remix) 18) Bill Nelson's Red Noise - Don't Touch Me (I'm Electric) (Sound-On-Sound album,1979) 19) Bill Nelson's Red Noise - Revolt Into Style (Sound-On-Sound album in 1979) 20) Bill Nelson's Red Noise - Furniture Music (Sound-On-Sound album in 1979) 21) Bill Nelson's Red Noise - Stay Young (Live) (Revolt Into Style 12" single) 22) Bill Nelson's Red Noise - Out Of Touch (Live) (Revolt Into Style 7 & 12" singles) 23) Do You Dream In Colour? ( Quit Dreaming And Get On The Beam album in 1981) CD3 01 ) Banal ( Quit Dreaming And Get On The Beam album in 1981) 02) Life Runs Out Like Sand (Quit Dreaming And Get On The Beam Album in 1981) 03) Living In My Limousine (Quit Dreaming And Get On The Beam album in 1981) 04) Mr. Magnetism Himself (Banal 7 & 12" singles) 05) Sleep (Sounding The Ritual Echo album, 1981) 06) Opium (Sounding The Ritual Echo album, 1981) 07) Near East (Sounding The Ritual Echo album, 1981) 08) The Funeral (Das Kabinett album, 1981) 09) The Sonambulist And The Children (Das Kabinett album, 1981) 10) The Dream Dance Of Jane And The Sonambulist (Das Kabinett album, 1981) 11) Beauty And The Beast (La Belle Et La Bete album, 1982) 12) The Enchanted Glove (La Belle Et La Bete album, 1982) 13) Eros Arriving (The Love That Whirls album in 1982) 14) Hope For The Heartbeat (The Love That Whirls album, 1982) 15) A Private View (The Love That Whirls album, 1982) 16) The October Man (The Love That Whirls album, 1982) 17) The Passion (Flaming Desire 7 & 12" singles) 18) Echo in Her Eyes (The Lamps of Oblivion) (The Love That Whirls album, 1982) 19) Glow World (Chimera mini-album, 1983) 20) The Real Adventure (Chimera mini-album, 1983) 21) Acceleration (Short Version) (Acceleration 12" single, 1984) 22) Happily Addicted To You (A Catalogue Of Obsessions album, part of the Trial By Intimacy set, 1985) 23) The Last Summer For Dancing (A Catalogue Of Obsessions album, part of the Trial By Intimacy set, 1985) 24) Les Amoureux ( Pavillions Of The Heart And Soul album, part of the Trial By Intimacy set, 1985) 25) Another Kiss For Your Slender Neck ( Pavillions Of The Heart And Soul album, Trial By Intimacy set, 1985) CD4 01) The Eternal Female ( Pavillions Of The Heart And Soul album, part of the Trial By Intimacy set, 1985) 02) Sleeplessness (Chamber Of Dreams album, part of the Trial By Intimacy set, 1985) 03) The Golden Bough (Chamber Of Dreams album, part of the Trial By Intimacy set, 1985) 04) Tomorrowland (The Threshold Of 1947) (Chamber Of Dreams album, Trial By Intimacy set, 1985) 05) Sacrament (The Summer Of God's Piano album, part of the Trial By Intimacy set, 1985) 06) Over Ocean (The Summer Of God's Piano album, part of the Trial By Intimacy set, 1985) 07) Perfido Incanto (The Summer Of God's Piano album, part of the Trial By Intimacy set, 1985) 08) City One (Chameleon album, 1986) 09) Blue Sky (Chameleon album, 1986) 10) To The Sea In Ships (Chameleon album, 1986) 11) Suvasini (Getting The Holy Ghost Across album, 1986) 12) Contemplation (Getting The Holy Ghost Across album, 1986) 13) Wildest Dreams (Getting The Holy Ghost Across album, 1986) 14) The Hidden Flame (Getting The Holy Ghost Across album, 1986) 15) Illusions Of You (Living For The Spangled Moment mini-album, 1986) 16) Orchestra Arcana - Search And Listen (Iconography album, 1986) 17) Orchestra Arcana - Right, Then Left (Iconography album, 1986) 18) Orchestra Arcana - Iconography (Iconography album, 1986) 19) Orchestra Arcana - Clock Conscious (Iconography album, 1986) 20) At The Gates Of The Singing Garden (Map Of Dreams album, 1987) 21) Water Of Life (Transfiguration) (Map Of Dreams album, 1987) 22) Spinning Creatures (Map Of Dreams album, 1987) 23) The Angel At The Western Window (Chance Encounters In The Garden Of Lights album, 1987) 24) Day Of Eternity (Chance Encounters In The Garden Of Lights album , 1987) 25) Night Tides (Chance Encounters In The Garden Of Lights album, 1987) 26) Finis Gloria Mundi (Chance Encounters In The Garden Of Lights album, 1987) CD5 01) Calling Heaven, Calling Heaven (Chance Encounters In The Garden Of Lights album , 1987) 02) Orchestra Arcana - Deva Dance (Optimism album, 1988) 03) Orchestra Arcana - Um, Ah Good Evening (UK CD of Optimism album, 1988) 04) Orchestra Arcana - Short Wave (UK CD of Optimism album, 1988) 05) Aqua Magica (Simplex album, 1990) 06) Heros De Lumiere (Simplex album, 1990) 07) Kiss Goodbye (Chimes And Rings album, part of the Demonstrations Of Affection set, 1989) 08) Dreams Of Yesterday (Chimes And Rings album, part of the Demonstrations Of Affection set, 1989) 09) Playing Jesus To Her Judas (Chimes And Rings album, part of the Demonstrations Of Affection set, 1989) 10) Still Waiting (Nudity album, part of the Demonstrations Of Affection set, 1989) 11) Feels Like Up To Me (Nudity album, part of the Demonstrations Of Affection set, 1989) 12) Only Love Can Tell (Nudity album, part of the Demonstrations Of Affection set, 1989) 13) Broken (Heartbreakland album, part of the Demonstrations Of Affection set, 1989) 14) Heartbreak Thru The Telephone (Heartbreakland album, part of the Demonstrations Of Affection set, 1989) 15) Love's Immortal Shining Angel (Heartbreakland album, part of the Demonstrations Of Affection set, 1989) 16) Man On Fire (Details album, part of the Demonstrations Of Affection set, 1989) 17) Aeroplane Wings (Details album, part of the Demonstrations Of Affection set, 1989) 18) Stay With Me (Details album, part of the Demonstrations Of Affection set, 1989) 19) A Luminous Kind Of Guy (Luminous album, 1991) 20) Is This Alchemy (Luminous album, 1991) 21) Wait For Tomorrow (Luminous album, 1991) 22) God Man Slain (Blue Moons & Laughing Guitars album, 1992) 23) Boat To Forever (Blue Moons & Laughing Guitars album, 1992) 24) The Invisible Man And The Unforgettable Girl (Blue Moons & Laughing Guitars album, 1992) 25) Dream Ships Set Sail (Blue Moons & Laughing Guitars album, 1992) 26) Crimsworth Part One (Excerpt) (Crimsworth album, 1995) CD6 01) Big Noise In Twang Town (Practically Wired album, 1995) 02) Pink Buddah Blues (Practically Wired album, 1995) 03) Her Presence In Flowers (Practically Wired album, 1995) 04) Big River (Buddha Head album, part of the My Secret Studio set, 1995) 05) The Big Illumination (Buddha Head album, part of the My Secret Studio set, 1995) 06) Buddah Head (Buddha Head album, part of the My Secret Studio set, 1995) 07) Begin To Burn (Electricity Made Us Angels album, part of the My Secret Studio set, 1995) 08) Heaven's Happy Hemisphere (Electricity Made Us Angels album, part of the My Secret Studio set, 1995) 09) It's All True (Deep Dream Decoder album, part of the My Secret Studio set, 1995) 10) Year 44 (The Birthday Song) (Deep Dream Decoder album, part of the My Secret Studio set, 1995) 11) Dreamnoise And Angel (Deep Dream Decoder album, part of the My Secret Studio set, 1995) 12) No Fool For You (Juke Box For Jet Boy album, part of the My Secret Studio set, 1995) 13) On A Train I Never Boarded (Juke Box For Jet Boy album, part of the My Secret Studio set, 1995) 14) Hold On To Your Heart (Juke Box For Jet Boy album, part of the My Secret Studio set, 1995) 15) Deeply Dazzled (After The Satellite Sings album, 1996) 16) Memory Babe (After The Satellite Sings album, 1996) 17) Zoom Sequence (After The Satellite Sings album, 1996) 18) Quarter Moons And Stars (Weird Critters album, part of the Confessions Of A Hyperdreamer set, 1997) 19) Candyland (Weird Critters album, part of the Confessions Of A Hyperdreamer set, 1997) 20) Sun At Six Windows (Magnificent Dream People album, part of the Confessions Of A Hyperdreamer set, 1997) 21) Queer Weather (Magnificent Dream People album, part of the Confessions Of A Hyperdreamer set, 1997) 22) The Girl I Never Forgot (Magnificent Dream People album, Confessions Of A Hyperdreamer set, 1997) CD7 01) Pointing at the Moon (Atom Shop album, 1998) 02) Dreamland Avenue (Whistling While the World Turns album, 2000) 03) Humming In The Void/Girl With The Thousand Watt Smile (Old Man Future Blows The Blues album, part of the Noise Candy set, 2002) 04) Big Yellow Moon (Stargazing With Ranger Bill album, part of the Noise Candy set, 2002) 05) Planet of Guitars (King Frankenstein album, part of the Noise Candy set, 2002) 06) Wonderful Weather In Woodgates Lane (Console album, part of the Noise Candy set, 2002) 07) The Ceremonial Arrival Of The Great Golden Cloud (The Alchemical Adventures Of Sailor Bill album, 2005) 08) Moments Catch Fire On The Crests Of Waves (The Alchemical Adventures Of Sailor Bill album, 2005) 09) Cascade (Improvisation For Three Harp Guitars) (Rosewood Volume One album, 2005) 10) Superserene (Theatre Of Falling Leaves album, 2009) 11) Young Dreams Whirled Away (Silvertone Fountains album, 2008) 12) Fearless Beauty ( Kisses And Cream) (Return To Jazz Of Lights album, 2006) 13) The Golden Days Of Radio (Compact Mix) (Fancy Planets album, 2009) 14) The Trace We Left When All Was Gone (Mazda Kaleidoscope album, 2008) 15) Once I Had A Time Machine (Golden Melodies Of Tomorrow album, 2008) 16) Music Spins My Globe (Picture Post album, 2010) 17) Moon Gold Palladium (Fables And Dreamsongs album, 2010) CD8 John Peel Session, 2nd June 1981 01) Rooms With Brittle Views 02) Stay Young 03) Sleep Cycle 04) Jazz David "Kid" Jenson Session, 13th Jan 1983 05) Dancing On A Knife's Edge 06) Time Tracking 07) Contemplation 08) Indiscretion NOTES: The Practice of Everyday Life is an 8-CD boxed set issued by Esoteric/Cherry Red through their specially created Cocteau Discs imprint. From Smile Records to Sonoluxe, this box set samples 45 different albums from Nelson's impressively vast and varied back catalogue. For the serious collectors among Nelson's fan base, there are a total of 8 previously unreleased tracks and 3 others that are appearing on CD for the first time. The Practice of Everyday Life was the first release on Cocteau Discs that prefaced a 22 album licensing deal which successfully managed to bring much of Nelson's back catalogue back in print. The 22 albums were intended for reissue over a seven year period, and at the time of writing (March 2016) 11 Nelson albums have been reissued including Getting the Holy Ghost Across , which was licensed under a separate deal with Sony. Therefore, a further 12 Nelson related titles can be expected over the next three years, with the prospect of Esoteric striking further deals with Universal for reissues of Red Noise and Be Bop Deluxe material. It has to be said that Esoteric have done a remarkable job with the reissue campaign, and no Bill Nelson fan, new or old, should be without a copy of The Practice of Everyday Life . CURRENT AVAILABILITY: This boxed set is currently out of print, although still available as a download from major online retailers. BILL'S THOUGHTS: "For as long as I can remember, music has played a central part in my life. My father was a semi-professional saxophonist who was actually performing with his band the night I was born in December 1948. His musical tastes, mainly big band swing and jazz, provided the soundtrack to my infancy and childhood years, but, like so many of my generation, rock n' roll came along with it the romance of electric guitars and the magic multi-track recording. Music, tape machines and guitars opened the door to a wide-screen world, a world which I continue to explore to this day. My first album, Northern Dream , was released in 1971, (though recorded in 1970.) Now, exactly 40 years after the release of Northern Dream , comes this chronologically ordered, career-spanning compilation, The Practice Of Everyday Life . For me, those 40 years have flown by, every day propelled by the power of music. The tracks presented across the 8 discs of this compilation, whilst not presenting the entire picture, nevertheless provide the widest view of my recorded work ever released in one package. I'm grateful to Mark Powell of Esoteric Recordings, (who initiated the idea of this compilation), for his enthusiasm and dedication to the project. I hope that listeners will enjoy the colourful journey that The Practice Of Everyday Life documents." _____ "It's a Zen Buddhist phrase which implies that enlightenment can be found in everyday, ordinary activities, rather than in some exotic, mysterious discipline or other. But it is appropriate to the celebration of 40 years of my recording career on more than one level. First of all, my everyday life is filled with the act of creating music in one form or another. As you know, I've always treat this as a natural activity, it's simply what I do and what I am. The creative act itself is meditational and educational...Music is the mirror I hold up to myself to see what is reflected there. But there's also an ironic element: What feels to me like a normal, everyday activity could, to someone not engaged in such an occupation, seem quite unusual or exotic. In fact, not 'everyday' at all. This duality and irony is reflected in the box set's cover image. When you finally get to see it, you'll understand what I'm getting at. The set's title and the cover image are amusingly, (and surreally), at odds. It implies that 'everyday life', for me, is a very strange and dreamlike thing indeed! But the word 'practice' is meaningful too...I'm still practicing, or learning, both as a human being and as an artist. I haven't begun to close the gap between myself and 'the goal'. It's this sense of being a perpetual novice that drives me forward. It's why I'll always look to the next album for the answer to my personal questions...and why I'll never be in a position to say that the work is done." _____ "The package design is not a 'Real Men with Rayguns' project, but is by Esoteric/Cherry Red designer Phil Smee. However, two of the key images, (the front cover and the cover of the booklet contained within the package), use themed, theatrical, surreal photographs taken by ace lensman Martin Bostock based on a specially devised concept created and art-directed by myself." _____ "The cover photo for The Practice Of Everyday Life wasn't actually taken at a live performance in Leeds, but it was taken at the Leeds University Clothworkers Hall, where I have performed in the past. (It's part of the University's Faculty of Music.) The photo' session was arranged independently of any live performance. I wanted to contrast the album's title theme, (of 'everyday' life), with something as far from everyday as possible. I've used that rabbit head mask in my video work for a few years now and thought that it might make a surreal image for TPOEL's cover shot, especially when combined with the weird guitar I'm holding, (which is actually an old fairground ride prop that I bought at an antique fair). I also wanted to include a selection of my guitars in the shot, plus a piano as keyboards often feature in my music too. My 'everyday life' is filled with music making and the concept of the rabbit and the guitars was to suggest a constantly creative, virile, productive energy." FAN THOUGHTS: tunancheese: "It is this compilation that has expanded my horizons. My Lord, Pink Floyd has nothing on Mr. Nelson when it comes to reaching out to the heavens (real or imagined). I'm on my fifth go around with this set and light years behind what you on this website have already experienced. I found Sound On Sound & have already purchased The Joy of Amplification and ordered the vinyl version of Northern Dreams . I know I'm swimming in waters way over my head - but, I'm digging the hell out of it!! Thank you, Mr. Nelson. Wonderful stuff." Collections Menu Future Past

Cinema Menu Created For Nelsonica & Live Shows Films created by Bill to be shown as part of live events Visions, Hauntings, Hallucinations First seen as the backing visuals to the 'Old Haunts' CD preview, the video with a running time of a little over an hour, now has its original backing tracks, taken from a selection of Bill's solo instrumentals from across the years... Piano Meditations This 12 minute video was used as an opening piece to Bill's 'Old Haunts' CD launch party, held at The Clothworker's Hall, Leeds - November 9th 2019. 'Songs For Ghosts' launch party...Part 1 - Flyers First shown at his 'Songs For Ghosts' CD launch party in October 2017. Bill produced an hour-long video containing various aspects of his visual work. The full-length video has been divided into five sections... Here's Part 1 - Flyers... 'Songs For Ghosts' launch party...Part 2 - Photography First shown at his 'Songs For Ghosts' CD launch party in October 2017. Bill produced an hour-long video containing various aspects of his visual work. The full-length video has been divided into five sections... Here's Part 2 - Photography... 'Songs For Ghosts' launch party...Part 3 - Artwork First shown at his 'Songs For Ghosts' CD launch party in October 2017. Bill produced an hour-long video containing various aspects of his visual work. The full-length video has been divided into five sections... Here's Part 3 - Artwork... 'Songs For Ghosts' launch party...Part 4 - Studio First shown at his 'Songs For Ghosts' CD launch party in October 2017. Bill produced an hour-long video containing various aspects of his visual work. The full-length video has been divided into five sections... Here's Part 4 - Studio... 'Songs For Ghosts' launch party...Part 5 - Bill With Guitars First shown at his 'Songs For Ghosts' CD launch party in October 2017. Bill produced an hour-long video containing various aspects of his visual work. The full-length video has been divided into five sections... Here's Part 5 - Bill With Guitars... Wakefield Via Time Machine This hour-long video shows hundreds of pictures of Wakefield dating from the 1800's to the late 1900's. Originally shown as the backing video for the album playback at Bill's 'New Northern Dream' launch party in October 2016, it is shown here with the original soundtrack...a collection of sublime instrumental pieces from Bill's later solo work. Over The Years First shown at the launch party for the 'New Northern Dream' album in 2016. This 49 minute video contains a series of Bill Nelson's photographs throughout the years, together with a selection of his music from the 21st century. Materialisation Phenomena A two-minute clip of the film created for Nelsonica 09 The Dream Transmission Pavilion A two-minute clip from the intro film created for Nelsonica 09 The Departure Of The 21st Century In A Hail Of Memory (Part 1) Part 1 (of 2) of the specially created intro video for Nelsonica 08, the annual fan convention celebrating the music of Bill Nelson. The Departure Of The 21st Century In A Hail Of Memory (Part 2) Part 2 of the specially created intro video for Nelsonica 08, the annual fan convention celebrating the music of Bill Nelson. Cinema Menu

The Boy's Own single - 1981 Moving Targets Production/Contribution Menu Future Past BILL: Production and Photography Production/Contribution Menu Future Past

2005 2006 2007 2008 2009 2010 2011 2013 William's Study (Diary Of A Hyperdreamer) December 2007 Jan Feb Apr May Jul Sep Oct Nov Monday 24th December 2007 -- 10:00 pm Some sad developments since my previous diary entry but I'll refrain from documenting them here and now. These things, because they are painful and difficult, must wait for a while. So...maybe next time? Well...next time. might be more sensible. But, tonight it is Christmas Eve and some light, no matter how feeble or flickering, should shine on my readers, no matter how dark my own corner of the universe might appear from this current vantage point. Zipping back in time a few weeks: Emiko and I had a lovely night out, at the start of this month, with the Nelsonica team at a favourite restaurant of ours in the city of York. It was the occasion of the annual Nelsonica 'thank you' dinner, a chance for us all to spend time in each other's company and enjoy a relaxing evening after the complex demands of this year's fanconvention. It was also an opportunity for the team to observe their (hopefully still) esteemed hero lowering his less than inpenetrable defences and succumbing to the dubious charms of Bacchus. Which simply means that I allowed myself to become more and more hopelessly and joyfully inebriated as the evening progressed. (Oh, vine-adorned Lord of the grape, forgive me, for I know EXACTLY what I do, and more's the pity.) As a modest token of thanks, I gave each member of the team an individually burned CDr of some brand new material that I'm considering for inclusion on my next album, 'SILVERTONE FOUNTAINS.' It's still, inevitably, a work in progress but this preliminary cdr has at least allowed them a glimpse of the ongoing process. I'm hoping to have the final track-listing completed in time for a late February release although this is entirely dependent upon me feeling that the album has reached its natural conclusion. Things could yet change quite dramatically as the music, and my imagination, is perpetually in flux. Frustratingly, during the last week or two, I've created three totally new instrumentals, all three of which are more than good enough to be considered as potential tracks for the album, (alongside the 16 tunes already on the short list). So, the project is growing, changing, slowly finding its way to its final conclusion. To saddle it with a contemporary cliche: It's an organic, ongoing process. All I can do is act as midwife. Some of the tracks will inevitably be set aside, probably for inclusion on next year's limited edition fan-convention album, whilst others will stay, (provided they belong to the 'Silvertone Fountains' atmosphere). As always, I'm more enthused about the latest pieces than the earlier ones. Despite the chopping and changing, (or even because of it), the album will, I think, turn out to be a very nice work. No, let's allow no false modesty, it will be a BEAUTIFUL work! Not long after the Nelsonica dinner, I succumbed to a nasty cold virus that has only now, two weeks later, begun to fade. Emi caught it too, (as I predicted), and she's had some uncomfortable nights, coughing and coughing and feeling totally wretched. This time of year is always busy for Emi and it's not the best time for her to feel ill. Not that there's ever a best time to feel ill. Despite the debilitating bugs, I have managed to deal with the Christmas shopping demands...at least to a standard that won't leave me feeling totally embarrased and inadequate. O.k...perhaps not QUITE as focussed as last year but, hopefully, not really letting anyone down. As mentioned in earlier diary entries, I do tend to take an inordinate amount of time searching for what I feel are the most appropriate gifts for my family and friends. I take a personal pride in this and get quite frustrated by having to make snap decisions because of lack of time. Unfortunately, despite all best intentions, time and circumstances have been against me, and more than ever this year. Predictably and pathetically, like many people of my generation, I'm beginning to wonder whether the original spirit of Christmas has finally been buried under the icy avalanche of commerce. The festive season seems to have become more and more stressful (and artificial) with each passing year. Yes, I know that such an opinion is regarded as a cliche and I also accept that it's probably always been that way, (despite those fantasy snow powdered dreamy Christmases of my first ten years on this earth...) But, what the heck. I STILL expect the impossible. I demand miracles and magic. But my life has already had more than its fair share of that. Anyway, shopping done, food in the fridge and freezer, lights lit in the lounge, gifts awaiting my fumbling at the wrapping paper. (And I must turn my attention to this last task SOON.) Still I sneak away from it all, up here to the broom cupboard that I'm audacious enough to call 'my studio,' to pick up a guitar and play. Plink, plonk, plink, strum, twang...Not for any great purpose, not for the 'latest' album or an adoring, paying audience, but simply because picking up the instrument, cradling it against my chest, feeling it resonate, hum and sing beneath my fingers, is the most satisfying, rewarding, and honest expression of being alive that I can muster. I pick up a guitar for no other reaon than the sheer JOY of doing so. Appears sad and pathetic written down like that, doesn't it? Well, dear reader, let me assure you that it's NOT. In fact it's magnificent, empowering, enobling, energising, ecsatatic and marvellous. I wouldn't exchange it for untold millions or the glamour and fame of a movie-star. (OR a wealthy rock star for that matter.) Despite all the hundreds of recordings I've made, there's more vibrant, essential music created in moments of spontaneity in this little room, than has ever found its way onto album, tape or hard disc. In those unrecorded, unplanned, ungaurded moments, it's just me and a guitar and the original mystic spark that united the two of us in the first place, back in 1958. For me, at 59 years old, there's simply no other reason to be doing this... Christmas every day, a birthday every hour, ice cream for breakfast and warm, warm lips for the kissing of... xxx A VERY MERRY YULETIDE TO ALL READERS OF THIS HYPERDREAMER'S DIARY! Top of page