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BILL NELSON: ‘GUITARS OF TOMORROW’ SESSIONS POSSIBLE TRACKS (186 Recordings up to 4/11/25) ‘News Of The Weird.’ ‘The Big Whoopie.’ ‘Old Strings, New Dreams.’ ‘Mr Wizard Takes A Trip.’ ‘Your Magnetic Presence.’ ‘When I Was Dan And You Were Digby.’ ‘Crystal City Cruiser.’ ‘Magic Spell.’ ‘Wonderstruck One.’ ‘Mirror Circuit.’ ‘The Amazing Mr Mystery.’ ‘My Paranormal Party Trick.’ ‘Bubble And Fizz.’ ‘Dreams Of The Sparkle Man.’ ‘New Strange Powers.’ ‘My Favourite Radio Galaxy.’ ‘Mysteryland.’ ‘This Room Has A Glorious View.’ ‘Ghosts Of Old Guitars.’ ‘The Sky Garden.’ ‘It Was A Long Time Ago.’ ‘Guitars Of Tomorrow.’ ‘Tuning In To Angel Radio.’ ‘Between Memory And A Dream.’ ‘All Hail King Echo.’ ‘Dreams Of The Somnambulist.’ ‘Magic Spell.’ ‘Frankenstein Funk.’ ‘A Slight Electrical Disturbance.’ ‘Three Bells And All’s Well.’ ‘Peculiar Controls.’ ‘Picnic In The Fields.’ ‘The Loneliness Of The Long Distance Dreamer.’ ‘How To Wind An Atomic Clock.’ ‘Busy Bees.’ ‘Gods Of The Golden Age.’ ‘Wonderous Thunderings.’ ‘Everywhere And Nowhere.’ ‘The Old Road To Dreamland.’ ‘Jump Leads.’ ‘Astroluxe Cadet.’ ‘Church Of The Celestial Radiator.’ ‘Rotations Of Light.’ ‘Why So Mysterious?’ ‘Rusty Satellites.’ ‘Old Memory Replayed.’ ‘Down The Rabbit Hole.’ ‘Superette.’ ‘Lost Satellite.’ ‘Rusty Little Robot.’ ‘God’s Always Goofing Around.’ ‘The Grand Illusion.’ ‘Rocket Horse Cowboy.’ ‘Far Yonder.’ ‘Hyperactive.’ ‘Everything Is Possible For The Impossible Man.’ ‘Steam Train To The Stars.’ ‘Magical Thinking.’ ‘The Cuckoo In The Clock.’ ‘Radio Boy.’ ‘Lumiluxe.’ ‘Rocket Baroque.’ ‘The Universe In My Guitar Case.’ ‘Fuzzy Escalator.’ ‘Backyard Sparklers.’ ‘Ultrabulbs Burn Brighter.’ ‘Typewriter Tales.’ ‘The Infinite Imaginarium.’ ‘Fast Traffic.’ ‘Strange City Of Dreams.’ ‘Adrift.’ ‘Wind Up Toy.’ ‘Mischief Goes To Mars.’ ‘The Marvellous Mr Moonbeam.’ ‘The Magnificent Tremolotron.’ ‘Interstellar Milk Float.’ ‘Riders Of The Strange.’ ‘When Emiko Smiles.’ ‘William In Weirdsville.’ ‘Happy Little Dreamer.’ ‘My Luminous Domain.’ ‘Radio Light.’ ‘Lighthouse Beyond The Stars.’ ‘Midnight Lantern.’ ‘Ray Gun Virus.’ ‘Dance Of The Fairy Folk.’ ‘Psycho Daisy Days. ‘Stardusting.’ ‘House Of Mirrors.’ ‘Thoughts Sail South On Silver Ships.’ ‘Duane’s Planet.’ ‘Brilliant Creatures.’ ‘Portal.’ ‘Pearly Nightfall.’ ‘The Antiquarian Futurist.’ ‘The Wizard Of Dreamsville. ‘Sweet Little Dream Of Me.’ ‘The Withernsea Lighthouse Fantasia No 1.’ ‘The Withernsea Lighthouse Fantasia No 2.’ ‘My Practical Plasma Engine.’ ‘The Weekend Experiment.’ ‘Bright Canvas.’ ‘Funflowers.’ ‘Electromatic Marvels.’ ‘Superslow.’ ‘Switchcraft.’ ‘Invisible Realms.’ ‘The Man Who Lost His Shadow.’ ‘Peaceful Echoes.’ ‘The Celestial Signaller. ‘Booster Tune.’ ‘The Cloud Collector’s Club.’ ‘Faraway Stars.’ ‘Those Jupiter Days.’ ‘Rough Diamonds.’ ‘The Last Arcadia.’ ‘Drifting Through Dreamland.’ ‘Aeronautica.’ ‘A Kiss Beneath The Evening Star.’ ‘Astral Groove.’ ‘Beyond Dreamland.’ ‘Reverse Hypnosis.’ ‘Nightcap.’ ‘When The Evening Changed The Hour.’ ‘Electromagnetically Yours.’ ‘Icarus Dreams Of Wings.’ ‘Carnival Of Dreams.’ ‘Toy Town Fantasy.’ ‘Night Light.’ ‘Rusty Mechanism.’ ‘Huzzah! Here Comes The Electrician!’ ‘It’s A Wah-Wah World.’ ‘Lost In The Luminous Night.’ ‘Baby Spacemen Staring At The Stars.’ ‘Premium Ghost Parade.’ ‘Engine Of Dreams.’ ‘Playing Solitaire.’ ‘Dance Of The Dream Makers.’ ‘The Celestial Wanderings Of Ancient Saints.’ ‘Brilliant Thinkers.’ ‘The David Lynch Memorial Doughnut.’ ‘Robots Of Desire.’ ‘What’s The Rush?’ ‘A Moment With Marianne.’ ‘Old Weird Planet.’ ‘Requiem For Django (Our Beloved Black Cat).’ ‘Another Blue Dream.’ ‘Django The Magic Cat.’ ‘The Me In The Mirror.’ ‘Eccentric Engines.’ ‘Cinematic Sex.’ ‘Faded Dream Of Luminous Beauty.’ ‘Retro Rocket Number One.’ ‘Black Cat In Golden Fields.’ ‘The Sunday Morning Rocket Club. ‘The Lost Century.’ ‘Rocket Rodeo.’ ‘Dreams Of A Midnight Cat.’ ‘Tremolo Town.’ ‘The Eternal Dreamer.’ ‘The Ancient Modern.’ ‘Alchemist’s Blues.’ ‘The Electrical Circus Parade.’ ‘Dream Cargo.’ ‘Abandoned Dream.’ ‘You As A Radio Wave.’ ‘Tomorrow Sounds Like Yesterday.’ ‘The Cathedral Clock Is Lost In Time.’ ‘Sloroka.’ ‘Astronautix.’ ‘Cities Of Glamour.’ ‘Dream Generator.’ ‘Chrysler Dream Of Chromium Beauty.’ ‘The Analog Generation.’ ‘The Art Of Light.’ ‘The Great Procrastinator.’ ‘We Kissed ‘Under Twilight Stars.’ ‘Bedtime Story.’ ‘The Wondering Why.’ ‘One Rainy Day.’ ‘Tonight In Dreamland.’ ‘Blazing Stars Drop Dew On The Fields.’ ‘The Booster Bleeper.’ ‘Crescent Moon And Chromium Stars.’ ‘Shadowcasting.’

Buy Bill Nelson's music directly from the artist. The Dreamsville Store Support the artist...please buy from these outlets! Official Bill Nelson Merchandise Store - Click Here! Orchestra Futura - Live At Nelsonica & Clothworkers Hall Release due 13th February 2026 For album info and audio clips - Click here Pre-order options £15 + P&P My Private Cosmos (Disc Three ) Digital release November 2025 (Original release December 2021) For album info and audio clips - Click here Purchase download £10 + VAT My Private Cosmos (Disc Two ) Digital release October 2025 (Original release December 2021) For album info and audio clips - Click here Purchase download £10 + VAT My Private Cosmos (Disc One ) Digital release September 2025 (Original release December 2021) For album info and audio clips - Click here Purchase download £10 + VAT Caliban And The Chrome Harmonium (Extended Version) Digital release August 2025 (Original release August 2001) For album info and audio clips - Click here Purchase download £10 + VAT Crimsworth (Extended Version) Digital release July 2025 (Original release February 1995) For album info and audio clips - Click here Purchase download £10 + VAT Simplex (Extended Version) Digital release June 2025 (Original release November 1990) For album info and audio clips - Click here Purchase download £10 + VAT Quit Dreaming And Get On The Beam Released May 2025 (Original release May 1981) 3-CD & 1-Blu-Ray Deluxe Box Set For album info - Click here Purchase box set £57.99 + P&P After The Satellite Sings Digital release May 2025 (Original release April 1996) For album info and audio clips - Click here Purchase download £10 + VAT Astroloops Digital release April 2025 (Original release January 2015) For album info and audio clips - Click here Purchase download £10 + VAT Luminous Digital release March 2025 (Original release April 1991) For album info and audio clips - Click here Purchase download £10 + VAT Northern Dream Digital release February 2025 (Original release 1971) For album info and audio clips - Click here Purchase download £10 + VAT The Two-Fold Aspect Of Everything Digital release January 2025 (Original release February 1985) For album info and audio clips - Click here Purchase download £10 + VAT Studio Cadet Released December 2024 For album info and audio clips - 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In The Air Age Released August 2021 (Original release July 1977) 16 Disc Box Set For original album info - Click here Purchase 3-CD Set £23.99 + P&P Modern Moods For Mighty Atoms Digital release August 2021 (Original release September 2010) For album info and audio clips - Click here Purchase download £10 + VAT Albion Dream Vortex Digital release July 2021 (Original release September 2013) For album info and audio clips - Click here Purchase download £10 + VAT Fantasmatron Digital release June 2021 (Original release August 2011) For album info and audio clips - Click here Purchase download £10 + VAT The Dream Transmission Pavilion Digital release May 2021 (Original release September 2009) For album info and audio clips - Click here Purchase download £10 + VAT Dazzlebox Released April 2021 Double album For album info and audio clips - Click here Very low CD stock! Last few copies remaining! 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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

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

Optimism album - September 1988 Orchestra Arcana Albums Menu Future Past Currently unavailable TRACKS: 01) Exactly The Way You Want It 02) Why Be Lonely 03) Everyday Is A Better Day 04) The Receiver And The Fountain Pen 05) Welcome Home, Mr. Kane 06) This Is True 07) Greeting A New Day 08) The Breath In My Father's Saxophone 09) Our Lady Of Apparitions 10) The Whole City Between Us 11) Deva Dance 12) Always Looking Forward To Tomorrow 13) World Thru' Fast Car Window 14) Profiles, Hearts, Stars 15) Daughter Of Dream Come True 16) Alchemia extra tracks: 17) Um, Ah Good Evening 18) Kut Up In Cartoonsville 19) Short Wave ALBUM NOTES: Orchestra Arcana is a pseudonym Bill Nelson initially devised to overcome contractual issues with CBS/Portrait, that, by the time of this second release, no longer applied. So although Optimism was credited to Orchestra Arcana in the UK, it was credited to Bill Nelson's Orchestra Arcana in the US. Optimism was available on vinyl, cassette and, for the first time in Nelson's career, simultaneously released on the UK CD edition contained 3 bonus tracks that were not replicated on the US release on Enigma the following year. US vinyl copies (on Enigma) came with a sticker that read "Vocals Discovered and Music Constructed by the Brain and Fingers Behind Be-Bop Deluxe". PAST RELEASES: Both the Iconography and Optimism albums were collected together with all their extra tracks and released on CD as The Hermetic Jukebox in 2003 (out of print). CURRENT AVAILABILITY: Currently out of print and a potential future Bandcamp digital download reissue. BILL'S THOUGHTS: "Whilst these recordings are "lo-fi" in nature, I have always been fond of them. These recordings serve as a reminder that expensive technology isn't always the key to creativity." _____ "It takes quite a while to get [the voice samples] to sit within the metre of the music. That's why they are sometimes 'slowed down' so that they fit the feel of the song's tempo. Its not simply a matter of just sampling them and then spraying them randomly all over the track. A lot of time is spent choosing their exact placement and fine-tuning their 'groove.' There are lots of carefully considered details in these instrumental pieces, not just the voice samples, but all the little background ornamentations, the subtle textures of individual sounds, the echoes, reverbs, modulations, eq, filtering, etc, etc...every component has its own reason for existing, its own aesthetic requirement. I spend a lot of time thinking about these tiny sub-structures. My goal is to produce worlds within worlds, spheres of sound and different but complimentary ideas spinning inside each other, gyroscopic fields of sound and meaning. The surface appears as one complete shiny thing, but the hidden interior is a galaxy of dark stars whirling around each other, waiting for the listener's telescope." FAN THOUGHTS: wadcorp: "Really like the samples used in the Iconography & Optimism discs. They are also some of my most-played Bill Nelson tracks." stormboy: "I also think Bill was the best sampler of the 80s. Orchestra Arcana, Map of Dreams , etc. all had fantastically, magically manipulated samples played as though another instrument, whilst the rest of the world nicked beats and bass-lines." paul.smith: "Um Ah Good Evening" (love it - always have) always tests friends of mine who claim to have broad musical tastes, resulting in comments such as 'what the fuck is this!?'...heh,heh,heh." Numbat: "The Receiver and the Fountain Pen": "I love that track. I always wonder where Bill found that voice sample. My guess is it's from some old instructional tape for aspiring secretaries. And yet it's so mysterious and alluring." Peter: "I hadn't listened to Optimism in a long time, and gave it a spin the other day, and quite enjoyed it. I was struck by how fresh so much of it sounds to me even now. One can hear foreshadowing of the Demonstration of Affections period, and even After the Satellite Sings , in some places. This album combines ambient with songs you can dance to (and I did dance to them, as several tracks from the album were featured on party tapes I made "back in the day"), loads of Bill's trademark voice samples, interesting rhythms and a lot of very nice compositions." Dar: " Optimism has that other mellow gem from the same era, "The Receiver and the Fountain Pen". I've got my early dreamy Nelson mix minidisc on now...you're all getting fuzzy...this stuff is so good it makes me feel all liquified and colorized inside...goodbye..." Albums Menu Future Past

All That I Remember Bill Nelson album - 25 July 2016 Albums Menu Future Past Purchase this download TRACKS: 01) All That I Remember 02) The View From Lantern Hill 03) Memory Time No. 1: A Wakefield Adventure 04) The Wonderful Wurlitzer Of Blackpool Tower 05) Spacefleet (The Golden Days Of Dan Dare) 06) Memory Time No. 2: The Rock N' Roll Years 07) Christmastide 08) Strolling With My Father 09) Scale Model (Assembly Required) 10) Reighton Sands 11) Memory Time No. 3: Eagle, Beezer, Topper, Beano 12) When Boys Dream Of Guitars 13) The Ilfracombe Steamer 14) Memory Time No. 4: A Dansette Fantasy 15) Heading For Home In A Hillman Minx 16) As If It Was A Moment Ago ALBUM NOTES: All That I Remember is an instrumental album issued on the Sonoluxe label in a limited edition of 500 copies. The album was the third to appear in Nelson's Super Listener Series, and was presented in a digi-pack sleeve. The album was first announced on the Dreamsville forum on 17 July 2015, approximately 1 year ahead of release. At that stage Nelson had completed three tracks and had established the basic concept behind the work, formed from "nostalgic memories of younger days." One of the named tracks, "Old Boats" appears to have not made the final cut of the album, or perhaps it went through a change of title. In its early stages it was planned to include a couple of vocal pieces, but this idea never materialised, and Nelson stuck purely to instrumentals to convey his memories. Work on All That I Remember continued at pace, with the track listing confirmed on 11 August 2015, and tentative plans to issue the album around Christmas 2015. However, by October 2015 Nelson re-scheduled his plans for the album to be issued in February 2016 with the intention of staging a launch party for the album's release. Bill ended up choosing a different release for the launch party, so All That I Remember was released on 25 July 2016, becoming the first to be sold through a re-vamped SOS web shop. By 3 August 2016 it was announced that the album had completely sold out. Due to its autobiographical nature, Nelson decided to produce a 22 page set of listening notes, wonderfully illustrated and lovingly scripted, which help paint the historical back drop to the compositions. CURRENT AVAILABILITY: Available for purchase as a digital download here in the Dreamsville Store . BILL'S THOUGHTS: "All That I Remember is a very personal and autobiographical album. "It's entirely instrumental...a musical painting (or sonic movie) of an early period of my life. "But that's not to say that the music is always literally illustrative of the past. It has a post-modernist quality that often allows things to develop on their own, for purely musical reasons, rather than slavishly holding onto an entirely conceptual, 'retro' agenda. It features deliberately artificial, neo-classical stylings alongside, (and intensely fused with), electric guitar, plus a few subtle electro-techno touches. "There are moments that might make you think of The Years or The Alchemical Adventures of Sailor Bill , but they're really only hints and tints and far from the big picture, (which stretches wider than this). "It's a complex album, a bit of a puzzle, yet quite easy and explicit in other ways. As always, I'm playing ironic games with the listener's expectations, throwing diverse genres together, making odd juxtapositions. Is it music that requires intelligent thought to appreciate fully? I have no idea but, it's not an album for those who might be looking for an instant rock music fix. And yet, I have to admit it has some elements of that in it too. "It's not just a very personal album, it's indicative of the complexity of my own multi-faceted musical inspirations." _____ "The album contains a certain amount of nostalgic irony with a deliberate musical 'kitschness' to it. It's meant as a loving tribute to some older musical forms and has no existence in anything but whimsy and dreamy reminiscences. I intended for it to sound slightly 'antique' and just a little bit kitsch. It's post-modernism coupled with a kind of cute take on surrealism. You have to see the 'wink' in it to fully grasp where it's coming from." _____ "The listening notes help to fill in the background to each track, emphasising the autobiographical nature of the album and illustrating it with additional images, different from the CD package ones. All this will hopefully add to your enjoyment of what I consider to be a major statement album." _____ Bill's Listening Notes for the album: 'All That I Remember' Listening Notes FAN THOUGHTS: Palladium : "I listened to All That I Remember this morning in a relaxed, receptive mood - the music really took hold, as it were. I suspect it'll be rated over time as one of Bill's richest and sweetest recordings. I get a lot of pleasure from it - there seems to be a superabundance of an effortless poetic something-or-other saturating every track. I don't know what it is, but, boy, it puts me in a harmonious & heartfelt place." "I recommend that you read the detailed listening notes, track by track, as you listen to this album for the first time. I'm glad I did - a remarkably rich, evocative, cinematic experience. (I don't usually read while listening to music, as I find one distracts from the other - but this is an exception, probably helped by the fact that it's instrumental and deeply atmospheric)... It's an absolutely amazing, beautiful album, I should add." "Currently hugely enjoying this album. It has a lot of different moods and textures, but it works so well as a coherent, organic whole (as it were) - incredibly evocative, with some staggeringly lovely guitar. Current favourite tracks: "The Wonderful Wurlitzer of Blackpool Tower", "Christmastide", and "Reighton Sands"." james warner: "Another personal trip into the past in musical form from Bill, conjuring a strong sense of nostalgia with no words. Guitar and keyboards take turns at lead over the course of this album with number of tracks featuring the synthetic orchestra sound of The Alchemical Adventures Of Sailor Bill album." BigManRestless: "I'm mainly a fan of vocal-based songs, but I think this album, on first listen, may be my 2nd favourite instrumental album from Bill, just behind Practically Wired . A few more plays and it might overtake it. Very, very impressed!" Peter: "All That I Remember arrived over the weekend, and tonight I am sitting down for my first listen...I am half a dozen songs in and am truly loving what I am hearing. (I couldn't even wait until I had heard the whole album to say something about it!) Fantastic stuff, Bill! From the first warm, embracing notes of the title track, I have been entranced. Thank you for this one!" "I love it to pieces. It is just full of those moments when I am stopped dead in my tracks and just think, "Oh, wow...that's BEAUTIFUL". Bill's ability to do just the right thing at just the right moment never ceases to amaze me. Nicely done, Mr. Nelson." TheMikeN: "Nostalgia is an odd ingredient in brand new music, particularly when it comes alongside Bill's oft-expressed intention to look to the future in all his work. The dichotomy is explained by the fact that the music moves forward here and only the visuals (the pictures in Bill's head) were nostalgic. This is not a musical tribute to music of the past – it's a soundtrack to the colourful imagery Bill associates with his childhood and adolescence. The pictures in his head are fresh, so the music is fresh. What's not clear is whether the memories are poignant or joyful. Mr N assures us that there is tongue in cheek for much of what is here, but some of the melodies are so delicate that even I can feel the loss of those innocent times. None of us can have simple feelings about happy times that are lost in so many ways because the majority of the important players are no longer with us. Bill's 'golden memories' are thoughtful and subtle but they still inspire a chuckle. Listen to this alongside everything from Model Village , Chance Encounters and even "Adventures in a Yorkshire Landscape". For less detailed, more abstract musical imagery, And We Fell Into A Dream is a great place to go as well." Alan: "Today, I had time to sit down, read the listening notes, prior to listening to each track, and all I can say is, "Thank you, Bill Nelson." I appreciate you're letting us see a glimpse of your life through music. Many artists are reluctant to let their fans have a view of who they are, but it's one of the things that makes you a genuine person, as well as a true star. I've always liked the photograph of you and Ian, with the steamboat in the background. That photograph, as well as others, shows that you were a very good brother. As an aside, I'm glad that All That I Remember was a full album. I was afraid from the title that it may be an EP... Seriously though, keep doing exactly what you're doing. (Not that you need my permission). Oh, and on the final track, I heard some of the same type of guitar that originally drew me into your music all those years ago." wadcorp: "It's a sonic sea, deep & expansive. There are wide open vistas of English countryside, early morning walks by the seaside, and journeys down roads not traveled since one's youth. You're walking through a small town in "The Wonderful Wurlitzer of Blackpool Tower", past a grand old merry-go-round. You're not in the present any more, but flashing back to the experience as it was when you were young. "Spacefleet (The Golden Days of Dan Dare)" whisks you into a future, as imagined in the 1950s. Sweeping skyward with excitement & optimism. Undercurrents of jazz flood into the coolness of "Strolling With My Father." Imagine a smoky, dark nightclub, populated with the coolest of the cool. Seagulls call as you stroll by the edge of the water in "Reighton Sands." The music goes beyond setting the mood, and sets the place. You are there. All the tunes are very evocative of place, as well as of time. This is a journey of remembrance. Fans who enjoy The Alchemical Adventures of Sailor Bill will find this one right up their alley. A major entry into the Bill Nelson canon." major snagg: "I'm listening to this fabulous CD as I type this. What a stunning album." Returningman: "A highly personal album rather like an invitation to a private viewing of Bill's thoughts and distant memories. "Reighton Sands" for me is the absolute highlight of the album. Gentle strummed chords and ocean sounds provide the background texture to another guitar masterpiece. Ethereal and perfect, a sound that spirits you away to a place far far away. Bill mentions the possibility of "an epic box set, a life captured in sound" at the end of the notes, on the strength of Vol 1, I hope this project achieves fruition." Albums Menu Future Past

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

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

Hired History Plus album - 2019 Fiat Lux Production/Contribution Menu Future Past TRACKS: DISC ONE: HIRED HISTORY PLUS 01) Secrets 02) Photography 03) Blue Emotion (12" Version) 04) Comfortable Life 05) Sleepless Nightmare (12" Version) 06) Aqua Vitae 07) Feels Like Winter Again 08) This Illness 09) Photography (Unreleased Bill Nelson Version) 10) Comfortable Life (Unreleased Bill Nelson 12" Version) 11) House Of Thorns 12) Sleepless Nightmare 13) Three's Company 14) House Of Thorns (12" Version) 15) Solitary Lovers (12" Version) 16) No More Proud (Proud Mix) 17) No More Proud (Dub Mix) 18) Sally Free And Easy DISC TWO: ARK OF EMBERS (LOST ALBUM) 01) The Moment 02) Breaking The Boundary 03) Blue Emotion 04) Embers 05) No More Proud 06) Photography 07) Splurge 08) Secrets 09) Aqua Vitae 10) In The Heat Of The Night 11) Solitary Lovers BILL: Producer on four tracks, Disc One's 'Feels Like Winter Again', 'This Illness', 'Photography' and 'Comfortable Life'. NOTES: The tracks Nelson produced were originally recorded in 1983, but remained unreleased until 2019 with the release of this record. Steve Wright & David Crickmore: "...We have been able to include our earlier work with Bill Nelson as producer. Not only the debut independent single on Bill's Cocteau label 'Feels Like Winter Again' b/w 'This Illness', but also the original Bill Nelson produced version of 'Photography' (b/w 'Comfortable Life'), which was commissioned to be our next single when we first signed to Polydor – a plan soon abandoned by the company in favour of a remake with Hugh Jones at the controls. Riding on the Indie chart success of our debut, Bill's 'Photography' followed the brief to "make it sound like 'Feels Like Winter Again'." We even returned to the same modest local Leeds studio. It is a notable inclusion to this collection as it marks the first time Ian Nelson blew a saxophone on one of our recordings and you can hear that his lovely end solo idea survives right through from Bill's prototype to the bigger budget Hugh Jones replacement version." "It wasn't our first attempt at the number ('Comfortable Life') – Bill Nelson had offered his production of it as the intended B-side of 'Photography', recorded at the same sessions at Ric Rac in Leeds. Unheard until its inclusion here is that unreleased master in its 12" mix form (Polydor never commissioned the 7" edit from it). It comes with the heavy disclaimer that 'Blue Monday' was hot off the press and extremely influential at the time!" Production/Contribution Menu Future Past

Arcadian Salon Bill Nelson album - 14 October 2006 Albums Menu Future Past Purchase this download TRACKS: 01) Premium Standard No.1 02) The Girl In The Galaxy Dress 03) Take It Off And Thrill Me (Jazzy Option) 04) Memory Skyline 05) Distant Town With Different Lights 06) The Song My Silver Planet Sings 07) Spaceport 08) Superadventure (Sound-On-Sound) 09) Playful 10) Transparent Towers At Dusk 11) El Swingo Collapso 12) The Rest Of The World Rolls By 13) Wind Chimes Of Memory 14) Take It Off And Thrill Me (Rock Option) 15) Sequinned Skeleton Blues 16) Snow Is Falling 17) A Buddha For My Brother ALBUM NOTES: Arcadian Salon is an album mixing vocal and instrumental pieces issued exclusively for Nelsonica '06 in the then customary limited pressing of 500 copies on the Discs of Ancient Odeon label. As soon as Nelsonica was over the remaining 250 or so copies of Arcadian Salon were sold through SOS, and on 25 October 2006 (11 days after release at Nelsonica ) an announcement was made on the Dreamsville Forum that the album had completely sold out. The frenzied speed at which this title went out of print, together with some intense feelings expressed by members on the forum, would lead to a change of policy for the following year's convention CD. CURRENT AVAILABILITY: Available for purchase as a digital download here in the Dreamsville Store . BILL'S THOUGHTS: "The first six tracks are all from the Return to Jazz of Lights sessions and have a very jazzy feel. I couldn't find space for them on that album so they are presented here instead." _____ On the digital reissue: "I haven't listened to Arcadian Salon for several years, (due to my inescapable, constant, upward and onward work momentum,) but I have to admit to being somewhat astonished by the quality of the songs when listening to the album after its re-release in digital form. This is definitely an album I can feel proud of." FAN THOUGHTS: RJR: "For those of you who do not have this collection of songs for whatever reason, I HIGHLY recommend that you download it ASAP. I am a regular lurker on this board, and when I come out of cyber-hibernation it has to be for a good reason. This is definitely one of those occasions. Arcadian Salon is, in my humble opinion, in the top five of ALL of BN's releases (and I have been a follower since 1977). Each and every song grabs and stays with you. "The Girl in the Galaxy Dress" is gold. "Both versions of "Take It Off" are excellent...This is truly an awesome song. In fact, the whole CD contains some of BN's finest guitar work bar none." "You should be proud, Bill -- this collection is magical. As I said: DOWNLOAD THIS CD or forever regret it." adancetothemusicoftime: "I'd heard it for the first time...and it had that WOWEEEBLOODYHELL reaction. In fact, listening along we missed the turning on the A19 and ended up East of Ipswich, well, Wetherby." BobK: " Arcadian starts off cool, jazzy and groovy becoming, stylistically, more rock/pop in the second half. There are so many instantly loveable tunes on this." Radium Girl: "The vocals on Arcadian Salon are absolutely stunning! Thank you Bill, the whole CD is just gorgeous!" paul.smith " Arcadian Salon has so many great tracks which have become 'standards' for me over the years..."The Girl in the Galaxy Dress" is simply stunning...utterly beautiful vocals/guitar/instrumentation...I never fail to be astonished by the qualities of this classic track. "Transparent Towers at Dusk" is another track that hit with me soon after some repeated plays...and, of course, "The Song My Silver Planet Sings"...absolutely sublime!!!" old_goat: "Listening to "Take It Off and Thrill Me", "Memory Skyline" beginning...I'm so blown away!! OMG, it feels sooooo good!! The vocals are very playful, very jazzy guitar, and the "flute"...I'm am sooo loving this!!!" chromiumlad: "Got a kick out of Kansas being mentioned in "Transparent Towers at Dusk". And love "El Swingo Collapso" after just one listen. Fabulous playing Bill. You could play alongside whatever musical hero you desire." thunk: "Gotta say 'The Rest of the World Rolls By' is a 'corker' - gonna blast that one up in the car & drum the steering wheel 'till, well, the lights change!" mthom: "Two classics on this one: "Memory Skyline" and "The Rest of the World Rolls By". Essential listening to these ears. (oh yeah, don't forget "Snow is Falling"!)" tommaso: "Snow is Falling": "is a truly stand-out track, not just on this album, and the final "A Buddha for my Brother" is a very, very beautiful farewell gift to Ian. Oh, and GREAT cover design!" Flying: "There is an emotional and profound communication going on here that hits a deeper note, simply because it is obviously straight from the heart - and not going through the filter of a jazz or any other kind of theme. Genius is effortless." damien dale: "Bill, this is with out a doubt one of your finest albums ever. Take it from your fans; we would not lie to you! Albums Menu Future Past

Sound-On-Sound Bill Nelson's Red Noise album - 16 February 1979 Albums Menu Future Past Purchase this box set Purchase this double CD TRACKS: 01) Don't Touch Me (I'm Electric) 02) For Young Moderns 03) Stop/Go/Stop 04) Furniture Music 05) Radar In My Heart 06) Stay Young 07) Out Of Touch 08) A Better Home In The Phantom Zone 09) Substitute Flesh 10) The Atom Age 11) Art/Empire/Industry 12) Revolt Into Style ALBUM NOTES: Sound-On-Sound was Bill Nelson's first album to be issued subsequent to the dissolution of Be Bop Deluxe. The album would prove to be his final for EMI. Sound-On-Sound represents a major departure from Nelson's previous work, combining the urgency of New Wave music with the layering of synthesisers that would come to define the Synth Pop sounds of 1979-83. Consequently, the album is virtually absent of guitar solos, and the songs are delivered in a frantic, accelerated pace compared to most of Nelson's past work. Most of the tracks on Sound-On-Sound feature the nucleus of Nelson, Clark and Ford (as described for the Furniture Music single) with Ian Nelson playing saxophones and/or synthesisers on 10 of the 12 tracks. Dave Mattacks from Fairport Convention played drums on only four tracks. Sound-on-Sound was initially issued by Harvest on vinyl (complete with lyrics on the inner sleeve) and cassette, and peaked at No. 33 in the UK album chart. The album failed to sustain the level of interest associated with Be Bop Deluxe, and when EMI underwent a major re-structure in late 1979, Bill Nelson's Red Noise were dropped. Sound-On-Sound was deleted (along with the Be Bop Deluxe catalogue) sometime around 1980/81. In April 2017 Cherry Red and E soteric R ecordings , who, since 2011, have done so much to raise the profile of Bill Nelson's solo recordings from the period 1980 to 2002, acquired the rights to release the Be Bop Deluxe and Red Noise material issued between 1973 and 1979. On 26 August 2022, after all the Be Bop Deluxe albums had been given a deluxe box set release, it was now the turn of the Red Noise material. Due to licensing restrictions, the box set couldn't be called Sound-On-Sound , but was instead given the title Art/Empire/Industry . The Deluxe Edition comprised of: a freshly remastered version of the original album. a 2022 remix of the full album. includes previously unreleased concert recorded at De Montfort Hall, Leicester on 8 March 1979 a previously unreleased track entitled 'My Light' recorded for the Sound-On-Sound sessions. 4 recordings from a 1979 BBC Friday Rock Show session. a CD of previously unreleased Bill Nelson demos for the Sound-On Sound sessions. the original album presented in a 5.1 mix. previously unreleased promotional video of 'Revolt Into Style'. three tracks performed by Red Noise on BBC TV's 'Old Grey Whistle Test'. The box set includes a lavishly-illustrated book with extensive essay by Bill Nelson and a foreword by Steven Wilson, a facsimile tour programme, poster and four postcards. A 2CD edition of the album is also being released at the same time as the Deluxe Edition. The full track listing for the Deluxe Edition is: Disc One: 01) Don't Touch Me (I'm Electric) 02) For Young Moderns 03) Stop/Go/Stop 04) Furniture Music 05) Radar In My Heart 06) Stay Young 07) Out Of Touch 08) A Better Home In The Phantom Zone 09) Substitute Flesh 10) The Atom Age 11) Art/Empire/Industry 12) Revolt Into Style 13) Wonder Toys That Last Forever 14) Acquitted by Mirrors (B-side Of 'Furniture Music' EP) 15) Stay Young (BBC Session 17.02.1979) 16) Furniture Music (BBC Session 17.02.1979) 17) Don't Touch Me (I'm Electric) (BBC Session 17.02.1979) 18) Out Of Touch (BBC Session 17.02.1979) Disc Two Live At The De Montfort Hall, Leicester 1979 01) Don't Touch Me (I'm Electric) 02) For Young Moderns 03) Furniture Music 04) Out Of Touch 05) Stop/Go/Stop 06) Atom Age 07) Possession 08) Superenigmatix 09) Substitute Flesh 10) A Better Home In The Phantom Zone 11) Radar in My Heart 12) Art/Empire/Industry 13) Revolt Into Style 14) Stay Young 15) For Young Moderns (Encore) Disc Three 01) Don't Touch Me (I'm Electric) (New Stereo Mix) 02) For Young Moderns (New Stereo Mix) 03) Stop/Go/Stop (New Stereo Mix) 04) Furniture Music (New Stereo Mix) 05) Radar In My Heart (New Stereo Mix) 06) Stay Young (New Stereo Mix) 07) Out Of Touch (New Stereo Mix) 08) A Better Home In The Phantom Zone (New Stereo Mix) 09) Substitute Flesh (New Stereo Mix) 10) The Atom Age (New Stereo Mix) 11) Art/Empire/Industry (New Stereo Mix) 12) Revolt Into Style (New Stereo Mix) 13) Wonder Toys That Last Forever (New Stereo Mix) 14) Acquitted By Mirrors (New Stereo Mix) 15) My Light (Previously Unreleased - Recorded For The 'Sound On Sound' Sessions) (New Stereo Mix) 16) Instantly Yours (New Stereo Mix) 17) Ideal Homes (New Stereo Mix) 18) Disposable (New Stereo Mix) Disc Four 01) Don't Touch Me (I'm Electric) (5.1 mix) 02) For Young Moderns (5.1 mix) 03) Stop/Go/Stop (5.1 mix) 04) Furniture Music (5.1 mix) 05) Radar In My Heart (5.1 mix) 06) Stay Young (5.1 mix) 07) Out Of Touch (5.1 mix) 08) A Better Home In The Phantom Zone (5.1 mix) 09) Substitute Flesh (5.1 mix) 10) The Atom Age (5.1 mix) 11) Art/Empire/Industry (5.1 mix) 12) Revolt Into Style (5.1 mix) Disc Five 01) Wonder Toys That Last Forever (5.1 mix) 02) Acquitted By Mirrors (5.1 mix) 03) My Light (5.1 mix) (Recorded For The 'Sound On Sound' Sessions) 04) Instantly Yours (5.1 mix) 05) Ideal Homes (5.1 mix) 06) Disposable (5.1 mix) Video Content 01) Revolt into Style (Promotional video 1979) 02) Don't Touch Me (I'm Electric) (BBC TV Old Grey Whistle Test – 1979) 03) Furniture Music (BBC TV Old Grey Whistle Test 1979) 04) Stay Young (BBC TV Old Grey Whistle Test 1979) Disc Six Bill Nelson Red Noise Demos 1978 – Previously Unreleased 01) Acquitted By Mirrors (Demo) 02) For Young Moderns (Demo) 03) Stop/Go/Stop (Demo) 04) Furniture Music (Demo) 05) Radar In My Heart (Demo) 06) Stay Young (Demo) 07) Out Of Touch (Demo) 08) A Better Home In The Phantom Zone (Demo) 09) Substitute Flesh (Demo) 10) The Atom Age (Demo) 11) Revolt Into Style (Demo) 12) Waiting For The Night (Demo) 13) My Light (Demo) On 22 April 2023, Bill Nelson's Red Noise Live – De Montfort Hall Leicester 1979 was released separately to the above Deluxe edition as a 2x10" LP set, pressed on red vinyl released by Esoteric Recordings in a limited edition of 500 copies for Record Store Day, available while stocks last at participating independent record shops. The track listing for the 2x10" vinyl set is: A1) Don't Touch Me (I'm Electric) A2) For Young Moderns A3) Furniture Music A4) Out Of Touch B1) Stop/Go/Stop B2) Atom Age B3) Possession B4) Superenigmatix B5) Substitute Flesh C1) A Better Home In The Phantom Zone C2) Radar in My Heart C3) Art/Empire/Industry C4) Revolt Into Style D1) Stay Young D2) For Young Moderns (Encore) PAST RELEASES: Sound-On-Sound has been re-issued on vinyl once (1986, Cocteau), and on CD on three separate occasions (1989 Enigma, 1999 EMI, and 2012 EMI). The 2012 CD from EMI is the most extensive in content, coming as it does with all four b-side tracks from the album's two singles, plus four previously unreleased tracks recorded from a BBC 'session' (17/02/79 Friday Rock Show). Extra songs on the 2012 CD: Furniture Music b-sides: 13) Wonder Toys That Last Forever 14) Acquitted By Mirrors Revolt Into Style b-sides: 15) Stay Young (Live at Leicester De Montfort Hall, 8 March 1979) 16) Out Of Touch (Live at Leicester De Montfort Hall, 8 March 1979) Radio 1 Friday Rock Show session (17 February 1979) 17) Stay Young 18) Furniture Music 19) Don't Touch Me (I'm Electric) 20) Out Of Touch This 2012 edition was remastered (using the 1999 remaster), includes new liners notes and contains a nice selection of photos from the time period. Although overall the sound quality is an improvement over the previous CD issues, the album version of "Stay Young" on this edition suffers from a what appears to be a 'drop out' introduced in the remastering process. The 2012 reissue was deleted in 2014 and is currently out of print as a physical CD, but is still available as a digital download from Amazon and iTunes. CURRENT AVAILABILITY: The deluxe box set and the 2-CD set is available for purchase in the Dreamsville Store . BILL'S THOUGHTS: "The main inspirations were dystopian science fiction novels from the likes of George Orwell (and E.M. Forster's 'The Machine Stops', written in 1909 and frighteningly prophetic of the internet). Also images from Fritz Lang's 'Metropolis' and the ideas encapsulated in Ray Bradbury's 'Fahrenheit 451'. But there's also a future-kitsch element to the Red Noise album's stylings, a sense of irony and a slight tongue-in-cheek quality that suggests humorous absurdity. Although the songs portray a future with sinister overtones, the album attempts to have fun with these concepts, almost as if the citizens who inhabit the future-world the album portrays are too wrapped up in its electric distractions to register the negative effect it is having on their cultural values. Or something like that!" _____ "Punk wasn't the reason I disbanded Be Bop Deluxe, just frustration with the 'straightjacket' I felt we'd been fitted with by the industry and our success. The band's commercial machine was on an ever increasing upward path when I switched it off. I'd actually tried to pull the plug much earlier, before the Drastic Plastic album was recorded, but had been persuaded by the band's management to hold on a bit longer. Had I gotten my way, the Drastic Plastic material would have been recorded as the first Red Noise album. Instead, I adapted it for the final Be Bop album." _____ "I don't separate Be Bop era from Red Noise Era from whatever. It's a constantly flowing river heading out into an ocean of whatever is left when I'm gone. What appears to be different sections or parts appears so only if you view them from close up, from a particular point of bias. If you stand back and take in the entire work, you'll see it as a unity, a single expression of 'being', a single, unwavering, personal voice. And it's ALL relevant to the story I'm telling. No single part is any less or more important than another." _____ "I chose the album title, Sound-On-Sound , as a reference to early multi-track recording techniques, as pioneered by the great Les Paul." _____ "The little 'notice' on the vinyl version about playing the album loud and 'motorised in sequence' etc, etc, was written by me, tongue firmly in cheek... On the original back cover, an "Important Notice" stated: "This record has been styled with today's hi-fi in mind. For optimum results it should be played at high volume in a room with no views other than those afforded by the use of subliminal image video apparatus. Dancing is allowed though electrical stimulation of the nervous system is unnecessary. The music has been motorized in sequence to conserve real time. File under Absolute A-Go-Go." ALBUM REVIEWS: Review on Punk Brighton by Stuart Jones Review of the deluxe edition on Echoes And Dust by Zachary Nathanson FAN THOUGHTS: Peter: "SOS is a masterpiece! Everyone is so right about how this collection is so unique, so alive, so frantically searching for something -- and so revealing of exciting new things to come. Rather like Bill throwing down the gauntlet at the feet of the world (and the music industry) and hollering "Take THAT!" "It reflects Bill's love-hate relationship with change and technology in a raw, pureness that makes it jump into your ears and run around your brain pan laughing at the top of its lungs." asterisk: "Every time I listen to this album, not only do I hear some of the best, tightest, and most exhilarating songs ever recorded, I also heard Bill's muse moaning, panting, and screaming in ecstasy. It's no wonder she's stayed with him all these years." telekon: "It's fun, self-conscious punk-post-punk-new-wave-prog-rock-eletronica-kitchen-sink-garage-door-glass-of-aspirin-cats-on-fire kind of stuff." Swan: "Sound-On-Sound blew my head clean away at the time...it was like a shot of oxygen in a carbon dioxide rich environment...I re-bought it only last year...and...my head is still remote from my neck! A class and very important album. Dare I say it?...away ahead of its time..." John Izzard: "Don't be misled by the title, Sound-On-Sound is not an audio recording, it's a feature film in your head. Never in my long and delirious love affair with the album as an art-format, have I experienced a more cohesive, coherent - and fun - explosion of creativity. Unprecedented and unsurpassed in concept and delivery, I'm forever a rabbit in the dazzling glare of this album's headlights." andygeorge: "I remember when I played SOS for the first time thinking WTF!! is this? I think it was the shock of hearing Bill explode out of the speakers, guns blazing and taking no prisoners! Then it clicked. I played it continuously, hooked by the frantic energy of the opening track until the last tracks killer ending...and yes, I can remember my mum, god bless her soul, shouting out that classic line "turn that bloody music down!"..." paul.smith: "I have had sex to "Don't Touch Me, I'm Electric", but that's another story - resulting in an ambulance being called and several paramedics attempting to restart my heart..." Southern Dreamer: "I cycled home from town, put the LP on my ancient record player and pretty much sat there for the whole length of the album with my jaw dropping on the bedroom carpet as I listed to the incredible sound (on sound) coming out of the small battery powered speaker. "One after another the songs burst out from the vinyl grooves; each track sending my pulse racing, as well as to my amazement, when each track finished I just couldn't imagine that the next one would match it, but they did - and some! When the final chords of Revolt into Style crashed out and the pick-up arm lifted the stylus off the LP; my one & only thought - I HAVE GOT TO LISTEN TO THAT RECORD AGAIN, NOW!! And listen to it again I did; and again, and again and… "Be-Bop Deluxe were brilliant, but here was an entirely different listening experience; this was music for the now - hip hop and happening! I listened to the album so many times over the course of the following months and not once did it fail to reach the parts that most other albums of that period could only dream of getting anywhere near. "However when all is said and done SOS will always stand up to any scrutiny that could be applied towards the recordings from that period and it will forever remain one of THE stand-out albums of the post punk era. It is with us now for all to marvel at and will be there for generations of listeners to come." Paul Gilby - Sound on Sound: "Back in Feb 1979 I was in my final year at art college. The Red Noise album was playing on my cassette machine time after time and driving many of the girls in the art studio mad. But, the guys all loved it and we'd put up with listening to plenty of 'their music'. The Red Noise concert at Newcastle City Hall was stunning and I have a clear memory of how it made me feel even today. My brother Ian had a band at the time, so "Revolt Into Style" and "Furniture Music" were rehearsed and added to the playlist within weeks of the album coming out. Fast-forward many years, Ian and I were working in publishing and itching to start our own music magazine. Whilst writing the business plan in March 1985 and getting the editorial ideas together, we would often play the Sound-On-Sound album. Then when we were making a list of possible magazine names such as Studio World or Recording Monthly, we added Sound-On-Sound. This was not only the album we were listening to but also the name is actually taken from the sound recording process pioneered by Les Paul and was very applicable to our readership. So, we thought we'd drop the dashes and named the mag Sound On Sound and launched in Oct 1985. Over the years we would often interview Bill but it wasn't until 2004 that we got involved to help him out with his web site and then manage the CD pressing and mail order. Back in 1979 I would never have believed this would ever have happened. Life takes some interesting turns! Regards all, Paul" wonder toy: "We must all stand back in awe and honor the tremendous courage and sheer BALLS it must have taken in the name of art and following one's creative spirit at all costs. Cheers to Bill Nelson. This album is a monument to why that struggle to get your vision across as an artist is so important." Albums Menu Future Past

Chill & Kiss album - 1992 Ramon Tikaram Production/Contribution Menu Future Past BILL: Co-Producer, Guitar, Percussion and Synthesizer Production/Contribution Menu Future Past

The Best of and the Rest of Be Bop Deluxe retrospective collection - December 1978 Be Bop Deluxe Collections Menu Future Past TRACKS: A1) Axe Victim A2) Maid In Heaven A3) Music In Dreamland A4) Sister Seagull A5) Sleep That Burns A6) Ships In The Night B1) Blazing Apostles B2) Kiss Of Light B3) Dance Of The Uncle Sam Humanoids B4) Forbidden Lovers B5) Panic In The World C1) Blimps C2) Autosexual C3) Lovers Are Mortal C4) Shine C5) Quest For The Harvest Of The Stars D1) Japan D2) Speed Of The Wind D3) Lights D4) Blue As A Jewel D5) Face In The Rain D6) Futurist Manifesto NOTES: The Best of and the Rest of Be Bop Deluxe is a double album that brilliantly brought together an album of highlights taken from the band's five studio albums and an album of rarities, including at the time of release, 6 previously unreleased tracks and 5 non album 'A' side or 'B' side cuts. Housed in a wonderfully illustrated gatefold sleeve with inner sleeves bearing lyrics and musician credits for all tracks, the album was a fitting tribute to a band that had bowed out less than six months earlier. Despite a number of subsequent reissues and archive releases issued since this impressive collection first appeared, one of the previously unreleased tracks, "Face in the Rain", remained exclusive to this set right up until Esoteric Recordings produced their super-deluxe box sets. The rest of the rarities have re-appeared first as bonus cuts on the Be Bop Deluxe albums when released on CD in 1991, and more recently on the Futurist Manifesto 1974-1978 box set issued in 2012. PAST RELEASES: 16 of the 22 tracks on this compilation album had originally appeared spread across the band's five albums and four of the band's 7" singles issued on Harvest between 1974 and 1978. See individual entries of those albums and singles for full details. CURRENT AVAILABILITY: This compilation is now out of print. Collections Menu Future Past

Acquitted By Mirrors - Issue Two - Published June 1982 Back to Top

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

Guitar Tablature A fantastic selection of songs that Dreamsville regular Twilightcapers has give n his very own interpretation of. These may not be 100% accurate, we'll leave it for you to decide! After all...only Bill knows how they were actually played!!! If you're new to guitar tablature, check out this handy tutorial! Be Bop Deluxe Adventures In A Yorkshire Landscape Autosexual Axe Victim Beauty Secrets Between The Worlds Bird Charmers Destiny Blazing Apostles Blue As A Jewel Bring Back The Spark Crying To The Sky Crystal Gazing Dangerous Stranger Darkness (L'Immoraliste) Red Noise A Better Home In The Phantom Zone Acquitted By Mirrors Art/Empire/Industry Atom Age Don't Touch Me (I'm Electric) For Young Moderns Furniture Music Out Of Touch Radar In My Heart Stay Young Stop/Go/Stop Substitute Flesh Wonder Toys That Last Forever Down On Terminal Street Electrical Language Face In The Rain Fair Exchange Forbidden Lovers The Gold At The End Of My Rainbow Heavenly Homes Islands Of The Dead Jean Cocteau Jets At Dawn Jet Silver And The Dolls Of Venus Kiss Of Light Life In The Air Age Lights Like An Old Blues Love In Flames Love Is Swift Arrows Lovers Are Mortal Love With The Madman Maid In Heaven Make The Music Magic Mill Street Junction Modern Music Suite Music In Dreamland New Mysteries New Precision Night Creatures No Trains To Heaven Orphans Of Babylon Panic In The World Piece Of Mine Possession Quest For The Harvest Of The Stars Rocket Catherdrals Shine (Live Version) Ships In The Night Sister Seagull Sleep That Burns Soundtrack Speed Of The Wind Bill Nelson - Solo A Kind Of Loving A Month Without A Moon A Private View Banal Bloo Blooz Chymepeace (An Ending) Contemplation Decline And Fall Do You Dream In Colour? Dream Ships Set Sail End Of The Seasons Eros Arriving Flaming Desire Flesh The Golden Days Of Radio House Of Sand Kid With Cowboy Tie Lacuna The Lamp Of Invisible Light Living In My Limousine Love's A Way Mr. Magnetism Himself My Electrical Empire Northern Dreamer November Fires The Ocean, The Night And The Big, Big Wheel The October Man October Sky Ordinary Idiots The Passion Photograph (A Beginning) The Raindrop Collector Rejoice Sad Feelings See It Through The Weather Song White Sound Stage Whispers Superenigmatix Surreal Estate Swansong Third Floor Heaven Twilight Capers

Furniture Music Bill Nelson's Red Noise single - 09 February 1979 Singles Menu Future Past TRACKS: A) Furniture Music B1) Wonder Toys That Last Forever B2) Acquitted By Mirrors ORIGINALLY: A) was from the upcoming Sound-On-Sound album B-sides) were both non-album tracks NOTES: Furniture Music was Nelson's first solo release since the Northern Dream album in 1971, and it appeared one week ahead of the Sound-On-Sound album, providing a glimpse of the abrupt change in style that Nelson's Red Noise project represented compared to Be Bop Deluxe. Red Noise comprised a semi-fluid line up, which on their debut single featured a trio of Andy Clark, retained from Be Bop Deluxe on piano and synthesisers, Rick Ford on bass guitar, and Nelson playing drums, Mini Moog, electric guitars and vocals. Furniture Music was available in red vinyl (limited edition) as well as black vinyl, with both editions coming in a picture sleeve. Interest in the single was sufficient to take it to No. 59 in the UK charts. PAST RELEASES: B1 was also available on the US version of Cocteau Signature Tunes comp (out of print). B2 was also available on The Strangest Things comp (out of print). CURRENT AVAILABILITY: All 3 songs were added to the remastered Sound-On-Sound CD from Harvest in 2012, which is now out of print in physical form, but available as digital download on Amazon and iTunes.. BILL'S THOUGHTS: "It was a relief [to go solo]...the doors were opened, windows too, and everything seemed possible. No need to explain myself to others, no need to adapt my ideas to musicians who might have found it difficult to understand where I was coming from, no compromises required other than those which I personally felt justifiable, no need to reflect anything other than my own hard-won experience, my own true story. No need to follow fickle fashion or the desperate dictates of an industry that, even then, was floundering and becoming lost. Going 'solo' gave me permission to express my personal, private world, my own 'vision', without need for discussion or dilution. In a word: It brought me the FREEDOM to be 100% creative!" _____ "I simply took the idea of 'white noise', (which is the presence of every possible frequency happening at the same time), and changed it to 'Red' to suggest something fast and fiery and also to hint at the socialist/communist image we adapted, partly from the Beatles Shea Stadium stage outfits, partly from Maoist Chinese revolutionary suits but also nodding towards a retro-futuristic Orwellian dystopia ." _____ "Remember...the same heart and mind that created Northern Dream and all the Be Bop Deluxe variations also created everything else I've released. From Northern Dream to Sailor Bill and all the stops in between, the one consistent thread is that mind and the idealistic pursuit of excellence. I've never experimented just for the sake of experimentation...I'm simply trying to define and refine my musical vision." Singles Menu Future Past

2005 2006 2007 2008 2009 2010 2011 2013 William's Study (Diary Of A Hyperdreamer) September 2009 Jan Jul Aug Oct Nov Dec Thursday 24th September 2009 -- 8:20 pm This diary entry begins in almost exactly the same way as the previous entry of 20th August, that is to say with Emiko departing, once again, for Japan. She left very early this morning and will be away for an indefinite length of time, looking after her seriously ill mother in Tokyo. (I'll write in more detail about this latest trip towards the end of today's diary entry.) Emi was away, last time, for two weeks, but, even though I had a long list of Nelsonica preparations to occupy me, her absence felt more like two months. As always, I missed her terribly and found it very hard to fulfill my Nelsonica duties whilst having to deal with various home commitments plus responsibilities to my own mother. For Emi, the situation in Tokyo was very difficult. Her mother came home from hospital where she had become very depressed and insular. It seems that there's little that can be done for her in physical terms but it was hoped that the return to her apartment, coupled with Emi's presence and personal care, would raise her mum's spirits. It did so, noticably, but required constant attention on Emi's part and a daily care routine that hardly allowed Emi to leave her mother's apartment the whole time she was in Japan. Nevertheless, Emi WAS able to briefly return to the U.K, just in time to help with the final period of my convention preparations, taking care of domestic issues whilst I concentrated on the work remaining to be done. This included the selection, assembly and mastering of my live performance backing tracks and the last minute creation of several drawings for the Nelsonica auction along with the custom decoration of an Eastwood 'Ichiban' guitar, (generously donated by Eastwood boss Mike Robinson), for the Grand Prize Draw. I also took time out to arrange some essential guitar repairs with Gordon White at Music Ground in Leeds, the very nice man who does all my guitar set-up work for me: (www.singlecoil.co.uk ) I had Gordon apply his talents to the Gibson 'Black Beauty' Les Paul Custom guitar generously gifted to me by the late Michael Grime and his very kind wife Kate, (I had a new nut and heavier strings fitted and a general set-up). Gordon also worked on my Campbell Nelsonic Transitone signature guitar, (a slight lowering of the action and an intonation adjustment in this case). Two days before Nelsonica I'd spent a busy afternoon in a Leeds rehearsal room with guitar tech Pete Harwood and sound engineer Ian Thorpe, making sure that my full stage equipment set-up was functioning properly whilst reminding myself of its myriad features. Unfortunately, I don't have enough space in my home studio to accomodate this rather complex live performance rig, so it's essential that I hire a room big enough to wire everything up and get to grips with its various pedals and sounds before I give any concerts. As I only perform live once a year these days, an awful lot rides on that brief afternoon of rehearsal. Whilst Emi had been away in Japan, (from 20th August until the 4th September), I'd individually signed 250 special presentation tins that were designed to hold the Nelsonica convention album and various other 'welcome pack' items. (The autographing of these tins took far longer than I'd originally anticipated. In fact it took me several evenings and two permanent marker pens to complete the task!) During this time I also put finishing touches to the two new presentation audio-visual pieces created for the convention, ('Materialisation Phenomena' and 'Welcome To The Dream Transmission Pavilion'), as well as beginning and completing an eight minute long video piece designed to accompany a new 'Orchestra Futura' live performance track titled 'Machines Of Loving Grace.' Along with the above, I also managed to record 12 new backing tracks for the Nelsonica concert. However, I found it impossible to fit them all into the set list as I needed to leave enough space to include several older pieces alongside the newer material. I actually spent a few fraught days assembling draft running orders and changing them around until eventually arriving at a version that came close to satisfying me...but even then, I was forced to leave out several other pieces that I'd hoped to perform. Nevertheless, the final result was a live solo set lasting over 70 minutes and consisting of 14 numbers with a further three tracks on reserve as potential extras, plus seven extended improvisation 'Orchestra Futura' pieces for the separate live trio set. 'Orchestra Futura' musicians Dave Sturt and Theo Travis each contributed their own starting points/backing tracks to add to my own two Futura pieces, so this year we had a full set to present to the audience rather than the brief 'taster' of last year. Another unique feature of this year's convention was a live on-stage interview with legendary record producer John Leckie and myself. John and I co-produced Be Bop Deluxe's recordings from the 'Sunburst Finish' album onwards, plus the Red Noise 'Sound-On-Sound' album and also my 'Quit Dreaming And Get On The Beam' solo album. We've kept in touch over the intervening years and I count John amongst my dearest friends, even though his busy schedule and my own crazy work ethic makes it difficult to actually meet up as often as we'd like. Luckily, this year John had a gap in his usually packed diary and contacted me to say that he'd like to come up to Yorkshire to attend Nelsonica. I immediately asked him if he'd be willing to take part in an on-stage interview alongside me and he very kindly accepted. Plans had already been put in place for me to take part in a live interview, (to be conducted by Nelsonica team member Ian Haydock), on the subject of Red Noise's 'Sound-On-Sound' album, but a last minute adjustment switched the theme over to the broader topic of the work that John and I had accomplished together in the past, plus some more general questions about John's extensive post Be Bop Deluxe production career. It was lovely to see John again...we always seem to resume where we left off, no matter how much water passes under the proverbial bridge in between our meetings. I guess we've always had a natural rapport which made the experience of working together a happy and comfortable one. The actual convention was very well attended and enthusiastically received. My two nephews, (my late brother Ian's two sons), came along, as did my mother and my cousin Ian. Guitarist/singer/artist Brendan Croker also was a guest, as was Kate Grime and Michael Grime's sister Sheila and her husband Brian. Kate had travelled from France to attend. Ian Gilby of 'Sound-On-Sound' magazine joined in with his brother Paul to enjoy the day too. My only regret with these things is that I'm so constantly 'on-call' throughout the event that I don't get enough time to properly attend to the needs of my guests. My mind is always whirling around, thinking ahead to the next part of the day's programme, stressing out about one thing or another, racing to get clothes changed between live performance sets, trying to speak to fans who come up to me with compliments or questions, etc, etc. However hard I try to relax and enjoy the day, I always end up worrying that I've not given enough time to everyone as a result of my pre-occupation with the event's performance and presentation duties. Anyway, the live music performances apparently went well, despite some very frustrating on-stage monitor problems encountered by myself during my solo set. Working with pre-recorded backing tracks, plus direct to pa system guitar feeds means, for me, that every single component of my performance exists only in the monitor speakers at my feet. There are no guitar amps, drums, acoustic instruments, etc on stage with me...the entire 'virtual band,' as it were, along with my live guitar playing and vocals, are only audible to myself via those basic on-stage monitors. This always presents problems of one sort or another, particularly as rock band pa monitors do not behave like studio monitor speakers. Bass frequencies and high frequencies tend to become over emphasised whilst the middle frequencies, (where much of the important detail resides), often gets overlooked or simply muddied by the extended low bass drones. Couple this imbalance with a hollow wooden stage that inadvertantly acts as a kind of huge, boomy bass cabinet, plus a hall that throws the front of house sound back at the stage as if from a long reverberant tunnel and you end up with a guitarist struggling to guess exactly where he is in the track. It was very difficult, on Saturday, for me to hear the cues and chord changes essential to finding my way through the music. Unsurprisingly, my playing always suffers because of this problem and so I ended up being a very disheartened bunny indeed. But, judging by the many positive comments I later recieved from the audience, it seems that the front-of-house sound was more than fine. This was, I'm sure, due to the care applied at the mixing desk by my good friend John Spence who was looking after the sound mix in the hall itself. I just wish I could have had something more comfortable to work with on-stage. 'In-ear' monitoring has been suggested as one possible alternative to the problem...but it's an expensive solution and one I'm not sure of. Actually, one of the best live performance experiences I've had was at two Leeds University School Of Music concerts when the on-stage monitoring was handled by a pair of in-house Genelec recording studio speakers, rather than the usual rock n' roll monitors. The sound was clear, detailed and inspiring to play to. My own selfish concerns aside, Nelsonica 09 was a big success and the friendship, warmth and kindness of everyone involved, from the fabulous and talented Nelsonica team, through to the various guests and the fans themselves, made it a wonderful day. I've said it before but these conventions have evolved to the point that they're more like extended family gatherings than fan conventions. I'm very lucky to have found such loyal and enthusiastic support for my music and I'm extremely grateful to everyone involved. But now, only four days since the hustle and bustle and human interaction of Nelsonica, I'm once again alone in the house, typing these words in an empty silence and wondering how long it will be before I see my wife again. Emiko's mother is still very ill but it seems that there is no way to estimate the speed of the disease's progress. Her condition has fluctuated, some days being worse than others but with occassional flashes of respite. We simply don't know what the future holds, other than an inevitably sad conclusion. When Emi returned to England on the 4th September, her mother went back into hospital, but now that Emi is, once again, on her way back to Japan, her mother will come out of hospital so that Emi can take care of her at her mum's Tokyo apartment. There is no social or free health care in Japan, everything has to be paid for and hospital costs are high. Emi's mum has no health insurance, nor enough money to deal with extensive and expensive medical costs, so being cared for at home by her family and friends as long as possible seems like the only practical solution. In any case, Emi's mum has not felt happy in hospital and prefers to be at home with Emi looking after her. And Emi is glad to be able to spend some time caring for her mother at this depressing and painful time. This morning, we were both up at 5 am to get ready for Emi's departure. Last time, she flew from Yeadon airport to Japan, via Amsterdam. As I noted in my previous diary entry, Yeadon (Leeds/Bradford airport) is very convenient for us but we just couldn't get a suitable flight from there this time. The only alternative was for Emi to fly to Tokyo via Helsinki from Manchester airport. And the most comfortable way to get to Manchester airport from here is by train, although the journey takes a while. So I drove Emi to York station at 6 am this morning and put her on the Manchester Airport train. After waving goodbye to her from the platform, I drove back home feeling predictably miserable and lost. Walking into our home, these sad feelings were magnified. It's just not a home without Emiko, only bricks and mortar. Since beginning this diary entry, Emi has called me from Manchester airport to let me know that she'd arrived safely there and checked in at the departure desk for her flight to Finland. Then, just over three hours later, she called again from Helsinki to say that she was awaiting her connecting flight to Tokyo. It is now 3:35 pm, (U.K. time), and Emi will be 15 minutes into her flight from Helsinki to Japan. This leg of the journey will take around 12 hours so she will arrive at Narita airport sometime around 3:20 am tomorrow morning. I've told her that it's o.k. to telephone me at any time, night or day, so I'm hoping to be woken in the early hours by her calling to let me know she's arrived safely. Then she will have to take the more than two hour coach ride from Narita airport into Tokyo itself, then a taxi to her mother's apartment. All told, a frustratingly long and exhausting journey. It is Emiko's 61st birthday next month, (4th of October), and it will be the first time since we've been together as a couple that we will not be able to celebrate her birthday together. I bought her two birthday gifts on Tuesday...one of which she has opened already, the other which I've insisted she pack in her suitcase and not open until October 4th in Tokyo. It's going to be tough, one way or another, because we will be apart for a much longer time than on her previous trip. Emi has an open-ended return ticket and the earliest she can estimate coming back home is the 19th of October. She also has a prestigious flower display commision for the Lord Mayor's Mansion House in November so will need to return to deal with that at some point anyway. But, meanwhile, I must keep my chin up, telephone her every day in Tokyo, take care of our cats, remember to feed myself properly, keep the house clean, help my mother with her still unresolved legal matter, try not to panic or stay awake all night worrying about this and that...and so on. Oh, and maybe make a start on the final preparations for my next two album releases, 'Non-Stop Mystery Action' and 'Picture Post.' There's packaging artwork to come up with for both of these projects, plus running orders need to be finalised and tracks mastered at Fairview studios with John Spence. And maybe, because time passes more quickly when I'm making music, I should also turn my recording equipment on, pick up a guitar and see what loneliness might bring to my solitary musical table. ***** The images accompanying this diary entry are as follows:- 1: An outake from 'The Love That Whirls' photo session. 2: A filtered outake from the 'Do You Dream In Colour' photo session. 3: Bill on stage in the 1980's. 4: Bill passport photo from the '80's with goatee beard. 5: Bill's photography for Nelsonica '09. 6: Bill's old resonator guitar which he painted in the mid 1960's. Top of page

Acquitted By Mirrors - Issue Three - Published October 1982 Back to Top

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

The Dead We Wake With Upstairs Drums Bill Nelson single - 1992 Singles Menu Future Past TRACKS: 1) The Dead We Wake With Upstairs Drums 2) Boat To Forever 3) So It Goes NOTES: The Dead We Wake With Upstairs Drums is a CD single issued by Venture (Virgin) Records to promote the Blue Moons and Laughing Guitars album. All 3 tracks were lifted from that forthcoming album. CURRENT AVAILABILITY: Although the single is long out of print, the Blue Moons and Laughing Guitars album is available as a digital download. Singles Menu Future Past

The Years Bill Nelson album - 22 June 2015 Albums Menu Future Past Purchase this download TRACKS: 01) Capricious Skies 02) The Bel-Air Rocketman 03) Atlantika 04) Southport 05) In The Realm Of The Super-Cute 06) The Invisible City Of Christian Rosenkruetz 07) A Charming Trick 08) Method Acting 09) A Garden That Sings To The Sky 10) Odeon 11) The Years 12) The Last Romantic ALBUM NOTES: The Years is an instrumental album issued in a one-off print run of 500 copies on the Sonoluxe label. Nelson revealed little in the way of detail about the development of this particular album, but it's likely that it progressed over a period of some time, and only really took shape once he had assembled sufficient material to make an album from his symphonic-based instrumentals. A posting on the Dreamsville forum from February 2014 refers to him nearly having completed "an epic neo-classical, pastoral, symphonic piece" during the writing sessions for the Velorama film soundtrack which may well have ended up on The Years album. The title The Years was first announced on the Dreamsville forum in late January 2015 when Nelson revealed it as an album he was then working on, and for which the final track running order was confirmed just a few weeks later. The album was originally to be issued after Loom , but once Nelson heard the mastered version he decided to bring its release date forward. It was also intended to be the third in the 'Super Listener Series' but in the end Nelson deemed The Years to be insufficiently challenging to be awarded that status, and it was given a normal Sonoluxe catalogue number. The album went on sale on 22 June 2015, and was in stock for a month before finally selling out on 1 August. CURRENT AVAILABILITY: Available for purchase as a digital download here in the Dreamsville Store . BILL'S THOUGHTS: "The Years could mean the many years of making music, or the 66 years of being on this planet, or the 'wear and tear' of the years, or a looking back at them...I wanted it to be enigmatic, and slightly melancholy and nostalgic. "However, the music on the album, in the main, is kind of kitsch and easy-listening, quite jolly in parts but with deeper reflective moments. As always, it's not turned out quite the way I expected. It's not as pure or perfect as I'd hoped, but it's been made very spontaneously with a feeling of urgency. It's not an album that I've pondered too deeply or furrowed my brow about. It's emerged almost of its own accord. No doubt it will find its place, in time. "It's all instrumental, uses orchestral sounds with some guitar parts. Neo-classical/light music forms. The nearest thing to it would be parts of Picture Post , Pedalscope and the instrumental tracks from The Alchemical Adventures of Sailor Bill. It's a strange thing in some ways, seems quite straight and easy on the surface but has a complexity in structure that undermines that. It's not quite what it appears to be!" _____ "Neo-classical composition isn't really about playing technique...it's more of a compositional approach. It takes classical music and re-frames it in a kind of 'post-modernist' atmosphere, referencing much older musical forms but with a twist. On this album, I pick up on the kind of music you might hear in those old black and white, between the wars and WW2 documentary films, (you know, those GPO film unit productions like 'Listen to Britain' by Humphrey Jennings, etc.) I'm particularly fond of that era and musical style but bring a more contemporary feel to bear on this album. It appears deliberately kitsch in places, superficially verging on easy listening but revealing more complexities and conundrums on deeper listening. It's meant to offer a somewhat enigmatic listening experience which never completely resolves itself." _____ "Not a 'down' album at all, despite my health issues and general darkness. It's an album of hope, of positivity, of beauty triumphing over drabness, a transcendent album, with a tinge of nostalgia and gentle melancholy at the heart of it." FAN THOUGHTS: felixt1: "I tell you what - it's a bloody great album! It actually took me a few days to really understand what's going on. It's kind of like what happens if a UFO lands in Model Village . The cinematic quality of the music cannot be exaggerated and there are some truly great moments from start to finish. The Years , is for me yet another special release. It hit me today, like a sledgehammer - really stopped me in my tracks. Gobsmacked" andygeorge: " The Years is a delightful collection of music and, as some have said, sits well with Model Village. But, as I sit here on a sunny Sunday morning in my study, with a cup of tea, catching up on paper work and other bits and pieces with The Years playing I can straight away hear that it is a rather more complex composition than Model Village punctuated with wonderful, sweet guitar sounds that only Bill can pull off..."Capricious Skies", "Southport", "Method Acting", "The Years'...all truly stunning!" Tourist in Wonderland: 'This new release really demands your attention...lots going on (in a good way)...many questions, much to discover, much wow-factor-ness. Initially blown away by "The Invisible City of Christian Rosenkruetz", "A Charming Trick", "Odeon", "The Years", "The Last Romantic". Can't stand chatting all day...got some seriously jaw-dropping music to listen to." Palladium: "The guitar (as you won't be surprised to hear) is blissful, and combines wonderfully with the ' orchestral ' sound/arrangements. A complex album, I think, which will take more than a few listens to get a proper sense of it." mark smith: "Once again the more you play it the more it makes sense, in my opinion. Another Bill Nelson masterpiece. It seems to sound even better listened to very late at night. Thank you again Mr Nelson." December Man: "After I'd finished listening to it on day two, I absent-mindedly pushed the FM button on my stereo, which was on the classical music station, and went outside for a bit, and when I returned I became aware of this beautiful sound coming out of my speakers and assumed it was still The Years that was playing! This went on for a good while before I realized what had happened! (Sometimes aging brings with it these little miracles of absent-minded fun.) But that kinda sums up this album in a strange way. It is 'deceptive' as Bill has stated. Each day that I've listened, it feels like I'm playing a whole new album! This is not unique in itself as many of Bill's albums do this, but The Years seems to make me more aware that this is happening somehow. This album also has a Bill Frisell kinda vibe to it (in its subtlety and strange beauty). Definitely one of Bill's best ever recordings." Albums Menu Future Past

Six String Super Apparatus Bill Nelson album - 1 December 2016 Albums Menu Future Past Purchase this download TRACKS: 01) Blackpool Pleasure Beach And The Road To Enlightenment 02) Nebulous Trolleybus 03) Andromeda Gardens 04) A Telescope Full Of Stars 05) Dance Of The Cosmic Signaller No. 2 06) Preamp 07) Hotel On Wheels 08) Spacehopper 09) Naughty Boy, Dirty Girl 10) When The World Was Beautiful 11) Happily Haunted 12) Two Brothers Test The Kite Flying Winds ALBUM NOTES: Six String Super Apparatus (Painting with Guitars Volume Three) is an instrumental album issued on Nelson’s own Tremelo Boy Records. The album is the third volume in an ongoing series entitled Painting with Guitars , which collects songs that Nelson had been performing live over the previous two decades, but which had yet to find their way onto albums. The first volume was The Romance of Sustain , the second was Plectrajet , and the fourth will be Astral Overdrive (scheduled to be released in 2017). Volumes two through four of the series were assembled during a 1 month stretch starting in February 2015. The project was the fulfillment of a long-standing promise by the artist to release the hoard of tracks, some of which had become favourites of fans who attended his live performances. In fact, the final track selection for these volumes were partly shaped by a small number of Dreamsville members who would remind Nelson of particular tracks they remembered fondly. The series also marked the end of an era for Nelson, who had all but given up live performances, due to continuing problems with his hearing. Six String Super Apparatus was issued as a download only release on December 1st, 2016. CURRENT AVAILABILITY: Available for purchase as a digital download here in the Dreamsville Store . IF YOU LIKED THIS ALBUM, YOU'LL PROBABLY ENJOY: Romance of Sustain , Plectrajet , Practically Wired , Fantastic Guitars, Plaything , The Awakening of Dr Dream , Confessions of a Hyperdreamer , Modern Moods for Mighty Atoms , Luxury Lodge , Tripping The Light Fantastic BILL'S THOUGHTS: "There are a few rarities amongst these...some pieces that have only been performed live once or twice, but some more regular numbers too, which have featured in my solo concerts more frequently." _____ "It's an album loaded with guitars and will form a further component in the gathering together of tracks from my concerts.” _____ "There's a certain adjunct between rock music and jazz which can often be missed by the casual listener. I'm thinking here of the free-flowing lines of Jimi Hendrix which have often been compared to the 'sheets of sound', or 'constant flux' approach to music such as those of jazz luminaries like John Coltrane, Charlie Parker, Albert Ayler and Ornette Coleman, (to mention just a few possibilities). This open-ended, unscripted, spontaneous attitude towards playing is frought with dangers but also potential wonders. It requires a kind of bravery, a willingness to step out beyond the familiar, pre-scripted lines that most musicians rely on and literally 'launch one's self off the cliff' and hope that fair winds and flying boats will carry the music into the blue sky. As the years go by, (and weigh more heavily on me), I'm increasingly drawn to the potential for entirely spontaneous playing, a sort of instant composition approach, but with nothing in mind other than the starting point with everything else being left entirely to chance. Sometimes this will bring melodic ideas to bear, other times abrasive ones, other times subtle inflections and sophisticated nuances, and othertimes just a sheer, exuberant, torrent of sound. Listening to today's transfer of my live solo concert tracks for the Six String Super Apparatus album, I was struck with the apparent open-ended, improvistional approach that emerged from the recordings. I'm not for one second implying that my music is in the exalted John Coltrane sphere...but, at times, it does seem to have something of the same spirit. A free, blowing, 'go wherever it will' attitude, which I find both flawed and yet perfect at the same time. It creates something with a combination of beauty and grit." FAN THOUGHTS: Big Dunc: "First impressions...Bloody Superb" andygeorge: "This is pure guitar heaven! Bill will probably dismiss this as a side project, something he can knock out in his sleep, (which he probably can!)...but, boy, this sounds soooo good!" Coach Matt: "Blackpool Pleasure Beach and the Road to Enlightenment": "Need I say anymore, as the hair elevates on my skin. This track grabbed me right away. Just makes me want to plug in, crank it up and play along. Fabulous guitar playing over a smashing, smooth bottom groove. Takes you sailing away on blissful roller coaster ride. I just dig this style of Bill and can never get enough! The groove and guitar is edgy, yet charming." Peter: "It is a guitar lover's dream come true – it has rock, jazz, blues, ambient...it has everything, the entire Bill Nelson canon collected in one place. Every technique, every effect...all interwoven into Bill's usual sterling compositions. Each song offers moments of "Oh, wow..." and "Oh, that's SO good". All instrumentals, this album has power, emotion, style, delicacy, grace, polish, joy...it is a showcase of Bill's mastery of both songwriting and guitar playing. It is a masterpiece." Pathdude: "This is another album of gorgeous Bill Nelson guitar music. If you liked Romance of Sustain or Plectrajet , you'll like this one. Quite a variety of sounds and styles. Personal favorite track right now is "When the World was Beautiful". Bravo Bill, another masterpiece!" Comsat Angel: "As always, another outstanding album!" RJR: "Very nice collection of songs. I don't know if it was intended, but at times there seem to be certain guitar playing that hearken back to the 80's, even some BBD." Neill_Burgess: "Six String Super Apparatus is a treat for anyone fortunate enough to have seen and heard Bill playing any of these tracks live in recent years, and it's a treat for anyone who missed the concerts. So, basically, it's a treat!" "It's a fairly varied set (space blues, big guitar heroics, gentler numbers) and the tracks fit together to form a coherent whole. Personal favourite is the joyous opener "Blackpool Pleasure Beech and the Road to Enlightenment". If you like Practically Wired , or the aforementioned The Romance of Sustain and Plectrajet , you'll love this." Sauropod: "I'm finding nowadays that whenever Bill releases a new album, it usually takes several listens to take it all in, even approaching things from a guitarist's point of view. They have a consistently high quality to them which I really appreciate and enjoy. "Andromeda Gardens" - This still remains my favorite track from the album after repeated listens. The use of a baritone guitar (?) on it sets the song apart from all the others on the album. One word sums it up - sublime. "Happily Haunted" - This is the one song from the record with a really memorable hook. If I were a record exec, this would be the one I would choose as the single. Summary/rating: I would rate this as a "must buy". It is, in my opinion, amongst the top 10% of Bill's output." james warner: "As has been the case with previous relatively low-key releases, I find myself enjoying this album more immediately than some of the 'fanfare' releases. Maybe it's because there is no concept to it, just a collection of really good tunes. There is a sense of sass and strut about many of the tracks, suggesting Bill was relaxed and having fun recording it. There are dreamy interludes, too, so this is an album with something for everyone." Prey: "WOW, the wizard of Wakefield brings the big notes to us for Christmas! An amazing journey through guitar heaven, thank you!" Albums Menu Future Past

Modern Music Be Bop Deluxe album - 10 September 1976 Albums Menu Future Past Purchase this 2-CD Set TRACKS: 01) Orphans Of Babylon 02) Twilight Capers 03) Kiss Of Light 04) The Bird Charmer's Destiny 05) The Gold At The End Of My Rainbow 06) Bring Back The Spark 07) Modern Music 08) Dancing In The Moonlight (All Alone) 09) Honeymoon On Mars 10) Lost In The Neon World 11) Dance Of The Uncle Sam Humanoids 12) Modern Music (Reprise) 13) Forbidden Lovers 14) Down On Terminal Street 15) Make The Music Magic ALBUM NOTES: Modern Music is the fourth album by Be Bop Deluxe. It was recorded at Abbey Road Studios, London during June 1976, and maintained the band's profile in the UK while adding to their international reputation in North America. Modern Music was the first Be Bop Deluxe album to feature an identical line up, in the form of Bill Nelson, Simon Fox, Charlie Tumahai and Andy Clarke. By now the band was establishing itself on the North American touring circuit, without forgetting about their home support. To have delivered two successful albums in one calendar year while undergoing a gruelling touring schedule is therefore all the more impressive. The album appeared on vinyl and cassette, and was promoted by the release of the single Kiss of Light , which failed to repeat the success of their previous release. Vinyl copies were released in a single sleeve, and the record was housed in an inner sleeve bearing lyrics to all songs. For North American radio use, Modern Music was promoted by a special "Banded for Air Play" edition, which featured a modified track listing. When reissued on CD in 1990, EMI elected to enhance the album by adding 6 bonus tracks, although the tracks they included were more relevant to other Be Bop Deluxe albums, instead of the the Modern Music sessions. If you no longer kept your vinyl copy, 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 E soteric R ecordings , who, since 2011, have done so much to raise the profile of Bill Nelson's solo recordings from the period 1980 to 2002, acquired the rights to release the Be Bop Deluxe and Red Noise material issued between 1973 and 1979. While this resulted in the deletion of existing physical editions, Cherry Red kept Modern Music on catalogue from 1 June 2017 via the usual download sites such as Amazon and iTunes while an expanded edition was prepared for a 2019 physical release. On 6 December 2019 Modern Music became the third Be Bop Deluxe album to be issued as a Deluxe Edition comprising: a freshly remastered version of the original album. a 2019 remix of the full album. 2 unreleased studio recordings. previously released live 'BBC In Concert' recorded for Radio. a bonus CD of a previously unreleased "official bootleg" of a performance at The Riviera Theatre in Chicago in March 1976 recorded for FM Radio. the original album presented in a 5.1 mix and the previously released OGWT appearance from November 1976. The album was presented in a triple fold out digi-pack and contained a 68 page booklet with an essay penned by Bill Nelson, previously unseen photographs from the period, postcards and a replica poster. A 2CD edition of the album was also released at the same time as the Deluxe Edition featuring Discs 1 and 2 which also replaced the standard download edition. The full track listing for the Deluxe Edition is: Disc 1: 01) Orphans Of Babylon 02) Twilight Capers 03) Kiss Of Light 04) The Bird Charmer's Destiny 05) The Gold At The End Of My Rainbow 06) Bring Back The Spark 07) Modern Music 08) Dancing In The Moonlight (All Alone) 09) Honeymoon On Mars 10) Lost In The Neon World 11) Dance Of The Uncle Sam Humanoids 12) Modern Music (Reprise) 13) Forbidden Lovers 14) Down On Terminal Street 15) Make The Music Magic Bonus Track 16) Shine (B-Side Of Single) Disc 2: 01) Orphans Of Babylon (New Stereo Mix) 02) Twilight Capers (New Stereo Mix) 03) Kiss Of Light (New Stereo Mix) 04) The Bird Charmer's Destiny (New Stereo Mix) 05) The Gold At The End Of My Rainbow (New Stereo Mix) 06) Bring Back The Spark (New Stereo Mix) 07) Modern Music (New Stereo Mix) 08) Dancing In The Moonlight (All Alone) (New Stereo Mix) 09) Honeymoon On Mars (New Stereo Mix) 10) Lost In The Neon World (New Stereo Mix) 11) Dance Of The Uncle Sam Humanoids (New Stereo Mix) 12) Modern Music (Reprise) (New Stereo Mix) 13) Forbidden Lovers (New Stereo Mix) 14) Down On Terminal Street (New Stereo Mix) 15) Make The Music Magic (New Stereo Mix) Bonus Tracks 16) Shine (New Stereo Mix) 17) Forbidden Lovers (First Version) 18) The Bird Charmer's Destiny (First Version) Disc 3: 01) Maid In Heaven (BBC In Concert 1976) 02) Bring Back The Spark (BBC In Concert 1976) 03) Kiss Of Light (BBC In Concert 1976) 04) Adventures In A Yorkshire Landscape (BBC In Concert 1976) 05) Fair Exchange (BBC In Concert 1976) 06) Ships In The Night (BBC In Concert 1976) 07) Twilight Capers (BBC In Concert 1976) 08) Modern Music (BBC In Concert 1976) i. Modern Music ii. Dancing In The Moonlight (All Alone) iii. Honeymoon On Mars iv. Lost In The Neon World v. Dance Of The Uncle Sam Humanoids vi. Modern Music (Reprise) 09) Blazing Apostles (BBC In Concert 1976) Disc 4: 01) Fair Exchange (Live 1976 – Previously Unreleased) 02) Stage Whispers (Live 1976 – Previously Unreleased) 03) Life In The Air Age (Live 1976 – Previously Unreleased) 04) Sister Seagull (Live 1976 – Previously Unreleased) 05) Adventures In A Yorkshire Landscape (Live 1976 – Previously Unreleased) 06) Maid In Heaven (Live 1976 – Previously Unreleased) 07) Ships In The Night (Live 1976 – Previously Unreleased) 08) Bill's Blues (Live 1976 – Previously Unreleased) 09) Blazing Apostles (Live 1976 – Previously Unreleased) Disc 5: 01) Orphans Of Babylon (5.1 Mix) 02) Twilight Capers (5.1 Mix) 03) Kiss Of Light (5.1 Mix) 04) The Bird Charmer's Destiny (5.1 Mix) 05) The Gold At The End Of My Rainbow (5.1 Mix) 06) Bring Back The Spark (5.1 Mix) 07) Modern Music (5.1 Mix) 08) Dancing In The Moonlight (All Alone) (5.1 Mix) 09) Honeymoon On Mars (5.1 Mix) 10) Lost In The Neon World (5.1 Mix) 11) Dance Of The Uncle Sam Humanoids (5.1 Mix) 12) Modern Music (Reprise) (5.1 Mix) 13) Forbidden Lovers (5.1 Mix) 14) Down On Terminal Street (5.1 Mix) 15) Make The Music Magic (5.1 Mix) Bonus Tracks 16) Shine (5.1 Mix) 17) Forbidden Lovers (First Version) (5.1 Mix) 18) The Bird Charmer's Destiny (First Version) (5.1 Mix) 19) Forbidden Lovers (BBC Old Grey Whistle Test - November 1976) 20) Down On Terminal Street (BBC Old Grey Whistle Test - November 1976) PAST RELEASES: The album can be found in a number of guises. The 1990 CD edition was released as a physical CD, but strangely not as a download in its own right. The album without the bonus tracks was included in the budget box set Original Album Series (2014), as well as on Disc 3 of the Futurist Manifesto box set (2012). Extra songs on the 1990 CD: 16) Futurist Manifesto 17) Quest For The Harvest Of The Stars 18) Autosexual All 3 are Drastic Plastic outtakes and were all previously on The Best Of and the Rest Of . "Futurist Manifesto" was the b-side to the Japan single, and was therefore on Singles As and Bs. CURRENT AVAILABILITY: The 2-CD set is available for purchase in the Dreamsville Store . BILL'S THOUGHTS: "Modern Music came directly from my experiences on the American tour. I'd been exposed to American culture for years, through movies and television and music so I imagined that when I got there it would be something very familiar. But it was so foreign that it seemed almost like being on another planet." (from an interview in Guitarist Magazine, 1996) _____ "The entire "Modern Music Suite" for instance, is about my experience of touring the USA but has sequences that seem surreal and dream-like." _____ "I've used voice samples for more than 30 years...the intro to Be Bop Deluxe's "Modern Music Suite" being an early example. I like the way a voice sample can add an enigmatic spin to an instrumental." _____ "The voice/radio collage at the start of the "Modern Music Suite" was a combination of random radio dial spinning and some deliberately chosen recordings." _____ "You'll notice, if you have heard all the band's albums, that, after Sunburst Finish , the music becomes slightly less guitar focused and moves into synthy textures with the guitar becoming sort of 'orchestrated' or integrated into the songs, rather than constant up-front solo improvisations. The emphasis switches to songwriting on Modern Music and to more surreal/sci-fi atmospheres on Drastic Plastic before flipping over into the near-future dystopian moods of Red Noise. But those first three albums were intended to bring the guitar playing thing to the fore." _____ Commenting on the Modern Music watch and badge from the cover: "I thought up the idea and gave a written description/drawing of the style of the items. They were actually made by the same BBC props department who provided gadgets for the 'Doctor Who' tv series at that time." ALBUM REVIEWS: Review on Prog Rock Music Talk Review on God Is In The TV Review on ProgNaut Review on Louder Than War Review on Spill Magazine Review on Goldmine Magazine Review o n At The Barrier Review on Exclusive Magazine Review on Sea Of Tranquility Review on LMNOP Review on Part-Time Audiophile Review by Michael Doherty Review on Music Street Journal Review by Dmitry M. Epstein Review on Musoscribe FAN THOUGHTS: Prey: "I go back to that afternoon in the 70's when listening to Modern Music for the first time when an emotion washed over me that the music I was hearing was the music of the future, unlike anything else at the time. Modern Music was a revelation for me at that point, it affected me deeply and I never forgot that day." paul.smith: "Modern Music is my favourite Be Bop album - I've always seen it as a concept album full of many rich layers, twists and turns and real musical cohesion." Debtworker: "Modern Music is the album where I really came on board, as a Be-Bop Deluxe fan. The music is still as fresh today, as it was all those years ago. It's a great album packed full of well crafted songs and tight melodies, whilst still pushing Bill's musical boundaries - even though he was constantly touring America at the time, if I remember right." TwentySmallCigars: "I've been a fan of Be Bop Deluxe (and eventually Bill Nelson) since the mid-70's when a friend of mine bought a copy of Modern Music because Ace Frehley mentioned Bill as one of his favourite guitarists in an interview in Circus Magazine." Mick Winsford: "Modern Music is for me, my favourite BBD album. There's just something really special about this album, from the opening acoustic riff of "Orphans of Babylon" to the the simple beauty of "Make the Music Magic". This was the second BBD album I heard (SF being the first one) and that image I have of me traipsing up stairs on Xmas night with my copy of MM in my hands and putting it on the stereo for the first play has never left me. I loved it from the first play and haven't fallen out of love with it since." Steve Zodiac: "Like many here I've been a listener of Bill's music since the seventies. I have clear memories of playing my Modern Music LP over and over as a teenager; it must have been Christmas '76 when I asked mum & dad to buy it for me as a present and I remember being absolutely bowled over by it. I had already seen BBD live at the Liverpool Empire 23 Jan 1976; I think that may well have been the first gig I ever went to. I saw them again Feb 1978 for the Drastic Plastic Tour and saw Red Noise in March 1979." Parsongs: "Sunburst Finish , purchased at Korvette's in Matteson, IL, right after seeing BBD for the first time. Within a month, I returned and bought Futurama and Axe Victim . After seeing BBD about 8 months later, I returned and bought Modern Music (first time I ever saw a rock & roll band in business suits!!)." CoachMatt: "Bill, I am, and believe all of us here are enjoying the journey with you. Ever since running home from school to hear Scott Muni of WNEW, New York City play the whole side two of Modern Music !" Tourist In Wonderland: "I met Charlie backstage during the Modern Music tour after a show and he was indeed a very nice person. He greeted us warmly and made us feel very welcome...he was very open and friendly and yes, he did have that lovely warm smile on his face...from my experience, he was a true gentleman...in fact I still have a tour program that Charlie and the rest of Be Bop signed, something I will never part with. Simon and Andy were equally friendly and it was a great atmosphere after a fabulous live performance...Bill had slipped off early via the back exit on this occasion, I think Jan waiting in a rather nice Jaguar XJS in the rear car park, if memory serves accurately?...wonderful memories..." Ged: "Modern Music will always hold special memories for me - remember the Newcastle City Hall gig Garry - mirror ball, videos in the background - absolutely wonderful - My son Mark (15 years of age) has taken all of my Be-Bop CDs into his room - (I haven't heard the Kaiser Chiefs or Franz Ferdinand for weeks!!) He absolutely adores Modern Music and its lovely to hear "Terminal Street" and "Orphans of Babylon" blasting from his music system - He asked me to get him a Be Bop Deluxe badge today. He saw Bill and the Lost Satellites twice last year and said they were awesome - a new generation Nelsonian." Zen Archer: "If I were the sort to make those comparisons, I'd say Modern Music was Bill's Abbey Road, but I'm not, so you didn't hear that from me." Albums Menu Future Past

Ancient Guitars A collection of Bill's guitars and various other stringed instruments... More coming soon!

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

A collection of Bill Nelson memorabilia, pictures submitted by fans. Fan Memorabilia A collection of memorabilia pictures submitted by fans! If you would like yours included, please get in touch

Fables And Dreamsongs Bill Nelson album - 26 November 2010 Albums Menu Future Past Purchase this download TRACKS: 01) A Window Open Onto Eden 02) Wireless World 03) Machines Of Loving Grace 04) Indoor Astronomy (Bella Luna) 05) The Shining Staircase 06) My Wonder Book Of Wings And Sails 07) Beautiful Diamonds Are Falling From The Clouds 08) Stranger Flowers Now Than Ever 09) Way Back When 10) The Drawing Room 11) Pondering The Mystery 12) Moon Gold Palladium ALBUM NOTES: Fables and Dreamsongs (A Golden Book of Experimental Ballads) features a mix of vocal and instrumental tracks. It was released on the Sonoluxe label in a single print run of 1000 copies. The album had begun life with a working title of Moon Gold Palladium , but Nelson revised his plans in the summer of 2010. The album was initially made available on pre-release on the same day as Nelsonica ‘10 before going on general sale 5 days later through SOS. Fables And Dreamsongs sold out in September 2019. CURRENT AVAILABILITY: Available for purchase as a digital download here in the Dreamsville Store . BILL'S THOUGHTS: "An album for thinkers, dreamers and poets, though not one that surrenders much to the mainstream." _____ "Fables and Dreamsongs was inspired, in part, from the 'Golden Wonder Books' that my mother owned as a child, and from which she read to me when I was a little boy. These thick, beautifully illustrated compendiums contained classic fables and stories by Britains best authors and artists. Looking at them now, what strikes me is how high the standard of writing was. The vocabulary used, (though they were children's stories), was so much more sophisticated than our modern day approach to children's literature. I suspect that many of these tales would prove difficult for contemporary adults to grasp, let alone children. There certainly was no 'talking down' involved. Back when these books were published, in the 1920s and '30s, the elegance, descriptive and emotive properties of the English language magically connected with children, even at an early age. (Well, they certainly did with me, thanks to my mother reading to me from these books when I was still an infant.) "So, whilst Fables and Dreamsongs is a book of experimental ballads, it is also firmly rooted in the feelings I had when I sat by my mother's side as an infant, as she read to me from these wonderful collections of classic children's literature." _____ "Two of the pieces, "Machines of Loving Grace" and "Stranger Flowers Now Than Ever" were actually premiered live as part of the 'Orchestra Futura' set at Nelsonica '09 . The versions on Fables and Dreamsongs are solo studio versions. "The Drawing Room" was first performed as part of my solo live set at Nelsonica '09 . Again, this is a studio version of the piece. None of the other tracks have been heard outside of my studio before." FAN THOUGHTS: BenTucker: "Totally different, unexpected, psychedelic and utterly mind-blowing is my reaction to this album after just a few listens. But really it's too early to comment for me, as this seems like a very complex, sophisticated masterpiece. The first track alone (a quite stunningly wonderful experience) contains enough richness to fill a whole album, but that's only the beginning..." " Fables and Dreamsongs is Be Bop Deluxe on acid. Unmissable." Andre: " Fables and Dreamsongs is definitely a trip. "For madmen only", as was the club found by the Steppenwolf. Complete with weeping werewolves and machines of loving grace. This is some great stuff!" jetboy: "I love this album to bits, the musical equivalent of Halloween orange flickering on the back parlour wall...a f@xxing classic!" Palladium: "A very accessible, beautifully melodic and satisfying record. "Moon Gold Palladium", for instance, could easily be Be Bop Deluxe from an alternative universe where some of the parameters have been tinkered with a little (in a good, weird way)." mthom: "Had a first listen last night and was pretty much blown away, and dare I say "surprised"? This is uniquely different for Bill. Not so much jazzy or bluesy with some beautiful, yet edgy, ambient soundscapes and some down right rockin' drums. Nice mix of vocals here and there. Fantastic sound quality. I seem to recall Bill saying this is a cross between Sailor Bill and Golden Melodies , and that is an apt description (if he didn't say it, then I did!). This is one to play for the friends who need converting. Great stuff!!!" Wasp In Aspic: "This one could just be one of Bill's most special albums. I would place it near the nexus of Sailor Bill , Golden Melodies of Tomorrow , and Non-Stop Mystery Action . It has a winning balance between enchanted instrumental tracks and passages and beautiful romantic songs." BobK: "Must say I am rather taken by Fables . One of those albums which is initially very likable and then after a few more plays starts to really hit the spot. How to describe it? Whilst it has moments that remind me of Sailor Bill and Golden Melodies , it is more pastoral and dreamlike and, in places, rather strange and mysterious... For some reason I keep thinking it could be the perfect soundtrack to accompany you whilst walking round an old stately home. One that is occupied, but you never see the occupants and one that carries many memories...Does that make sense?" tommaso: " Fables and Dreamsongs immediately gripped me. It seems indeed to be a continuation of Sailor Bill and Golden Melodies , but it is perhaps even more introspective and heartfelt. I like the slow tempo of the album, and its musical complexity, with some quite long tracks which nevertheless seem very accessible. "Moon Gold Palladium" is stunning, but it's only the final highlight of what seems to me one of the best Nelson albums of the last few years." felixt1: " Fables and Dreamsongs is a gem of an album, and "Beautiful Diamonds..." is one of my absolute favourite songs, by anyone!" "Completely blew my socks off!" Tourist in Wonderland: "I think, for the want of better words, Bill has really gone to a different level with this one, and for me, it is rapidly shaping to become one of Mr.N's greatest works. I do not use these words lightly, a masterpiece...and I would urge any Bill Nelson fan who hasn't got this one yet, to get a copy...you won't regret it." Albums Menu Future Past

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

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