Status Quo - An Interview Spread Over 4 Records (Vinyl) download full album zip cd mp3 vinyl flac
A superb rarity guaranteed to put a smile on any Quo fan'sface! QUOCD more Also includes a ticket stubs for their 18th November show at the Brighton Centre, along with an official Extra Large sized unworn, black cotton tour t-shirt, still with the merchandise stand plastic bag!
Packed with exclusive photos, greatest hits picture discography, information, articles, calendar plus much more. Also includes a ticket stub for their 27th November show at the Brighton Centre, along with an official Extra Large sized unworn, black cotton tour t-shirt, still with the custom Quo merchandise stand plastic bag! Complete with glossy outer cover which remains in excellent condition with only light storagewear evident. This example includes a ticket stub for the 16th December show in at Wembley, two different unworn Extra Large sized tour t-shirts and an enamel metal keyring, still with the merchandise stand plastic bag and remains in a fantastic condition more This example includes a merchandise insert, sheet of 15 album artwork stamp stickers.
This also comes with a rare 'Guest' invite letter for the event, all in fantastic condition more This example also includes a ticket stub for their show on the 7th OctoberStatus Quo - An Interview Spread Over 4 Records (Vinyl), an Extra Large sized, black cotton short sleeve t-shirt printed with an image of the band on the front with tour dates on the back, still with the custom Quo merchandise stand plastic bag!
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In The Army Now - Stickered. Just Supposin'. Whatever You Want - EX. Rockin' All Over The World. Marguerita Time. Sorry We Couldn't Make It! The Party Ain't Over Yet Location: Manchester UK. I've been asked to put the whole interview on here.
I don't want to hijack the topic with it, but I guess it IS part of the whole historical context. I hope the original poster doesn't mind.
An interview with Alan is a little bit more special because we haven't seen or heard a lot from him the last few years. And more important, Alan was founder member of the band and has contributed immensely to the Quo sound during the glory years.
But the only reason we are doing these interviews is because of you, the fans!!. The fans deserve good interviews. It was great talking to him and he's a very nice person indeed. I don't know what it is with bass players, but like Rhino, Alan also couldn't stop talking. It made a big impression on me and it took me about a week to recover from it.
Cause like I said, you don't get to talk to your idols every day. I hope you all enjoy it!! Alan, the question all the fans want to ask you: how are things at the moment with your hand? Can you describe exactly what the problem is you're having?
Yeah, that's still a problem. I have R. Reflex Sympathetic Dystrophy in my hand. I can't really play guitar at the moment properly.
I can play but not at the standard I used to. It's a bit stiff. Not my hand, my fingers. It is almost better now. But I can't really play at the moment. It stopped me from playing. There's nothing wrong with me other than that. But it is getting better? It's getting better now yeah. I should think another six months. I doesn't hurt or anything like that.
It's just like when you pick up a cup of tea, it's a bit weak. That's like when you hold your plectrum. But other than that I'm fine. I Status Quo - An Interview Spread Over 4 Records (Vinyl) my old jeans out the closet the other day. The ones I used to wear in the seventies. They still fitted me. So I haven't changed in shape. Alright then! Alan, how do you look back at the years with Quo?
Do you think about the good times or are you still bitter about what happened later on? It's a bit strange really. They were good times. And looking back, it's amazing how much fun we had.
How good those good times were and to the picture that's been painted these days. It's almost like someone has rewritten the whole story. A lot of the things you hear did not happen! It's absolutely ridiculous. Like what? For start, those days were never sex, drugs and rock and roll.
The band was very fit and you didn't had time for any of that stuff. The band was never into drugs. Just a naughty joint of the end of a gig or something like that. But that's about it. I didn't drink. John had a little drink but that's it. There was nothing going on. It's only when Rossi and Parfitt started to get into cocaine. Then everything changed.
But that was later on? It started when Pip Williams started to produce us. It gradually and slowly crept up. In the late seventies I moved to Australia and I didn't notice it creeping up. And of course, it destroyed Rossi and Parfitt. Rossi started drinking. John and I were basically free from it. John liked a drink but that's it. And now we saw this change of personality with Rossi and Parfitt. Basically, they hated one another's guts. And it was a very tricky balance to keep it together.
It became very tense around That period. What happened was, Pip Williams came in to produce us and it changed us. It changed the whole concept of the band. And the sound also I think. Well obviously. Everything about the band was real. I think we had an ideology. And that was, we were anti establishment, anti the music business. We didn't wanna become media celebrities. We were into what we were into.
We were one trick ponies. What we played and what we did, that's what we could do. We couldn't really do anything else. We were like a modern day folk band, a peoples band. And we had a certain niche which we identified with, with our fans.
We were like the same. More like a football crowd in some respects. We played hard rock boogie with our own style. And to do that it enquired a lot of energy. And you can't deliver that kind of energy if you're on drugs. Or if you're out of it all the time like Rossi makes us all believe. That's untrue. It's simply wrong. The band were quite fit and we were travelling around the world constantly doing two to three hour shows.
You had to be fit. You had to eat the right food. And that's why it lasted so long. You have to be fit when you're going on stage. You can't be under the influence. When you put as much energy into a show as Status Quo's music requires, you have to be very energetic.
Rossi would have always told you that in the early days. You cannot be on drugs or drinking when you're on stage. It's allright to have a beer or something like that when you're there. Parfitt and Coghlan were the only ones to have a drink, but both very small. Anything large was afterwards. But that wasn't as often as made out. So the band were quite fit and quite together. Brain and body. Around thatperiod, it started to get a bit sour.
And that was because of certain circumstances. Which really were all caused by the drugs. The fact of the matter is that they were all on cocaine.
So it didn't matter what decisions were made in those days because anybody that understand what cocaine does to you knows that it changes your personality. It makes you feel like if you're invincible.
This is what was happening. It started quite innocently during the recording of the Rockin' all over the world album. Because up until then we produced all our own albums. Except for the Pye stuff. Every single one of them was produced by us. Even though someone like Damon Lyon Shaw has his name on the sleeve on some of the early stuff, that's all nonsense.
That's just us putting a name on it to give somebody credit. All that stuff was totally arranged and produced by the four of us. The Pye stuff was a different era.
When we were doing so well producing ourselves, America came into the picture. That's when Pip Williams was put up. I didn't really want to have another producer. But he seemed good and we were prepared to give it a shot. But what it did was, it threw the band apart without us realising. Because we were a live band. Status Quo were never really a recording band. The live performances were always the main thing. The recording stuff, although it was a main thing too, it never was as important as the live thing.
Because anything we did in the studio could never ever be a main track unless it was played live. In other words, the performance came first, not the song. We wouldn't perform to a song, a song was out to fit our performance. Because we had to stand on stage and face the public.
There's no good getting on stage and play stuff like That's a fact or other songs like that. Cause it just didn't work for us. The performance always came first. The best stuff were the songs that were road tested and taken into the studio.
That was the stuff that stood the test of time and has been performed on stage. And then we went into the studio to record it. Like the Piledriver album. The stuff that was written in the studio or somewhere else, always turned out weaker. It might be nice songs but they didn't have the same magic. You can do them right in the studio but you couldn't do them right on stage. So that's two different sides of Quo. There was the live side, which was our most important side and we had the studio side which was very important but it had a different outlook of what we were.
And all that stuff in the Pye era like Spare parts and the first album was all preconceived. The band wasn't doing any Status Quo - An Interview Spread Over 4 Records (Vinyl) that stuff on stage.
We were doing stuff like Bloodhound, You really got me, stuff like that. It was all pretty hard rock. That psychedelic stuff wasn't what we were doing on stage. We got dressed up in those Carnaby street clothes, somebody took a picture of us while we were trying those clothes on and that picture goes all around the world. We only tried these things on in a shop and someone takes your picture and that gives you an image which was pretty ridiculous. The psychedelic era was an era that really confused me because we were always a together band and we wouldn't be pushed around or pushed into certain things by others.
That was completely different to what we were playing live. That was a strange era and an era that taught us a big lesson because when we came out of that era we really were much more anti establishment than before. Offcourse the band changed then as well. We didn't really change as far as our music but as soon as Roy Lynes left the band it all tightened up because the keyboards were ruining us.
Cause Roy really came from a different era. He came from that Elvis Presley, Gene Vincent era. Which was Rock 'n Roll. We were rock boogie. And Roy really got sick with our style and as soon as he left us the whole band tightened up as this four piece unit.
Made it what it was. Obviously the best period of the band was to That is Status Quo. There's no other period. The psychedelic years were just a development. We had a partnership back then. You've got to realise that this partnership was developed even before Rick Parfitt joined the band. We had the whole infrastructure set before he even came in. Rick Parfitt would be playing on stage during the first six months without his guitar plugged in. He wasn't even playing.
He didn't even play on Pictures of matchstick men. But the best period was from Dog of two head to Never too late. After that it was a different band. Because John left. Well, you can't have a Mr. Smith who have been married for 25 years, and then Mr. Smith divorce his wife and Mr. Smith goes off somewhere and he marries another woman and then they become Mr. Then a million dollars are coming through for Mr. Smith and the new Mr.
Smith keeps that million dollars. But it doesn't belong to that partnership. It belongs to the original Mrs. It's her property. So you have to realise that a name of a band is not a name of a company or a person, it's a name of a partnership. This partnership is owned by four people that put in exactly the same effort to make it what it was.
That's who owns the name Status Quo. It's not a company or anything else. We had members come into the band like Andrew Bown. But they are members, not partners, not owners.
They are not the producers of the music. They have contracts like employees. It's like Rossi and Parfitt with these other guys now. That's a different band. They might have the same name, but it's a different band. Because they have not got the right to do so. It's against the law. My performances belong to me, John's performances belongs to him, just like Rossi and Parfitt's performances belong to them.
If Parfitt's performances belong to him, they just don't belong to me or anyone else. So when you see all these compilations, they are not records I agreed too.
What upsets me is what Rossi and Parfitt are saying in interviews and books, is all a lie. It's not the truth. For instance, everybody thinks that they went to court to prove they own the name Status Quo.
That's what they have written in their autobiography's. It's just simply wrong. Rossi and Parfitt never stood trial for their wrongdoings. They only went to court because I didn't want In the army now being released. That's the only thing. But that was a hearing before the trial.
They never stood trial for what they did. That little hearing had nothing to do with the name, it had to do with the injunction to stop In the army now from being released. Obviously I was not successful. The only reason In the army now was released is because Phonogram came in and said they had this contract and that they could release it.
And if I objected to that they Status Quo - An Interview Spread Over 4 Records (Vinyl) going to sue everyone. So I allowed them to release it. That's what happened there. The court case was settled out of court. They never went to trial. When Rossi says he goes to court to prove he owns the name Status Quo it doesn't make sense.
You don't go to court to prove you own something. You are the owner or you don't. The only people who owned that name were Rossi, Parfitt, Coghlan and me. That was the partnership and the only reason that they are carrying on under the name Status Quo is because I allowed them to. I settled it out of court and allowed them to finish up this contract under the name Status Quo. But what I didn't allow them to do is act as they are the old band. The last ten years or so they acted like they are the old band by saying they have been in the charts for five decades.
And they sold million records. They couldn't have sold more than about one million records on their own since I left the band. The most records we've sold were around 35 million. But it's around 35 million. Not million. The most they have sold is about one million. The sales of the Rocking all over the years compilation is not only theirs, it's also from me and John's. This is how the cocaine changed them. This is why they just carry on as if they are entitled to do things which they are not.
They just make people sue them. That's why I had to sue them again. There's nothing worse than to sue your friends.
But these guys turned in to different people. Status Quo had an ideology. It had a packed. It was a real thing. But it became a farce just after John left the band. John actually left the band in In November he departed and was replaced by Pete Kircher. But John was still a part of the band up until may He didn't departed inhe was just replaced. This is when the whole thing was started to go wrong because nobody realises how important a drummer is. But how was it for you to be playing with another drummer after all those years with John.
Was is strange? No, not really because Pete Kircher tried to imitate John Coghlan. He just had to play what John had played. In the studio it was quite different. A drummer has a kind of philosophy about how he hits the drums. And John being an owner of the band, had a certain say in a way things would go in arrangements. There was a certain way he played. If we wanted him to play things in a different way that he couldn't play or wasn't his style, then he wouldn't play it.
In other words, we would lock ourselves into what we know as the Status Quo style. That's just what we played. I will always be looked at as Alan Lancaster from Status Quo. No matter what I'll do. I can't go anywhere, can't get away from that. Even if I want to. It's just something I've become. It's attached to me. It's your whole social life, your financial life, everything. Your personal life is based on it, your friends, your family worked to it. You lived a certain style.
You become that. But John didn't exactly leave the band. As I said, the band was very close up until Pip Williams started to get into the band. I don't mean it was his fault but just the effect it had on the band. When he came in we weren't playing as a unit anymore. It was all broken up into bits all the time. So we lost a lot of feel. Although we were kind of impressed with what he was doing we left a lot of things up to him. But it was very boring in a lot of ways.
It wasn't the band doing what we did best. We weren't sitting there arranging our own stuff. We had Pip Williams sitting in front of us telling us what to do. We weren't used to that. We used to do our own thing instead of somebody else directing us what to do. We were actually producing the album ourselves and Pip Williams was hired by us as a designer. But we left it all by him. So songs we weren't normally consider doing were being introduced into the set. The way that was being done was, we weren't going to each other to talk about what we were going to record or not but Rossi was going to Pip and Pip was doing his songs.
Before we knew what was happening we were doing songs we normally wouldn't be doing. So this other avenue was creeping into the band and Rossi would use Pip as a channel to get songs recorded that we wouldn't normally do. Not only that, at one point all the solos were being preconceived and everything was taking so much longer. It was making the band as individuals feel bored.
And long periods without playing. And when we had to play after a long break, we had to warm up again. So it was completely the wrong way to record Status Quo. We didn't realise that at the time. We thought this was perhaps a new way.
But what crept in was that Pip Williams was the channel for Rossi to get some of his stuff recorded by us. That was one of the bad things and caused a bit of friction. He was getting things done that we didn't want done as a band.
It wasn't Rossi's band, it was our band. He wasn't the producer or the owner, he was just one of us that put in as much as anybody else. But not more that anybody else.
So nobody wanted Pip for the next album but Rossi insisted. We went along with it in the end but again, we said never again. But the next album after that was Whatever you want which was co produced by us because we said no to Pip Williams but it was Rossi who wanted him again.
So we had him as referee. I do think that's a great album. Because we produced it ourselves. That album wasn't even co produced by him. But he was a big influence on those albums. It was all because of the relationship between him and Rossi. That gradually changed the way we worked. Before that we used to rehearse 12 hours a day, work the songs out and then do the recording. But now we were going into the studio unrehearsed, doing the songs in little bits and after a song was done we sometimes couldn't even recognise the song because it all changed so much.
The whole character of the band changed. Not live on stage but even then Rossi started to get into this celebrity media style you know. Cause Rick was always trying to become a media celebrity and that was just not the ideology of the band.
When I put the band together nobody could play at the time. We were learning how to play our instruments. We were just ordinary people that wanted to play certain things. That was the ideology of Quo. To be a peoples band. But when Pip came in it changed. Rossi and Parfitt got a bit lazy because of their drugs.
The boredom set in for John Coghlan because of the hanging around and messing around. For a start, they weren't getting on together which makes it more difficult. But we did have this sense of humour. We always had that, always sucking on one another.
Every day someone would be sucking on Bob Young, as part of our humour. Even when we had arguments. That would always end up in a laugh because someone said OK, you're sacked. A similar thing happened with John which now Rossi tries to turn around and make it sound like it was some kind of set thing. There was this argument, not humorous but semi serious from which we all thought this will blow over and everything is fine again.
There's no problem. I've never known Rossi for doing things on his own back, he had always somebody to do things for him.
But now, for the first time in his life he came up to me and Rick and told us he was phoning up Pete Kircher cause John was leaving the band. Is that allright, he asked. We agreed to that and me and Rick just looked at one another and thought that this will be blown over by the morning when the managers get to know about it. But to keep the peace, cause you had to work with one another we said, yeah fine. And he actually did it.
And the next day we heard that John had flown back to the UK. The real thing was he was really pushed out of the band.
He was an owner. You can't be pushed out. If John leaves the band, it's over. The band should be broke up. He's an owner. You can't have someone leaving the band and going on without his permission.
He was still part of the band for the next 18 months or so. Well, John told me that he got the feeling that his leaving the band was sort of planned. Forced maybe. Well it wasn't planned by Rick, it wasn't planned by me, it wasn't planned by our management but the one that pushed it was Rossi. It was a semi serious kind of argument but you get over these things the next day. I mean, you have arguments all the time in long relationships.
But we did get on with each other. You don't stay together for as long as we did if you don't get on with one another. But some of the things Rossi did were terrible. But nothing interesting happened in his life you know. All Rossi ever saw were dressing rooms and backstages.
He doesn't do anything else. He stays in his hotel room. Goes to the gig, plays the gig and goes back to his hotel room and then on to the next gig the following day. That was his life. Everybody else got out and did things.
Try to make something of it. The only thing he ever did on his own was to get rid of John Coghlan. Because he actually forced the issue. We all got upset sometimes. That happened a thousand times in our career. But this time it was taken a stage further. And it wasn't Status Quo - An Interview Spread Over 4 Records (Vinyl) to.
John leaving the band was actually a mistake. But it was forced by Rossi. He just phoned Pete Kircher and asked him to come over.
Cause I was the first one that has used Pete on some demos. He got to know him then. He played in the Original Mirrors and Shanghai. And he just phoned him up. The next moment John was flying back to London. Iain Jones was our tourmanager at the time and that was another one that came into the Rossi camp. He got Iain Jones to do some of his dirty work. That's what happened. John got pushed out. He was intimidated to leave and that was disgusting.
But the thing that disgusted me the most was when we got presented one of the highest awards you can get. That was the outstanding contribution to British music.
It's a very high award. This was a surprise. Pete Kircher and Andrew Bown!! Andrew was never a part of the band but always a sideman. I didn't want him. But although John left the band, he was responsible for developing it, making it famous over those twenty years.
So when I brought this up to the management I said this is wrong. This is John Coghlan's award. Not Andy Bown's or Pete Kircher's. Pete had only been around for a few months. Andrew Bown was never even a member of the band before He became a member innot a partner. I said, I don't care what anybody thinks, this award is John's property. It belongs to him, it doesn't belong to Kircher or Bown.
But that was rejected. That was the day that I realised we've made a terrible mistake. A big, big mistake. I realised then that Andy Bown had now become a member of the band, we had Pete Kircher, we had Iain Jones and Rossi had Bernie Frost to write him songs while he was on the road and this whole thing turned into another band. A completely different band. On stage it didn't change that much. The old set was fine on stage. It was still the same as always.
You can replace someone in that respect to a certain degree. Cause you can learn the style of the other drummer. It's like a singer can come in and sort of sings to the other singer. But to get the right feeling of the band, that's another thing. And when we were in the studio creating new stuff, that's when I noticed the most.
Although Pete Kircher is an excellent drummer he didn't had the feeling that John had. It showed when we were recording. Not when we were playing live. You can actually mimic somebody live, but to mimic somebody's creating ability is simply impossible. He couldn't create the same thing as Coghlan did. John contributed immensely to the arrangements. He should really have got more song credits to his name.
So with that award I really felt that something was wrong and it showed I think. It showed in the records after that. The live performances were still good though. I must admit I really enjoyed the live performances although it did lose some of the raw edge that Coghlan had.
Pete did do very well with the live performances. I don't think the band lost the edge live. Cause we copied the same things that we would have been playing if Coghlan was there. But beside the fact that I missed John on the records, the biggest disappointment for me was the fact that the songs just weren't as good anymore as before.
I don't think John playing on it could have changed that. That's right. The reason being is that from then Status Quo were playing songs. Before Pip Williams came into the scene, Quo would never play songs.
The song had to fit the performance of the band. The performance would come first and the song would be written around the performance. Now, each individual member was writing songs of their own and bringing them into the band to play. Which created diversity in style and confusion. You see, when we were working together and producing our own stuff we performed stuff in rehearsals or on stage during soundchecks. Then we wrote songs around those ideas. That worked. When you write a song on your own without the band around, then nobody knows where it's coming from when you want to record it.
Nobody knows what the performance is to try to fit the song to. That's the way we worked. Most people try to find good songs and perform the song. Status Quo weren't like that. We performed good performances and try to find songs to fit that performance. This is the reason why a lot of Status Quo songs have never been covered.
Because they demand a performance. The only way you hear a Quo song covered is as when some coverband are playing it live. Because the songs are not really recording songs. And around the time John left, we would bring songs into the studio to which we would try to find a performance to fit.
That was the wrong way around. And that was Pip Williams' legacy. He got that into our heads. Rossi started to go his own way. He got to write songs with Bernie Frost and came back to play around with them. But they were Bernie Frost songs. You might write twelve, but you can only really hope for those two. If you're a solo artist you can't write an album with only top songs every year. The thing is, when you're on the road there's very little time to write songs.
You can think of a few ideas and put those together with the ideas of the others. But we didn't write together. Francis fell out with Rick, he fell out with Bob, he fell out with Bernie, he got people to write songs for him.
You know the song Going down town tonight? Would you consider that a Status Quo song? I've never liked it. That's because it's not a Status Quo song. This is to give you an idea of what went on and what broke the band up.
No member of Status Quo is playing on that song. This is a Rossi thing. He did this behind our backs. I was in Australia and although we had plenty of songs to put on the album he put that on the album behind our backs. That's not a Status Quo song, that's somebody else.
I don't know who it is, but it's not Rick and it's certainly not me. Francis might be playing a bit somewhere on it. Well, he's singing it, that's for sure.
But can you imagine what we felt or what I felt when that was released as a single and we had to make a videoclip for it? This was when we start to lose control. You can't argue with cocaine. But it did happen. Couldn't you do anything about it? I couldn't do anything about it. I couldn't stop the release of the album like I tried to do with In the army now because you're outvoted. I could have stopped it but that would have broken the band up.
But the band was breaking up. And before that we had Marguerita time. I did that for Rossi's solo album. He got me to play that for him. I sat there and put as much work into it as I did anything. I put my heart and soul into it. Thinking it was for his solo album. That's the reason why we were doing it.
Do you consider that the worst song you've ever recorded? No, it's not the worst song I've ever recorded. It's just not a Quo song. It was never meant to be a Quo song. Going down town tonight is not a Quo song.
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