[billyboy1]

You’ve kinda answered the question yourself Big Man.
Yes, Naz were much more successful, but SAHB had more street cred, especially in the UK.
When I joined Zal in 1978, each member of SAHB owed 60 grand (including Alex) to the record company.
When I joined Naz in 1981, each member had a second holiday home.
(Darrell even had his own speedboat in Spain called “Broken Down Angel.”)
Moral of the story: “Street cred and being popular in Turriff doesn’t guarantee you’ll get your own speedboat.”

[billyboy1]

You are correct on the Jim White observation.
My ex-manager of the same name wouldn’t have recognised the genius of Mr Laudrop.
On the other point, I assume you mean the mention Dougie received on Growing Up Too Fast?
This was to do with the song “Burning Down” which closes the album and was written about the Jacobite rebellion of 1745.
I wanted the track to fade out to the sound of a live crowd singing “Flower of Scotland” and Dougie Donnelly obliged by sending us the tape of Jim Watt’s World Championship fight at Ibrox, 1980.
I think you’ll agree he did a Sterling job.
(Ach, look what you made me say!)

[billyboy1]

Thanks for the kind words and I’m glad you enjoy the website.
Manny should always be considered No.1 guitarist in Nazareth, no debating necessary but with Zal joining I personally think they missed a trick by under-using his main attribute: His amazing soloing ability.
Every time I shared guitar duties with him (Live or in the studio) there was no doubt I was in superior company but here’s the thing: Zal is a Guitarists Guitarist. For example, like me, Manny frequently spoke highly of him and how in awe he was of his playing. Even Steve Cropper interrupted their recording of “Holiday” during Zals solo to enquire “Who the hell is playing that?” so why didn’t he get more solo parts with Nazareth?
I suppose I’m not best qualified to answer that but suffice to say when I joined, I found myself in a similar position but without Zals formidable talents as a one-off soloist.
Maybe Manny felt intimidated by Zal or perhaps, and this is only my opinion, Manny was the best guitarist for Nazareth, end of story.
Your next point regarding producers and record company influence on them, I don’t think the band ever heeded any recommendations put forward on this but regarding writing singles, that’s a definite yes.
Darrell and I wrote “Where Are You Now” because Phonogram asked for a follow up ballad to “Dream On” which it clearly wasn’t but here’s an interesting fact I’ll leave you with which Barry brought to my attention.
“Dream On” is probably the best known song by Nazareth in Europe but “Where Are You Now” overtakes it by being the 4th most popular Naz song on Spotify with over 10 million streams worldwide.
It’s a funny old game, this Rock and Roll business.
Take care and stay safe.
Billy.

[billyboy1]

Wow, that’s fantastic and yes it is definitely Manny singing. If you listen closely you can hear Pete speaking and singing too.

[billyboy1]

No, I didn’t choose it, Manny was in charge of the half hour tape before we went on and I remember our tour manager Harry would shout “Ells Bells!” then “Ruff!” to indicate when we’d have to make our way stage-wards. Interesting aside: Harry used to be Pete Townsend’s personal assistant with The Who.

[billyboy1]

You already asked that Chris.
Not being funny, but Naw.
I have no contact with any record companies who release Naz stuff.
Nor do I have any control over who Nazareth Dunfermline allow to release it.

[billyboy1]

Hi Chris.

Err, Naw!

Cheers, Billy.

[billyboy1]

Please be assured Aleksey, you would never offend me cos I know how much you like the site, and all things Naz.
You raise a few interesting points this time round so let’s get them sorted.
Barry has now added the original back cover of Crankin to The Vault which has the full credits etc. Thanks for pointing it out.
There is truth in what you read about Coverdale so I will write a short section about it as soon as I remember the details.
Do you still have the article you read?
If so, Barry would love to have it.
As for the transition between Nazareth and my departure you are again quite correct.
I was still very much a member after recording GUTF, in fact I recall receiving advanced copies of the album artwork during a US tour with Naz in late 1983 which I had to approve with the record company at the time.
The turning point was when I had to agree to promoting the album by doing interviews, radio and TV appearances all of which Jim White was heavily involved with.
At the time, he told us all that Nazareth couldn’t afford to keep me in the band financially any more, which wasn’t true but that I should take a temporary break from them to concentrate on my solo career.
You will notice during some early interviews I did for GUTF that I state that “I’m only out of Naz for a bit” and that “Nazareth are like a family: You never really leave them”
When the solo tour was arranged, this situation changed but we always agreed that I might rejoin at some point.
Again, Jim White made sure this would not happen when he was ultimately fired by Naz for, well, being Jim White.
Thanks for once again jogging my memory and as always, stay safe mate.
Billy

Update 3rd June 2020
New section added to Growing Up Too Fast with David Coverdale story.

[billyboy1]

Hi again Aleksey. Firstly thanks for your continued questioning of the fine details of the website but if everything you ask is based on your Sherlock Holmes like comparisons between my memories and the tour itineraries, it could become quite tedious.
You are correct in pointing out the discrepancies in Dan’s comment to his wife and we’ll change the date to fix it, thanks for that.
As for the Glasgow-Bradford question I have no idea, sorry but it was 40 years ago and I am old!
To the best of my knowledge everything written on the site is true and date-consistent, Barry made sure of this when he began all this but sometimes we get it slightly wrong, or I do, but it shouldn’t detract from your much appreciated enjoyment of the site.
This is not a criticism of you or your questions, just an admission that things can be remembered differently after a long time has passed.
Hey, at least you haven’t asked what my favourite colour is, or who’s the most famous person I’ve met. (It’s Blue, and Paul McCartney)
Keep in touch friend, just cut me some slack, okay?
Billy

[billyboy1]

Yes, some tapes from May 1981 do exist. I still have my copies and there are two in The Vault already. As for releasing them officially, that’s not for me to say. As for San Jose, I doubt that concert took place on that date. The sheer size of logistics involved in doing a large arena tour wouldn’t allow for an extra date to be added. I would be inclined to rely on the itinerary dates and not a bootleg description (although it was nearly 40 years ago so who knows?)

[billyboy1]

I’ve never had any member of Deep Purple attend a Nazareth show I was a part of except Glen Hughes whom I spent a night in our LA hotel trying to avoid. He was very drunk and very loud! As for the Sabbath gigs in 1983, I only spent time with Tony Iommi and Bev Bevan. Ian Gillan wasn’t ever present after or before shows. I did watch from the side of the stage when they were on but technically never met him during those shows.

[billyboy1]

Hi Aleksey. Good to hear from you and thanks for coming to see us in Leningrad all those years ago. We would go to lots of concerts by other artists when we had a night off with Nazareth. Frank Zappa was a great one for me but Dan, Pete and Manny didn’t agree..Another was Joni Mitchell in Munich when she introduced This Flight Tonight as “A Nazareth song” and thanked us for the royalties. As for others coming to Nazareth gigs, there were many but by favourite was when Ted Nugent joined us onstage in Detroit after handing all his guns to my roadie to look after them! I did not have any involvement with The Catch cos I think I was doing a solo tour at the time. Finally, the main players on Crankin were Gary Ferguson on drums and Max Noland on bass though Dan, Pete and Zal we’re also involved. May I suggest to go to The Vault-Crankin section of this website where you will find the artwork for the album which features all the recording details. All the best, friend. Stay safe.

[billyboy1]

Ha! Lots of fun memories there Doug, thanks for sharing, I think. As for your in depth questions, the best song I released (apart From Championi) would have to be the B side of Championi and the worst must therefore have been the B side of Eastenders. Oh, and I think you’ll find I actually played a starring role in thon Lesbian Hamster video you so enjoyed. Shame they all got burst tho…

[billyboy1]

I’ve been thinking about why I was dumb enough to make the Buffalo comment and it’s just hit me. I was quoting something Pete Agnew said to me the first time I played there as a member of Nazareth. “I don’t know what it is about this town” he’d told me, “We always sell it out and yet they throw stuff at us!” (Or something like that)
He’d said it to his young guitar player. I said it to an entire Nation. Ah, the folly of youth!

[billyboy1]

Glad you enjoyed the site, but as I tend to emphasise a lot, it’s Barry who’s mainly responsible for it.
He made me remember stuff then write it down. He forced me to search my attic, my garage and my friends for old media memories.
I really appreciate the similar memories you’ve shared, perhaps you should do your own website, if you haven’t already?
As for Sound Elixir, you may not be the only one out there with your opinion but I assure you it was not brilliant for most of us.
(At least it wasn’t Snakes & Ladders)
Onto Buffalo, I remember both gigs you mention but if you’re familiar with my solo tour section on the site I have Rick James to thank for your city letting me live. Jeez, I was stupid back then.
But the most mind blowing piece of information you’ve shared is that I might’ve known Harvey Weinstein!
Maybe Barry should update the website to include this.
Then again, maybe not!
Stay safe too, see you on the other side.

Billy

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