[billyboy1]

Interesting fact about Rain on the Window: Pete wrote it based on the hook line his son Lee sang to him. (I think it was Lee, Pete has 4 musical kids)

[billyboy1]

First time was in Listen Record Shop in Glasgow when the track Axe Victim was played. When Bill’s solo started about 4 minutes in, me and about a dozen other guys ran to the counter to buy the album. First time of many when I saw BBD live was at Queen Margaret Uni, again in Glasgow just after Sunburst Finish was released. Me and my mates were too young to get in but bassist Charlie sneaked us in regardless. Finally I’m from the hard core fan side who wasn’t too fussed on Drastic Plastic. Like many other BBD supporters, I was into the band primarily for Bill’s guitar playing and prog-style songs, and that album didn’t really have either for me.

[billyboy1]

Okay Chris, you got me.
Whipping Boy was not the song I was thinking of, but having forced myself to listen to it again my opinion stands.
Just for the record, Manny didn’t use the synth on the solo but I did attempt to improve the ending with an actual real effort.
Bring on your next question, I’ll be more accurate in future, sorry.

[billyboy1]

Wow Chris!
That was a long one (even by your standards) but I appreciate your efforts in trying to celebrate what, to the rest of us was a “Piece of Shit” though it wasn’t as bad as Snakes & Ladders…
I’d never heard Manny refer to Sound Elixir as the Pete and Billy show before but if you consider it purely from the songwriting then he’s right.
I’m sure you’re aware of who wrote what so I won’t go into that. However, none of my contributions turned out the way I’d hoped: Take a listen to my demos on this site or indeed the re-recording of Where Are You Now on Growin’ Up Too Fast for examples.
I think I did a pretty thorough job of explaining things from my perspective on the site itself but in essence Manny was more interested in producing a soundscape (which Calum could do brilliantly) rather than capturing a twin-guitar wielding Rock band like Nazareth (The complete lack of guitar solos I think backs this up).
I’m impressed with your comparing of track running order as yet another (in my opinion) failure to validate what was a disappointing end product. Well done for that Chris, but you’re not convincing me, sorry.
Opening with Why Don’t You Read the Book, a song I threw together with Dan in 5 minutes is not a strong start imo.
Manny’s return to production duties should’ve given us another Hair of the Dog, and that’s where his “Pete and Billy Show” reference has some validity: The songs. Myself and Darrell had been trying to write catchy hits while Pete had discovered his ability to play acoustic guitar: I Ran and On the Run were prime examples so this is where I’ll put my hand up and admit my part in the whole fiasco. The songs I contributed on 2XS were, again imo better than those on Sound Elixir. I did have a great time in Vancouver recording the album but ultimately having a great time doesn’t always result in quality. Best way I can sum it up is by retelling an occasion in the studio from the website. Just to be clear here, Manny and I never argued over who should play any particular solo so when he bagged the one on Whipping Boy I left him to it. It was Shit, and I told him so. “Fuck your guitar synth Manny! Strap on the Les Paul and tear it up.” His response: “No. That’s just what they’d expect.”
I rest my case Chris.
You’ve made a worthy defence but sorry. Always good to talk mate. See you in court, soon.
All the best, Billy.

[billyboy1]

Thanks Alex. Stay safe friend, all the best from Scotland.
And you too Chris, keep sending those short notes…

[billyboy1]

So Chris, your usual short note then? Good to hear from you buddy. Glad you like the site, Barry put a lot of work into it and encouraged me to be open and honest even if it might ruffle a few feathers. Hopefully we got the balance right cos the idea was to keep it informative, but always with some good old self-depreciating humour. As for the content, we’ll be adding more rare shit over the next few months and years so keep checking The Vault and hopefully you’ll add to your collection too. Looking forward to continuing where we left off Chris. Thanks for the encouraging words and keep safe through this terrible time.
Cheers, Billy

[billyboy1]

It was actually the Boogaloo album to which I felt connected. As I said previously, many of the songs were originally written by Pete and/or Dan which I remember working on with them during the Sound Elixir era. Songs such as Light Comes Down, Open Up Woman, Robber & the Roadie and May Heaven Keep You in particular were rejects from this time. In fact, a version of the latter exists which Pete and I recorded with his local primary school kids.

[billyboy1]

I was able to suggest alternative songs for our set during my 2nd stint but ultimately it was a band decision so Go Down Fighting never happened. I did however manage to get Gone Dead Train and My White Bicycle added.
As for songs I didn’t like playing, that changed on a regular basis, not just for me but for everyone. Sometimes the expected “Hits” could get a little tedious but as professionals we knew we had to play them as people had paid good money to hear them.

[billyboy1]

Interesting questions. Let’s start with the latter: I personally found Newz, Dogs and Telephone difficult listens. After having put so much into No Jive and Move Me and ultimately losing my job I was curious (to say the least) as to what the new line up would come up with. Boogaloo included some old songs by Dan, Pete (and myself) which we’d rejected a decade before. (How bad could a song be to be rejected from Sound Elixir?)
The next 3 albums were obviously more involved by Jimmy and Lee’s influence cos, bottom line: Dan and Pete, in my opinion were lazy. They had been since Snakes and Ladders….
As for Tattooed, I honestly can’t bring myself to listen to it. When I met Pete at Ted McKenna’s funeral, he assured me I’d like it, but Naz without Dan doesn’t make any sense to me. (No disrespect to Carl Sentance, I’m sure he can sing like fuck.)
As for the Neil Warnock fax, I’m only able to go with what Pete told me at the time from a meeting we had in a Rosyth pub. As I think I explain in the website, Pete really wanted to keep the band together, but Darrell’s influence via Neil was a tipping point. Big D handled all our travel/bookings/hotels etc and Nazareth depended on The Agency for most of our European work. Interesting case in point: Years later, Tony Rocker (a guy I’d been working with, see website) was thrown out of Neil Warnock’s office for mentioning my name.
Politics exist, even in Rock and Roll.

[billyboy1]

Thanks Greg, glad you’re enjoying the site. As for songs I wish we’d played live during my involvement I’d have loved to have played anything from No Mean City though we did a few during our Unplugged gigs. Other than that, I always pushed to do Go Down Fighting but was always knocked back by everyone else. Even by Manny, who wrote it!

[billyboy1]

Wouldn’t incontinence pants just make it look like I had a canoe in my back pocket?

[billyboy1]

Well there is the one on this website from the Frankie Miller Tribute gig at the Barrowlands.

[billyboy1]

Nah mate. Sometimes it’s time to hang up the leather trousers.

[billyboy1]

Tricky, this. What you have to do is consider both bands shared history. Signed to Mountain Records they had an unmentioned rivalry. By the time I came on the scene in 1978, one band were financially successful, the other owed Mountain 60k each. SAHB were undoubtedly the most challenging band I’ve ever played with. The Zappa influences within the Zal Band had me watching Chris, Zal or Ted for some clue as to which beat in the bar we were playing. When I joined Naz in 1981, I had a much less stressful time as no one in the band liked Zappa, but I still did so learning and playing the live set was more straightforward. What I took from this initially was that Naz were inferior musicians to SAHB but then discovered both bands had a mutual respect for Lowell George’s Little Feat amongst others.
This changed everything for me.
Both bands wanted to be as good as Little Feat.
Are SAHB better musicians than Naz?
Technically perhaps, but “actually” better?
Define “better”.
Go on, I dare you.
I can’t.

[billyboy1]

All four albums with Naz were enjoyable to record. The first “2XS” would’ve been enjoyable even if I hadn’t sung or played a note. We were based on a Caribbean island complete with sunbathing by the poolside rooftop bar in the middle of Whale-Watching season.
“Sound Elixir” found us slap bang in downtown Vancouver where I mixed with Bryan Adams, Brian “Too Loud” McLoud and Top 10 gay bars. The recording studio wasn’t too shabby either.
The two 90’s albums “No Jive” and “Move Me” were enjoyable on different terms. I was much more involved in the writing/recording process and put a lot into the actual studio time by engineering “No Jive” and programming stuff on “Move Me”.
All this considered, my favourite memory would be from “2XS”
Producer John Punter had a strict protocol: Go sit by the pool till you’re called on. When called on, do your bit and go sit back by the pool.
This worked till on one occasion we all got a bit pissed after sitting by the pool too long and entered the studio uninvited.
Trying to make a point yelling “Get those Hi-Hats doon!” and flailing his arms around, Pete hit a pint glass of something exotic which resulted in blowing up the mixing desk.
John’s response as thick blue smoke emitted from the desk of “You Stupid Scottish Git!” resulted in us walking sheepishly out to the pool as roadie Davie Horner screamed excitedly “Look Guys! There’s a pod o’ bottle neck dolphins!”

[Author]

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