4 October 2020
Jerry Dammers on the American tour to promote the LP:
“Vibraphone music in elevators. Obviously this was classed as
rubbish. I don’t know if it was my state of mind, because I was
so zonked, but it struck me as a really weird, psychedelic music,
which is now called lounge or exotica. It’s been rehabilitated, but
at the time, to say you actually liked that music was mad. It
completely freaked out some of the band.”
THE SPECIALS: All Albums
David Gilmour: “A load of rubbish. We were at a real down point.
I think we were scraping the barrel a bit at that period. ‘Atom Heart
Mother’ sounds like we didn’t have any idea between us, but we
became much more prolific after it.”
PINK FLOYD: All Albums
John Entwistle. “The band’s late great bassist): “The first
cover I designed. I never got paid for. We were taking it in turns
to do the covers. It was Pete’s turn before me and we did the
Quadrophenia cover, which cost about the same as a small
house back then, about £16,000. My cover cost £32.”
THE WHO: All Albums
Stewart Copeland (drummer) about the LP’s title artwork:
“It’s the same explanation that applies to the last two. It doesn’t
have a specific meaning like ‘Police Brutality’ or ‘Police Arrest’,
or anything predictable like that. Being vague it says a lot more.
Miles (Stewart Copeland’s brother and group manager) came up
with “Trimondo Blondomina”. Very subtle. Like three blondes
and the world. Then somebody thought of “Caprido Von Renislam”.
That rolls off the tongue. It was the address of the studio.
THE POLICE: All Albums
Jaz Coleman: “The first wave of punk was
manufactured. It was manufactured as boys
band but what came out of it was very interesting.”
KILLING JOKE: All Albums