Paul Kossoff - September 14, 1950 - March 19, 1976

Only three days after writing a piece for Andy, here we go again. This time for the guy who made me want to listen to any of this stuff in the first place. Paul Kossoff. How much Paul Kossoff do you need to know it's Paul Kossoff. Well personally I'd say not very much. Less than a few seconds in most cases, as his sound and style was pretty much his own. Okay, he had influences, but he did have his own tone and techniques.

How much Paul Kossoff do you need to turn a simple riff into a colossus. That's more interesting. You see, how many of those Free and Back Street Crawler songs would be that memorable without his contribution. 'All Right Now' without the solo anyone? Probably not. And then you get something like what's below. Eddie Baird's circling musical motif, little more than four notes repeated over and over, along with Terry Wincott's fine vocal, with a total of ten words repeated. MMMMmmmm. Doesn't sound like much of a song does it. Bass by Mick Feat, drums by William Murray, and it's what!! Under 2½ minutes!! Hahahaa. 

Then you plug Paul Kossoff into a Fender Champ amp that's standing on the top of a table, and it's like a light has come on. Spectacular. I never get tired of hearing this, and I don't think I ever will.

We all miss you Paul. 

Andy Fraser - July 3, 1952 - March 16, 2015

Blimey... It only seems like a few weeks ago I was doing this, and yet another year has passed. March isn't a great month for FREE fans. It's hard to believe that Andy has been gone now for eight years! The way the days pass is frightening. The time flies by.

 

There's not much I can add that I've not said many times before. Superb bassist, helped write, and wrote, some great songs, and as when he died I thought he was back on the 'up', it was a very sad loss indeed. At 62, he was also way too young to leave us.

 

I thought 'This is The Big One', issued in 2010 I seem to recall, was great. Released quite a while before the 'On Assignment' album, I really liked it, and I rang Andy to congratulate him. I wasn't mad about 'Naked... And Finally Free', but this seemed like a bit of a return to form. It could have used a some guitar up in the mix, but I still think it's a great song.

 

So today, to celebrate the life of Andy here's the EPK (Electronic Press Kit) for the release of the song, explaining where his ideas for it came from. Also the song video he made for it, and the lyric sheet. I should just add that the mermaid shown in the video is Andy's daughter Hannah.

 

We miss you Andy

 

Official EPK for 'This Is The Big One'

 

'This Is The Big One' Official Video

 

'This Is The Big One' Official Lyric Card

Walk In My Shadow 7" Japanese Reissue

Japanese 1969 Vinyl Single Reissue

Available for pre-order NOW.

Walk In My Shadow / The Hunter

[Limited Release Vinyl 7" Single] UIKY-75118

Release Date: May 31, 2023

From the Free debut album "Tons of Sobs", the single "Walk In My Shadow" (Victor Music Industry / SFL-1242), which was cut only in Japan in November 1969, is a hard-to-find original edition. Reprinted with insert + sleeve specifications that are reproduced as faithfully as possible. 192kHz/24bit stereo master via DSD based on British analog tape - 7inch/45rpm/black board

<Rock's Premier Japanese Edition 7-inch Reprint Series> Rock's Premier Japanese Edition Single titles released in the 1950s and 1960s are reprinted with specifications that faithfully reproduce the original!

This is an extremely popular item and therefore is available for up to a maximum of 2 copies per customer in some places. Only as a single order in others. You are not allowed to place multiple numbers or order several times from any one supplier. If you want to confirm a copy for yourself, you will need to order in advance or be prepared to pay high prices on Ebay etc.

Click Links for order sites (These may only work for a short time)

CDJapan 

Tower Records Japan 

HMV Japan

Kossoff Kirke Tetsu Rabbit - Japanese to English Translation

Extra material unavailable at time of printing for #166 

Inside the original Japanese LP issue of 'Kossoff Kirke Tetst Rabbit' (ICL-25) there is a four page sheet (reproduced for you at the bottom of this section and on page 24 of issue #166). This has photographs on the front, and all the lyrics in Japanese and English, but also a written liner note with a song by song analysis, that was only included in Japanese. This was written in April 1972 by Isao Watanabe, and I don't think it's ever been translated into English. As I have a friend who speaks Japanese, and can translate the text, I asked if it could be done. The final result was a little too late coming back for the issues that dealt with the album (#164, #165, #166), but I don't want to leave it out, so it seems this is a good place to include it. Therefore, below is an exclusive new translation of the text from page 2, and complete scans of this inner sheet. Thanks to Melissa Jane Lewis & Frank Davey for taking the time to do this translation for us. It is much appreciated.

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'Kossoff Kirke Tetst Rabbit' (ICL-25) Inner Sheet, page 2.

It's been a while since I heard a record as wonderful as this, and it fills me with a mixture of joy and excitement. How do I explain it? My impression as I listened to 'Kossoff Kirke Tetsu Rabbit' was that it sounds like an even more delicate, high quality, and beautiful version of Free's music.

The four members comprising the group - including the two ex-members of Free, Paul Kossoff and Simon Kirke, Japan's own Tetsu Yamauchi, and the American ex-session musician Rabbit (although his real name is the rather imposing John Bundrick, by looking at photos of him one can see how he came to be called Rabbit, as his two front teeth stick out like a Rabbit's) - were attracting a lot of buzz and attention even in the UK.

Unfortunately, after finishing this album and finally beginning rehearsals for stage performances, Kossoff, Kirke, Tetsu and Rabbit temporarily disbanded. It is thought that this may have been because of booking issues or movements towards a Free comeback. As you may be aware, however, straight after an Australian gig following their Japan tour, Free suddenly announced they were splitting up once again. However, to satisfy fans' wishes, Paul Kossoff, Paul Rogers, Andy Fraser and Simon Kirke have once again come together to give a farewell performance. After their British tour dates, they are expected to come to Japan in June or July. The members of Free all love Japan, and we hope they'll once again bring the intense energy they brought to Japan last year.

Regardless, this formation of Kossoff, Kirke, Tetsu and Rabbit is no temporary session group - Tetsu Yamauchi himself has said that the line up is the best, and he wouldn't consider forming a group with anyone else, and it's possible that they will reform as a permanent group.

Whatever happens, I am glad that Japanese musicians have begun playing overseas. The fact that Tetsu Yamauchi has become recognised despite Japan's reputation for having few bass guitarists is testament to his incredible talent. Tetsu Yamauchi was born on the 21^st October 1946. Today, he is 26 years old, and one of the rock musicians that now represents Japan. He debuted in 1968, from when he joined Mike Maki's backing band, Maikusu. However, at this time, he was the guitarist. In 1969, he went to the UK with one of the biggest drummers of the time, Yuji Harada, and joined Micky Curtis' Samurai, at which point he moved to the bass. It's incredible that he managed to become a player of his calibre within just three years.

Mickey Curtis has said that Tetsu Yamauchi is a very egotistic man, and that may be what enabled him to become a top bassist in only three years. It is certainly true that he is egotistic in his music, and won't do anything he doesn't want to do. However, I also feel that somewhere in his bass playing there is a uniquely Japanese gentleness and delicacy to his grooves. Tetsu Yamauchi is, in reality, a nice man, and regardless of what goes on underneath the surface, he always looks happy and cheerful on the outside. I also feel that the element of delicacy, which 'Kossoff, Kirke, Tetsu & Rabbi't adds to Free's heavy sound, comes from Tetsu Yamauchi's bass playing. However, in the event that more Japanese musicians end up travelling overseas, they should be careful not to be too precious about preserving a uniquely Japanese sound. If one is to be a truly great musician, one needs to have a global sensibility regardless of what country one is in. Testu Yamauchi is the perfect example of this, as, happily, he has naturally obtained this skill through his friendship with Paul Kossoff. So many Japanese are emerging on the world stage that it is easy to feel shocked at just how far the Japanese flag is being flown. I, too, was considerably moved by Kasaya's performance during the Sapporo Winter Olympics, but I feel it is time to discard this kind of feeling. I'm not John Lennon, but I want to go travelling in the spirit of his lyric "Imagine there's no countries".

This album was recorded last autumn (1971) in London's Island Studios, and was released in January 1972 to high acclaim. In Japan, it will be released in tandem with Free's Japan tour, and I believe it will be released around the same time in America. I can't wait to see what waves this record will make there.

SIDE 1

1) BLUE GRASS

When one thinks of bluegrass, what first comes to mind is country music using banjo and fiddle, but this is a heavy, groovy number that has nothing to do with the music genre.

As always, Simon Kirke's sparse drumming style shines here. Tetsu Yamauchi's bass gives each note room to breathe, avoiding flashy runs to create a heavy feeling. Altogether, the track sounds like a logical evolution of Free's sound, had they continued making music.

2) SAMMY'S ALRIGHT

From this track, which places Rabbit's piano work front and centre, one can begin to hear the new direction of Kossoff Kirke Tetsu Rabbit as something that surpasses Free's music. Kossoff's guitar, which delicately interweaves with the singing, is also excellent. Sound engineer Richard Digby Smith's superb recording skills excellently capture this delicate sound.

3) ANNA

This track also makes use of Rabbit's keyboards. This love ballad about yearning for a woman named Anna is brought to life by the contrast between the beautiful melody and the heavy backing. Although I love hard rock, in recent times I find it hard not to think I've heard about enough of it. However, when this group shows off their tasteful interpretation of the genre in a track like this, I begin to appreciate it once more.

4) JUST FOR THE BOX

This is an instrumental track featuring double lead guitar. I can't decide if I love or hate the way Rabbit's keyboards talkatively bounce off the rhythm of the rhythm section—I'd love to ask Tetsu Yamauchi what he thinks. There's a point in the song where everything suddenly stops all at once, and I love how it's timed. It almost makes me think the song was created just for that moment.

5) HOLD ON

If you asked me for my favourite track on the album, I would have to say this one. In my opinion, this defines Kossoff, Kirke, Tetsu and Rabbit's music. I love the beautiful melodies, the rhythm backing them up, and the energy of Kossoff's guitar work towards the end of the track. I am also a big fan of Simon Kirke's singing. This song along would justify purchasing the album.

SIDE 2

1) FOOL'S LIFE

This is also an excellent track. The timbre of Paul Kossoff's guitar, alongside the complex rhythms and syncopations, are truly thrilling. Rabbit's piano, which I described as 'talkative' above, is also here in full force. Rarely for the group, this is a high-tempo track, and it is truly a tour-de-force.

2) YELLOW HOUSE

This song begins with a melody similar to The Beatles' Don't Let Me Down, to which the guest musician B. J. Cole contributes steel guitar. Tetsu Yamauchi has always loved Jesse Davis and has said he wanted to make that kind of music, and it is possible that this song came from that idea.

3) DYING FIRE

This is a great song with a wonderful melody. The instrument that sounds like strings is a Mellotron performed by Rabbit. The Mellotron is a fearsome creation that can produce the sounds of a variety of instruments from pre-recorded samples, from woodwinds to strings, and its production has apparently already been halted due to protest from the musician's union. Certainly, if one Mellotron can replace the need for an entire orchestra, this could no doubt pose a grave problem for musicians.

4) I'M ON THE RUN

Here too we can hear B. J. Cole's steel guitar. This album is comprised of 5 tracks by Rabbit, 2 by Simon Kirke, 2 from Paul Kossoff, and finally one collaboration between Kossoff and Simon. Simon's songs are so different in character to Rabbit's, however, that while the basic elements stay consistent between songs, their different characters provide a great deal of variety, preventing the listener from growing tired of one sound.

5) COLOURS

Here, we can hear Paul Kossoff's acoustic guitar. I love the wild feeling of the backing, as well as the exciting latter half. In my opinion, this song is best listened to loud.

So, that brings us to the end of the album, but I'd love to hear your thoughts too. Of course, I'm biased as I'm head over heels for Tetsu Yamauchi's bass playing, but even discounting that I think it would still be the best record I've heard in recent days.

(10^th April 1972 - Isao Watanabe)

Translated for the FAS in 2022 by Melissa Jane Lewis & Frank Davey

FAS #166 'Addendums'

Free Appreciation Society

Issue #166 (February 2023)

Audio and video addendums

Hopefully you are enjoying issue #166. Below is the extra material that can't be included there, as promised. These are the audio/video 'bits' of content that apply to this current issue of the Free Appreciation Society magazine, and the part of the group (or rather 'solo' at this point) history we are dealing with. For further details refer to the relevant pages in the issue. If you don't have a subscription and want a copy/copies of the magazine, the contact email address is on the right at the end of the 'Welcome to the Free Appreciation Society Blogspot' information text.

Addendum #1 (Page #30). 'Hollywood To Deadwood'

Film trailer 1989

Bar scene with 'Just For The Box' playing, and end credits

 

Addendum #2 (Page #32)

Ken Hensley - 'If I Had The Time' (with Paul Kossoff & Simon Kirke)

Michael Gately -  'The Piano Player's Gone' (with Paul Kossoff)

 

Addendum #3 (Page #36)

Mike Vernon -  'My Say Blues' (with Paul Kossoff)

Free Appreciation Society Magazine - Issue #166

Free Appreciation Society

Magazine Issue #166

February 2023 Issue (out a bit early)

Firstly I'd just like to say how sad I was to hear about the passing of Jeff Beck. Of the 'Clapton, Page, Beck' dynasty of players, those who brought British Rock Music out of the 60s, he was by far the best player in my opinion. Maybe not the best songwriter, but certainly my favourite soloist, and the only one I paid to see many times of those three. 'Blow By Blow', 'Wired' & 'With The Jan Hammer Group Live' (all released between 1975-1977) are stunning records, and the fact he got Donny Osmond to sing on the 'Ambitious' promo video always makes me smile. A true giant has fallen. He was 78, still gigging, and a genuine individual. His legacy speaks for itself. Quite likely your current favourite guitarist's favourite guitarist.

Jeff Beck - June 24, 1944 - January 10 2023.

Free Appreciation Society Magazine - Issue #166

So, Happy New Year everyone. Here we go again. Subscription issues are now all mailed out today, and with the post office, so on their way. As usual overseas magazines went out a few days before than the UK ones (earlier last week actually) to try and mitigate the difference in delivery times. I know it's not much of a head start, but it's the best I can do!

This final issue in the series (for 1971) has an introduction by Richard Digby Smith, and the magazine deals with all the different issues of the 'Kossoff Kirke Tetsu Rabbit' recordings he oversaw at the Basing Street Studios. It includes the US press kit, adverts and reviews of the record, with LPs and CDs from around the world listed and logged with complete information.. Far more than you'd expect in fact.

Also featured is 'KKTR At The Movies', detailing with the film that used 'Just For The Box' in its soundtrack, and there is an overview of all the other releases that relate to this period of the Free break-up. Michael Gately, Ken Hensley, Blackwell, Jim Capaldi, John Martyn, Johnny Nash, Mike Vernon and Uncle Dog are all included here.

The magazine also contains the hugely comprehensive July - December 1971 diary. 18 pages packed with recording and gig information, releases and sessions. Who was doing what, where, with whom, and when.

This issue checks in at 56 pages and covers quite a bit of stuff we've never included before. There are four addendums, and they will be coming to the FAS 'blogspot' in a couple of days. So be sure to come back and check them out when you reach them in the text.

A hugely comprehensive issue. Enjoy!

56 pages absolutely packed with FREE

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Mailed out now to all FAS subscribers.

It is cheaper to buy directly here (from the FAS itself) than it will be on Ebay, where there are other fees involved for both UK and overseas buyers. ALL payments are via Paypal, so it's all very easy and secure.

Casual buyer? Want the magazine cheaper? Get a subscription!

A subscription is the cheapest way to get the FAS magazine.

For subscription information email: fasarticle@aol.com

You can buy this individual issue from the email address above.

Drop me a mail giving your location and a Paypal money request will be sent to you. It's cheaper than buying them on Ebay where they are £6.50 (UK)

UK price including postage from here directly is £5.80 for this issue.

This includes postage and Paypal fees.

A subscription for three issues (UK) is £14.85.

UNDERPAID POSTAGE ON YOUR MAGAZINE

I've had a few people mention this again, so I thought I'd run through it.

ALL of the FAS magazines leave here with the correct postage on them. The usual 56 page issue (#163, #164, #165 etc) is under .5cm (5mm), A5 (within letter size) and under 100g (usually between 90g and 95g [max] in the envelope). This is covered by a single '1st' or '2nd' class stamp. In fact if it's exactly 100g on the button and is under .5cm (5mm), it's still okay. The proper rate has been paid.

The large magazines that I occasionally do (over 56 pages + etc) require £1.65 (currently) UK postage (over 100g, but under 250g, and over 5cm thick, still A5). These are 'Large Letter', under 250g.

If you get a card through your door saying you owe money on a 'letter or packet', you may have to go and collect it. At that point they'll ask you to pay around £2.50. Before you pay, if it's from me, ask why it's being charged and ask them to PROVE the charge is due. They can weigh the package in front of you with digital scales, and they have a guide they can slip the package through to make sure it's the right depth. It's exactly the same as the one I have.

If it's under 100g and fits through the .5cm (5mm) slot on the guide, and yes it only has to go through without being forced, then you owe NOTHING, and you can ask why the charge has been applied and refuse to pay it. Be polite at all times, don't get angry. The fee may have been applied before it reached your sorting office, but they should be able to resolve the issue for you. If they don't (and sadly, sometimes they refuse to help), tell them to send it 'home' to me. This is what I would do, and have done in the past. You may recall I've mentioned it in the magazine introductions more than once.

If your envelope is bent or bowed please point out that this was done IN the mail via their 'handling', and not at the point of posting, when I guarantee it was completely flat and all criteria for the mail was met in full. That doesn't include if you sent folded SAE's to get them to me, but that fold doesn't stop them going through the .5cm (5mm slot) as I check they fit okay and change the envelopes if there is a problem. So the one pictured was actually fine. No charge was due.

 ...Or, if you wish for an easy life, you can pay the charge and let me know you have done so, if that's your preferred option just to get the magazine. Send a photograph of the envelope and sticker with your address visible please. I WILL complain.

I am very careful. I've been doing this a long time, and I'm very proud of the magazine I run. Magazines are flat when they go into the mail. I weigh them, every one of them. I know they are fine to post.

I have actually had this postal charge 'scam' happen myself. Sometimes it's because someone has put a regular second class stamp on a large letter. That doesn't work, and then the charge IS due and legitimate. I have mentioned this previously to subscribers. But I have had items like this where there is NO REASON for the charge. If they don't give them to me and there is a return address I let them go back (at least that is what is supposed to happen). I am happy to refuse to pay. I am happy for you to do that too, and please tell them to return it.

The FAS magazines have a return address on the envelopes, and should be returned if not delivered, so let me know if you have refused to pay and at which office. If you can take a photo of the item at the time, all the better, and tell the office you WILL be reporting it as a fraudulent charge - as that's exactly what it is. I get tired of hearing it's an isolated 'error', because it clearly isn't! Also, this way if the item doesn't come back (as, like I say, all FAS magazines have a 'return address' on them), I can ask why it wasn't returned by that office, and take it from there. I have to say I never get any returned magazines. I once had one, many years ago, from abroad, but that's it. I do have to wonder where these undelivered items end up... And blimey, I even SAY THAT in the introduction of issue #164!! Fancy that!

The service you get from the post office is a little bit down to you. If you think it's bad TELL THEM. I have had terrible trouble here with ripped mail, open mail, damaged mail, things rammed through the letter box, things so wet they looked like they'd been left underwater, and even things like 8x10 photographs folded in half to go through the door. THAT is NOT acceptable, so COMPLAIN, and if you need to make a claim, do so. It's in your own interest to say something.

I hope everyone had a great Christmas.

David