Wings Fun Club newsletter November 1975 published

At the end of September, Wings completed their long awaited British tour, which brought one of the finest professional rock bands to its ever-widening audience. It presented a tightly controlled, impressive band to its audience ‘live’, sounding as close to the quality of their recorded performance as one could possibly expect. It proved an exciting and rewarding experience for band and audience alike. Returning to Britain at the end of recording Venus and Mars, Wings spent the next four months rehearsing thoroughly for their first ‘live’ appearance as a band. The tightness and control of the music certainly reflected Paul’s desire to produce the very best they could achieve as a band. There were rumours of an impending tour all year, but it was not until every detail had been precisely worked out in full that the itinerary was announced: […]

On 6th September E.M.I. held one of the band’s last rehearsals at Studio 5, Elstree, before some 900 invited guests, representing primarily E.M.I. employees and including 100 members of the Wings Fun Club, chosen at random from those within the Greater London area. This was the first opportunity that most people had had hear Wings ‘live’, and the feeling generated by the music can only be described as to electrifying. Although the later concerts were more perfected musically and included all the stage effects, the initial thrill of hearing Wings perform remained firmly fixed thereafter.

The rehearsal contained the complete material which Wings performed during the tour. The song order shifted somewhat after the Birmingham concert when Soily was temporarily forgotten during the programme and inserted at the end as an encore where it remained for the rest of the concerts.

As the band moved into the ‘rockers’, members of the audience were invited by Paul to join in and dance, which they did with enormous spirit. Afterwards, the band went along to Studio 8 for a party for Elton John’s manager, John Reid.

On 9th September the band took to the road in their comfortably equipped bus, approaching Southampton with a degree of first night apprehension, although the solidity of the musical foundation and the thoroughness of the rehearsals left little room for real nervousness. The travelling party included families, children and a tutor for Mary and Heather McCartney. Films for post-concert relaxing were also part of the accompanying luggage.

Whichever way one looks at it, Wings gave the most tremendous value for money, playing without a support band for two hours, through what amounted to 28 non-stop hit tunes, with little time spent on anything but the music. The pacing of the songs was clever and interesting, albeit slightly unusual, giving scope in turn to each individual member of the band and also to the excellent horn section, led by Tony Dorsey. Solid individual excellence coalesced into a superb rock band sound through all the Wings numbers, sometimes almost surpassing the quality of the recorded performance, as in Letting Go. To achieve the feeling of such a solid, together band with two relatively new members was no small achievement. One immediately noticed the dynamism of Joe English’s drumming (he is a compellingly ‘visual’ drummer, who takes you off with him), and also Jimmy McCullough’s outstanding musical part played with the minimum of stage ‘style’. In particular, there is a remarkable contrast between Jimmy’s seemingly cool look and the vocal energy and drive he displays in a song such as his Medicine Jar. Linda’s presence was a real asset to the group; displaying real virtuosity on her keyboard and vocal backings, she was the cohesive force in the band. And of course, Denny was superb in his own songs such as Go Now. Paul’s performance can only be described as superlative, and by the highest standards, few can touch him as a concert performer.

The acoustic guitar section of the programme (see footnote above) revealed not only the band’s virtuosity but also Paul’s perfect timing in slotting it into the program where he did. It was spellbinding watching the solo figure of Paul, in perfect voice singing the simple little song Blackbird with its unforgettable guitar changes. It went through my head for days and days. If anything, although the audience responded to the Beatles’ material with thunderous applause, its inclusion served to highlight and throw into relief the undoubted excellence of the newer Wings material, surely to become ‘classics’ themselves!

As they warmed up they got better and better, the audiences more and more ecstatic, the notices great. The concert in London on the 18th September felt like a gala first night, with an anticipatory tension rippling through the audience before the concert started. A few touches had been added including a smoke machine for Venus and Mars and dazzling strobe lighting for Live and Let Die. Afterwards there were drinks for friends, among whom I saw were: Ringo, Harry Nilsson, Alice Cooper, Lyndsey De Paul, Pink Floyd, Queen, and David Frost. Soon they were up in Scotland doing their final four concerts, Glasgow being memorable for the band’s appearing dressed in kilts for the encores. A group of faithful followers from the U.S. flew over for the tour and attended all the concerts. They were: Ken Krinski, Barb Fenick, George Tebbens, Cindy Rosenthal, Mary Ann Dolphin, Marie Lacey, Doylene Kindsvater, Lyndsey Vikios and Madeline Schatz, the all-time super-fan who did the same thing for the Wings tour in 1973. Concensus was that Wings were great everywhere!

After the British triumph, Wings had a small break and then went off for their Australian tour. Perhaps they will do the U.S. tour in 1976

NEWS IN BRIEF

A 60 sec. TV commercial for Venus and Mars, shown on ITV, was made by Karel Reisz … The Elstree rehearsal, plus the Newcastle, Liverpool, and Glasgow concerts were filmed by Tycho Films. Future use of the material is still undecided … Venus and Mars Rock Show backed by Magneto to be new single for the U.S. … Rupert Bear film progressing.

BEHIND THE SCENES

TONY DORSEY. Trombonist, conductor, arranger. American, born Georgia, raised in Louisiana. Played trombone in school. Trained as a teacher, then entered the Forces where he started a band. Other members gave him their experience; he gave them feeling for ‘black sound’. Arranged for band. Worked for Joe Tex 1967-69 and numerous soul acts, including Gladys Knight and the Pips and Sammy Davis, Jr. Ambitions include producing the work of his wife, singer Mary Holmes

THADDEUS RICHARD. Soprano Saxophone. American. Self-taught. Started music in school at age of 13. Session work at Nashville Sound Shop. Toured U.S. with various back-up bands: Johnny Taylor, Paul Kelly. Lives in Thibodanx, Louisiana

STEVE HOWARD, JR. Trumpet. American, born Lake Dallas, Texas. Attended North Texas State Univ. then moved to Dallas working on hotel and dance jobs. Went to New Orleans 3 years ago to work with Lon Price, a sax player, and then worked with Allen Toussaint at Sea-Saint Studios, playing on the Nightbirds’ album, Lady Marmalade, also on Toussaint’s album, Southen Nights. Played 1st trumpet on Call Me Back Again.

HOWIE CASEY. Alto Saxophone. British, born Liverpool. Started playing in the army. Own group: Howie Casey & the Seniors. Made an album, couple of singles. Hamburg 1960. Worked at the Cavern and with King Sized Taylor & the Dominoes for 2 years. Backed Chuck Berry on 1st British tour. Session work. Played on Band on the Run. Lives in London. […]