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night.
you.
Yeh,-
Well,-
par-don me
par-don me
sir,-
sir,-

If what I'm say-ing brings youdown,-

If what I'm do - ing brings you round, -

I- But that's the on-ly way to show you -

But that's the on-ly place I know sir -
that I'm a clown.
is town to town.
(Spoken) : Yeh,

I- 1'm quite- s u r e - you un - der - stand

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NOANIVAS S I H H 3
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- I - -

went there ?- Ain't i t high time we went ?-

2 . Well, it's four o'clock in the morning, 4. Two o'clock and I'm rolling,
Somebody's shouting the news, Everywhere I look i s the same,
Nobody's been yawning, Somebody's been calling,
Preachers all around for the blues. Trying to put the blame on my name.
Ain't i t high time we went? (4x) Ain't i t high time we went? (4x)
3 . Three o'clock and I'm dreaming, 5. It's one o'clock and I'm falling,
Somebody's shouting the way, Falling for the same old game,
Nobody can s e e me Somebody's been shouting,
Trying to find a brand new day. Let me be by the stage.
Ain't i t high time we went ? (4x) Ain't i t high time we went? (4x)
6. Well, it's twelve o'clock and I got there,
Didn't think I'd make i t in time,
Somebody's been shouting,
"Don't forget the lemon and lime."
Ain't it high time we went? (4x)
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2 . A subtle recitation to the black-eyed Sues,

A total fascination for the color you choose.
Oh, I don't mind if you let it ride,
Just a s long a s you let it shine,
Oh, let i t shine.

3. Repeat first verse.

4. A sweet indoctrination of the old time blues,

A total fascination of the black-eyed blues.
Oh, I don't mind if it's up o r down,
Just a s long a s it's turnin' around,
It's turnin' around.

5. I need a vaccination of the black-eyed blues,

A total fascination for the color I choose.
I don't mind which way you wanna go,
Just as long a s you let it show,
Please let i t show.
 SLEEPING,
GETTING 1-N
A FEW DRINKS
AND ROCKING
Joe Cocker, superstar and probably the greatest white
blues/ soul singer ever, has concluded his 'comeback' tours
and has returned to America. Before his departure
Steve Peacock talked with him about the tour, the past and
what he aims to do during his 'rest' period. . .

A YEAR ago, even half a year No Messages the music-pushing things out the
ago, there were few people way he's always wanted to.
Most people were convinced he
who t hought that in the summer wasn't coming back-he left no mes- Sitting talking to Joe, the thing that
sages and he sent no postcards, and strikes you most is that despite every-
of '72,Joe Cocker would be sit- thing he's been subjected to, his only
while the machine churned on, pres-
ting in his publicist's off ice in sing new people through the mould, concern still is his music,what hedoes
central London, giving an in- Joe was laying out. Was it the hassles and the way he does it. When you
terview. of the business that made him quit? start talking about the hassles he's had
he gets nervous, pulling at his hair,
Before then, there'd been a singer "It was just that some people who muttering half-finished sentences as
called Joe Cocker-probably the had been interested withdrew their if every word was coming out like a
greatestwhite blueslsoul singerwe've interest really, and we let the finan- pulled tooth.
ever heard. There was the single, cial thing wheel itself into a crazy
"With A Little Help From My Friends", situation that no-one could sort out, We were talking about the way the
acoupleof incredible albums, and the so I just thought I'd forget it. It was band had developed from the original
Grease Band, who for some reason hard to forget, you know. . . but I just six-piece idea that was called Con-
never got the acclaim they deserved let my mind drift too far away from cert-"I really thought that was a
as one of the best rock and roll bands music. decent name for the group, but then
to come out of Britain. by the time we did Crystal Palace it
Did he find that after a while, the got called Joe Cocker and the Chris
longer he was away the more he wan- Stainton Allstars . . . but I suppose
Super hero ted tocome back and sing? "The thing that's irrelevant really, completely
is, if I or any musician drops out for a irrelevantv-into a band with horns,
And then along came America, the
kids eager for his music and the busi- while, he doesn't stop things cooking, backing singers, two drummers-the
so from that point of view I thought it lot.
nessman eager for a share of a super-
wasall right. But last year and the year
star; Joe became a superstar. It It wasn't planned like that, but Joe's
before things were very slow to come
continually amazes me that people method is to go with the flow, just
out-not just me, all bands seemed to
are never satisfied with having great let everything work itself out. "Like
be having trouble getting their heads
musicians, that they must make them the horn players just showed up when
together, making albums with any
play out the fantasy of the superhero. we were rehearsing in Connecticut,
Movie star, football star, rock and roll depth.
and we got on together so we thought
star-it's all the same, and it has no- we'd give it a try.
thing todowithacting, playingfootball Guilt
or making music; but, OK, it happens. "I know at Madison Square Garden
"It came at exactly the right time, we got put down, and for us it wasn't
Joe and the Greasers parted com- ...... but, you know. I hadn't seen
this band, because I was beginning to
pany, but there was a tour still Chris for months, and I hardly knew
contracted, and between them Denny feel vaguely ill at ease-you know, the
guilt feeling you get. . . ? I was always Conrad, and we just had to sling some
Cordell and Leon Russell put together songs together. We had six weeks,
a musical monster called Mad Dogs. thinking of some future project or
something, but you can think too long. and every day we'd be counting up
which developed into some kind of how many songs we'd got-three
I did that. I think."
gruelling showbiz extravaganza. weeks to go with four numbers, any
When you talk to people who were on So JOeCOckercame some ideas? Two weeks with five numbers,
that tour, you get the feeling you're ways he was driving back into the ma- any ideas? We just kept going like
talking to seasoned campaigners chine, faced almost immediately with that, and by the time we went out we
looking back on some crazy military lawsuits from former managers and hardly had enough material to make
operation. At the end, Leon Russell agents, and with people that up a programme, but it worked out,"
got promotion to General . . . and Joe plained he wasn't doing any of his old
Cocker disappeared. hits. But also he was coming back to And it worked out not in a rehearsal
 his fingers), or some friction thing
hall, but on the road: for Joe, that's tendency to want to start going out could cause changes, or it could stay
where the music always happens. before we've established what we're together for years. It doesn't worry
"I love touring in America, because doing with a song. For most people me; today matters.
of the way it getsat you: you get wilder it seems to be very simple and clean, "We'll just keep moving and if things
as things go further on, but in a good but I tend to get carried away on what get crazy we'll call it a day; otherwise
way as wellas a bad way. But Europe else you can do to a song before we'll just keep adding dates and build-
was best for us, that's when it really we've rooted it. It does take away ing tours and let the ideas come out.
started-you get there and someone from the strength of the song if you I was trying to get hold of a house,
says 'right, two hours' rest and you're do it too soon, because simplicity but I've not looked with much intensity
on, and you don't get a chance to do is powerful." -I live in hotels, or I'll go up to Shef-
much except sleeping, getting in a field and lay out these days.
few drinks and rocking." With all that in mind, then, it's na-
tural that the band's first album should "But I daren't climb back into bed
It was a strain on him at first: "It's be mostly live: We've got lots of live now-it's like stepping into the past."
amazing, like in a year you forget stuff from Crystal Palace and the
lots of things about being on a stage. Rainbow that just need new piano
I was tripping over everything: I found Photos courtesy of A & M Records
tracks and vocals, things that got lost
myself staring into spotlights and I in the live recording somewhere. My
just couldn't imagine why I was doing aim was to divide it into four-have
it, and I'm only just beginning to learn some of the album from Crystal Palace
how to use a mike again. and the Rainbow, and some from the
"And you get so hoarse singing States Tuscalusa and New Orleans-
when you come back-l found myself but I'll have to wrestle with Nigel
singing all these weird notes that (Thomas, their manager] over that,
cascade all over the show, notes I because he wants it all English stuff.
don't really mean to sing at all. But "I haven't heard the playbacks from
what do you do? Cancel a show be- New Orleans, but we were playing
cause you can't hit a certain note that
really weird at the time, so I'd love to
night? I've sung with my voice in hear them and get them on some-
terrible shape some nights when I where. We were sort of throwing in
should've been resting up, but it's the music any way-that's probably
OK-the band can take the strain why it didn't go down too well with
those nights." people's ears. It was almost like jazz,
Working under that pressure though on the verge of being jazz." He gave a
creates the problem of things getting wry chuckle: "Must be quite fright-
out of control-in some ways that's ening to some people."
good, letting the music take its own
course, but he feels sometimes it With the band as big as it is now.
I wondered if he ever felt over-
should be tightened up:
powered. "No. On all the things I hear
"I often wonder about that. I have a of mine, the voice is too high. They
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 2. Lover to lover
Well, I'm brown a s brown can be.
Don't l e t i t get on me.
You talk about money, honey
And then you p r a y child.
But I don't wanna be alone no more. (to Chorus)

3. Heartache to heartache
Don't l e t it break s o fast.
Think about all you have
And l e t it l a s t .
I can't take no more teardrops from you,
But that don't give you no right to shout.

(wom-an to wom - an)

(lov - e r to lov - er) (wom- an to wom - an)

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