I am about a quarter of the way into Dave Cousins' autobiography "Exorcising Ghosts - The Strawbs and Other Lives". While it has had mixed reviews, so far I would recommend it.
 
So far there are some interesting insights into the mid 60's music scene in the UK and the recording of the Album with Sandy Denny on a 3 track tape machine in Denmark. I still think the version of "Who Know's Where the Time Goes" on that Album is the best I have heard.
 
Rick Wakeman will make an appearance in a couple of chapters. Interesting to trace the development of the band from skiffel, to a bluegrass trio, poppy folk band to prog rock.
 
 

Hi,
 
For some reason, a lot about Sandy Denny is buried somewhere, and it will probably have to be Joe Boyd as the only person to say something. Weird that there is not a whole lot about her around, except songs of all kinds, specially her renditions of Bob Dylan, all of which are fairly good and make Bryan Ferry sound ... silly!
 
This book is on my agenda. As is the one on Robert Wyatt ... however, there still is not a single book that takes an objective look at the arts in that time and place, that brought us so many groups and then left us with the Canterbury music scene, of which, too many of us, still can't get enough! 

Yes, you won't find a lot about Sandy Denny in this book as she was with the Strawbs for such a short time so its mostly one chapter. I love Cousins's 2009 song "Copenhagen" from the album "Dancing to the Devils Beat" about Sandy.
 
I have been a bit busy so I have not read much more but there are several references to TV shows where the archived tapes were wiped by the BBC and reused.
 
Footage of the Cousins/Hooper/Chesterman version of the Strawbs performing "Poor Jimmy Wilson" with David Bowie miming would have been priceless.
 
Interesting titbits, Cousins was playing with The Big Ben Banjo Band but decided give up as it was incompatible with the image they were projecting for the release of the first Strawbs Album.
 
The Strawbs family tree is posted here.
http://www.strawbsweb.co.uk/@f/f_ftree.htm
 

I have been otherwise occupied so I have been making slow progress with this book. I have just got to the departure of Rick Wakeman which I thought was a lot more acrimonious than is described in the book. Of course Dave and Rick are good mates again these days and even made an album together not too long ago.
 
The infamous "paint roller" incident of course came up, Wakeman brought a paint roller with him to the "Top of the Pops" studio. Of course TotP was mimed in those days and Wakeman "played" his Hammond with the paint roller. Cousins says he was unaware of this until he saw the recording and was not best pleased given the serious subject matter of "The Hangman and the Papist". The film has survived and is on Youtube - http://forum.cakewalk.com/FindPost/3166379
 
There are some interesting bits about recording "From the Witchwood" including Wakeman's first encounter with both the Mellotron and a modular moog at Aire studios, they were used on "Shepherd's Song" and "Sheep".
 
Wakeman's departure was obviously a big blow but I think his replacement, Blue Weaver's playing fitted in with the band a lot better.
 
John Ford's bass playing was mentioned. I always liked his percussive style and it appears Cousins was impressed by it too.

Another bit of info was Wakeman was being paid 25 pounds a week by the Strawbs. He quadrupled this when he joined Yes. A chart LP in those days retailed for around 3 pounds. Rick would have been interested in beer which IIRC was around 15p a pint.

Hi,
 
Nahhh, I was thinking that Rick probably thought he was better than Keith and would have to use some oddities to not only get a mention, but also a listen!

One of the consequences of Rick leaving to join Yes was I discovered the Strawbs. I was a Yes fan and had to check out the band this new keyboard player had come from. I borrowed "From the Witchwood" from a friend and was blown away. The Strawbs became one of my favorite bands.
 
Just finished reading the "Grave New World" chapters. Cousins confirms that "Tomorrow" with all its venom was about the departure of Wakeman, the line "You talk to me with acid tongue" relates to an interview were Wakman had upset him. I had always considered Blue Weaver's blistering Organ solo on that track has a touch or "up yours, Rick" about it.
 
The Grave New World film was mentioned. This was quite revolutionary at the time using the blue screen techniques. It was pretty much the first time I encountered what was to become the ubiquitous music video format.
 
Several years ago I had an online conversation with Dick Greener who runs the Strawbs web asking if the film with ever resurface, he said it was very unlikely it would ever be re-released. Cousins says in the book that with the exception of "New World" it has not aged well. (and hinted it was cringworthy in places).
 
Here is the "New World" sequence from the film https://www.youtube.com/watch?v=hhEwjCoGru8

Just got to the big split after "Bursting at the Seams", the chapter is called "Bloodbath on Rodeo Drive".
 
I saw them for the first time not long before the US tour and ensuing "bloodbath".
 
Listening to Bursting at the Seams again this morning its clear there were two different bands emerging, what I did not know its was a close call that Cousins retained the Strawbs name.
 
There are some entertaining anicdotes about partying in LA with John Bonham and Robert Plant.
 
I posted a snipit about the guitar tone on "Down by the Sea" on the Techniques forum.
 
 

Just playing "Who Knows Where the Time Goes" from those early Copenhagen sessions. Sandy Denny's voice is so perfect, a shiver ran through me.
 
Cousins wrote many years later.

Several years ago
A day in early spring
In a Copenhagen bar
I heard a skylark sing

In a slow speed silent movie
There's a snow kissed winter scene
Your pretty face is glistening with tears
In that half remembered moment
Silent and serene
The town hall bells are chiming down the years

I have read as far as "Nomadness" There was a lot of turmoil in his personal life from Hero and Heroine onwards. There is some insight into how this affected the songwriting but I have found this part of the book less interesting than the preceding chapters.