Freedom’s Children interview with Ramsay Mackay
the political situation in S.A. would have been easier they would have had the
same status in the international music market as Pink Floyd does. Beautiful
composer songs, amazing instrument work, well-crafted guitar work and great
singers. The extra heavy prog. sound beats most albums in the same direction
coming from UK or USA.
It’s a great pleasure to do an interview
regarding Freedom’s Children. I would like to start with the very beginning.
You were born in the Scottish Highlands. You arrived in South Africa around
1953. What can you tell me about your early childhood at Scotland and later in
long time ago. Yes, I was born on a farm in the Highlands of Scotland on the
last day of the Second World War. As a boy I used to wander. Unlike these times
… my mother never knew … where,
exactly I was all day. Easter Ross was then an isolated part of the UK.
Strongly Celtic. My grandparents spoke Gaelic … though they spoke English as
well. My mothers father was a fiddler at local dances. A font of tradition. My other
grandfather, I called … ‘Boss’ … & he was a man who loved engines. My
grandmothers were both tellers of old folk tales & as I remember went about
their work all day singing very old songs I could not understand. I don’t know
if I am idealising this distant past … but … thats how it seems to me now.
This world was left behind on our arrival in Africa. When we are very young we
take everything in good stride. Everything & everywhere in the world is
natural. To me arriving suddenly into the wilds of South Africa seemed as just
another part of my wandering.
( village ) of Graskop. It lies perched on the escarpment over looking the
mythical Low-veld made famous in the book ‘ Jock Of The Bushveld.’
Uitlanders ( foreigners, but the word in Afrikaans has a more bitter ring & every day after school the Boer children went round outside our house
chanting … “Huistoe Rooinek! Huistoe Rooinek!” … meaning
literally … ‘Go Home Redneck’ … but in the long history of conflict between
the Boers & the British it really meant … ‘ Go Home Bloody English !
‘ When the Boers found out that we were
Scots & not English their attitude towards us changed. Within six months I
could speak Afrikaans & made friends with the local children especially …
the van Antwerpins … all nine of them. So from the age of 7 to 12 I grew up
as any Boer lad of that time. My brother & I even spoke Afrikaans to each
other at home.
spent our free time & how none of us got killed is a wonder ! We wandered
miles away into the bush & koppies. We were only about 40 miles from the
Kruger National Park so there were dangerous animals & snakes around. We
were armed with air-rifles, bows & arrows, catapults & knives. We
camped out. We were allowed to roam to our hearts content. This is no longer
possible. We were very close to & felt a real bond with nature … in it’s
more wild manifestation.
this period is that every Sunday the African drums used to sound from the
Location ( where the Blacks lived ) & that by the end of the day I felt
myself in a sleepwalk from them. I did have what I can only call ‘mystical experiences’
in Graskop from about the age of ten. I think this happens to many children but
they tend to forget them in growing up. Or they have it rationalized out of
them. Mine are still very clear. But … even more of a mystery.
the among the Africans around Graskop were many Shangaans who have the most
haunting guitar picking style which they played while they walked the dust
roads that cut through the koppies & thorntrees for miles … and miles. It
would come through the bush seemingly from nowhere. Unknowingly it made a deep
impression on me. Now many years later … I sit & try to find on my own
guitar … that bush backbeat … by which one could walk the whole wide world
. . . bare-footed.
Some of the first bands you were involved
were Eshowe, The Stilettos and The Beathovens. You played R&B music and I
would like to know if you ever recorded and released anything?
bands in South Africa to play R&B. There was an American at school, …a
Paul – who’s father was a missionary and
who went back to America on the long
school-holidays – whom I asked to get albums by any Black dudes he thought fit
by asking questions at the record shops. So he returned with … Bo Diddley …
Chuck Berry … Howlin’ Wolf … Muddy Waters … Champion Jack Dupree &
many more. We were smitten ! We spent all our time in bedrooms trying to find
out that secret boo-boo. No kidding. To this very day.
was four songs . . . ‘Stop& Listen’ … ‘Beautiful Delilah’ … by Chuck
Berry … & one of our own compositions … is what I remember. We actually
drove all the way to Johannesburg ( in
those days it was like going to Mars for country boys like us ! ) which is
about 500 miles . . . to play the tape
to a record company. The people we eventually got to play the tapes to were
well known personalities on the radio. They listened. They shook their heads.
” The guitar is finished,” they said. And this is about 1961-62 !
Later on through Freedoms Children I got to know these people but I never let
on that I was the callow youth from those years ago. ‘The guitar is finished’ .
. . is a joke for the way this world is set-up.
Later you and other Beathovens members
(Angelo Minietti and Gary Demmer) moved to Pretoria. What happened there?
up-tight. Our hair was getting very long. It was like walking around with
trouble on top of the head. The ‘straights’ did not dig it. They wanted to punch us in the puss. They did. Fights broke
out. Even revolvers were drawn. Going into a bar one had to have nerve. Even
walking down the street invited confrontation. All this is forgotten now. But I
reckon it still stands … fashions have changed but the beat remains the same
… what does ‘freedom’ mean. Hair back then was a new flag. Now it is straw.
Perhaps that is why we see so many Yul Brynner’s these days … looking tough
… like a bald penis. Yes, the Penis Men … these day’s … they are to be
seen at all the power points … their noses in the trough.
We practiced a lot. In a small town hall. We lived in caravans. And human
kindness. We had no money. We did do a number of gigs. One of which ended in a
brawl … riot … cannot really remember what … the memory … is such a
time in South Africa. The white men who ran the show everywhere … saw
everything as a threat … ( things not
like them ) … and that included long-haired beatnik teen-age ducktails like
us. Oh boy … it is almost impossible to recapture that time. It had a certain
Soon Freedom’s Children were born, but
before we start talking about that, I’m curious what was the scene back then?
an agent if you were very lucky … who got you a gig in a three monthly
residence rotary system. You would then play six nights a week & usually
also on a Saturday or Sunday afternoon. You played on average four 45 minute sets
with a 15 minute break every night. You also had to rehearse at least three
times a week to get new songs to keep the act sharp. The agents & the
Club/Hotel managers were kings of this system. We did not really care about
money. We just wanted to play. They took advantage. We once played at the
famous 505 Club for a whole year . . . 6 nights a week ! The people came. I
have not got a clue now … how much we were paid. Lately I have been reading
about The Beatles in the early days in Hamburg … & it is all … very
familiar to me. Playing so often … for so long … makes the band sonic …
& tight as skinny … assed spooks.
Hearts, Dexies were in abundence in South Africa. Very ironic. On that speed one
could play forever. And we did try to. Again it is very similar to the scene in Hamburg. We did not
eat much … being fueled by brandy & pills.
listen … to learn. South Africa was still very influenced by Britain in
matters of culture. The only thing was we never heard any of the bands live
because of the boycott. We were cut-off from living contact. Musicians learn a
lot from watching what other musicians are doing. It is a whole other universe.
In South Africa we had to make do with listening only. We did not have a clue
what these bands sounded like live.
Freedom’s Children was quiet a
revolutionary name of the times…
… was a taboo … in the land of taboos. It was electric when we made it up.
What ! FREEDOMS CHILDREN ? It cut through the air. On our first single the
record company would not release it unless it was changed it to FLEADOMS
CHILDREN … & we put up with it just because we wanted to hear ourselves
on the radio. It was laughable. But we did not laugh so much. Freedom … to
Fleadom. This is ‘reality’. When the fuckers with all the power call the shots.
The record company & the government. In certain situations. What is the
difference ? That is how it was back then. But we were riding the music &
just lived for that & what it was saying to us.
You started playing at Le Macabre club.
Tell us about your first shows…how was it?
notorious overnight. Le Macabre was our first residential gig. It is here,
early on that we started doing ‘Freak Outs’ which lasted for one whole set.
Unheard of then. We created our own home-made strobe lights which did not exist
as such … we had projectors showing films on all the walls … we had jelly
… & dry ice etc. The music we played was a heavy beat with anything goes.
We had tapes … monks chanting … bombs dropping. The first time we performed
this it was a sensation. Also … somebody took an epileptic fit … nobody
then knew … that strobe lights can cause these fits. The fit was pounced on
by the press. The authorities thundered … ” This orchestra … this
Freedoms whatever … want to corrupt the youth. Look they are giving them
siezures.” The next time we did the Freak Out not all the people who came
could get in. There were more epileptic fits. They became known as ‘frothies’
& I think a lot of people who did one did not have one. The Mayors Office,
the Churches & the Police wanted to have us banned. We became front page
news ! We felt the urge to make it more outrageous & the music more
hypnotic & at the same time having wild stuff going on. The Mayor & the
Police Chief came to see and hear for themselves. We were ordered by the Le Macarbe management to tone the whole
thing down drastically otherwise we were going to get banned ( & they were
going to lose big bucks ! ). So we toned it down for that show. And turned it all up again the next time.
Eventually these Freak Outs took their toll as one had to think up things to
take it further & further. This is the central problem of Freedom.
Before too long we were off to play there. We really left the ‘Freak Outs’ back
there at the Macabre & never performed with all the lights, strobes & films etc. ever again. It was a real acid trip
before we actually dropped the acid. It became scary. After-all … we were in
a Police state … & it was Apartheid South Africa. This whole period
started me to thinking . . . is there such a thing as Evil . . . outside of the
men who carry it out. It is like Hitler is now personified as Evil incarnate. A monster. But is he ? If we allow History to become mere mythmaking . . . we
shall be gobbled up by phantoms. The entire past is contrived. To suit the
purposes of the new/old agenda & all its cronies.
Troubadour Records signed you around 1967.
How did you get signed, since you played »revolutionary music«?
pioneers of South African music approached us to to do a single. As we had not
yet made a record we were keen just to get into a studio.
the engineer was about fifty something & had never seen amplifyers as big
as ours … nor how loud they could play ! We had the evening to get four
tracks down. It was live. There was only two tracks. On our first run-through
the engineer went bonkers. ” All my needles are on red … it is too loud
… I cannot record this.” Or something along those lines. Someone went
out & bought two bottles of Cane Spirit … a potent liquor peculiar to
South Africa made from Sugar Cane. Billy probably saw to it that the engineer’s
glass was always full. By the time we put down the tracks he had opened up all
the controls & we were all well pickled and making a lot of noise. The solo
in ‘A Better Man Than I” when turned up gives one a good idea of that night. It is all live
! And we do four tracks in a evening. We never see the engineer again. But we
parted better than we met … & I
can still see his face & his greying RAF mustache.
Later you were signed by Parlophone records
and you went to record your debut titled Battle Hymn of the Broken Hearted
Horde. I would really like to hear about the concept behind the LP.
album – looking back now – is speed. South Africa was getting very paranoid.
The ‘summer of love’ was drifting off. Darker regions began to move in.
to go to London. To see what their ‘freedom’ was at & to play in a
different scene. And just to get away from the oppressive situation in South
but EMI were expecting a record from Freedoms Children … who no longer
existed … other than Cpolin Prattley and I. We put down some songs as backing
tracks … things like Judas Queen, Ten Years after & Miss Wendy. Kafkasque
& Eclipse on the album were recorded by the full member Freedoms Children
previously as a single. I did the voice over & sound effects. The rest of
the songs were in the hands of the producer. So it is quite a strange album in
that Colin Pratley and I were not playing on the rest of the album … neither
were we there for the production and mixes … or for any say in the matter at
all. As I said … I cannot remember how things came to this. They did …
& that is that.
London teaching the songs to Dennis Robertson who was a singer I knew from
Durban.. I thought he would be on all the songs but things turned out
different. He only appears on a number of songs.
… we were taking a lot of speed back then. During one of these episodes I saw
all the masses of this world huddled under the powers that be & the ‘way
things are’ … all of history and its murderous rages … over what ? At the
same time I was suffering withdrawel symptoms from a long romantic interlude. I
thought how alien we had become on our own planet. Like a horde. A heartless
mass. So this is how war begins ! The battle … hymn. It was all broken up …
just like this. When I put the voice over down I was in some state … there
was no engineer … I had to go in & out of the studio to turn the tape
machine off/on … all the while speeding on Black Bombers. Perhaps I once
really knew what the concept was … I don’t know … I do not listen to the
album … not yet … anyway. I think the people who do listen to it … find
their own concept of what it is. That is fine by me . . .
Do you perhaps know how many copies were made
and a few words about cover artwork would also be much appreciated.
were made. The cover artwork I did with the Jurg ( I cannot remember his other
name, Geznar … I think ) & we had a good time doing it … he was a
photographer … so we both mucked in on the design. We hired a suit of armour
… we cut out UFO’s to photograph. Yes … that’s the concept of the album …
Armour & Unidentified Flying Objects … & Hordes of people in a world
turned to Purgatory.
What is the story behind this album?
the Americans landed on the moon. I have always been fascinated with Space.
Freedoms Children had reformed in London … must have been late 1968. We were
living in West Kensington. The Americans were scheduled to touch down on the
moon in the early hours of the morning so we took acid & got our beds in
good positions round the black & white TV set. When they landed we were
spaced … like we were there with them. I thought how existentialist the
situation of the men on the moon was … what it would be like if they could
not get back down to Earth ever again. Its there in Slowly Toward The North,
part II … ” Cannot get my way back down to you. ” Also in the
beginning with The Homecoming. But this space thing is mixed with happenings here
on Earth … Medals Of Bravery is about the Vietnam War . . . The Kid He Came
From Nazareth is about Religion … Tribal Fence is about race, Gentle Beasts is about South African …
Slowly Toward The North & we are back in Space & Time … 1968 to 1970
… its like a Freedoms Children journal … even the sound. Clive Calder our
A&R man ( and eventual manager ) gave us total freedom in the studio. No
EMI engineers were present. We did everything ourselves. We camped out in the
studio. It was a great experience.
Dunstable … early 1969 … about half was done like this … the other half
was written in the studio. Like I said … we were camped there & would go
right through the night into the next day as we had the keys to EMI’s studio
& we could do exactly what we liked. Hats off to Clive Calder for this.
Black Box ( something of his own invention ) & a Gretsch guitar. I had a Fender Precision bass guitar with 100
w Vox amp. Colin Pratley had Rogers drums. Nic Martens was on a Hammond organ. Gerard Nel played a grand piano, hapsichord
& bells. This is what we used on Astra. When we toured
the album we had 200 w Marshall amps.
from the band and form another called Abstract Truth. What can you tell me
about that? Abstract Truth released some albums, but you were not a part of
that. What followed next?
with Kenny Heson & some others in Durban … but that was it. I was asked
to join Joburg Hawk as a song-writer. They were signed to Charisma Records in
London. So in 1973 we were in London & they recorded at the Island Studio
& played gigs all over Britain. It was not like Freedoms Children at all
… as I was not in the band. The band had 5 white members & 4 black. This
was the time of strong anti-Apartheid demonstrations and action in England. The
band became embroiled in behind the scenes politics. I don’t think the ANC in
London particularly welcomed a mixed race band from back home in South Africa
at that time. The paradox of politics. Trouble from within the band stirred
from outside influence. They were supposed to go to America but the
‘revolution’ got them first. Charisma Records put a lot of money and goodwill
into Joburg Hawk … but … the bullshit … came out on top. The band fell
apart in mid-air & I found myself back on the Union Castle ocean liner
sailing to Cape Town. The previos time I had been on one of their ships was
when Freedoms Children sailed back to South Africa to record ‘Astra.’
We would be all really happy if you would
share a crazy story from concerts back from the late 60’s.
black group called ‘The Malombo Jazzmen’. This was against the law in South
Africa. It was illegal for black & white to appear together on stage.
Freedoms children were back to the original three of Colin Pratley, Ramsay
Mackay & Kenny Henson plus the singer from Astra days . . . Brian Davidson.
To cut a long and troublesome story short … We & the Malombo’s had
hatched a plot to play together on stage at the Durban City Hall. We were
booked as Freedoms Chidren to play on a bill with other groups. Nobody other than our manager of the time … knew
about this. We had bought skeleton masks to wear & also florescent paint
for our arms & hands. There was seven of us on stage before the curtains
opened … it was tense & hilarious … because we could hardly tell who
was who till they picked up their instuments … Colin Pratley was calling to
who he thought was Kenny Henson when Julian Bahula the Malombo’s tribal drummer
said … ” Hau ! No … it is not Kenny ! … it’s me … Julian
!”….. Well, this was very funny when you can be arrested & charged
for playing music with someone you don’t know who. But in all this lunacy Lucky
Ranku, Malombo’s guitar player turns to me & with tears behind his skeleton
mask & says, ” I can only play
in my own country if I look like a spook ” . . .
and … then … the curtains went up … & the crowd, … the audience
audibly gasped at the sight before them . . . 7 figures with skull heads and
blacks & whites played live together on a public stage. The Malombo’s
played three songs with us then rushed off stage and down the stairs out into
the street where our manager was waiting in a parked running car & whisked
them away into the African night . . .
Before we end our interview I would like
to mention, that it’s really shame that because of the political status of
South Africa and many other things you could not make it huge. Many people
think, that being from the UK, there is plenty possibilities to become a world
known act. What is your opinion on that?
I have no regrets. I am doing new music. I still take flights into
psychedelia in the studio. Into other things too. Astra has lived for forty
something years. Most likely it will grow. There is no other album like it. It
comes from a certain time & a certain place. That people are still
interested in Freedoms Children … is, I think for us very fine ! More than we ever expected …
back then. Recording Astra was a emotional/spiritual experience for all of us
in Freedoms Children. I have not seen some of the members for over 25 years … but I think they would agree …
that we are forever bonded by what a time we had making it. We were very young.
Yet it had still taken years of shit to get into that studio with total freedom
to do whatever came into our heads.
Shadoks did a great job reissuing your
albums. Are you satisfied?
Astra for the first time in years … & was taken by surprise. The box
& all the covers are of high quality.
off to Shadoks & Thomas Hartlage !
What occupies your life these days?
recorded about 140 songs with another musician, Henry Dennis … We call
ourselves The Fumes Of Mars & we are building a website of the same name on
which we are down-loading the songs, artwork, photo’s & a whole lot of
writing on the world, politics & the present financial robbery.
Would you like to send a message to your fans and to It’s Psychedelic Baby
Psychedelic Baby readers … always remember … Psychedelia . . . is a big part of Reality.