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Tractor/The Way We Live interview

February 1, 2013

Tractor/The Way We Live interview

Tractor is one of the best two piece bands
ever to come out of the UK although the band did not start out as a duo.  Beginning life as The Way We Live, the
moniker under which the band recorded their first album, “A Candle For
Judith.”  The band caught the ear of BBC
DJ John Peel, who took a liking to the band, purchased them gear and a PA, and
suggested a name change to Tractor.  Over
the past 40 years the band has recorded numerous albums and singles, mostly on
the Ozit/Morpheus Record label owned by band manager Chris Hewitt.  Recently Tractor guitarist/vocalist Jim
Milne, percussionist Steve Clayton, one time bassist  Dave Addison and band manager Chris Hewitt,
took time from their busy schedules to tell the tale of the 40 year journey of
Tractor to “It’s Psychedelic Baby” contributor Kevin Rathert.
When and where did you guys grow up? Did
music play a big part in the Milne and Clayton households? Were your parents
and/or siblings involved in music?
Jim: 
I lived behind and above a sweet shop in Manchester Road Sudden Rochdale
and had two brothers but neither were musical although my brother David, later
a woodwork teacher, built a couple of guitars for me. Steve Clayton had an
elder brother Phil a guitarist who Steve used to drum for and Phil also took
Jim into the band and helped him master guitar
What were the first instruments you
played?
Steve: 
I started banging drum beats on table tops when I was 9 or 10 years
old.  There is a headline about me
banging drum beats on the table top when Tractor signed to Dandelion.   
How old were you when you met each other
and what were the circumstances that led to getting to know each other?
Jim: 
I formed a band at Rochdale Grammar School later known as Balderstone
School.  We were be 11 or 12 when we met
at Balderstone school but I didn’t join a band until later when I was 14. Steve
was in the same year as me in school but in different classes so we didn’t hang
around together. Steve played  drums in
his brother Phil’s band The Vulcans and he didn’t come into my life until I saw
them at a school sixth form concert and being a budding Hank Marvin back then I
was knocked out by their music.  They
made me want to be in a band and eventually when someone left I joined and Phil
taught me how to play. We did our first gig together in the same band (with
Steve’s brother Phil still there) at Dearnley Methodist Church Littleborough as
The Vulcans. Someone asked us to do a Beatles number that evening and that was
the end of the Shadows numbers and we became a beat group.After a year or so
gigging around North Manchester I was forced to leave by my dad to get
schoolwork done. Unable to give it up I started jamming with Steve and bass
player Michael Slim Batsch and The Way We Live was formed with encouragement
from schoolfriends Alan Burgess, our vocalist who sang out of tune vocals for a
short while and John Brierley and Sonny Ryan who both attempted to be managers.
Sonny Ryan and Andy Burgoyne would come to gigs and sit in front of Steve’s
bass drum to stop it moving.
Were either of you involved in
professional bands before The Way We Live?
Jim and Steve:  No. 
Did you do any recording in any of the bands before The Way We Live?
Jim and Steve:  No.
How and why did you name your band The
Way We Live?
Jim: 
Steve read it.  It was the title
of an article in a women’s magazine Woman’s Own. 
Was this always a two piece band?
Jim: 
No Alan Burgess was on vocals and Michael Slim Batsch on bass. Alan was
sacked as he couldn’t sing except in the key of G .Slim  eventually left to go away to University but
the Way We Live was a three piece and gigged like that for a couple of years
with Chris Sonny Ryan as roadie would be manager John Brierley acting as driver
and live recording the three piece  .
(Alan Burgess later became the studio engineer 
when we built Tractor Sound Studios in 1973 in Heywood after John
Brierley was sacked after the Tractor album in 1972. Alan Burgess also took the
cover pictures for the Tractor album. 
When Slim left we became a two piece and concentrated on recording
between 1970 and 1972 After ‘A’ levels, Slim went off to University and I went
to Teacher training college.  The band,
in that form, was finished and we overcame our problems of distance and having
no bass player by changing our emphasis from gigging to recording.  I wrote songs at college whilst John and
Steve built a small studio in John’s bedroom and attic. We recorded during the
college holidays, it was very primitive really, just two stereo reel-to-reels,
a mixer made from a large sheet of hardboard, and about ten thousand controls,
all of which John assured us did something. Steve and I would sit down in the
bedroom and play, while John sat on high and twiddled. Despite the stone age
technology, John made some amazing tapes. During the Easter break of 1970 we
did our ‘Album’ . We were very impressed with what we’d done, patted each other
on the back and went for a pint that was the demo version of “A Candle for
Judith” which eventually would come out on 
the CD’s first “Original Masters” and later on “John Peel Bought us
studio Gear and a PA.”
What sort of music did you grow up
listening to? Who were your major influences?
Jim: We listened a lot to The Nice,
Hendrix, Zappa, Floyd, Tull and the Beatles. I always liked the Moody Blues as
well. ‘In Search of the Lost Chord’ was a bit special to me as was Beck’s
‘Truth’ album. Today I have more than a passing admiration for Joe Satriani and
Steve Vai, they make me wish I’d practised more ( or had sold my guitar and
bought a market stall ).
Did you always play original songs or
did you start out performing cover songs. If so, what were some of the covers
you did?
Jim: 
In the early days we played covers of Hendrix, Cream and Beatles
When did you start writing original
material?
Jim: 
Around 1970.
What was the writing process like? Who did the writing and what were the
first songs written by Tractor?
Jim:  I did the writing of the basic words
and tune and then with Steve  I would
work out the solos and arrangements and fine tune the songs.
Were these earliest songs ever recorded?
Jim: 
Yes almost all the late 60s and early 70s songs Steve and I wrote and
arranged were recorded, most eventually made it on to albums.
How did you two come to record the demo
versions of what would become “A Candle For Judith?” What studio were
they recorded at?
Jim: 
The recordings were done in John Brierleys  bedroom and attic studio with John as the
producer. 
Were you two the only musicians involved in these recordings?
Jim: 
Yes.
How did you guys get to know John Peel?
How did the demos of “A Candle For Judith” find their way to Peelie?
Jim: 
The demos were sent by John Brierley to Elektra UK where Peel’s co
director in Dandelion worked and so Clive Selwood and John Peel listened to the
tapes and decided to sign the band for five albums for Dandelion. John Peel
liked Rochdale as he had worked there in 1959 at Townhead Mill and lived in a
bed and breakfast in Rochdale.
How long after submitting the demos to
Peel did he offer you two a contract with his Dandelion Records?
Jim: 
A couple of weeks.  We recorded
the Dandelion version of “A Candle for Judith” in two days in the summer of
1970 at Spot Sound in London where Cream recorded Fresh Cream.
Were any other musicians involved or as it just the two of you? 
Jim: 
Just the the two of us.
How long did it take to record the LP?
Jim: 
No more than two days for the Dandelion version.
When was the album released?
Jim: 
Winter 1971.
Were any singles released before the LP?
Jim:  A track from the LP “King Dick II” appears on a Dandelion Sampler EP 7
inch with Siren, Stack Waddy and Principal Edwards prior to the album.  The version recorded in Dandelion Studios
Rochdale- ie John Brierleys bedroom and attic- of “A Candle for Judith” is
better in some ways than the Dandelion version as we spent more time on it in
our own studio environment” that version of the tracks appear on the cds  “Original Masters” and “ John Peel bought us
a studio.”
Steve: 
By the time we came to record A Candle for Judith Jim and I had been
playing together for about five or six years. Even so the experience of putting
our ideas down on tape in a studio situation was new to us. With the help of
our producer and engineer John Brierley we began the learning process together,
laying down tracks, building up sounds, listening, experimenting, creating
music that we believed in.  So that’s how
it goes: one day you’re playing to hundreds, the next — just one deaf
psychopath and his incontinent dog. But that’s O.K. Jim and I have been in
bands since we were thirteen. We’re used to it. And where else could you meet
such a wide variety of lunatics. I love them all.  Sonny Ryan our first roadie for the The Way
We Live, who sat in front of the bass drum `till his ears bled. Countless
vagrants who’d wander on stage, perform some mysterious ritual or other and
then drop their trousers and walk into the P.A. 
But that’s what it was about. Tractor was never just a band, it was an
organization, a movement, a society for people whose life was music. We opened
a music shop that became home to every eccentric in the North West of England;
a studio where bands could record practically for nothing. With Chris, our
manager, Dave Addison our new bass player and the residents of the farmhouse on
Oldham Road at Balderstone we started the Deeply Vale Free Festival that went
on to attract thousands every year  where
we now as the first performers and founders, share the history books with other
bands that started their careers at Deeply Vale or  already had established careers ,Steve
Hillage, The Fall featuring not just Mark E Smith but Mark Lard Riley of Radio
One, Frantic Elevators featuring Mick Hucknall, Nik Turner of Hawkwind, Here
and Now, The Ruts [The Ruts  were formed
in a tent at Deeply Vale in 1977]. John Brierley, our  first engineer and producer, opened another
studio that was the first to record such bands as, Joy Division, Dead or Alive,
Teardrop Explodes The Chameleons, Demon[the list is endless]. In and around
Rochdale there was a genuine feeling that music could change not just lives,
but the World. O.K., so maybe we were naïve, but – and this is so unfashionable
now – we really cared. The music we played wasn’t manufactured to please an
ever more cynical and manipulative Record Industry, nor to pander to fashion
and a record buying public made up of six year olds. And that’s why, in our own
way, everybody who was seriously involved in the music scene then, is still
just as enthusiastic now. And I see no reason to apologize for that. So – we
continue to play.
Jim Milne in The Way We Live two years
earlier.
As the title of your 2006 release
suggests John Peel bought studio gear and a P.A. for The Way We Live. When did
this occur? What kind of gear did Peel purchase for you? Was the gear a gift or
were you required to repay Peel?
Jim: 
We were really Tractor by the time John Peel’s Dandelion Records started
buying us equipment.  It was instead of
an advance against sales in cash for the album contract.  The equipment was bought and the cost put on
the debit side of our account with Peel and Selwood  ie Dandelion Records- starting off with
Ferrograph tape recorders and AKG microphones, then  a small Allen and Heath mixing desk,
multicore, HH power amps, some SAI PA columns more AKG microphones and then
Revox B77 tape recorders.”
How long did you perform under the name
The Way We Live?
Jim: 
A couple of years as Michael Slim Batsch left and so from about 1969 we
concentrated on recording.
Can you talk about some of the earlier gigs performed as The Way We
Live?  Where were the gigs and who did
you perform with?
Jim: 
We recorded a Way We Live gig live at the Heybrook School Theatre
Workshop in Rochdale probably about 1969 we still have the tapes.
Why did you change the name of the band
from The Way We Live to the more familiar Tractor?
Jim: 
Peel thought a shorter name would be more punchy and he saw a Tractor
out of his house window at Peel Acres 1971/1972.
When and where was your first gig as Tractor?
Jim: 
Heywood Civic Hall 1972, just up the road from Tractor Sound Studios,
The Seven stars and The Dressers Arms 
(see inside Townhead Mill sleeve)?
Were you opening for another band or were you headliners at this point?
Jim: 
We were on the same bill as a band called Silverwood.
When and where was the
“Tractor” album recorded? Who produced it? 
Jim: 
During 1971  Dandelion Studios
Rochdale- John Brierley’s bedroom and attic.
 Jim Milne
Steve Clayton
Did anyone besides you two play on it?
Jim: 
Judith, Steve’s girlfriend opened the lid on the musical box at the
end.  The biting guitar edge on the
Tractor album came from the direct-injecting it into the mixer. I had an
ancient Marshall fuzz pedal – should have kept it( now very  sought after as they use germanium
transistors) with two settings – ‘Doberman’ and ‘Rotweiler’ . The melody input
was all mine, no-one ever said ‘Try this tune’ . All the others did was stop me
overlaying too many harmonies and allowed overlayed acoustic guitars  in moderation only!  The ‘Tractor’ album songs were a natural
successor to the demo tape of the ‘Candle’ album which had been recorded in
Dandelion studios Rochdale ie John Brierley’s bedroom and attic.  Peel/Dandelion had bought us some new
recording gear in lieu of an advance and John Brierley built an even quieter
mixer. I spent hours boring holes in a new piece of hardboard and helping
solder 10,000 new pots onto it. Now I know they all did something! I’d finished
college and come home for good. I’d got all the songs written in my little
garret in Chester and, once the equipment was ready, we made a start. We
finished it in about six months but redid it all when Alan Burgess asked
“is the bass loud enough?” About six months later we emerged with the
album done.  I can remember one night, we
were recording and we were ready to do a take. Steve and I sat ‘hot to trot’
waiting for the Christmas lights to come on – Dandelion had overlooked sending
us a red indicator light. We waited and waited, but no music. Thinking that
John was resetting something, we sat there for about ten minutes before Steve
went up to see what was happening. He came back to tell me that John half way
through his tea and would be ready when he’d finished his rice pudding. It
rather took the edge off our creative juices that night. Another time, we had
to wait while John’s sister had a bath as the immersion heater caused
interference on the desk. Family life really did bring us budding super-stars
back to earth!
At what point did Chris Hewitt become
part of the Tractor family? What was
his job title and what duties did he perform for the band?
Jim: 
Chris had been hanging around with Steve since 1971 when the Way We Live
LP came out  and at that time was
promoting gigs at Rochdale College as he was social secretary of the student’s
union there. Just as the Tractor album was coming out Steve and I were getting
concerned as John Brierley wanted to be in charge of everything and has always
been a bit childish when he didn’t get his own way. Things came to a head at a
gig in Rugby where we were headlining at a college.  John had insisted in cramming all the
equipment into his estate car and going down their and setting  it all up on his own, Chris had hired a Ford
Transit van and travelled their with Steve with tons of room for the equipment
but John refused to accept help or lose control and when Steve and I walked on
stage to start our set without a soundcheck having been assured by John
everything was miked up or DI’d through the PA and was working so no soundcheck
was needed, nothing worked, no vocals, no guitar, no drum mics so I sacked John
in the Dressers Arms later that week and Chris became our live production
manager and he worked alongside Alan Burgess in the studio that Chris and Steve
built in the attic of 58 Market St Heywood. We had to build Tractor Sound
Studios Heywood as having sacked John Brierley we had nowhere to record our
next Tractor album. As the years went by Alan Burgess went to live in the
Seychelles so Chris Hewitt pretty much did everything, live gigs, recording,
management even if we didn’t exist for a couple of years as a gigging or
recording entity he would phone us up and breathe new life into Tractor to gig
or record again.
Chris: 
Meeting Jim Milne and Steve Clayton of Tractor for the first time in
1971 was a strange experience.  It
happened in two halves, I met Steve first and then Jim. One of my teenage
friends Bob Kershaw who would later become quite an accomplished guitarist, had
shown me an album by a band that he said his sister used to go out with the
drummer.  The album was Tractor’s first
LP The Way We Live’s ‘A Candle for Judith’ and on the back of the gatefold
sleeve was a picture of the drummer, a medium height guy with extremely long
hair in ringlets almost down to his waist 
(the ringlets came apparently from washing his hair in washing up
liquid!).  Standing next to him in the
photo, dwarfing him somewhat, was Jim Milne. 
So one day whilst crossing the dual carriageway to Rochdale College,
Malcolm Heyhoe and myself saw the drummer with the long hair off the back of
the LP sleeve and asked him what The Way We Live were up to, as I had heard
them played a lot on John Peel, Annie Nightingale and also on Kid Jensen on
Radio Luxemburg.  Steve Clayton told me
he lived in the College Bank flats across from the college and to call around
and see him as he was in most days.  At
this point Steve was living in Town Mill Brow, College Bank with his girlfriend
(now his wife) Judith.  Jim Milne was
away at Chester College doing teacher training. 
The College Bank blocks of flats that towered over Rochdale’s town
centre were known as the Seven Sisters- seven blocks in total.  The Council had tried to encourage a slightly
up market elite for these flats and in 1971/2 I know that Steve Butcher,
Granada TV producer lived in one of the blocks, as did members of the folkband
Saraband [ earlier they put albums out as The Honeydew], Scottish Ian Monaghan
from the Blue Knights [ brother of 
Scottish/Rochdale DJ Ged Monaghan] and of course Steve Clayton.  So one of my college lunch breaks I went up
to visit Steve on the 15th floor and he was cross legged on his bed-sit floor
typing out lyrics for Tractor songs which he and Jim had written recently.  Steve’s bed-sit was a sit on the floor flat
with scatter cushions and he sat there like a little gnome at his tiny portable
typewriter.  Credit where credit is due,
those typed sheets of words are still in Jim’s song file today, 35 years later.  Steve had a bohemian lifestyle.  His girlfriend Judith worked in market
research in Manchester and so whilst on his own during the day Monday to
Friday, Steve would type out the words to Tractor songs or go up to Heywood
where he kept his drum kit in his parents attic along with Jim’s Selmer Treble
bass 50 amp and cabinet.  He would do a
bit of drumming and pop into the Dressers Arms (diagonally across the road from
Steve’s mum and dad’s house).   If Jim
was back from Chester College in the evening they would jam in the Heywood
attic working out material for recording and for forthcoming live shows.  Steve has always been a really friendly guy
and I was soon invited to go and watch an evening in Heywood jam session
rehearsal and meet Jim.  It surprised me
how different Jim was to Steve.  I was
impressed even more after seeing their live rehearsal jams than I had been
listening to their first Dandelion LP which was mind blowing, but their
chemistry in a jam/rehearsal situation was amazing, and still is even now.  Perhaps it is the chemistry of their
different interests showing through in their music.  Jim always interested in more power and more
speakers got chatting to me about wanting an extra 2 x 12 cabinet for his
Selmer 50 amp and I said I had four 12 inch speakers at home and I would sort him
an extra cabinet out with two of them. 
We went across to the Dressers Arms, the hippy pub for most people from
Rochdale, Heywood and Bury (Deeply Vale would he hatched in this pub four years
later) and had a pint after the rehearsal and from that point on I was their
equipment and production manager.”
What singles were released by Tractor
in those early years? How were sales of the 45s? 
Chris: 
Stoney Glory on Dandelion, Roll the Dice on UK and No More rock N Roll
on Cargo.  Sales figures are unknown.
What were sales of “Tractor” like?  
Chris: 
Sales of Tractor Tractor LP were good it got to 18 in the Kid Jensens
Radio Luxembourg top 20 albums and was in the Virgin records top 30 best
selling albums in their shops.
How many live shows were you performing
at this time?
Jim: 
Quite a few, but none outside the UK.
Can you name some of the venues you played  
Chris: 
Electric Circus ,Manchester, Manchester University 1973  with Bon Scott (he was in Australian band Fraternity), Bolton
Institute of Technology, Bolton Albert Halls with Trapeze, Rivington Pike Free
Festival  1977, York University,
Quaintways Chester, Rochdale College Rochdale, Champness Hall Rochdale with
Mike Heron from Incredible String Band Grange Arts Centre Oldham, Tower Club
Oldham, Staging Post Leeds, Brown Cow Helsby, Seven Stars Heywood, Phoenix
Oxford Road Manchester, Tunbridge Wells Cricket Club, the Front Page Carlisle,
Penny Farthing, Ulverston.
How long was Tractor a full time
recording and touring band?
Jim: 
Never really full time we always all had other projects  Jim his teaching, Steve his painting and
drawings and later his novels , Chris his PAs and production for other bands
and his music shop and festival stages business.
How long did you remain on Peel’s
Dandelion label? How and why did you decide to leave the label? What label(s)
were involved?
Chris: 
Dandelion pretty much folded by 1973. 
They financed us going into Chipping Norton studios to record some of
the Peterloo tracks that appear on “Worst Enemies” cd and the 2011 “Peterloo”
cd. We did an audition for former Stones manager Andrew Loog Oldham and Dan
Loggins (brother of Kenny)which was to try and get us a deal and we did one
day in CBS Studios London recording another Peterloo track “We Three Country
Gentleman” but nothing much came of any of that so we went back and carried on
recording at 58 Market St/2 Dawson Street Heywood Tractor Sound Studios.
  Tractor in studio 1973
How did the Deeply Vale Festival come about? 
Jim:  Tractor continued to drink at the the Dressers
Arms in Heywood and the Seven Stars in Heywood 
Chris had come back from London in early 1976 having worked down their
doing production with Ian Dury in Kilburn and the High Roads and Carol Grimes
and the London Boogie Band.  Chris had
opened Tractor Music shop and rehearsal room at 115 Oldham Road Rochdale and
Dave Addison had joined Tractor on bass guitar. 
Dave Smith who lived further up Oldham Road  in Rochdale and drank in the Seven Stars and
Dressers in Heywood (with Steve Clayton Dave Addison and Chris Hewitt) had had
the idea of a festival and came to see Chris about sorting some bands and a PA
for  a small event in Deeply Vale in
1976. By 1978 20,000 were attending the week long event Chris was now booking
over 50 bands for the festival and his PA was now doing other large festivals
as it had grown in size in just three years., The Tory government pretty much
killed free festivals.
How long and what years did the festival take place? 
Chris: 
The festivals in Deeply Vale ran 1976/77/78/79
Here and Now onstage at Deeply Vale Free
Festival 1978 © Craig Mitchell
Dave Addison:  I met Jim at our first rehearsal in September
1976. The first thing he played was ‘Shubunkin’ and I was amazed at the sound
coming out of the amp. It’s true to say I had never heard anything like it from
the guitar. Jim’s control over the sound was amazing. That rehearsal was the
last for a few years, we did our first gig together the following week though
playing at the Deeply Vale Festival September 1976. I’d been at the festival
for three days before we played and I can remember being absolutely freezing. I
was very nervous before we went on – lack of sleep and too much dope had helped
me to forget how the songs went!. We went on at dusk and launched into the
first song which I think was ‘The Jester’. Halfway through the song I was
startled by the front of the stage exploding into flames. I looked at Jim but
he was playing like nothing had happened. There was another burst of flames and
it was then that I saw that there was a fire eater at the front of the stage.
He was dancing in time to the music and blowing great clouds of flames into the
darkness. In my ‘altered’ state of mind I thought this was magical.”
Jim: 
In 1976 we recruited Dave Addison. 
Dave was your typical bass player, rarely spoke, liked pints and
Hollands Pies and was far more talented than he wanted you too see. We got an
old van and hit the road. crazy days but unforgettable.  We felt that the Rochdale and Heywood area
had a lot to offer in the late 60’s early 70’s. 
In the 1970s we were a group of people in our teens to mid twenties and
we thought how can we express ourselves. We were all children of….. victims
of…. the 1960s.  We loved anything that
smacked of Haight Ashbury.  Even today
Deeply Vale has always kept it’s alternative roots.  We hoped that you would know somebody or
could find somebody that could share that kind of spirit.  I had a miniature Les Paul style guitar I
used to use for slide, It had a terrible action and I threw it up in the air at
a gig in Accrington hoping to catch it and I didn’t, it smashed into
pieces.  Between 1981 and 2001 Steve and
I were out of touch for almost 20 years although we both separately worked with
Chris during that period and our albums continued to be repackaged. In December
2001 I met Steve at the Limelight in Crewe at a gig Chris had arranged and 30
minutes after meeting Steve we were on stage playing together again, good job
we had 30 minutes rehearsal.
Chris: 
In an interview on Tractor in the 1990s when Dave Addison was asked on
ITV television was he looking forward to a big album success he simply said “I
am looking forward to a big dinner tonight.”
Following the release of
“Tractor” the history of the band became blurry, at least to those of
us in the United States. Releases became sporadic and many believed the band
ceased to exist. Would you please discuss the life of Tractor post-1972. How
often did the band gig and how frequent were single and album releases? How did
Ozit Records become involved with Tractor?  

Jim: 
Ozit Records was formed in 1996 by Chris Hewitt and bought all the
Tractor Way We Live Dandelion Recordings off 
Dandelion and in late 2001 talked Jim Milne and Steve  Clayton to start gigging and recording again
leading to Glastonbury and Canterbury Festivals and many dates with Space
Ritual. They have sporadically been recording a new album for the pat ten years
since 2003.
2006 brought the release of “John
Peel Bought Us Studio Gear And A P.A.” This contained the demo versions of
“A Candle For Judith” as well as a and b sides of singles released
over the years. With such an intriguing title, did this release rekindle
interest in Tractor?
Jim: 
It caused the BBC to make a short documentary and eventually led to the
blue  plaques on Tractor Music/ Cargo
Studios and Tractor Sound Studios.
2012 brought the 2 LP retrospective “The
Road From Townhead Mill Rochdale:  A 40th
Anniversary Celebration” a Chris Hewitt Archive Presentation released on
Dandelion Records.  So, the story of
Tractor continues, now more than 40 years after recording their first album and
catching the ear and eye of John Peel. 
Stay tuned as the saga continues.
Many thanks to Jim, Steve and Dave for
their participation in this interview and special thanks to Chris Hewitt for
helping coordinate the project and supplying the discography which follows.
Albums
•A
Candle for Judith (as ‘The Way We Live’)on LP and CD  LP vinyls on Dandelion,
Psygressive,  best version  current180 gram on Ozit Dandelion
•Tractor
– album on LP and CD   LP vinyls on
Dandelion,  Thunderbolt,Repertoire,  best version current Ozit/Dandelion 180 gram
•Steve’s
Hungarian Novel- double album on LP
•Worst
Enemies album on CD
•Original
Masters album on CD
•Before,
During and After the Dandelion Years, Through to Deeply Vale and Beyond album
on CD
•John
Peel bought us a studio and PA CD (2006)
•Peterloo-
Various artists including Tractor” CD August 16th 2011
•The
Road From Townhead Mill double LP with free CD October 2012
Singles
•”King
Dick II” – as The Way We Live on Dandelion EP (picture label )
•”Stoney
Glory”/”Marie”/”As You Say” – Dandelion Maxi single
•”Roll
The Dice” – UK Records
•”No
More Rock’n’Roll” – Cargo Records
•”No
More Rock’n’Roll” – Jim Milne and Tractor without Steve Clayton Polydor
•”Average
Man’s Hero” – Roach Records
Compilations
•A
Bolt From the Black – featuring Tractor, Jimmy Page, Samson, Warhorse
Streets– Beggars Banquet sampler album (1977) shortened version of No More Rock N roll
•Hard
Rock – Dutch sampler
•It
started In Rochdale CD Album 2008 Ozit Morpheus Records CD 247
•”Beyond
Deeply Vale” – Ozit Morpheus/ents DVD ooo4
•”Deeply
Vale Festivals” – Ozit Morpheus DVD ooo5
•”John
Peel’s Dandelion Records” – Ozit Morpheus DVD 0007
Interview made by Kevin Rathert/2013
© Copyright http://psychedelicbaby.blogspot.com/2013
One Comment
  1. Cristiano

    Great interview. I discovered these guys recently, and fell in love with their music. Greetings from Brazil.

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