Nic Potter was a British bassist and painter, best known for his work with the group Van der Graaf Generator in the 1970s. Nic Potter was born in Wiltshire and left school at 15 to train in carpentry, his older sister Sally, is a well-known film director. At the age of 16, he joined a late line-up of The Misunderstood, at the same time as drummer Guy Evans, who had joined from Van der Graaf Generator on a brief hiatus; when Van der Graaf decided to reform after the release The Aerosol Grey Machine, earlier bassist Keith Ellis deciding to join Juicy Lucy instead, Evans recommended that Potter join as a replacement. Potter first appeared on the album The Least We Can Do Is Wave To Each Other playing some electric guitar on a few tracks in addition to his usual bass. Halfway during the recording of the following album H to He, Who Am the Only One, he left the group after recording three tracks; the remainder of the album's bass tracks were completed by organist Hugh Banton, who took over the bass lines on bass pedals in concert.
Potter remained in touch with the band, in 1971, he played bass-guitar on Peter Hammill's first solo-album, Fool's Mate, on Colin Scot's album Colin Scot and with the band Magna Carta. In the 1970s he played with Jeff Beck, Chuck Berry, Rare Bird and Steve Swindells. In 1973 he collaborated on The Long Hello project, his playing can be heard on Peter Hammill's album Over. In 1977, after Hugh Banton and David Jackson had left Van der Graaf Generator, Potter was asked to re-join, he plays on both the double live-album Vital. However, he was still uncomfortable with the dynamic of the band as he had been stating "sometimes it felt like a cloud coming down – a ominous feeling." He was concerned at a gig in Annecy, France where he claimed someone was trying to perform an exorcism of the band's music while on stage, had to be helped back to the dressing room, feeling shaken. Throughout the 1980s and early 1990s Potter continued to record and tour with Peter Hammill, including being the bassist for the K-Group, with the Tigers and Duncan Browne.
In 1983 he started a solo-career, released a number of albums with electronic music. In 1995 Potter produced and played the bass on the posthumous album Songs of Love and War by Duncan Browne. In 2008 Potter published the live album Live in Italy, together with many musicians like David Jackson and Tony Pagliuca. All Potter's solo albums were published and remastered in 2009. During the last two years of his life, Potter suffered from Pick's disease. In January 2013, Potter was admitted to University College Hospital suffering from pneumonia, he died there in the hours of 16 January. Mountain Music Sketches in Sound Self Contained Dreams in View 81–87 The Blue Zone The Blue Zone Party live on 29 May 1991 in London, The Dome New Europe-Rainbow Colours Dreamworld Live in Italy with a.o. David Jackson, Tolo Marton and Tony Pagliuca All Contained box set of remastered CD's of the Zom-Art catalogue Golden Glass The Least We Can Do Is Wave to Each Other H to He, Who Am the Only One The Quiet Zone/The Pleasure Dome Vital Epic Forest Somebody's Watching Savage Music Fool's Mate Chameleon in the Shadow of the Night Over Enter K Patience The Love Songs The Margin Out of Water Room Temperature Fireships The Noise Offensichtlich Goldfisch There Goes The Daylight Roaring Forties Songs from Wasties Orchard The London Chuck Berry Sessions Colin Scot – uncredited The Long Hello Fresh Blood The Long Hello Volume Two Travelling Man Final Adjustments Songs of Love and War Mistaken Identities Bloodlines Nic Potter at Van der Graaf Generator fan site
Choose Your Masques
Choose Your Masques is the thirteenth studio album by the English space rock group Hawkwind, released in 1982. It spent five weeks on the UK Albums Chart. 29. The group's line-up for this album remained unchanged from the previous Church of Hawkwind album, although for this recording the group started to use drum machines and drum loops, with most of Griffin's contributions being relegated to disjointed drum fills. Griffin was unhappy with this role, group-leader Dave Brock was dissatisfied with Griffin's timekeeping, so they mutually agreed to part company, although Griffin reluctantly agreed to fulfil the scheduled tour commitments; the album was July 1982 at Rockfield Studios. Science fiction author Michael Moorcock contributed lyrics to the album, but credited his wife Lynda Steele in order to bypass his music publisher Douglas Smith with whom he was in dispute; the lyrics to "Fahrenheit 451", written by former lead singer Robert Calvert and recorded but unused in 1978, were based on Ray Bradbury's book Fahrenheit 451.
The album makes use of samples, featuring Ian Holm from a 1981 BBC Radio 4 serialisation of The Lord of the Rings on "Dream Worker", the spoken introduction of The Outer Limits on "Void City". "Silver Machine" and "Psychedelic Warlords" are re-recordings of the early 1970s singles which were not intended for inclusion on the album. The group undertook a 29-date UK tour in November and December to promote the album, with support from the Spanish rock group Barón Rojo. Saxophonist and singer Nik Turner rejoined the group for this tour. Recordings from this tour have been issued on the albums Zones, Out & Intake and Choose Your Masques: Collectors Series Volume 2. A full double album recorded on the tour was released in 2016 as Coded Languages. "Choose Your Masks" – 5:28 "Dream Worker" – 4:58 "Arrival in Utopia" – 5:47 "Utopia" – 3:00 "Silver Machine" – 4:22 "Void City" – 6:48 "Solitary Mind Games" – 3:58 "Fahrenheit 451" – 4:48 "The Scan" – 1:02 "Waiting for Tomorrow" – 3:46 "Silver Machine" – 7:25 "Psychedelic Warlords" – 4:52 "Psychedelic Warlords" "Silver Machine" "Void City" "Candle Burning" "5/4" "Waiting For Tomorrow" "Radio Telepathy" "Dream Worker" "Lato" "Oscillations" "Recent Reports" "Lato Percussive Electro" "Solitary Mind Games" "Silver Machine" Dave Brock – electric guitar, vocals Huw Lloyd-Langton – electric guitar, vocals Harvey Bainbridge – bass guitar, vocals Martin Griffin – drumsGuests Nik Turner – saxophone on "Void City" Recorded at Rockfield Studios, Monmouth – June & July 1982.
Produced with Pat Moran. Sleeve designed by Terry Oakes. October 1982: RCA/Active, RCALP 6055, UK vinyl October 1996: Emergency Broadcast System Records, EBSCD124, UK CD October 1996: Griffin Music, GCD613-2, USA CD October 2010: Atomhenge Records, ATOMCD2026, UK 2CD Choose Your Masques at Atomhenge Records
"Silver Machine" is a 1972 song by the UK rock group Hawkwind. It was released as a single on 9 June 1972, reaching number three on the UK singles chart; the single was re-issued in 1976, again in 1978 reaching number 34 on the UK singles charts, once again in 1983 reaching number 67 on the UK singles charts. The original mix has been re-released on the remasters version of In Search of Space. "Silver Machine" was recorded live at a Greasy Truckers benefit gig at The Roundhouse, London on 13 February 1972 and this version was released on the various artists compilation album Glastonbury Fayre and the 2007 box set of Greasy Truckers Party. Overdubs were applied and mixing took place at Morgan Studios with Douglas Smith and Dave Robinson overseeing the process. Dave Brock took production credits using an alias of Dr Technical; the sleeve was designed by Barney Bubbles. Stacia appears prominently in the music video. Robert Calvert – vocals Dave Brock – guitar, vocals Nik Turner – saxophone, vocals Ian "Lemmy" Kilmister – bass guitar, vocals Dik Mik – Synthesizer Del Dettmar – Synthesizer Simon King – drums The writing credit on the single is Robert Calvert and Sylvia MacManus.
MacManus was Dave Brock’s wife Sylvia whose name Brock used in order to put pressure on his publishing company to improve his deal. The verse is an eight-bar rock and roll boogie whose riff is an adaption of the standard riff that can be heard on the likes of Johnny and the Hurricanes' "Red River Rock". was about my third gig, I didn't know what I was doing. I hadn't done any rehearsals and I thought that Silver Machine was a Chuck Berry number – really. – Simon King The lyrics were written by Robert Calvert and he sang the lead vocal on the original live recording. However, the vocals were considered too weak for the single release so they were re-recorded in the studio. Calvert, who suffered from bi-polar disorder, had been sectioned at the time so was unavailable to attempt another version, the lead vocals were recorded by Lemmy: vocal was fucking hopeless, but he never realised it. That's, it sounded like Captain Kirk reading'Blowing in the Wind'. They tried everybody singing it except me.
As a last shot, Douglas said,'Try Lemmy'. And I did it in two. Lemmy just had the best voice for it. Of course, Bob was not pleased. – Douglas Smith The lyrics are a send-up of space travel, inspired by the Alfred Jarry essay How to Construct a Time Machine which Calvert interpreted as a description of how to build a bicycle: I read this essay by Alfred Jarrey called, "How to Construct a Time Machine", I noticed something which I don't think anyone else has thought of because I've never seen any criticism of the piece to suggest this. I seemed to suss out that what he was describing was his bicycle, he did have that turn of mind. He was the kind of bloke who'd think it was a good joke to write this informed sounding piece, full of good physics, describing how to build a time machine, about how to build a bicycle, buried under this smoke-screen of physics that sounds authentic. Jarrey got into doing this thing called'Petaphysics', a sort of French joke science. A lot of notable French intellectuals formed an academy around the basic idea of coming up with theories to explain the exceptions to the Laws of the Universe, people like Ionesco the playwright.
The College of Metaphysics. I thought. At that time there were a lot of songs about space travel, it was the time when NASA was really doing it. They'd put a man on the moon and were planning to put parking lots and hamburger stalls and everything up there. I thought that it was about time to come up with a song that sent this all up, which was'Silver Machine'.'Silver Machine' was just to say, I've got a silver bicycle, nobody got it. I didn't think. I thought. I did have a silver racing bike when I was a boy. I've got one now, in fact. – Robert Calvert Hawkwind have rarely appeared on television, but the success of the single necessitated an appearance on the BBC chart show Top of the Pops. However, the group felt ill at ease at the prospect of miming a performance in front of a studio audience who didn't represent their following, so a compromise was reached with the BBC recording the band performing live at Dunstable Civic Hall on 7 July 1972, this clip being shown with the single version dubbed over it.
A version was recorded at Maida Vale Studios, London on 2 August 1972 for broadcast on the Johnnie Walker show on the 14th, "Brainstorm" being part of the session. These two recordings have subsequently been included on the 2010 EMI release Hawkwind: At the BBC – 1972; the song was recorded live at the Paris Cinema, London on 28 September 1972 as part of the hour-long In Concert series broadcast. This full concert was released in mono in 1991 as BBC Radio 1 Live in Concert, in mono and stereo in 2010 as Hawkwind: At the BBC – 1972. On 3 December 2007, Cleopatra Records in the USA issued a limited edition of 500 10-inch vinyl EPs consisting of both BBC versions of "Silver Machine", the live version as the A-side and the session version as the B-side; the song has sporadically been played live by the band. Its first re-appearance is on the 1980 live album Live Seventy Nine, but it explodes after a minute and is suffixed with "" in Brock's attempt at laying the song to rest, sick of having to play their "hit single".
Further live versions have been released, most notably a version on the 2002 live
Groupie Girl is a 1970 British drama film about the rock music scene, directed by Derek Ford and starring Esme Johns, Donald Sumpter and the band Opal Butterfly. The film was written by Ford and former groupie Suzanne Mercer. Ford complained to Cinema X magazine "we were shooting in a discotheque one Saturday night and my ears rang right through to Monday morning. I was sick -physically sick- on Sunday from the noise level we suffered"; the film was released in America in December 1970 by American International Pictures as I am a Groupie and in France in 1973- with additional sex scenes- as Les demi-sels de la perversion. The film was re-released in France in 1974 as Les affamées du mâle this time with hardcore inserts credited to ‘Derek Fred’. Groupie Girl was released on UK DVD in January 2007 on the Slam Dunk Media Label as part of the ‘Saucy Seventies’ series Billy Boyle as Wesley Richard Shaw as Morrie Donald Sumpter as Steve Esme Johns as The Groupie - Sally James Beck as Brian Paul Bacon as Alfred Neil Hallett as Detective Sergeant Flanagan as Thief Eliza Terry as Suzy Belinda Caren as Pat Trevor Adams as Barry Ken Hutchison as Colin Jimmy Edwards as Bob Jenny Nevison as Moira Side 1"You’re A Groupie Girl" "To Jackie" "Four Wheel Drive" "Got A Lot Of Life" "I Wonder Did You" "Gigging Song" "Disco 2" "Now You're Gone, I’m A Man" Side 2"Yesterday's Hero" "Love Me, Give A Little" "Looking For Love" "Sweet Motion" "Love’s a Word Away" "True Blue" "Groupie Girl, It Doesn’t Matter What You Do" English Rose were Lynton Guest, Jimmy Edwards and Paul Wolloff, who have minor roles in the film.
Guest became a sports journalist and authored the book "The Trials of Michael Jackson". Groupie Girl on IMDb
The Space Ritual Alive in Liverpool and London is a 1973 live double album recorded in 1972 by UK rock band Hawkwind. It is their fourth album, reached #9 in the UK album charts and dented the Billboard Top 200, peaking at #179; the album was recorded during the tour to promote their Doremi Fasol Latido album, which comprises the bulk of this set. In addition there are new tracks and the songs are interspersed by electronic and spoken pieces, making this one continuous performance, their recent hit single "Silver Machine" was excluded from the set, only "Master of the Universe" remains from their first two albums. The Space Ritual show attempted to create a full audio-visual experience, representing themes developed by Barney Bubbles and Robert Calvert entwining the fantasy of Starfarers in suspended animation traveling through time and space with the concept of the music of the spheres; the performance featured dancers Stacia, Miss Renee, Jonathan Carney and Tony Carrera, stage set by Bubbles, lightshow by Liquid Len and poetry recitations by Calvert.
On entering the venue, audience members were given a programme featuring a short sci-fi story by Bubbles setting the band in a Starfarers scenario returning to Earth. The original release featured edits and overdubs, the sleeve notes explaining that "We had to cut a piece out of Brainstorm and Time We Left because they were too long", but the 1985 Space Ritual Volume 2 album contains the full unedited versions. A unheard edited version of "You Shouldn't Do That" from this concert was included on the 1976 Roadhawks compilation album subsequently included as a bonus track on the 1996 remaster CD; the full unedited version of the track can be found on the Hawkwind Anthology album. June 2007 saw another EMI 2CD remaster issue with different bonus tracks and DVD-audio - this remaster would be reissued in 2013, minus the DVD-audio. "Sonic Attack" had been written by science fiction author Michael Moorcock, who performed with the band when convenient and Calvert was unavailable. Here it is recited by Calvert and it was scheduled for single release, promotional copies being distributed in a cloth sleeve, but it never did receive a full release.
In the Q & Mojo Classic Special Edition Pink Floyd & The Story of Prog Rock, the album came #8 in its list of "40 Cosmic Rock Albums". The album was included in the book 1001 Albums You Must Hear Before You Die. Side 1"Earth Calling" – 1:44 "Born to Go" – 9:56 "Down Through the Night" – 6:16 "The Awakening" – 1:32Side 2"Lord of Light" – 7:21 "Black Corridor" – 1:51 "Space Is Deep" – 8:13 "Electronic No. 1" – 2:26Side 3"Orgone Accumulator" – 9:59 "Upside Down" – 2:43 "10 Seconds of Forever" – 2:05 "Brainstorm" – 9:20Side 4"Seven By Seven" – 6:11 "Sonic Attack" – 2:54 "Time We Left This World Today" – 5:47 "Master of the Universe" – 7:37 "Welcome to the Future" – 2:04Bonus tracks on 1996 Remasters CD "You Shouldn't Do That" / "Seeing It As You Really Are" – 6:58 "Master of the Universe" – 7:23 "Born to Go" – 13:02 Dave Brock – guitar, vocals Nik Turner – saxophone, vocals Lemmy – bass guitar, vocals Dik Mik – audio generator, electronics Del Dettmar – synthesizer Simon King – drums Robert "Bob" Calvert – poetry, vocals Recorded at Liverpool Stadium, 22 December 1972 and Brixton Sundown, 30 December 1972 by Vic Maile and the Pye Mobile.
Produced by Hawkwind. Mixed by Vic Maile and Anton Matthews at Olympic Studios, Barnes. "You Shouldn't Do That" recorded at Brixton Sundown, 30 December 1972. Released on the Roadhawks compilation album. "Master Of The Universe" and "Born To Go" were recorded at The Roundhouse, 13 February 1972. Released on the Greasy Truckers Party Various Artists album; the sleeve was designed by Barney Bubbles and came in 3x2 panel foldout, the outer 6 panels being colour, the inner 6 panels being monochrome, the discs in psychedelic patterned orange & yellow inner sleeves were folded into this. It made; the outer foldout features an illustration of Miss Stacia flanked by the hounds of King over stage shots of the band. The inner foldout features three panels of a photograph of outer space with three illustrations on each panel headed by lines from a Hawkwind song. Inner panel 1: features a vintage photograph of a naked woman with listed credits. Inner panel 2: chac bacab – features an image of a female nipple as a planet, a legend of the Earth as a living entity.
Inner panel 3: kan bacab – features an image of a foetus suspended in space with the legend "The Universe resounds with the joyful cry I AM. I am the beginning and the end, the first and the last. Naked I came out of my mothers womb and naked shall I return thither." Inner panel 4: Features a mandala with the legend "Everything exists for itself, yet everything is part of something else. The One and the many contain in themselves the principles of space; the way up and the way down are one and the same." Inner panel 5: Features a dedication from Lemmy to John the Bog and Sue Bennett. Zac bacab, tec bacab and bac bacab expounds upon religious and cosmological myths and sciences, starting with the William Blake poem "To see a world in a grain of sand, And a heaven in a wild flower, Hold infinity
Mary Anne with the Shaky Hand
"Mary Anne with the Shaky Hand" is a song by the English rock band The Who. It was released on their 1967 album The Who Sell Out; the best known version of the song has acoustic guitar and an arrangement using Latin percussion instruments. The song has ambiguous lyrics. Four different recordings of the song have been released by The, it was performed by a number of other artists. Unlike many Who songs from the 1960s, "Mary Anne with the Shaky Hand" recalls the typical pop song convention of praising a pretty girl but does not provide any description of her appearance, focusing instead on Mary Anne's hand tremor; the reason for the shaking is not clear: Mary Anne may have some affliction or else the song may be, as Chris Charlesworth describes it, The Who's "second great song about masturbation": Steve Grantley and Alan Parker suggest that the reason can be inferred from the line "What they've done to a man, those shaky hands." However, some versions of the song use the lyrics: "What they've done to her, those shaky hands."
Rolling Stone praised the "barely-beneath-the-surface humor of the lyric". The song has a melody described by Allmusic's Mark Deming as "charming" and "a tune you couldn't forget if you tried". Author John Atkins describes the song as a "delightful pop song in the Everly Brothers mold", while Charlesworth suggests that, regardless of the lyrics, the song "would have been a winner on melody alone". Grantley and Parker describe the vocals as a cross between The Mamas and the Papas and Simon and Garfunkel; the acoustic guitar version of the song on The Who Sell Out was recorded at De Lane Lea Studios on 24 October 1967. A different version of the song, using electric guitar, was used in 1967 as the B-side of the "I Can See for Miles" single in the US and Australia; the B-side version used a mono mix. A stereo remix of this version was included on the 1998 remastered version of the Odds and Sods album. On this version, a tremolo effect is added to Roger Daltrey's voice on the word "shaky". A third studio version was recorded at Mirasound Studios in New York City in 1967 using electric guitar but featuring Al Kooper on organ.
This version is incorrectly stated as being the B-side of "I Can See For Miles" in the liner notes of the remastered The Who Sell Out, when in fact the second version was on the B-side. A live version, recorded on 27 November 2000, was released on the 2003 Live at the Royal Albert Hall album; when introducing the song, Pete Townsend says, "This one's in bad taste". It has been released with title variations, sometimes as "Mary Anne with the Shaky Hands" hyphenated as "Mary-Anne with the Shaky Hands"."Mary Anne with the Shaky Hand" was used as the B-side of the "Magic Bus" single in Norway. It has been included on several compilation albums; the acoustic version was included on the 1968 compilation album Direct Hits. The electric version was included on the 1985 compilation album, it was included on the 1994 compilation album Rarities Volume I & Volume II. The acoustic version was included on the box set Thirty Years of Maximum R&B, it was released as a single in the Netherlands backed with "I Can't Reach You".
The Nils released "Mary Anne with the Shaky Hand" on their 1996 album Green Fields in Daylight. Petra Haden recorded the song on her 2005 album Petra Haden Sings: The. Opal Butterfly covered the song on the multi-artist compilation album What's the Rush, Time Machine Man? Psychedelic Jumble, Vol. 1. Chris Richards performed the song on the Who tribute album Who's Not Forgotten: FDR's Tribute to the Who
Hall of the Mountain Grill
Hall of the Mountain Grill is the fourth studio album by space rock band Hawkwind, released in 1974. It is regarded by many critics as a career highlight; the group's fourth studio album, it was the first by a new line-up that included Simon House on synthesizer and electric violin. The album's title was a nod to Edvard Grieg's "In the Hall of the Mountain King" and to a Portobello Road cafe called The Mountain Grill, frequented by the band in the early 1970s; the cover of a derelict spaceship in the mists of an alien lagoon was painted by the band's regular artistic collaborator, Barney Bubbles. The rear cover was by space artist David Hardy; the record featured hard rockers like "The Psychedelic Warlords" and "Lost Johnny", psychedelia such as the phased "D-Rider" and "Web Weaver", as well as quieter atmospheric numbers like the instrumentals "Goat Willow", "Wind of Change" and the title track. Side two of the original vinyl LP was bookended by "You'd Better Believe It" and "Paradox", live tracks recorded at the Edmonton Sundown in January 1974, that recalled the'space jams' of earlier releases.
In the wake of Robert Calvert's departure, lead vocals for the album were performed by Dave Brock, along with Lemmy on "Lost Johnny" and Nik Turner on "D-Rider". The band's line-up would continue to shift during the year. Del Dettmar left prior to the release of Hall of the Mountain Grill to live in Canada, Alan Powell joined as an additional drummer. Science fiction author and friend of the group Michael Moorcock stepped in to read poetry at their concerts. Jonathan Smeeton has stated that Brock wrote "Wind of Change" for a particular slide sequence he had on the Space Ritual tour. At the time of the album's release, Simon King stated "The Doremi album lacked production. I wasn't happy with the Space Ritual either, but the new one – I'm quite pleased with it. I like. Yeah – I'm pleased with half of the new album." Lemmy commented that "For me, this was when the band were at their height. Oh, I was in the band at the time.", listing it as No. 3 in "My Top British Rock Albums". After the release of the successful live album Space Ritual and single "Urban Guerrilla" in 1973, vocalist Robert Calvert and electronics player Dik Mik Davies left, leaving the group as a five-piece.
In November and December 1973, Hawkwind undertook their first live tour of North America taking in ten dates. During this time, Del Dettmar bought land near Calgary in Canada and signalled to the group his intent that he and his pregnant wife were to emigrate; the group continued touring around Britain and Ireland from December into February under the banner "The Ridiculous Roadshow with the Silly Hawkwind Brothers". By this time, their live set had been revamped and contained what would become the bulk of this album. Two dates on 25 and 26 January at the Edmonton Sundown were used as an opportunity to audition Simon House as Dettmar's replacement, House having been known to the group via his time with High Tide, who had shared the same management company of Douglas Smith's Clearwater Productions; these dates were professionally recorded, with the performances of "You'd Better Believe It", "Paradox" and "It's So Easy" appearing on the album and singles, albeit with studio overdubs. The group returned to North America a second time for a more comprehensive tour consisting of 22 dates in March and April under the banner of "1999 Party", taking their entire entourage with them including dancer Stacia, MC and DJ Andy Dunkley, a lightshow by Jonathan Smeeton and support from United Artists Records label mates Man.
Although Dettmar had not yet left the group, House joined the band for this tour, but not having the appropriate work permit, his performances were unofficial. The Chicago and Detroit shows on 21 and 23 March were professionally recorded, the former being released in 1997 as The 1999 Party. Returning to England, the band went to Clearwell Castle to rehearse entered Olympic Studios to record this album in May and June, with help from producers Doug Bennett and Roy Thomas Baker; the lead singles "Psychedelic Warlords" in the UK and an alternative version of "You'd Better Believe It" in France were issued on 2 August, followed by the album on 6 September. Alternative studio versions of "It's So Easy", "You'd Better Believe It" and "Wind of Change" were released in 2011 on Parallel Universe. A nine date European tour at the end of June was undertaken. However, drummer Simon King had cracked some ribs playing football, prohibiting his participation, so nominated his friend Alan Powell to deputise for him on the dates.
By the end of tour, King had recuperated sufficiently to resume playing alongside Powell, the group were happy enough with the arrangement of two drummers that Powell was pulled into the group's permanent line-up. At the completion of the tour, Dettmar departed; the group returned for a third tour of North America in September, but on their fifth date at Hammond, Indiana on the 7th, their equipment was impounded by the IRS and they were issued a bill for unpaid taxes from their previous tour. An impasse ensued, the band continued the tour a month after all issues had been resolved. Hall of the Mountain Grill reac