If ever there’s a record in my collection that could be termed a ‘grower,’ then this is it!.
The Steve Brown Band were a progressive rock unit from Newcastle who injected a jazz feel into their music to create something quite unique. They gigged extensively between 1971 and 1975, cultivating a huge and enthusiastic local following in the North East of England,
They would also make lengthy trips to London where they would often headline The Marquee Club.
They thought their efforts had been rewarded when offered an album deal by Transatlantic Records, but for whatever reason, the album never saw the light of day.
Now, over fifty years later, the excellent Seelie Court Records have dug out and released the band’s debut album, ‘Soul Full of Sin.‘
They did record and release one single, ‘Street Fighter,‘ on Petal Records in 1977, but my understanding is they were edged towards this more basic rock sound by a new management team, and decided to call it a day at that. (I actually like it, I have to say.)
The album itself comprises six tracks, which though kind of laid back in nature, with saxophone and I think, flute switching the feel between prog and jazz, still gently rocks along with some warm vocals and a tight rhythm section. At times, the electric piano reminds me of Also Sprach Zarathustra, at times the guitar reminds me of Man.
Told you it was a quite unique sound!
Unfortunately, you’ll just have to take my word for that, because I can find no recordings on the internet that I could share here with you.
The best I can manage is this link to Juno Records, who I’m sure will bemore than pleased to supply you with a copy in exchange for poundssterling. (Only brief samples of the tracks are available – my favourite being the third track on the first side, ‘Shine a Light.’
One thing I can find though, is a shed load of positive comment about both the band and this album. It took me a few listens, I have to say, – but I am now of the mind that The Steve Brown Band are definitely the best band you never heard of – and will be up there with those you have.
There is an extensive and really interesting history, of The Steve Brown Band as detailed from the reproduced scrap book entries of drummer Jeff Barak – here.
THE STEVE BROWN BAND
Steve Brown – Guitar / Lead Vocal John Farmer – Bass / Vocal Jeff Barak – Drums / Vocal Gowan Turnbull – Saxophone / Vocal Charlie Gordon – Electric Piano / Keyboards / Vocal
Leviathan were a respected psychedelic rock band from Brighton who, being one of the first British bands to be signed to the Elektra label, recorded three singles in 1969. They also recorded and album, but for whatever reason, it wasn’t released.
In autumn of that year, they split, and drummer Gary Murphy, perhaps a bit disillusioned at the non-release of the album, decided to take a break from the music business.
He was initially adamant, but having been approached by two very persistent ex-members of another Brighton band, The Motion, he eventually relented and agreed to play a jam session …. an that was it! He was hooked.
Hellmet were born.
A month or two later, while on a train journey and discussing just what direction their music should follow, they were overheard by one John Tobler, a respected music reviewer of the time and editor of the underground, Zig Zag magazine.
He took the band under his wing and wrote their first review, in his magazine. He also arranged gigs supporting likes of Groundhogs and Blodwyn Pig, and secured them a slot at the famed Marquee Club venue. All good, high exposure.
As a result of their gigging and growing reputation, they were then approached later in 1970 by local Brighton business who wanted to diversify and break into music management. It was they who financed the recording session at Orange Studios.
An album’s worth of tracks were laid down, but despite the master tapes being hawked around various record labels, no offer of a deal was forthcoming. The acetate, having passed through so many hands, was subsequently lost, and as with his previous band, Leviathan, drummer Gary Murphy had nothing to show for his commitment. The band folded.
(Lucky white heather, eh?)
As seems to happen with surprising regularity, the ‘masters’ somehow turned up fifty years later, and now the album has been made available by Seelie Court.
Musically, the five tracks cover several rock bases: ‘Hazy Shady Lady’ is a blues infused hard rocker; ‘Trust,’ has a Black Sabbath type riff and passes through a few mood and tempo changes, like all good prog tracks are require to do! At times, I’m reminded also of Led Zeppelin’s ‘Dazed and Confused.’ That type of song. ‘Judgement Day (Honest Religion)‘ is a rather sad melodic song about heroin addiction.
‘Sweet Bitch‘ is the first of only two tracks on side two. It’s another standard hard rocker, It’s fast and angry and I’d say my favourite on the album. Album closer ‘What is The Point (Of it All?) is another in the heavy rock mould, but with a jazzy interlude.
I have to say, I’m a bit confused though. The band name, album cover and especially the six paintings of Lucifer that adorn the inside of the gatefold sleeve, seem to contradict the image of the band (see above) and the music they produced.
Overall though, it’s been met with some excitement from collectors of prog rock albums and it’s great to see bands from all these years ago finally get recognition for their creativity.
Terry Aitken – Vocals Stephen Day – Guitar Ray Mellors -Bass Gary Murphy – Drums
In the early to mid-Sixties, as Rock’n’Roll gripped the western world, it wasn’t just the boys who were kicking up a wild noise in the schools and clubs of their neighbourhood. The ‘Girls’ were at it too!
All female vocal harmony groups had of course been integral parts of the scene for a while, but all female garage bands? Girls with guitars? Drums?
While it’s now widely known that record producers on both sides of the Atlantic would frequently employ the services of session musicians for the recordings, leaving the girls to present the ‘image,’ there were some bands that refused to comply.
The excellent ‘Girls in the Garage’ series of compilations highlights many of these groups, giving them, somewhat belatedly, a wider audience appreciation.
This first post celebrating ‘girls with guitars’ showcases a couple of my personal favourites.
THE CONTINENTAL CO-ETS
Formed in 1963 in Fulda, Minnesota, The Continental Co-ets helped pave the way for many female bands in their city to follow. All teenagers at the time, they were headed by Carolyn Behr on guitar, together with Nancy Hoffman (bass) Carol Goins (guitar) and Vicki Steinman (drums.) Nancy’s sister Mary Jo would later join on keyboards.
Their ‘big break’ came when in 1964, they were challenged by local counterparts, The Vultures, to a ‘battle of the sexes.’ The girls won out and gained invaluable exposure. More importantly, they won financial backing from David Edwards, whose investment paid off when tours around the mid-West and Canada secured them a record deal with the IGL (Iowa Great Lakes ) label.
They managed to release just the one 7″ single, ‘I Don’t Love You No More’ / ‘Medley of Junk’ with a run of 1,000 copies being released. Two subsequent recordings ‘Let’s Live For The Present‘ and ‘Ebb Tide‘ were not backed by their label and in 1967 the band decided to call it a day.
THE GLASS OPENING
The Glass Opening were another female band coming out of Minneapolis. I don’t actually have much information on them, other than they released two singles in 1969.
Their debut, ‘All Those Lies‘ was on the Dondee label, a split 7″ with the band Major Six, which didn’t sell well at all. The follow-up though, this time on the Neworld label, ‘I’m On Your Prey‘ was miles better!
However, it too failed to sell and the band split.
I have to say, I feel this one deserved so much more. It even has a contemporary feel some fifty plus years later.
Again, there’s not by way of background information to this band, but I love this single they recorded for the Gemini label in 1965. Band members Sylvia and Beate were originally from Frankfurt in Germany and had a couple of U.S. labels fighting over their signature. Gemini won, obviously, and scored a minor hit with this, the other side being ‘Stop That Man,’ an equally catchy little tune!
From the age of fifteen and while travelling to and from work in central London, guitarist Phil Newton was writing song lyrics. He played in his own little band at that time, rehearsing in his Mum’s front room
Fast froward four years to 1969, and Phil was by now an accomplished Blues player. After befriending Dave ‘H’ Holland, who played bass, the two would often be asked to jam with Powerpack, resident band at the Bridge House, Canning Town.
Buoyed by the complimentary remarks on his guitar skills, Phil decided to again form a band. Dave, naturally came on board as bass player, and having played with them in a previous band, Dave recruited the talents of Ray Curtis on drums and Fred Lilley on vocals. For his part, Phil persuaded Jan Chandler to join up on flute and Mellotron (one of the first to be used by a band, I believe.)
Nobody seems to recollect exactly how the band name came about other than Phil suggested it, and the rest went with it! For a while, they played mainly covers of blues standards in local, London East End pubs.
Phil and Dave soon became drawn more to the progressive sounds of King Crimson, Yes and Led Zeppelin and Phil again took to writing his own songs, reflecting this new sound. These were gradually worked into the live sets, and went down well with the punters.
It was now 1971, drummer Ray Curtis had moved on, replaced by John Clarke and Grannie had become an established band in the capital. The next step in their progression, then, was to get their songs down on vinyl. An advert spotted in Melody Maker to record an album for £100 offered the ideal opportunity. and so the five-piece, joined by John Stevenson, who would play organ on the album’s nine-minute long closer, ‘Coloured Armageddon,’ booked their session at SRT Studios in Herfordshire.
None of the band had previous studio experience, and with a mere eight hours available, the tracks were all recorded ‘live,’ with no over dubs or double tracking.
The result was six tracks of mainly guitar driven progressive rock, encompassing a melodic and ‘psychedelic’ feel at times but also with a nod to the heavier side of rock music.
For their £100 investment, the band were presented with ninety-nine copies of the album, the plan being to use them more or less as demos, and hawk them around various labels in search of a record deal. Some would also be sold at live shows.
No deal was forthcoming however, but the band played on! Vocalist Fred Lilley left to be replaced by Steve Betts, and Grannie’s reputation continued to grow. They supported the likes of Uriah Heep, Groundhogs, Gnidrolog and Arrrival, playing iconic venues like The Roundhouse and Marquee, eventually securing a residency at the famous Speakeasy Club in West London. There they’d often play in front of stars in their own right such as, David Bowie, Elton John and Pete Townsend.
Drummer John Clarke left around this time, his place being taken by Graham Guthrie, but things were going well for the band. Until …
Having loaded all their gear into a transit van following a rehearsal at the Club, they discovered the next morning it had all been stolen from where it had been parked up overnight outside the house of the Club manager. Everything was gone, including Jan’s expensive mellotron. Much of the equipment was still being paid up an so with no means of replacing it, the band folded.
Over the ensuing years, collectors of this type of music clamoued for one of the ninety-nine original copies in existence. I don’t see any having been sold via Discogs, however, Vernon Joynson’s ‘Tapestry of Delights’ tome describes them as ‘very few exist and are very sought after,’ indicating a fetching price of between £1000 and £2000!
Of course, the increase in awareness and popularity has resulted in several limited re-pressings over the years, with the latest of these worth around £30.
**(Sadly, Phil Newton died alone at age fifty-one in 2001, before fulfillinghis dream of fame that he’d held for many years.) **
Phil Newton – Lead Guitar / Vocals Dave ‘H’ Holland – Bass / Vocals Jan Chandler – Flute / Mellotron / Vocals John Clarke – Drums Fred Lilley – Lead Vocals + John Stevenson – Organ
If I’ve been puzzled when writing previous posts as to how and why certain albums from the Sixties and Seventies achieved ‘cult’ status, then I’m completely flummoxed as to why THIS, recorded in 1970, has NEVER been released in UK.
Had it not been for me re-reading the sleeve notes to my Sweet albums, I would never have stumbled across this one. You see, I noted Sweet guitarist Andy Scott had previously played with this band. He didn’t actually play on the album, joining after its recording, and his stay was short-lived as the group disbanded not too long after.
It’s amazing though, how a little bit digging around reveals gems like this.
From North Wales, Mayfield’s Mule was formed by guitarist Chris Mayfield in 1969. Chris had previously played with several notable bands of the Sixties, including (the original) Nirvana and Ian Hunter. However, becoming a bit disillusioned at how his music career was panning out, he joined Amen Corner as a roadie.
It was when that band’s sax player, Mike Smith was presented with a few demos of Chris’s own work, that fortunes changed, leading eventually to a record deal. Gathering around him Pete Saunders (keyboards), Steve Bradley (bass) and Sean Jenkins (drums) Mayfield’s Mule was born.
The new band quickly recorded three singles on Parlophone, which between A and B sides swing from heavy rock to blues and country. Over the winter of 1969 / 1970, an album was cut at Abbey Road studios. All tracks were written by Chris himself, and the album covered many bases. Laced liberally with Hammond organ, I guess I’d sum the eponymous album as a blend of Creedence Clearwater Revival meets Canned Heat, meets Mungo Jerry, meets Deep Purple. It depends really what track you listen to!
P.P. Arnold contributes backing vocals on the album which was engineered by Alan Parsons. Mike Smith was also on co-production duties and he’d later join the band himself. So, some ‘big hitters’ were involved with the band at this stage.
Amazingly, for whatever reason, EMI decided against releasing the album in the UK. It did, though, secure a release in Uruguay of all places. Apparently the band had no input or indeed any notion that this was happening!
Not long after this, Andy Scott, who had played with drummer Sean Jenkins in The Elastic Band, joined …. which is where we came in.
(The album has subsequently been released – 2007 -in CD format by the Italian label, Night Wing, but that’s about as far as it goes. Any takers here in the UK?)
MAYFIELD’S MULE Chris Mayfield – Guitar / Vocals Steve Bradley – Bass / Backing Vocals Sean Jenkins – Drums Pete Saunders – Keyboards + ‘Moxie’ Gowland – Harmonica / Flute Andy Scott – Guitar Mike Smith – Saxophone / Tambourine
Bliss was born from the ashes of U.S. garage band, The Sect, who were formed in 1966 in Mesa, Arizona by high school students, Brad Reed, Rusty Martin, Corky Aldred, Tom Smith and J.R. Lara.
Initially, the band were very much influenced by the sound of the British Invasion bands and were soon taken under the wing of radio DJ and producer, Hadley Murrell who introduced them to the recording process in his studio.
Two years down the line, all five members had graduated from school and decided to call a halt to the band. However, a short while later, Martin, Reed and Aldred got the bug once more, decided to reform as a power trio, and rechristened themselves, Bliss.
Still with producer Murrell guiding them, they recorded one album with the Los Angeles based Canyon Records in 1969. This does seem a strange choice of label to align with as they were more focused and famed for producing R&B, soul and funk artists, rather than psych and heavy rock.
Inevitably, through lack of promotion and given such low priority by Canyon Records, the album simply fell through the cracks. (So, it would seem, did much in the way of information about the band.Photographs too.)
The album resurfaced over twenty years later, when collectors of psych records picked up on the heavy, bluesy sound and original copies began to change hands for increasingly high sums of money, in some cases over four hundred pounds.
Of course, when this happens, albums are given a new lease of life via reissues, which allow the likes of you and I to add them to our collections.
‘Bliss‘ the album is nowadays considered a cult psych classic, and some tracks do certainly have that feel to them. Of the nine tracks, six are originals ‘ Ride The Ship of Fools, features hard, fuzz-wah guitar, driving bass and pounding drums. ‘ ‘Cry For Love‘ has a feel of The Zombies‘ ‘Time of the Season’ and ‘Visions‘ echoes Cream.
There are a couple of weaker tracks, it has to be said. ‘Make My Old Soul New’ in particular. But there are also three pretty solid covers: ‘Gangsterof Love‘ I recognised from Johnny Winters‘ version of this Johnny Watson song; ‘I Want to be Free,’ a Joe Tex original and a good interpretation of B.B. King’s ‘Rock Me Baby.’
Overall, this is a decent, solid, heavy rock album, I think boosted some years ago by attaining ‘cult’ status.
Originals worth £400+? I’m not sure. Certainly on rarity and ‘collectible’ tag, then probably. But if like me you buy records for listening to, then I think the regular album price of £20 – £25 is more in line with the content.
Leaf Hound were one of those bands who seemed to morph naturally from the Blues and R&B boom of the late Sixties into a heavier rock centred band of the early Seventies.
The band’s origins lie in the blues rock of South London band, Black Cat Bones, which at one point counted then future Free guitarist, Paul Kossoff and drummer Simon Kirke in their number.
When, in the latter half of 1970 Rod Price left to join Foghat, remaining members and brothers, Derek and Stuart Brooks enlisted the vocal talents of Pete French and his guitarist cousin Mick Halls.
(If Pete’s name rings a bell, it’s because he would later join Atomic Rooster performing vocal duties on their 1971 ‘In Hearing Of‘ album. He would later also play with US band, Cactus, featuring Tim Bogert and Carmine Appice )
With the addition of Keith George Young on drums, the band were re-named Leaf Hound and began gigging around UK, gaining quite a reputation for their brand of raucous rock.
A deal with the Decca label wasn’t long in being offered and by the end of 1970, ‘Growers of Mushroom‘ was recorded – legend has it, in eleven straight hours in Mayfair’s Spot studios.
Strangely though, having toured Germany, the album was licensed to that country’s Telefunken label before being released in UK. Even more weird, was the album being produced without either the title track (see top of post and ‘Freelance Fiend‘ which opens the subsequently released UK version.
In the autumn of 1971, ‘Growers of Mushroom‘ was finally granted its UK release, but by that time, the band had called it quits and all moved on to other projects.
Their legacy is this storming album of heavy rock. It may be pretty generic stuff, at times sounding like Jethro Tull, (the title track and ‘Sad Road to the Sea’) and others with hints of Led Zeppelin / Free, but it does have a character of its own and the more I listen to it, the more I love it!
I should add that my copy is a re-press on the Akarma Record Label. It’s not an original 1971 Decca release, copies of which sold for £4732 and £4218 via Discogs in 2019! This makes the album one of the most expensive major label recordings of the Prog Rock era.
In 2004, Pete French and Mick Halls formed a new version of Leaf Hound, recording an album ‘Unleashed‘ which was well received on release in 20007. I believe they continue to perform live to this day.
This is them back in 2012.
LEAF HOUND Pete French – Vocals Derek Brooks – Guitar Stuart Brooks – Bass Mick Halls – Lead Guitar Keith George Young – Drums
Fuzzy Duck released just five hundred copies of their only album in 1971, resulting in original copies now fetching up to £900. The interest in the band these past fifty years has led to many re-pressings and re-issues. Some, like my copy, have added as bonus tracks, the band’s two singles and their respective B-sides.
Formed in 1971 in North London, their sound was principally of a heavy progressive rock nature, built on a foundation of hammond organ, time signature changes and elements of jazz .
The guitar and organ combine seamlessly and I’d say there are future echoes of Uriah Heep in here. That may not be too far from the truth, for though he didn’t join Heep, organ player Roy Sharland was previously a member of Spice, who were indeed the mighty Heep’s first incarnation.
The track above, ‘Mrs Prout,‘ is typical sounding of what the band were capable of – I just love how the track uses that shuffling drum sound, mixed with a rolling bass line. The second half of the track I’m sure must have been in the subconscious of The Stone Roses when they wrote ‘Fools Gold.’
Looking at the credits on the album sleeve, only four band members are listed. However, from what I can make out, guitarist Garth Watt Roy was also in Fuzzy Duck. Indeed, he wrote their first single, ‘Double Time Woman,’ and contributed to the writing of two other ‘bonus tracks’ on the album. I can only assume he had moved on before the album was recorded? (The aforementioned track and the other two in which Garth wasinvolved, differ, I think from the others in that they have that sharp edge of Atomic Rooster poking through.)
What interested me here, though was the surname, Watt Roy. Not a common one in the music business back in the early Seventies, I’ll wager. I checked, and my hunch was correct – Garth is the older brother of Norman Watt Roy, who played bass in one of my favourite bands, Glencoe.
It’s such a shame Fuzzy Duck din’t leave more of a legacy. This album has seen more visits to my turntable these past few weeks than any other in my collection. I highly recommend it to anyone interested in early Seventies rock.
FUZZY DUCK Mick Hawksworth – Bass Roy Sharland – Organ Paul Francis – Drums Graham White – Guitar / Vocals Garth Watt Roy – Guitar
It feels a little strange, sitting here at home outside Glasgow, Scotland and writing about one of our city’s most famous ‘unfamous’ bands. I mean, everyone knows that members of Tear Gas ultimately joined forces with Alex Harvey to form ‘The Incredible Alex Harvey Band,’ right?
At least, that’s what was proclaimed on the sticker that adorned the sleeve on my copy of their re-issued debut album, ‘Piggy Go Getter.’ A bit of a ‘Sensational’ cock-up, by the record company, I’d suggest.
Playing the local Glasgow circuit as The Bo-Weavels, the band changed their name to Mustard, when vocalist George Gilmour left. Andy Mulvey, formerly with top Scottish beat band, The Poets, stepped in,
More changes would follow with Mulvey himself moving on. Wullie Munro signed up, taking over on drums. He was backed up in the rhythm section by new bass player Chris Glenn, while Eddie Campbell came in on keyboard duties. Joining forces with the two remaining members of The Bo-Weavels / Mustard, Davey Batchelor and Alistair ‘Zal’ Cleminson, it was decided that another name change was in order, and, in keeping with the ‘mustard’ theme, I guess, the band were re-named, Tear Gas.
They were billed as a ‘heavy rock’ outfit, though I find that hard to comprehend from their debut album, ‘Piggy Go Getter.’ Most of the tracks are pleasant enough, but pretty much soft rock at best, and not so memorable, if I’m honest. The second side of the album has a bit more of a rock edge and perhaps the final track, ‘Witches Come Today,‘ was a better indication of what was to come with the follow-up.
The eponymous, second album, now with Ted McKenna on drums, is much more like what I would have expected from a band who were scouted by Alex Harvey when looking for a ‘backing band.’ Having lost his brother, Les, guitarist with Stone The Crows, and who was electrocuted during the soundcheck for a show in Swansea, Harvey searched for solace in his work. He had previously been working with the stage musical, ‘Hair,’ in London but now sought to embark upon a solo career … if only he could find the right band.
Following the release of the second album, Ted Mckenna’s cousin, Hugh Mckenna joined in place of keyboard player Eddie Campbell. Hugh would also take on lead vocals when Davey Batchelor left to pursue a career in production.
The resultant line-up of Zal Cleminson, Chris Glenn, Hugh McKenna and Ted Mckenna was the one ‘spotted’ by Alex Harvey, and though the band had some misgivings about their new ‘boss’ (Alex was about fifteen years older for a start) and his rather autocratic attitude, they realised they had probably gone as far as any ‘big fish in a small pond’ could and …. well, the rest is history as they say.
TEAR GAS (Ultimate / Final Line up) Zal Cleminson – Guitar / Vocals Hugh McKennna – Keyboards / Lead Vocals Ted McKennna – Drums Chris Glenn – Bass / Vocals
Eleven vinyl LPs; one vinyl EP; two ‘box set’ CDs; one triple CD set; twenty-one CDs; five DVDs and four Taste CDs.
You’d be correct in assuming I like Rory Gallagher!
I recall the very first time I heard Rory’s music. I was playing Subbuteo at my pal’s house. I was Chile, that day – red shirt, blue shorts. I can’t remember what team Derek was, but it wouldn’t matter – he’d have whooped my ass anyway. I was rubbish.
Derek shared a large bedroom with his older brother who at that time was a long-haired, senior school student, about four years older than me. He’d been doing paper rounds for several years and so was ‘minted,’ as we’d say in Glasgow. And all his money it seemed, he spent on records, particularly the heavy end of the musical spectrum. Deep Purple and King Crimson I vividly remember being played. I know this because as a Slade, Sweet and John Kongos fan, (yes, John Kongos) I just couldn’t get into this new fangled ‘progressive’ music.
Anyway, as my Chilean right winger was about to take a corner, something new burst out the record player. It went on for ages, too. Wow!
“That’s ‘‘Catfish,’ my mate said. “By a band called Taste. Alan’s just bought it. Like it?”
‘Like it?’ That was me. Hook, line and sinker.
So – this is the Blues? A fourteen year old kid had just been enlightened.
The LP was ‘Taste. Live At The Isle Of Wight.’ With a little more prompting, I was told the band were no longer together, but the guitarist, Rory Gallagher, had embarked on a solo career. In fact, he’d already released three albums.
Always late to the party, me.
A few weeks later, I’d saved enough from my paper round to send away, through a ‘small ad’ in the ‘Sounds’ paper, for a copy of Rory’s latest release, ‘Live in Europe.’ (Going to watch football on a Saturday normally accounted for most of my earnings.)
As it happens, I was fifty pence short in payment for the post and packing, but the nice record store still sent me the LP. They asked I just send a postal order for the shortfall, something I never got round to doing. I read a month or so later that the company had gone bust. I felt ever so guilty.
That was late 1972 and I still have that album. It remains my favourite of all my Rory recordings, although I have to say, the ‘Check Shirt Wizard – Live in ‘77’ triple album pushes it very close.
The next stage in my Gallagher development was to see him play live and that opportunity came in March the following year, when my parents finally acceded my pleas to be allowed to go to a concert. And so shortly after the release of his fourth solo album, ‘Blueprint‘ (my second favourite) I trooped up to Glasgow with a couple of pals to the Green’s Playhouse (later to become the world famous Apollo.)
My seat was about eight rows from the front, just left of centre. Perfect. Until Rory came on stage and everyone jumped to their feet. I was a short-arse then, still am, and suddenly I was struggling to see my musical hero.
But the bouncers at Green’s and even more so when it changed to The Apollo, had a fierce reputation. There was no nonsense. If you were told to sit down, you sat down. If not, you’d only be able to hear the gig from the alleyway at the back of the theatre. (This heavy handed approach always worked … until The Clash came to town on 4th July 1978. But that’s another story!)
The concert was everything I hoped it would be. And more. The relationship Rory had with the crowd was amazing. It was like a personal friend was putting on a show. There was no posturing. No garish showmanship. Just straight-up, blues infused rock ‘n’ roll with a tiny touch of folk influence.
Rory was dressed simply, in his trade-mark check style shirt and jeans, and although he wore a denim shirt on the cover of ‘Blueprint,’I always associated him with the checks. It must be a ‘first impressions’ thing, for I don’t recall seeing him wear that again on any of the other four occasions I was lucky enough to see him.
In the early to mid-seventies, bands would generally only hit your town maybe once a year although I was fortunate in that Rory did return to Glasgow later in ’73, at the end of November. After that though, it was December only, and ’74, ’75 and 1976 were my last shows. It’s interesting to note that the most I paid for a ticket was the £2.50 in 1976.
I wonder how much you’d have to pay these days? I’m sure Rory would have done all in his power to keep prices at a sensible level, but what with ticketing agencies these days …. aargh! Don’t start me!
While my love of Rory Gallagher has been unflinching, I am not one of those fans who listens exclusively to their hero and that particular style of music.
Although I still rushed out to buy his immediate subsequent releases, ‘Photofinish,’ ‘Top Priority,’ and ‘Stage Struck,’ I was, from 1976 onward, more into the punk and second wave rockabilly scenes.
The only groups, however, that even then could come close in my overall ‘favourite band’ list were / still are, The Sensational Alex Harvey Band and The Rolling Stones. (Over forty albums of the latter in my collection.)
And of course, there is a close connection between all three bands with SAHB‘s late great Ted McKenna latterly taking over on drums for Rory, and Rory himself famously auditioning for The Stones back in 1975 when Mick Taylor left.
I must say, I’m so glad Rory decided not to hang around and wait for Mick and Keith to get back to him, and toured Japan as he had planned. I just couldn’t see Rory as anything other than a front man. Ronnie Wood is perfect for the role in appearance and style.
It doesn’t always follow that a group betters itself by absorbing ‘the best.’ Look at The Eagles. Did Joe Walsh really add to what was already one of the most popular bands in the world? Did Joe Walsh lose a bit of his identity by joining The Eagles?
‘No’ and ‘yes’ would be my two answers.
But back to Rory.
It pained me to see him on The Old Grey Whistle Test or wherever as the rather large and bloated musician he’d become by around 1990 as drink and various prescription medications, administered to deal with the rigours of life on the road, had prematurely and noticeably aged him.
In the end, 1995, he perhaps cut a sad image – the archetypal solo rock star, not necessarily fading as such, or clinging to past glories, but perhaps lonely and just sheer exhausted from all he gave.
And he gave so much. The vast majority of his fans, like me, never met him, but Rory came across on stage, and in media interviews, as a very personable and likable bloke. There were no frills. You got what you saw.
He was genius on guitar. He could literally turn his hand to make it gently weep; or laugh; or sing. He could make an audience dance – in an ugly, uncoordinated, shaking-head, rocker style, maybe, but it still counts.
Best guitarist in the world? Many of us would say so.
I guess it’s all a matter of Taste.
Reviews & Comment: Punk,, Psychedelic, Psych, Rock, Reggae, 60s Garage, Mod, Blues & Freakbeat.