Category Archives: rock

captain beyond

(Suggested by Twitter handle: @SeventiesLegend)

(Taken from the debut, eponymous album)

Every day’s a school day here at Loud Horizon. Well, it is for me, at least.

From that, you’ll deduce I have no Captain Beyond records in my collection … and cannot profess to being a big fan of Deep Purple either. (Yes, I like them fine – just not as much as millions of others do.)

If you’re wondering why I have linked the two bands above, then I guess we’re pretty much in the same boat.

Let’s check back a little.

Captain Beyond were formed when psychedelic rock band Iron Butterfly suddenly broke up in 1971. Guitarist Larry Reinhardt and bass player Lee Dorman called on Drummer Bobby Caldwell ( who would later go on to play with both The Allman Brothers Band and that of Johnny Winter) and a certain Rod Evans.

(Rod was a founder member, and original vocalist of Deep Purple. He sang on the band’s first single ‘Hush‘ but had been asked to leave the band in 1969 when they decided to go with a heavier sound, being replaced with Ian Gillan.)

The band were initially signed to Capricorn Records, which I found strange when I read this fact. That label, throughout the Seventies had a reputation for producing records by ‘southern rock’ bands. Bands like Grinderswitch (whose ‘Pickin’ The Blues’ track was used as theme music to the iconic John Peel radio shows in UK,) Marshall Tucker Band and of course, The Allman Brothers Band.

Captain Beyond would soon find the decision strange too. Their debut album sold well. It was heavy rock in its primitive form; it was ‘stoner’ rock at its finest, incorporating ‘space’ rock influences, and included the track that opens this post and this, probably my favourite from that album.

(Again, from the eponymous, debut album.)

Sales however, I assume, did not match those of label mates, The Allman Brothers, for by the time Captain Beyond came to record their follow-up album, Capricorn Records seemed to have had a change of heart. They pressed for the band to adopt a more Southern Rock image and feel, which of course was an impossible ask.

It ‘s no coincidence then, that the band’s fortunes, if not their sound, headed south after that. The label, it seems, did all the could to obstruct the band, signing for them to support slots with headlining bands whose music was far, far removed from that of Captain Beyond.

(Paying gig fans don’t take kindly to this – Greenslade supporting Rory Gallagher, anyone?)

They soldiered on however, and in 1973, still signed to Capricorn, they released their second album, ‘Sufficiently Breathless.‘ By this time, drummer Bobby Caldwell had left as relationships within the band became fractious. He had not been keen on the direction the band were headed, or the music they were making.

From the tracks I’ve heard, I totally concur. I don’t mean to upset anyone, but tracks such as this, while still build on a decent riff, do not match the rawness and energy of the first.

(From the band’s second album, ‘Sufficiently Breathless.’)

The album bombed, though over time, and perhaps because of the band’s now almost cult-like status, it is now regarded with a certain reverence.

It wouldn’t be long though, before vocalist Rod Evans would leave the band. He had done this before, but this time it was for good – and none of the band knew why. He broke off all contact with the remaining band members, and to this day, his whereabouts are unknown.

(I do believe that in the early Eighties there were legal implications of his touring with a band and using the Deep Purple name)

Auditions were held to find a replacement for Rod, and eventually, Willie Daffern was offered the gig.

In 1977, now signed with Warner Bros, and the backing of an almost cult-like following, the band released their third album, ‘Dawn Explosion.’

(From the third album, ‘Dawn Explosion.’)

Unfortunately, not long after the album release, ‘new’ vocalist Daffren decided to go solo, and in 1978, the band just kind of dissolved as they were on the verge of gaining wider acceptance.

Over the years there have been various reincarnations of the band that have lasted for short periods. There have also been re-pressings of the original three albums, together with some ‘live’ recordings and compilations.

Unfortunately, none in my opinion, can match the excitement and menace of their debut offering.

CAPTAIN BEYOND

(Original line-up)
Rod Evans – Vocals
Larry ‘Rhino’ Reinhardt – Guitar
Lee Dorman – Bass
Bobby Caldwell – Drums

TITLEFORMATLABELYEARNOTES
Thousand Days Of Yesterday7″ singleCapricorn Records1972Listings relate only to releases prior to the initial dissolution of the band in 1978. Subsequent compilations and ‘live’ recordings are also available.
Sufficiently Breathless7″ singleCapricorn Records1973
Captain BeyondLPCapricorn Records 1972
Sufficiently BreathlessLPCapricorn Records1973
Dawn ExplosionLPWarner Bros. Records1977

glencoe

I bought Glencoe‘s debut album shortly after its release in 1972 and could never understand why, despite some high profile support slots with likes of Deep Purple, Argent and Wishbone Ash, they never seemed to receive the public acclaim they so deserved.

Why they never broke into a theatre-filling headline act in their own right, I’ll never know.

That said, when opening for Argent at Glasgow Apollo in September 1973, the crowd demanded and was rewarded with an encore. That’s something pretty rare indeed, especially in my fair city!

Their roots lie in London based band Forever More, who recorded two well received albums between 1970 and 1971, and counted among their number, three Scots: Onie Mcintyre, Alan Gorrie and Stewart Francis, who had formerly played together in Hopscotch.

Album cover (USA) – FOREVER MORE:’Yours.’

The group disbanded in 1972 shortly after changing their name to Glencoe, when McIntyre and Gorrie left to form Average White Band (together with another former member of Hopscotch, Hamish Stuart.) One of those recruited as a replacement was Graham Maitland on keyboards, who had played with Francis in … yes, you got it – Hopscotch.

The world of music has always been a bit incestuous.

Following an audition, bassist Norman Watt-Roy joined up and completing the new line-up was guitarist John Turnbull, formerly of the excellent Newcastle band Skip Bifferty.

The eponymous debut LP was released in 1972, and followed a year later by ‘The Spirit of Glencoe.’

Although, the albums differ in feel, both ooze class. The first is loud and in the main a mix of heavy rock and blues, though slower numbers like ‘Look Me In The Eye,‘ and ‘Questions,‘ illustrate Glencoe’s versatility. There’s plenty excellent and very distinctive guitar work from John Turnbull, while Graham Maitland’s keyboard playing dances all over the tracks and is an integral, identifying feature of the band.

Airport‘ is probably the best known track on the album, but I think ‘It’s‘ edges it as my favourite on the album. Slower in pace, and with a bluesy feel, it highlights the talents of each player.

The 1973 follow-up, ‘The Spirit Of Glencoe,’ isn’t quite so ‘instant.’ I was initially unsure as to how I felt about it. But it’s a grower, believe me!

‘Is it You?‘ is very much in he vein of the first album, chunky and beat heavy, it features John and Graham dueling guitar licks and bar-room, honky tonk piano. ‘Born in the City’ is another of the old school formula, and the one minutes and nine seconds of ‘Arctic Madness‘ shows a playful side, incorporating (I think) an accordion led eightsome reel.

(Album cover, front and back, ,for ‘The Spirit of Glencoe.’)

The two ballads, ‘Strange Circumstances‘ and ‘Song No. 22‘ are absolutely captivating, though I have to say I prefer their louder stuff.

What this album does, though is show that Glencoe were no one-trick pony. My research has not turned up one negative comment about the band.

The fact they had the quality of ex Steve Miller Band keyboard player, Ben Sidran, ex Osibisa percussionist Kofi Ayifor and ex Steve Miller Band bassist, Gerald Johnson all guest on the second album, shows the respect they had already garnered from their peers.

Indeed, after the band split in 1974, bass player Norman Watt-Roy and guitarist both had spells playing with Ian Dury & The Blockheads.

Yeah – I’ve most definitely got Glencoe filed under ‘One That Got Away.’

GLENCOE
Stewart Francis – Drums / Vocals
Graham Maitland – Keyboards / Vocals
John Turnbull – Guitar / Vocals
Norman Watt-Roy – Bass / Vocals

RELEASES BY GLENCOE

TITLEFORMATLABELRELEASE YEAR
Airport / It’s7″ singleEpic1972
Look Me In The Eye / Telphonia7″ singleEpic1972
Friends Of Mine / To Divine Mother7″ singleEpic 1973
Roll On Bliss / Nothing7″ singleEpic1973
GlencoeLPEpic1972
The Spirit Of GlencoeLPEpic1973

quicksand

It was with bands like Quicksand in mind that convinced me to take LOUD HORIZON back down a retrospective path. Like so many bands, their music may not jump out the speakers and smack you in the face upon first listen. But boy, stick with it a couple of spins and you appreciate all the subtleties and intricacies.

Wait though – I may be giving the impression Quicksand were an out and out ‘prog’ band. Perhaps they were edging tn that direction, and I’ve seen them described as such in what little information I can glean, but they were so much more than that.

The eight tracks on this, their only album release, cover all bases. From melodic, hooky rock with some sprightly Hammond organ dancing in the background on the opening track, ‘Hideaway My Song,’ , the following track ‘Sunlight Brings Shadows‘ certainly ticks the ‘prog’ box, with time signature changes, organ / guitar face-offs and choral like harmonies.

‘Empty Street, Empty Heart,’ is more relaxed, again maximising the band’s catchy harmonies, before side one ends with ‘Overcome The Pattern’ transitioning into ‘Flying’ – together, they effortlessly combine ‘prog’ with a bit of a psychedelic feel.

The latter of these two actually sounds very familiar. Instinctively, I thought of fellow Welsh band, Man, who I saw live on several occasions back in the mid-Seventies. However, I can’t find any such track being recorded by the Swansea based outfit.

(There is , though, a connection between the two bands however, as Quicksand’s original bass player Will Youtt did eventually join Man.)

Though they’d probably best be described as a guitar driven band, side two of the album opens with two tracks that more prominently feature keyboards. Opener, ‘Time To Live‘ is drenched in vocal harmonies overlaying the bass and organ. Title track ‘Home Is Where I Belong,‘ features a light Hammond organ hook that reminds me of some Allman Brothers work. ‘Seasons / Alpha Omega‘ returns to the prog rock feel, this time with, dare I say it, Uriah Heep sounding driving bass, guitar and keyboards to the fore. Final track ‘Hiding It All,’ is more of a psych infused slow burner, but a lovely end to the album.

Formed in Neath, South Wales, in 1969, the band released only two singles: ‘Passing By’ / ‘Cobblestones‘ in 1970 – both tracks written by the then soon-to-depart, Michael Youatt – and then three years later, ‘Time To Live’ / ‘Empty Street, Empty Heart,’ both of which appear on the band’s only album release.

Quicksand made a point of recording and performing their own, original compositions and this they did throughout the length and breadth of the UK during their all to brief six years together.

In 1975 though, Robert Collins (keyboards) left the band. Brothers Jimmy and Phil Davies left for Alkatraz while drummer Anthony Stone joined up with Deke Leonard’s Iceberg – yes, another Man connection right there.

I have to admit, like many of the bands that will feature on these pages, I unfortunately did not get to see Quicksand play live. And though, over the years the album has been released in many territories, mainly on CD format , it was only recently, when given an unofficial, vinyl re-release, did I finally pick up on them.

Still – better late than never, eh?

Clockwise from top left:
Robert Collins
Phil Davies
Anthony Stone
Jimmy Davies

QUICKSAND:
Robert Collins – Keyboards
Phil Davies – Bass
Anthony Stone – Drums
Jimmy Davies – Guitar

RELEASES BY QUICKSAND

TITLEFORMATLABELRELEASE
YEAR
Passing By / Cobblestones7″ singleCarnaby1970
Time To Live /
Empty Street, Empty Heart
7″ singleDawn1973
Home Is Where I BelongLPDawn1973


spirits & worm

A&M record executive, Bob Garcia contributed to the sleeve notes of this album, the one and only from Long Island, New York band Spirits & Worm:

” … have caused others to define their music as a ‘fresh young sound- very colourful and full of rhythm – a happy sound!

“We believe in the near future that the music industry and public will take notice of this group, and recognize them as one of the more exciting and talented groups yet to hit the airwaves.”

Very few people were to read this proclamation however, when the album was released in 1970, for it was pulled from distribution almost immediately and it’s believed that only a handful of copies actually found their way into public domain, mainly in the New York area.

The legend and likely reason, is that releasing an album with two goats sitting on top of a grave was always going to court controversy. Imagery with satanic connotations would not go down well. And so it seems some label boss took cold feet and the album failed to be granted the release it merited.

It seems to me the decision maker didn’t actually listen to the album though. The ten, Carlos Hernandez penned tracks are about as far removed from the occult as can be. They are indeed, as Bob Garcia quoted, ‘a happy sound,’ influenced more by the lush West Coast sound popularized by likes of Jefferson Airplane, with vocalist Adrianne Maurici’s powerful vocals drawing comparison to those of Grace Slick.

It does seem a little strange that A&M didn’t just ask the band to change the album’s artwork, but whatever the underlying reasons, originals of this album exchange hands for great sums of money. In fact, one copy was sold through Discogs in 2020 for £730!

There have been a couple of subsequent Limited Edition reissues; in 1994, Sweet Herb Records ran 400 copies and the following year, Water Serpent Records released a further 375 hand-numbered copies.

More recently, the Audio Clarity label have made the re-issued album more freely available, and I’m happy to say I managed to bag one for myself!

Not only is it a piece of psych / psychedelic mastery, but it holds its own special place in musical history.

SPIRITS & WORM:
Adrianne Maurici – Vocals
Carlos Hernandez – Lead Guitar
Alfred Scotti – Rhythm Guitar / Vocals
Tommy Parris – Bass Guitar / Vocals
Artie Hicks Jr. – Drums

RELEASES BY SPIRITS & WORM

TITLE FORMATLABELRELEASE
YEAR
Spirits & WormLPA&M1970