Category Archives: UK

the steve brown band

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 be more than pleased to supply you with a copy in exchange for pounds sterling. (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

TITLEFORMATYEARLABELNOTES
Street Fighter ‎7″ Single1977Petal Records
Soul Full Of SinLP2021Seelie Court Recorded between 1971 & 1973

martin gordon

He played bass on Sparks‘ debut album, ‘Kimono My House,’ which included the two hit singles, ‘This Town Ain’t Big Enough For The Both Of Us’ and ‘Amateur Hour;‘ he was bass player with Jet, hailed as Glam’s first supergroup; he formed personal favourites of mine, Radio Stars ; he even played bass with The Rolling Stones (oh, yes he did!) … and this was all before teatime. Well, before the Seventies were up.

Since then Martin Gordon has played as session musician with some of pop music’s  brightest, and apparently not so bright, stars.

He’s toured the world, collaborating with ‘world music’ stars across the continents and is now settled in Berlin, where the creative spirit of that fine city continues to guide his way.

A look at his excellent website highlights both his work over the years and his deadpan, self-deprecating and sardonic humour. In his more recent releases, he targets conspiracy theorists (and one in particular) and people who believe they have ‘superior jeans.’

It is this clever / pointed / fun writing style that drew me to Radio Stars back in the Seventies. There is, however, generally a point to what Martin writes / sings about.

However, just to throw us a little curveball, his new release has no words. It is though, like his recent songs, a celebration of current affairs. Well, maybe ‘celebration’ is a bit strong – it references the Cop26 conference on climate change.

Martin’s interpretation of what lies ‘over the rainbow’ conflicts somewhat with what young Dorothy expected, this version part doom laden, part painfully sad, bleak and downbeat. It’s a typically pragmatic view from Martin, I have to say.

And who, really, can argue?

In his own words, here’s what inspired Martin, if indeed ‘inspired’ s the correct word.

Marking the gathering of the great and the good, the besuited and the bedraggled, the lobbyists and the lobbied in Glasgow to perform the by-now traditional COP26 knees-up, ‘Somewhere Over the Rainbow’ is a new single by Martin Gordon. As the planet prepares to expel its inhabitants, why not mark the occasion with this rendering of Dorothy’s favourite showstopper in Eb, well known to be the second-saddest of all keys? This instrumental version has a Rickenbacker bass as a main voice – what’s not to like? After all, Xmas dinner will be served in a tin, with lashings of delicious Spam for afters, and then there’ll be live bombing of France on the telly after the Queen’s speech.

‘Arlen and Yarburg’s melancholy tune has been reworked, rearranged and made available to all, whether demented conspiracy theorist, hysterical populist or regular ol’ human being, although there are less of these than earlier thought.

(Released across all platforms on 8th November 2021)

chris kelly

As lead singer / guitarist of Cardiff indie rockers, The Scooters, Chris Kelly tasted success in the form of touring USA (twice) and collaborated with The New Radicals. For their 2002 tour, they were subject of an ITV documentary and followed around by a film crew.

That was then. This is now.

Chris has made a name for himself as an Americana inspired singer / songwriter, accumulating a burgeoning fanbase, especially across his native south Wales.

His latest single, ‘Your Day Begins Again‘ is released at the end of November (26th.) It’s easy-going, swaying, melodic verses blend into more rousing choruses, guaranteed to have you singing along even on first hearing.

No doubt Chris’s experience of leading an indie-pop band at the turn of the century still have some bearing, as the final minute run-out features some lovely, dreamy, shuffling psychedelic sounds reflecting the music of many bands at that time.

I’m not sure why I’m writing this – you can make your own mind up. Here it is!

(For what it’s worth, love it.)

hellmet

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.

HELLMET

Terry Aitken – Vocals
Stephen Day – Guitar
Ray Mellors -Bass
Gary Murphy – Drums

TITLEFORMATYEARLABELNOTES
Judgement DayLP1970*Seelie Court* Recorded in 1970 but only released in 2021 by Seelie Court.

grannie

Phil Newton & Jan Chandler

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.

Phil Newton
Dave ‘H’ Holland

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 fulfilling his dream of fame that he’d held for many years.) **

GRANNIE

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

TITLEFORMATYEARLABELNOTES
Grannie LP1971SRT Prouctions


sweet

The first single I ever bought was ‘Co Co’ by The Sweet, back in 1971. The second was ‘Alexander Graham Bell,’ by The Sweet. Over the years I gathered five of the band’s albums on vinyl and several compilations on CD.

You see, despite the stick I took at school, I was and am, proud to be called a Sweet fan. I guess I enjoyed being different.

Back in the early Seventies, my protestations that they were not simply a bubblegum pop band, and could rock it out with the best of them, fell on the deaf ears of Clapton and Zeppelin supporters. (Clapton fans must have been deaf, in my opinion, but that’s for another article!)

Bearing in mind Sweet have been around for over fifty-one years (with a couple years hiatus in the early ’80s) various line-up changes have been inevitable, not least due to the ill health and subsequent passing of Brian Connolly and Mick Tucker.

For a while two versions of the band existed; Andy Scott’s here in UK and Steve Priest’s in USA. Sadly, only Andy now remains of the original line-up – but he continues to uphold the ‘classic’ line-up’s legacy of of all those years ago.

Now though, with the very experienced touring musicians in Lee Small (bass) Bruce Bisland (drums) and Paul Manzi (lead vocals) Sweet have settled once again as a four-piece and continue to perform in front of sell-out crowds across Europe. In fact, their Covid-delayed ‘Hellraiser’ UK tour due to kick off towards the end of November.

In the spring of 2021, the new line-up released their ‘Isolation Boulevard‘ album – a re-recording of hits from the classic era of the band, together with an inventive cover of Hello‘s ‘New York Groove,’ and the December 2020 single, ‘Still Got The Rock.’ This is a really interesting album – all the songs are indeed very familiar, not straying too far from the original versions which is what you’d want to hear if going to a show. Yet is IS different. There is a deeper resonance, perhaps down to more advanced recording techniques but emphasized by Paul’s vocal delivery.

Naturally, many of the old hits will feature in the upcoming ‘Hellraiser’ UK tour and it was while rehearsing songs for the shows, that Andy decided what should become the new / current single.

During the rehearsals for Sweet’s forthcoming ‘Hellraiser’ tour in November and December 2021, we were trying out various songs from our back catalogue that could be added to the set list. As soon as I heard Paul Manzi and Lee Small’s vocals on the song ‘Everything,’ I knew that we needed to get it down and record it as our new single.” 

The song ‘Everything 2021′ is a totally new recording. It was originally featured on the album ‘Sweetlife‘ released back in 2002. “I think the new version is a far superior production,” says Andy. “It’s much closer to how I envisaged it when I co-wrote the song back in the day.”

Andy Scott
(Photo: Darren Griffiths)
Paul Manzi
(Photo: Darren Griffiths)

I agree. This new version has more ‘oomph.’ More ‘balls.’ Also, in Paul Manzi, Sweet have a specialist and focused singer. The earlier, 2002 version, was recorded with bass player Jeff Brown doubling up on vocals when then frontman Chad Brown unexpectedly left the band mid tour due to ill health.

The track has a kind of European / German rock sound to it, which is perhaps not so surprising considering the band seem to have spent so much time touring in that area over the years.

So, yeah – once a Sweet fan, always a Sweet fan. The musical landscape has shifted enormously during their life-span. They have seen disco, punk, post punk, grunge, indie, baggy, and many more genres emerge, overtake, then fade.

I’ve grown up with Sweet and while change is good and inevitable, life is sometimes even better for the comfort of constants.

The Glam may have faded ... but the Rock lives on!

(Just for old time’s sake! )

mayfield’s mule

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

TITLEFORMATYEARLABELNOTES
(Drinking My) Moonshine 7″ single1969Parlophone
We Go Rollin’7″ single1970Parlophone
I See A River7″ single1970Parlophone
Mayfields Mule LP1970OdeonOnly released in Uruguay.

leaf hound

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

TITLEFORMATYEARLABEL NOTES

Drowned My Life In Fear / It’s Gonna Get Better
7″ single1971TelefunkenListing only the releases from the initial incarnation of the band.
Leaf HoundLP1970Telefunken
Growers Of MushroomLP1971Decca



gerry jablonski & the electric band

(Header photo by Star Shots Photography.)

(Latest single – September 2021)

Classic Rock magazine couldn’t have put it any better when they wrote about Gerry Jablonski & The Electric Band, ‘…. the best band you never heard of.’

It was towards the back end of 2008 when session drummer of some reknown, Dave Innes, approached established bluesman, Gerry Jablonski with a view to forming a band. The latter, though he’d fronted several bands in the past, had spent several immediate years prior performing solo acoustic blues sets, and took some persuading.

Some months later, now in 2009, the insistent Dave had put together the line-up he’d been pursuing, and with himself on drums, Gerry on guitar, Grigor Leslie on bass and Pete Narojczyk on harmonica, they played at an open mic night in their home city of Aberdeen.

Taking heart from the positive reaction and feedback, the four started writing their own songs and three months later they played their first ‘proper’ gig. A month after that, and the debut album had been recorded!

Released in 2009 through local label, Fat Hippy Records, the eponymous debut opens with ‘Breaking the Stones,’ a swamp blues stomper which I think also echoes early Free. It sets the precedent for what follows – an album of blues maturity and variation. Mainly upbeat and bouncy blues rock, Pete’s harmonica playing trades space with Gerry’s guitar, typified on ‘Blues Power‘ when you could just so easily be listening to Mark Feltham (Nine Below Zero / Rory Gallagher) and Roy Buchanan.

It would be two years before the follow up came along, ‘Life At Captain Tom’s’ which references the rehearsal and recording studio in Aberdeen. (I mentioned above how I could hear a Free influence poking through various tracks – on this album there is a song called ‘Koss,’ a tribute to the original Free guitarist, and weaving several of the band’s song titles into the lyrics.)

Another two year gap, and album number three was released, ‘Twist of Fate.’ Again, a clean sounding rocking blues album of ten tracks. The opening and closing tracks especially (‘Slave to the Rhythm‘ and ‘Suzi Sunshine’) are more palatable, I’d think, to commercial daytime radio than would be a more traditional blues song. ‘Dave Says,’ a jazz infused blues instrumental is my favourite, though. Just sayin’.

Fate however dealt the band a tragic hand the following year, with the passing of founder member / drummer, Dave Innes, following a long battle with stomach cancer.

He had acknowledged his destiny however, and was insistent that the band should continue with a replacement. And so with the comfort of his blessing, and Dave’s own recommendation, Lewis Fraser was invited to join.

And so has it been since. 2015 saw the release of studio album number four, ‘Trouble With The Blues‘ and the ensuing years have seen two ‘Live’ album releases. Their heavy blues sound is enhanced, I feel, on these ‘live’ recordings,

Goddamn,’ is the first recording since 2018’s ‘Live at The Blue Note,‘ album.

The video for this, shown at the opening of the post, has an interesting twist: Crystal Head Vodka, the brand set up by actor / comedian Dan Akroyd in 2008 decided they’d like to co-produce the video, and use it to feature their product in a forthcoming promotional campaign!
(Happy to oblige with with a wee additional plug!)

Now the UK music scene is slowly awakening from its enforced torpor, Gerry Jablonski & The Electric Band are back out and about, looking to pick up in recent months where they left off, selling out shows in mainland Europe as well as at home.

They’ve certainly been welcomed back enthusiastically, recently selling out their headline show at the Rory Gallagher Festival in Ballyshannon. As a diehard Gallagher fan myself, I know just how discerning Rory fans can be, so this is high accolade indeed!

They’ll be on my gig list for next year, that’s for sure.

Remaining gigs for the current year can be found on the Gerry Jablonski Band website.

(Photo: MB Photos Scotland ) – 2018

GERRY JABLONSKI & THE ELECTRIC BAND
Gerry Jablonski – Guitar / Vocals
Peter Narojczyk – Harmonica 
Lewis Fraser – Drums / Backing Vocals
Grigor Leslie – Bass / Backing Vocals

+
David Innes – Drums / Backing Vocals ( 2009 – 2014)

TITLEFORMATYEARLABELNOTES
Breaking The Stones ‎CD Album2009Fat Hippy RecordsThis is the self-titled debut album, but listed as ‘Breaking The Stones’ on Discogs
Life At Captain Tom’s CD Album2011Fat Hippy Records

Twist Of Fate
CD Album2013Fat Hippy Records
Trouble with The BluesCD Album2015Unknown
LIVE TroubleCD Album2016Unknown
Heavy Water Double-A-sided single2017Unknown
Live at The Blue NoteCD Album2018Unknown
 Goddamn7″ single / CD2021Unknown



fuzzy duck

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 was
involved, 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.

(I don’t think this video was issued by the band, but the track is the album closer, and shows the lads had a good sense of humour!)

FUZZY DUCK
Mick Hawksworth – Bass
Roy Sharland – Organ
Paul Francis – Drums
Graham White – Guitar / Vocals
Garth Watt Roy – Guitar

TITLEFORMATYEARLABELNOTES
Double Time Woman 7″ single1971MAM
Big Brass Band7″ Single1971MAM

Fuzzy Duck
LP1971MAM