Tag Archives: 70smusic

70s, glam, MUSIC PAST, new wave, UK

jet

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(JET’s debut single from 1975)

Perhaps it should have been entitled ‘This Band Ain’t Big Enough For Both Us.’ Just days before embarking on television promotion for the single that would bring them international attention, Sparks decided to fire their bass player, Martin Gordon.

There’s a suspicion this was caused by friction between the parties over writing opportunities, but who knows? The result was Martin getting his jotters, not long after having played on the band’s debut album ‘Kimono My House.’

The band’s manager decided the ideal replacement lay in the bass player of another band he managed, Jook. In addition, he also pilfered the services of Jook’s guitarist, effectively killing off the band.

Left twiddling his drumsticks, having survived the cull, Chris Townson contacted Martin and suggested they make something of this treacherous act wrought upon them. His friend, vocalist Andy Ellison had played with him, and Marc Bolan of course, in John’s Children. He may be interested in joining forces, he suggested.

(The other member of that band ironically, was John Hewlett … who went on to become the manager of Sparks and Jook, bulleting Martin and rendering Chris unemployed!)

A guitarist was required, and the services of David O’List were secured. David held an impressive CV, having been a founder member of The Nice. He too was at a bit of a loose end, having just been ditched and replaced by Phil Manzanera in Roxy Music. Unexpectedly he brought with him keyboard player, Peter Oxendale, who believe it or not, was also bumped from Sparks at the same time as Martin Gordon!

Jet were a five piece! From adversity and all that …

(Andy Ellison; Chris Townson; Davy O’List; Martin Gordon & Peter Oxendale.)

A management deal was struck with Mike Leander, who in turn set up a record deal with CBS, which I understand was signed ‘blind,’ by the band. Oh, the naivety of youth!

The debut album was recorded amidst an increasingly acrimonious atmosphere, intensified by by the tedium of waiting endless hours while each band member was required to record their parts individually.

Finally completed, the band’s choice of name and artwork was overruled by the label who imposed their will. The album was to be called simply ‘Jet,’ and the sleeve design foisted upon the band was seemingly so similar to that of Marvel comics’ Mr Miracle, that it resulted in the label being successfully sued.

Sometimes, you can just sense the writing being applied to the wall.

A support slot on the UK tour with the Hunter Ronson Band (Mott the Hoople’s Ian Hunter and Spiders From Mars guitarist, Mick Ronson) was secured, during which time the debut album was released to a fairly positive press. (Though ultimately it didn’t sell in the numbers hoped, it was considered by many critics as a bit of a ‘glitter-rock’ classic.)

With an album to promote, a short UK headlining tour was booked and rehearsals were seemingly endured. Even before hitting the road, relationships between band members were strained.

The tour started out in Scotland, and audiences were poor. Allied to this, manager Mike Leander, who remember also had Gary Glitter in his roster, was not shy in having his acts dress, let’s say, rather extravagantly. And I’m not talking of accessorizing with bits of glitter or tartan, either. Try full make-up with white cape and boxer boots. Or jodhpurs and riding boots – that kind of thing.

Unfortunately, despite his vast experience of gigging, (or perhaps, in fairness, because of his vast experience of gigging) Davy O’List took full advantage of green room hospitality, if you know what I mean. His playing became completely unreliable; he became completely unreliable. He was asked to leave.

Following several auditions, he was replaced by Ian McLeod, who had actually been spotted by the band shortly after forming. Soon after, the band decanted to the countryside to work on the next album.

Bad move.

Their time together degenerated into hard drinking sessions and fall outs. Their relationship with CBS had also crashed. The label were keen for the band to produce more commercial styled music – hit singles and all that. A ‘showcase’ evening for the label bosses failed to convince the ‘suits’ that Jet were producing as expected, and the band were told in no uncertain terms they ‘must do better.’

The following week, another showcase was arranged in London. But again, totally hacked off with the label anyway, Jet failed to take matters seriously.

The next day, CBS cancelled their contract!

Peter Oxendale also developed an ‘unreliable’ side and moved on around this time, going on to play with Ian Hunter and The Glitter Band, so Jet rehearsed as a four piece (Andy, Martin, Ian and Chris) at Island Records in Hammersmith. .

Four songs resulted with another ex-Sparks member, Trevor White, now recruited.

In early 1976, Sparks manager, John Hewlett (remember him?) booked the band some recording time in Island Studios and those four songs were engineered by Queen and soon to be Rolling Stones producer, Gary Lyons.

Hewlett offered his expert opinion, declaring that one song didn’t really cut it and should be dropped. The band however decided to go with ‘Dirty Pictures‘ anyway.

OK, the recordings didn’t do anything at that point for Jet and shortly after the sessions, a combination of disgust at the treatment by their ex-label and perpetually having no money, drummer Chris Townson left the band to join the masses in gainful employment as an illustrator.

Jet, the so-hyped ‘supergroup’ had burned out within two years of their 1974 formation.

But, from the ashes and all that … six months later, in early 1977 Andy, Martin and Ian re-emerged into the light of the punk and new wave era as a fresh, new, positive outfit – Radio Stars.

Quickly picked up by Chiswick Records, the expensively recorded ‘Dirty Pictures,’ together with another of the four recorded a short time earlier, ‘Sail Away,’ were released as the band’s introduction to the world.

(Not only that, but in 1992, German superstars Die Toten Hosen covered the track …. and sold 250,000 copies. Sweet! How hard must it have been for Martin Gordon not to direct a two fingered salute in the direction of the man who had removed him from Sparks eighteen years prior?)

A fresh page had been turned. A new chapter begun.

JET
Andy Ellison – Lead Vocals
Martin Gordon – Bass
Davy O’List (Ian McLeod) – Guitar
Peter Oxendale – Keyboards
Chris Townson – Drums
+
Trevor White – Guitar

TITLEFORMATYEARLABELNOTES
My River / Quandry7″ single1975CBS
Nothing To Do With Us7″ single1975CBS
JetLP1975CBS

** For more in depth information and tales of Martin Gordon and the various bands he’s played with (including The Rolling Stones, by the way!!) then check out his excellent blog / website here.)**

70s, MUSIC PAST, pub rock, punk, UK

the stukas

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(THE STUKAS: debut single from 1977)

… and there was me thinking the internet had ALL the information we ALL want to know.

Apparently not!

In typical ’77 punk style, Wakefield’s finest appear to have given the one finger salute, and completely subverted the information highway. But here’s what I’ve got on The Stukas.

Back in the day there were only a few means of discovering new bands and music. You could read about them in likes of Sounds, NME and Melody Maker; you could borrow an LP from a pal’s big brother, or … you might hear a new band play a late evening session on the John Peel Radio Show.

The latter came with the best guarantee of quality – I can’t think I heard any bands I didn’t like being invited onto the show.

This was how I became aware of The Stukas.

To be honest, with so little information on the band readily available, and with such a limited recorded output, I had forgotten about them until I once again stumbled across their energy and vibrancy a while back.

In my rather vain attempts to find out more about the band, I’ve seen them described as part punk / part rock ‘n’roll. Some folks have left a space for The Stukas to be filed in their ‘power pop’ pigeon-hole.

To me though, they are quality ‘Pub Rock.’ And I mean that as a compliment.

In the mid to late Seventies, when Punk and New Wave had usurped Glam, and the Rockabilly revival was gathering pace, people could become a bit sniffy about the term ‘pub rock.’ Perhaps it was seen as a style that had not moved on, developed; regarded as old hat? Uninspired?

I don’t know – I loved it. Vibrant and fun, it was. And that’s how I feel music should be. It should lift you, and put a smile on your face. When you consider likes of Dr Feelgood; Eddie & the Hot Rods; The Roogalator; Kilburn & The High Roads; Brinsley Schwartz and two of my favourites Graham Parker (& The Rumour) and Ducks Deluxe all came from this background, then why would anyone try to ‘dis’ the scene?

‘Sniffy?’ In his magnificent ‘A Sharp Shock To The System‘ tome, author Vernon Joynson is not very positive in his comments about The Stukas, which is a great shame. Much as I admire his work and love his books, I couldn’t disagree more with his view. Each to their own, I suppose.


(Third and final single from THE STUKAS – 1978)

Despite VJ’s opinion, it still puzzled me as to why a band such as The Stukas (a) recorded only three singles as their total output, and (b) only the first was on the Chiswick label, who, from afar, looked to be the perfect home.

Guitarist ‘Raggy’ explains:

“The Chiswick deal was done before we had a manager. Once appointed, and with big ideas for the band, he sacked the singer and bass player. The band then morphed into Autographs – put together quickly to capitalize on a deal with RAK.

“One single (‘While I’m Still Young’) and personality differences caused the band to split. Chris Gent, saxophone & vocals, would go on to later play with Radio Stars.“

(Since he mentioned it – here’s that single, with Raggy on guitar.)

The Stukas still get together about once a year with a deputy guitarist.

And just to prove they’ve still got it, here’s the band at a 2018 reunion show, performing the B-side to their second single, ‘I Like Sport.’


THE STUKAS
Paul Brown – Vocals
Raggy Lewis – Guitar
Mick Smithers – Guitar
Kevin Allen – Bass
John Mackie – Drums

TITLEFORMATYEARLABELNOTES
Klean Livin Kids / Oh Little Girl7″ single1977Chiswick Records

I Like Sport		7″ single1978Sonet
Wash Machine Boogie / Motorbike7″ single1978Sonet

70s, MUSIC PAST, new wave, punk, UK

radio stars

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1977 saw punk music take a more melodic turn towards what would become popularly known as ‘new wave.’ Exponents would still harbour that old ‘F*** you’ attitude, but would express it with a smile rather a than a snarl.

One such band, and a big favourite of mine to this day, were Radio Stars. They wouldn’t claim to be the biggest of bands, but I’m sure everyone of a certain age will remember, their greatest hit, ‘Nervous Wreck.‘ (It tip-toed into the UK charts for three weeks in February 1978, peaking at number thirty-nine.)

It’s not that they were without pedigree – they had that in spade-loads. They were formed in 1976, when the initially heralded glam supergroup, Jet, split up a couple of years and one album into their existence. Vocalist Andy Ellison, who had previously been one of John’s Children, alongside Marc Bolan, former Sparks bass player, Martin Gordon and guitarist Ian MacLeod dusted themselves off and regrouped as Radio Stars.

(Martin on the left.)

By 1976, Glam had had its day, and the music press, always keen to pigeon-hole bands for convenience and order, decided the ‘new’ band were more New Wave than Glam or out and out Punk.

In April 1977, the band released their debut single ‘Dirty Pictures‘ on Chiswick Records, and a month later recorded their first session for the John Peel radio show.

This is when and how I first became aware of Radio Stars. I remember it so vividly – especially the track ‘No Russians In Russia‘ which later appear on the ‘Stop It’ EP.

Television appearances followed, the first reportedly being on Marc Bolan’s own show. (See – it sure pays to maintain your contacts, kids.)

(Marc and Andy)

The association with Bolan was also apparent on the B-side of ‘Nervous Wreck,’ Radio Stars’ flirtation with the charts in 1977 – ‘Horrible Breath‘ was written by him during his time with John’s Children.

The years of 1977 and 1978 seem to have been relentless. I have counted two hundred and eight gigs (as detailed in Martin Gordon’s brilliantly deadpan and self deprecating website.) There were two albums released, ‘Songs For Swinging Lovers,’ and the ‘Holiday Album,’ as well as five singles / EP.

Unfortunately, sales of the latter album were not on the same level as the debut . We music fans it seems, can be so fickle!

It would also appear from Martin’s website there was a bit of dispute within the band and Radio Stars subsequently faded, and died.

I was lucky enough to see them on 10th October 1978 at Strathclyde University, Glasgow – I got a pal who was studying there to sign me in. I must have seen hundreds of gigs in my time, but I can honestly say that there are very few that I remember as well at that one, almost forty-three years ago!

RADIO STARS
Andy Ellison – Lead Vocals
Martin Gordon – Bass / Vocals
Ian MacLeod – Guitar
Steve Parry – Drums

TITLEFORMATYEARLABELNOTES
Dirty Pictures 7″ single1977Chiswick Records
Nervous Wreck 7″ single1977Chiswick Records
Stop It7″ EP1977Chiswick Records
Radio Stars7″ single1978Chiswick Records
From A Rabbit 
7″ single1978Chiswick Records
The Real Me7″ single1979Chiswick Records
Songs For Swinging LoversLP1977Chiswick Records
Holiday AlbumLP1978Chiswick Records
70s, blues, MUSIC PAST, rock, USA

leslie’s motel

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It truly amazes me how bands like Leslie’s Motel were / are completely overlooked by record companies.

This was a band that played up and down America’s East Coast, and west to St Louis; a band that opened for likes of Rory Gallagher; Ted Nugent; Charlie Daniels ,Freddie King, Mitch Ryder and MC5 Even John Lee Hooker asked vocalist Bill Tullis to stand in on harp (harmonica) one evening when the band were the main support.

So, no mugs then.

Yet this is what happened to Leslie’s Motel in 1972. During the year following their inception, the band walked into King Studio in Louisville, and cut the nine tracks that would become their debut album, ‘Dirty Sheets,’

Influenced by seeing The Allman Joys play some time earlier, Bill Tullis ultimately surrounded himself with five experienced musicians keen to adopt the Sound of the South popularized by the band who would soon become The Allman Brothers.

‘Dirty Sheets‘ is indeed from that mould, being very ‘heavy blues’ laden, though I’d say it has more of a hard, driving rock edge to it. There are prolonged instrumental stretches, with some tremendous, searing guitar wig-outs, underpinned by flaring Hammond organ … and of course there are drum solos that were almost obligatory in the Seventies.

(This track has just about EVERYTHING you’d expect from a Seventies rock instrumental!)

The album was hawked out to some local labels, including Capricorn (home to The Allman Brothers, and Marshall Tucker Band amongst others) but each one declined to take up on it.

(Talk about ‘mugs?‘)

And so it was, the album, and the dream, just more or less died

Following their disappointing rejection Leslie’s Motel soldiered on gigging up and down the east coast until they eventually called it quits in 1976.

Fast forward thirty-three years from the band’s demise. Again, details are sketchy to say the least, but completely out of the blue, band founder Bill Tullis was contacted by Roger Maglio. Roger is the owner of Gear Fab Records and expressed an interest in releasing the virtually forgotten LP.

I can’t imagine the band, having waited such a length of time, would have been too hard to deal with, and in 2009, ‘Dirty Sheets’ finally hit the shops. (There have been a couple subsequent reissues, the latest being in 2020.)

The album was very well received and racked up good sales worldwide together with some very positive reviews in the music press. The band reformed and began gigging again, one of which was recorded for a CD and DVD release in 2010.

Sadly, I can’t find any information on the state of play with the band in 2021. Perhaps they’ve all checked out by now – it’s all abit of a mystery.

Maybe though, that’s just the way it should be for a band that has flown under the radar all this time.

LESLIE’S MOTEL
Bill Tullis – Lead Vocals / Rhythm Guitar / Tambourine
Mike Seibold – Lead Guitar / Vocals
Richard Bush – Hammond B3 Organ / Fender Rhodes Piano
Ray Barrickman – Bass / Vocals
Paul Hoemi – Drums
Roy Blumenfeld – Drums / Congas

TITLE FORMATYEARLABELNOTES
Dirty SheetsLP2009)Gear Fab
70s, EUROPE, MUSIC PAST, punk

the radiators from space

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Formed in Dublin in 1975, Radiators From Space are credited with being Ireland’s first punk band, initially adopting the name Greta Garbage and The Trash Cans.

Their music is straight up, first wave punk – nothing too fancy, just high energy, angry but melodic, shouted gang vocals, over raucous guitar and drums with a predominant, throbbing baseline. At this early stage, the music still echoed influences of early Sixties rock ‘n’ roll / garage and like all classic punk songs, none overstay their welcome, and are short sharp and straight to the point!

The band were picked up by the excellent Chiswick Records label (more about them in a later post) and their debut single ‘Television Screen‘ was released in 1977.

Later the same year, their first album (and only LP under this particular name) was released, again on Chiswick Records. ‘TV Tube Heart‘ comprises thirteen tracks, over thirty-three fast, furious and fabulous minutes. You could say that the sound is standard ’77 punk noise, with tracks like ‘Ripped and Torn‘ reflected by The Rezillos and ‘Blitzin At The Ritz,‘ a bit Clash-esque in places.

By the time of the album’s recording, original vocalist, Steve Rapid, had left the band, to be replaced by Phil Chevron who would later move on to join The Pogues.

In 1978, the decision was taken to shorten the band name to simply, ‘The Radiators,‘ and their second album, ‘Ghostown‘ was released in 1979.

Over the years, there have been a few re-incarnations of the band and retrospective releases, but these are the only two albums of The Seventies.

(After leaving the band, Steve Rapid – real name Steve Averill – went on to become a successful design artist, famously responsible for producing U2’s album covers. He is also reportedly credited with suggesting the band changed their name from ‘The Hype.’)

(Steve Chevron sadly passed away in 2013)

(Back of the sleeve to debut album, ‘TV Tube Heart.’)

THE RADIATORS FROM SPACE
Phil Chevron – Vocals / Guitar
James Crash – Drums
Peter Holdai – Guitar
Mark Megaray – Bass
Stephen Rapid (Steve Averill) – Vocals

TITLEFORMATLABELYEARNOTES
Television Screen7″ singleChiswick Records1977I’ve only listed 7″ singles and albums released under the name ‘The Radiators From Space.’
Enemies 7″ singleChiswick Records1977
Sunday World ‎7″ singleCBS Records1977
TV Tube Heart LPChiswick Reecords1977
60s, 70s, JAMAICA, MUSIC PAST, reggae, ska

jackie mittoo

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Though I wasn’t to know it at the time, Jackie Mittoo was partly responsible for my love of all things reggae, ska and dub.

With the association between punk and reggae back in the mid-Seventies, combined with the release of Bob Marley‘s ‘Exodus’ album, my interest was piqued. The John Peel radio show here in UK, partially satisfied this new thirst for new sounds, but by regularly playing out ska tunes from the previous decade, he led me deeper and deeper into a whole new musical world.

I bought ‘Exodus’ (on cassette) as I’m sure many other punks did but it wasn’t until the two ‘Intensified’ compilations were released in 1979 / 1980 that I totally bought into the ska culture.

Recorded at various points between 1962 and 1967, these albums were produced with a group of studio session musicians providing the backing. From these players would emerge The Skatalites whose sound was supplemented by the piano / keyboards of … Jackie Mittoo.

Donat Roy Mittoo (Jackie) was born in in Brown’s Town, Jamaica in 1948 and died tragically young in Toronto, Canada, forty-two years later. But, boy, did he pack a lot into such a short life!

Initially taught piano by his grandmother, Jackie started playing professionally at age thirteen, having moved to Kingston. It was there he joined the Rivals, playing organ, but soon switched to the Sheiks, one of Jamaica’s most popular club bands, where he would meet up with future fellow Skatalites, Lloyd Knib an Johnny Moore.

Two years later (1963) when Clement (Coxsone) Dodd opened his famous Studio One, Jackie was invited to act as talent scout and session arranger. He worked closely with Lee ‘Scratch’ Perry on Coxone Dodd’s productions, while sitting in on piano for The Skatalites.

It was the on the Hammond organ though that Jackie would really make his name. When the Skatalites broke up following trombonist Don Drummond’s incarceration for the murder of his girlfriend in 1965, Mittoo formed The Soul Brothers with Roland Alphonso, Johnny Moore and Lloyd Brevett. They became the backing band for all Studio One’s rocksteady recordings.

In 1968, he formed the Jackie Mittoo Trio, with The Hepones‘ Leroy Sibbles on bass. Jackie, with his experience of arranging, would write the bass lines, pioneering a new style of bass laden reggae.

He moved to Toronto for several years, working for Summer Records and launching a side career in Easy Listening recordings. However, He would regularly return to Jamaica where he’ d record for Coxone Dodd.

In the mid-Seventies, he also worked with the producer Bunny ‘Striker’ Lee. By now, recording technology had come on leaps and bounds and so Jackie was able to re-record many tracks in the new ‘rockers’ style. The likes of drummer Sly Dunbar, bassist Robbie Shakespeare , pianist Ansel Collins and several others joined in the reworkings to produce the landmark ‘Jackie Mittoo Showcase’ album, from which the accompanying tracks are taken.

In addition to his own recordings, Jackie takes credit for writing hits for Alton Ellis, Marcia Griffiths and Freddie McGregor amongst others. In 1970, his ‘Peanie Wallie‘ was versioned by The Wailers, becoming the hit ‘Duppy Conqueror.’ He would also work closely with Sugar Minot and UB40 from the UK.

Throughout his time at Studio One, Mittoo recorded literally thousands of songs for so many of the artists whose talents he nurtured and coached to great success.

Thirty-one years on from his passing, his style and influence still echoes in all aspects of modern day reggae, ska and dub.

JACKIE MITTOO
(Jackie worked with way too many musicians to list here!!)

TITLEFORMATLABELYEARNOTES
Working with so many artists, Jackie Mittoo has over two hundred, 7″ singles listed on Discogs.

Regards albums, I have listed only those released during Jackie’s lifetime.
In LondonLPCoxone Records1967
Evening TimeLPCoxone Records1968Recorded with his band The Soul Vendors also credited.
Keep On Dancing LPCoxone Records1969
NowLPStudio One1969
Macka FatLPCoxone Records1969
Wishbone LPSumus Records1971
Reggae Magic LPStudio One1972
Let’s Put It All TogetherLPUnited Artists Records1975
The Keyboard King LPThird World1976
Hot Blood LPThird World1977
Show Case Volume 3LPJackpot1977
The Money MakersLPJackie Mittoo Music Production1978

In Cold Blood		LPThird World1978
Jackie MittooLPUnited Artist Records1978
Stepping Tiger LPRite Sound Inc.1979
ShowcaseLPStudio One1980
Version StudioLPJakki1985
Wild JockeyLPWackie’s1990
70s, MUSIC PAST, progressive, psychedelia, rock, UK

quicksand

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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