Tag Archives: seventies

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! )

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

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