Queen - News of the World

Queen - News of the World
EMI/Elektra, 1977
Recorded at Sarm West Studios and Wessex Studios, London
Produced by Queen and Mike Stone

Queen's sixth album News of The World is comparatively stripped down and back-to-basics record after its ambitious and elaborate predecessor, A Day At the Races. Despite being released at the height of punk in 1977, News of the World was a major success selling over 6 million copies worldwide and spawning the mega hits 'We Will Rock You' and 'We Are the Champions'. As News of the World features two of the most iconic (and arguably best) Queen songs, the rest of the album tracks are often overlooked and indeed, forgotten about. The neglect the rest of the album receives upsets me as it is one of the more satisfyingly varied, consistent, and accomplished Queen records. News of the World shows all four members songwriting skills and their unique ability to incorporate many different styles and sounds, without losing their identity and is a must have for all rock music fans.

The album opens with the infectious and anthemic, 'We Will Rock You' - one of the bands most recognizable and enduring songs. 'We Will Rock You' has become a rock standard and is a feature at sporting events around the world. Written by Brian May, who made a conscious to compose a stripped back song in which an audience could contribute to. A simple 4/4 song which consists of a 'stomp stomp clap' motif,  repeated throughout the duration of the tune.  The simple percussive beat is complemented by Freddie Mercury's rhythmical, almost proto-type rap vocal take. Easily the highlight of the song is Brian May's killer guitar solo towards the end, which is actually the only electric instrument to feature. 'We Will Rock You' is followed by the equally recognizable 'We are the Champions' making for and exhilarating, and admittedly exhausting album opening. A Mercury penned power ballad, 'We Are the Champions' was released as double A side along with 'Rock You reaching number two in the UK and number four in US Billboard charts. Like its' fellow A Side, it has became a feature at sporting events around the world with its sing-a-long and crowd motivating chorus. Both songs are so iconic and instantly recognizable and are arguably two of the most effective crowd participation songs in popular music. The immensity of these two songs unfortunately and understandably overshadows the remaining album tracks, something I hope to remedy here.

Back cover

'Shear Hear Attack', written by Roger Taylor is one of the most ferocious songs in Queens back catologue. A clear nod to the punk groups at the time, Queen have never sounded so intense and aggressive It is notable for being of the only Queen songs that does not feature John Deacon on bass guitar, as Taylor played rhythm guitar and bass. interestingly, the song was intended for inclusion on the 1974 album of the same name, however, it was not completed in time and was shelved. A remarkable speed-rock song and a fantastic example of the bands ability to completely let loose.
'Shear Heart Attack' is followed by the beautifully somber May ballad 'All Dead. All Dead'. Written about the passing of his childhood cat and the lasting effect that its' death had on him. Sung by May himself, 'All Dead, All Dead', is a nice mellow relief from the full throttle intensity of the opening three songs.

One of the highlights on Side A is 'Spread Your Wings', considered by many to be the ultimate forgotten Queen hit. Released as a UK only single and stalled at number 34 in the charts. Written by John Deacon who, since the surprise success of 'You're My Best Friend', was now considered an equal songwriter in the band. Interestingly, it was the first Queen single released without the inclusion of backing vocals. Closing Side A is the rocking 'Fight From the Inside', another Taylor penned number. Like 'Shear Heart Attack'. It is one of the few songs in the Queen catologue that is recorded almost entirely by Roger Taylor. 'Fight From the Inside' goes from one awesome riff to another, highlighting Taylor's innate ability to write some of the most bad-ass rock tunes in seventies.

Inside gatefold sleeve

Side B begins with raunchy psychedelic funk rock of 'Get Down Make Love' and the sloppy blues of 'Sleeping on the Sidewalk', with the latter being apparently recorded in one take. Both great rocking tunes, which would have been excellent in a live setting. Deacon comes up trump again with the lovely, jazzy, and indeed very catchy, 'Who Needs You', which features some nice Spanish guitar work from Brian May. Arguably though, the highlight from the second half of News of the World is the epic stadium-sized, 'It's Late'. Along with a powerful riff, epic sing-along chorus, and an excellent vocal take, 'It's Late' also makes use of the guitar tapping technique - which May helped to innovate in the mid-seventies. May's lyrics concern a love affair that is on the verge of ending and are sung with such passion and power by Mercury, you would easily think that it was his composition. A truly awesome piece of rock music - a Queen classic!  

The album was released to expected lukewarm critical reaction (as all Queen's albums at the time were). The varied nature of the music is one of the reasons it is a personal favourite of mine. There is far more to this album than 'We Will Rock You' and 'We Are the Champions'. News of the World ranges from hard rock to soft rock, and even dabbles in punk, blues and jazz. Queens ability to pull off each style with such conviction and make it sound their own is truly awe-inspiring. They are one of the only bands that have the ability to play numerous styles, yet still manage to sound uniquely like themselves. There are no other bands like Queen, making them one of the most successful outsiders in popular music. News of the World is one of my favourite Queen albums, and arguably one of the archetypal stadium rock records.

Key Tracks:

Spread Your Wings
Fight From the Inside
Who Needs You
It's Late

If you enjoy this album, Check out:

Aerosmith - Rocks   1976
Bad Company - Straight Shooter  1975
Thin Lizzy - Bad Reputation   1978

Paul McCartney and Wings - Venus and Mars

Paul McCartney and Wings - Venus and Mars
Capitol Records, May 1975
Recorded at Abbey Road Studios, London, Sea Saint Studio, New Orleans and Wally Heider Studios, LA
Produced by Paul McCartney

The follow-up to the world conquering Band on the Run was always going to be a tall order for Paul McCartney's post-Beatles group, Wings. Indeed, Venus and Mars from 1975 was, albeit commercially successful, but was deemed as a disappointing successor. However, I feel it is on par with Band on the Run and is an excellent album and needs to be reevaluated as one of his greatest post-Beatle triumphs!

Formed in 1971, Wings were back-to-basics group in which McCartney aimed to start in a humble fashion and grow organically, rather than riding on the success of The Beatles. In order to achieve this he recruited ex Moody Blues and Ginger Baker's Air Force guitarist Denny Laine, the unknown american drummer Denny Seiwell; and his wife Linda McCartney whom was a musical novice. Wings were a very amateur pub group that the record buying public were not expecting A scruffy, homespun group - a complete contrast from the bombastic and pretentious later day Beatles. Wings played early rock n' roll music mixed with simple folksy compositions which purposely lacked the wide appeal of McCartney's earlier music. Their first record Wild Life, released in 1971,  was a commercial and critical disappointment. It produced no hit singles and failed to spark the imagination of the record buying public as Paul's name was purposely left of the record sleeve.

Later on in 1972, the band added Northern Irish guitarist Henry McCullough and released a few singles, Including the banned 'Give Ireland Back to the Irish and the bizarre kids' song 'Mary Had a Little Lamb'. A followup record Red Rose Speedway was, however, a more commercial release, and ultimately more successful. The LP  spawned the smash hit ballad 'My Love', which has become one of McCartney's enduring post-Beatle hits. However, like Wild Life, Red Rose Speedway was critically destroyed as being lightweight and inferior in comparison to the other Beatles post 1970 releases.

It wasn't until the epic James Bond theme 'Live and Let Die' and the mega-selling Band on the Run LP in 1973, that McCartney arrived commercially and critically. With the departure of Seiwell and McCullough, Band on the Run was written and recorded with core lineup of the McCartney's and Laine and produced a string of successful singles. Band on the Run is widely viewed as McCartney's greatest post-Beatle triumph, however, the follow-up LP Venus and Mars is an album that interests me far more and deserves a lot more respect than it currently receives.

Venus and Mars/Rock Show 45 Cover

Following Band on the Run, Wings recruited Glaswegian blues-man, Jimmy McCulloch, formerly of Thunderclap Newman and Stone the Crows, and the little know American drummer Joe English. This lineup proved to be the most consistent and arguably the strongest in terms of live performances and longevity. The first recordings made by the new lineup was the tremendous power pop tune 'Junior's Farm', a top-five US hit in 1974. The success of 'Junior's Farm' kick started the lineups chemistry and they soon found themselves in New Orleans recording the follow-up to Band on the Run. 

Venus and Mars was released in 1975 and reached the number one position on both sides of the Atlantic. The album opens with the epic, Abbey Road-like suite 'Venus and Mars/Rock Show'. A US top-twenty hit, the song surprisingly failed to chart in the UK. 'Venus and Mars' is a short folky tune sung in the perspective of an excited concert going, anticipating the beginning of a rock concert. The songs morphs seamlessly into anthemic 'Rock Show'. An upbeat pop-rock song with lyrics concerning the wonders of a live concert. 'Rock Show' references everything from the Hollywood Bowl, Jimmy Page, to the fictional Silly Willy with the Philly Band. It is a fun and memorable song with some excellent slide guitar from work from Jimmy McCullough. Interestingly, one of my favourite singers Allen Toussaint is also credited with the Piano, something I did not realize until recently. 'Venus and Mars/Rock Show' is an excellent opener to the album and went on to became a live staple for the band during their epic Wings Over America tour in 1976.

LP inside cover - Picture taken in Mojave Desert 

'Venus and Mars/Rock Show' is followed by the melancholic and vaguely Psychedelic ballad 'Love in Song'. A tender tune that runs perfectly after the pomposity of 'Rock Show' and flows seamlessly into the music hall bounce of the preceding 'You Give Me the Answer'. A fun vaudeville styled, almost  like Queen in style, 'You Gave Me the Answer' could be seen as an easy target for McCartney detractors because of its jointy and light-weight lyrics. However, I think it is a terrific song and, like most solo McCartney songs,  if released during The Beatles heyday, would have been applauded by the music press. One of the highlights on side A of Venus and Mars is the ridiculously poppy, 'Magneto and Titanium Man'. A marvel comics inspired tune with a terrific electric piano groove and three-part harmonies. Another possible target for detractors for it's lightweight subject and overtly catchy melody. I find the tune of 'Magneto' just simply irresistible and I am totally obsessed with it.  Indeed, 'Magneto and Titanium Man' is very much of a song of its era, it is a bit naff and dated, but it is just so dam infectious! Side A ends with the bluesy, 'Letting Go'. A tad lyrically predictable, but it does showcase the immense musicianship of this lineup of Wings. The guitar interplay between Laine and McCulloch is unprecedented and McCartney's bass line is so solid and pumping that gives 'Letting Go' an r'n'b groove. It really frustrates me how little respect Wings got during this period. Wings were as good, if not better, than many of the more critically acclaimed groups in the 1970s.

Single cover of the US number 1 hit, 'Listen to What the Man Said'

Side B opens with cosmic-rock of 'Spirits of Ancient Egypt' and the bluesy 'Medicine Jar', both sung by Denny Laine and Jimmy McCullough respectively. Both great album tracks in their own right, and it is great to see McCartney's respect and encouragement for other members to contribute to the album. Call Me Back Again' is a heart-wrenching gospel-inspired song, which is one of the strongest tracks on the album. McCartney sings his heart out, with a gritty vocal take, not dissimilar from 'Oh Darling!' from Abbey Road or the vocal refrains towards the end of 'Hey Jude'. Often listed as one of the top Wings' songs in various list, indeed 'Call Me Back Again' is a firm reminder that McCartney was still one of the best singers and songwriters at the time. The albums biggest success was the slick pop tune, Listen to What the Man Said' which topped the US Billboard charts. The song features ex Traffic man Dave Mason on guitar and oozes with some slightly suspect saxophone licks, hinting at the Wings to come. A great pop song, and a showcase of McCartney's ability to pump out commercial music with such ease and skill. Venus and Mars closes with the pretty and slightly forgettable, 'Treat Her Gently/Lonely Old People' and the slightly unnecessary instrumental 'Crossroads Theme', Wings interpretation of the them from a British Soap Opera of the time.

Venus and Mars is on par with any record Paul McCartney has ever done. Its a worthy successor to Band on the Run as it continues the seventies pop rock sound they perfected and more. It is also a great album in its' own right. It is colorful, varied and has a fantastic flow and feel to it. The album has been expertly sequenced to create a complete piece of work. Yes the album isn't perfect, but there aren't many McCartney albums that are. I wouldn't remove the weaker songs like 'Treat Her Gently/Lonely Old People' or 'Crossroads Theme' even if i could. For me, the flaws actually make the album and is a snapshot of mid-70's pop music - a period of in which music was notoriously hit and miss. Like Band on the Run, Venus and Mars still sounds good today, but I wish it would receive a bit more positive press and reviewed as a stand alone LP rather than comparing to it to Band on the Run or The Beatles music.

Key Tracks;

Venus and Mars/Rock Show
Magneto and Titanium Man
Call Me Back Again

If you enjoy this album, Check out:

Paul McCartney and Wings - Band on the Run    1973
Elton John - Caribou    1974
Rod Stewart - Atlantic Crossing   1975
Queen - A Night at the Opera   1975

The Beach Boys - Holland

The Beach Boys - Holland
Recorded at BBC Studio 2 Baambrugge, Netherlands
Produced by the Beach Boys
Brother/Reprise January 1973

At the the end of the 1960s, The Beach Boys were at a crossroads. Their sales had dropped off in the United States and their main songwriter Brian Wilson was struggling with mental illness and drug dependency. Thankfully, the often dysfunctional band chose to solider on, and against the odds, produced a string of fantastic, if not commercially overlooked records between 1970 and 1976. The band further developed their sound, and successfully embraced the changing musical landscape in the early seventies. Holland and their previous record Carl and the Passions - "So Tough" are the only two albums to feature members Ricky Faatar and Blondy Chaplin, both South Africans who had previously been members of group The Flame.

Holland  was recorded in the rural countryside of Baambrugge, Netherlands in 1973. Holland was their first record to be recorded off American soil, a suggestion made by their manager Jack Rieley, who believed that the change of scenery would hopefully help the band's creativity and Brian Wilson's battle with mental illness. The band relocated their families to the Netherlands and installed all the components of their California recording studio into a barn in the peaceful Baambrugge countryside. The resulting album Holland is a brilliantly strange record, which incorporates many styles and sounds and I believe is one of the many peaks for a band whose career is comparable to the Rockies!

The albums begins with the exceptional 'Sail on, Sailor' which was apparently only included as their label felt they needed a single. With flawless harmonies (I'm forever amazed by their voices!) and lyrics, 'Sail On, Sailor' is the perfect introduction to this record. Sung by new member Blondie Chaplin, his soulful, slightly country-ish tone, fits really well within the Beach Boy's classic harmonies. Track two is the lazy 'Steamboat', A Dennis Wilson number, with surreal lyrics written by producer Jack Rieley, 'Steamboat' is so floaty and dream-like it actually sounds like they were coasting along a canal whilst recording the song! 'Steamboat' has a cool, slightly kooky, vocal arrangement with Mike Love doing his signature baritone harmony which contrasts with Carl and Dennis' high harmony, adding further depth and textures to their already colorful sound. The atmosphere is further enhanced by an uneasy guitar solo, which adds an eeriness and suspense to the song.

The albums centerpiece is the three-part suite, the so called "California Saga". Part one is the evocative 'California Saga/Big Sur' which and is one of my all time favourite Beach Boy tunes. With a beautiful descending chord progression and some sweet harmonica, 'California Saga/Big Sur' is very much a country pop song - something the Beach Boys pull of exceptionally well. Sung by Mike Love, 'California Saga/Big Sur' is a dreamy ode to the Golden State, with its descriptive lyrics and imagery. One can't help but be transformed to Big Sur by this song - a truly remarkable piece of pop workmanship. Part two, 'California Saga/The Break of the Eagles' is a solemn and strange piece of music, which incorporates a spoken word recital of the Robson Jeffers poem of the same name. A dark and mystical poem which creates images of the wild west and the American frontier which is accompanied by sparse piano and flute. After a stanza, the song is uplifted, albeit briefly, by a bright chorus section, which disappears back into the recital section as quickly as it came. The final part of the saga is 'California Saga/California', which is reminiscent of their earlier hit 'California Girls' albeit with a loping country-shuffle beat instead.

Side B, is admittedly less memorable, however there are a couple of exceptional high points such as the Ricky Fataar and Blondie Chaplin contribution, 'Leaving this Town'. Although slightly too long, it does contain a pretty cool moog solo! The highlight for me is the Dennis Wilson contribution, the beautiful ballad 'Only With You'. Sung by Carl, 'Only With You' is so sweet and lyrically simple and, in my opinions, is a frighteningly perfect! The song begins with a simple chord progression which slowly builds with the addition of harmonies and strings. The songs rises with a rousing, repeated vocal line, "...All I wanna do is spend my life with you..." - a piece of pop brilliance which stills makes the hairs on the back of my neck stick up. The chorus is only eclipsed by the epic first notes of a stunning piano solo. One of the strongest moments on Holland, 'Only With You' is a reminder that arguably America's greatest band never ever really lost it!

Although, Holland was recorded abroad in the Netherlands, the album has an American feel and soul to it and a sadness which I can't quite put my finger on. The whole record is somehow underpinned with a longing for their homeland; a love letter, to the idealistic American dream that has been somehow lost. There is a depth and complexity to this record, something The Beach Boys are often not known for, and a meaning that I haven't fully realized or understood as of yet. Its and album that baffles me, I'm not sure how I feel after I listen to it, but I am always left feeling melancholic, yet still wanting more and more. Holland is strange and uneasy pop release- yet an album of intense beauty and musical achievement and one I highly recommend.

Key Tracks;

Sail on, Sailor
California Saga/Big Sur
Only With You

If you enjoyed this album, check out:

The Beach Boys - Surfs Up!   1971
America - Hat Trick     1972
Elton John - Caribou    1973
Chris Robinson Brotherhood - Anyway You Love, We Know How You Feel     2016

Chris Robinson Brotherhood - Phosphorescent Harvest

Chris Robinson Brotherhood - Phosphorescent Harvest
Recorded at Sunset Sound, Los Angeles, CA
Produced by Thom Monahan
Silver Arrow Records, April 2014

The Chris Robinson Brotherhood are a breath of fresh Californian air that harks back to glory days of The Grateful Dead and Little Feat Led by former Black Crowes front man Chris Robinson and former Ryan Adams & the Cardinals guitarist Neal Casal, CRB were formed in 2011 and have toured and recorded continuously ever since.

Their first two albums, 2012's Big Moon Ritual and The Magic Door, were both wonderful records of Dead-influenced jam rock, reeking of a bygone era. However, their 2014 effort, Phosphorescent Harvest sees the group tightening their sound and coming into their own musically and as songwriters. The songs are overall shorter and length and carefully constructed, contrasting from the looser, care-free style of their first two records. Also, the artwork is just truly spectacular and one of my favorite vinyl sleeves!

The opening number 'Shore Power' starts initially as quite a straight boogie rock song with a chugging guitar riff. However, the CRB don't do straight and the song quickly is turned on its head with some slightly suspect synth sound and some kooky effects which makes the song far more interesting. A powerful opening, 'Shore Power' has a terrific breakdown, where the tight groove collapses (albeit briefly) into a sludge-rock section, with some great guitar work and background vocals. The song flows seamlessly into the terrific, slow country groove of 'About Stranger'. Casal's guitar and Robinson's vocals complement each-other perfectly, again highlighting their musical understanding. the musical journey continues with 'Meanwhile in the Gods...' which opens with a crunchy prog rock riff, that somehow morphs into a quirky keyboard-led pop song, that wouldn't sound amiss on the Grateful Dead's Shakedown Street.

The band jump from one genre to another; soul, blues, folk and even psychedelic country as heard on the standout 'Badlands Here We Come'. With a quick shuffle rhythm supplied by drummer George Sluppick and an awesome theremin intro, 'Badlands' demonstrates their intense creativity and ability to bridge genres effortlessly. 'Badlands' also has lots of guitar overdubs, including a beautiful classical guitar part, a contrast to the stripped back jam-rock of their two previous records.

One of the standout track on Side B is The Black Crowes demo 'Tornado' which has finally been given the definitive studio version this song deserves. A country ballad that tells the tale of a mans taste for excess which meanders along with a infectious Little Feat-like slow groove. The chorus then sounds like the Flying Burrito Brothers which shows their vast musical influences. The album closes with the beautiful, slightly brooding 'Burn Slow' which the band sounds like a slightly mellower Crazy Horse with its distorted guitar chord opening. But as this is the CRB, they turn this own its head by incorporating a Rhodes piano with various psychedelic keyboard and guitar overdubs to create a mystical, slightly other worldly atmosphere. The songs climax is the introduction of triumphant acoustic guitar at around the 4:30 mark. Robinson plays just two chords for a number of bars before fading back into the distorted, keyboard-drenched chorus, concluding one of the finest pieces of music the band has created thus far.

The Chris Robinson Brotherhood have an amazing ability to amalgamate various styles, country, soul, blues, and rock, yet never seem to sound too contrived or forced. Yes, they can sometime sound like other groups or adopt tones or motifs which may have been used back in the 1960s and 1970s. But this is what comes naturally to this group and they are good enough to make everything they do their own and uniquely theirs.

Interestingly, there is distinct influence of British Prog Rock on Phosphorescent Harvest, groups like Caravan and Yes which adds a bit of variation that arguably the two previous records lacked. Phosphorescent Harvest is a start to finish strong album as the jamming is more controlled than previous LP's, which puts a spotlight on the blossoming Casal-Robinson songwriting partnership. I am really excited about what is happening with this group, and all their releases so far have been excellent and sonically exciting.I am looking forward to their latest LP Barefoot in the Head which is due out on July 21st on Silver Arrow Records. Long live the CRB Freaks!

Key tracks:

Shore Power
Badlands Here We Come
Tornado
Burn Slow

If you enjoyed this album, check out:

Beachwood Sparks - Beachwood Sparks
Grateful Dead - Wake the Flood
Caravan - If I Could Do it All Over Again, I'd Do it All Over You

Enjoy!

Tobias Jesso Jr. - Goon

Tobias Jesso Jr. - Goon
Recorded at various studios in LA
Produced by Jr White, Ariel Rechtshaid, Patrick Carney, and John Collins
True Panther Sounds, 2015 

I have recently (well, actually back in 2015) purchased the vinyl pressing of the great album Goon by Tobias Jesso Jr. The Canadian's first album is a stunning collection of pop tunes in the vein of the greats Paul McCartney, Badfinger, and Elton John. I have always been drawn to tuneful, pop music and this undoubtedly (well, for me at least) one of the best album of the last 5 years!

Admittedly, Tobias Jesso Jr. isn't the greatest piano player, as he original cut his teeth working as a session guitarist in Los Angeles. His playing is a bit clunky and does sound like someone finding their feet with the instrument. Despite this, his clumsy playing adds only to the charm and makes this humble and basic LP more attractive and engaging. Goon was written on a piano at his mother's house in his Vancouver, after moving home following a failed relationship and disillusionment with the music scene.

The mood is melancholic, yet uplifting, and the opening track 'Can't Stop Thinking About You', Jesso Jr. combines these two elements skilfully. This is followed by the single 'How Could You Babe', which to me, is a perfect pop song. It begins with a slow verse which gradually builds into a blistering, soulful chorus. One of the highlights for sure, it really demonstrates his ability to craft real melodies and tell simple, relate-able stories. Song after song, Jesso Jr. produces the goods with excellent, melodic pop tunes like 'Without You' and 'Can't We Still be Friends'. Side A closes with one of the albums darker moments with the brooding 'Hollywood', in which Jesso sings of his distaste for the city where he tried, and failed, to make it in the music scene.

Side B is just a strong with the jointy 'Crocodile Tears' which sound like an Elton John outtake from Goodbye Yellow Brick Road or a long-lost Wings' single. The understated 'Leaving LA' and the Fender Rhodes led 'Bad Words' further highlight his growing understanding of how to structure verses and choruses. I strongly believe that Goon is only the beginning for Jesso Jr. and I am certain he is destined for great things.

The strength of Goon is in its' simplicity and warm familiarity of the music. It is unpretentious and charming, and and Jesso Jr. tells simple, human stories which make it such an accessible album. Songs like 'Without You' and 'Can't Stop Thinking About You' are simple tales of love and loss which never for a moment sound forced or too contrived. Indeed, Jesso uses many motifs and phrases which McCartney or Elton John may have well used before, but somehow this album still sounds fresh and stronger than some more original music around today. Goon is a an album which never pretends to be anything it isn't, it doesn't follow a trend, or rely on an image, it is just pure, simple, great pop music.

Key tracks:

Without You
Crocodile Tears
How Could You Babe

If you enjoyed this, also check out:

Elton John - Goodbye Yellow Brick Road
Paul McCartney & Wings - Band on the Run

Fleetwood Mac - Pengiun

Fleetwood Mac - Penguin
Reprise Records, March 1973
Recorded using Rolling Stones Mobile Studios, Hampshire, UK
Produced by Fleetwood Mac and Martin Birch

Penguin is the seventh studio album by the British-american group Fleetwood Mac. Released in march 1973, Penguin is the only album to feature Dave Walker and the first with Bob Weston. Penguin is an album that sticks out in the Fleetwood Mac catologue and one that is easily dismissed and ridiculed by fans and critics alike. Penguin captures the bands transition from a British blues group into the Californian pop machine the band would soon become. The albums title stems from bassist John McVie's fascination with the bird. It is claimed that McVie's obsession originates from the hours he would spend at the zoo studying and watching the penguins.

Fleetwood Mac had always had a turbulent history and the firing of guitarist Danny Kirwan in late 1972 was probably not a surprise to many. The band replaced Kirwan with guitarist Bob Weston and vocalist Dave Walker, a former member of Savoy Brown and a future - albeit brief - member of Black Sabbath.  The album was recorded using the Rolling Stones Mobile Studios in their communal house in Benifold, Hampshire. Most of the songs were written by Bob Welch and Christina McVie, with scattered credits given to the new musicians Walker and Weston. Welch contributes the moodier, bluesier pieces whereas McVie brings the melodic pop songs to completing this very overlooked and underappreciated LP.

The album opens with the groovy, mid-tempo rocker 'Remember Me'. Written and sung by Christine McVie, 'Remember Me' highlights her evolving pop sensibilities as a songwriter. 'Remember Me' flows perfectly into the mellow 'Bright Fire' which has a laid back west-coast feel. The song meanders along with understated vocals and guitar from Bob Welch, setting the tone for the rest of the album. Although not particularly catchy or melodically memorable, 'Bright Fire' has an effortless charm to it and for me one of the albums highlights. The next track is another McVie number 'Dissatisfied'. An upbeat pop song with some great guitar work, especially during the intro and the spectacular solo. The song is classic McVie, with a great chorus, giving us a further glimpse of the style of music to come out of Fleetwood Mac over the next couple of years.

Probably the weakest moment is the cover of the standard ‘(I’m A) Road Runner'. A solid, if not unspectacular cover, I have always felt that the band surely had some more original material that could have replaced this. However, Walker does play some some excellent harmonica, which is probably his strongest input on the record. Side A closes with the country-influenced 'The Derelict' -  the sole Dave Walker composition on Penguin. 'The Derelict' has some great banjo playing and some beautiful harmonica playing from Bob Weston, whose input on the record is sadly minimal. The songs low key country style fits well on the record but does not sound like an other Fleetwood Mac song. These two songs are Walker's only real contributions to the record, a fact that frustrates me.

Vinyl back cover

Side B opens with the Bob Welch penned, 'Revelation'. A groovy shuffle, with strong Latin influences, 'Revelation' demonstrates Welch's technical abilities as a guitarist. My favourite moment on album is the third McVie composition, 'Did You Ever Love Me'. The song has vaguely reggae-like beat, expertly captured by the brilliant Fleetwood-McVie rhythm section. The song has a killer chorus and riff, something which McVie manages to do so frequently and consistently. The album closes with the stunning 'Caught in the Rain'. A piano-guitar instrumental which features beautiful interplay between Bob Weston and Christine McVie.

Penguin is probably not an important album in the Fleetwood Mac catologue by all means. Although a fairly strong seller, the band dismissed it, with Bob Welch calling it "obscure", and Christine McVie described it as "weird". The album is not their strongest in terms of songwriting and creativity, however, there is something about this record that really interests me. Yes, it maybe uninspired in places and the vocals performances aren't terrific, but there is a distinctive vibe that the band captured on Penguin that they never quite reached again. I am disappointed by the lack of input from Dave Walker and Bob Weston on this record, but I think that is due to the bands fluid lineup rather than their musical abilities.

Penguin is the first album that hints at the bands transformation from a stubborn British blue-rock group into the world conquering pop machine. The album is caught between two worlds and for that makes it very intriguing listen. Interestingly, the stronger material are the tunes that hint at this shift to pop orientated music. The weaker moments are the more obvious blues-folk tunes the band had been previously known for. Although the shift may be more noticeable on the stronger followups Mystery to Me and Heroes are Hard to Find, the seeds have been sown, and for that fact this album deserves to be revisited and enjoyed for what it is - a transitional album.

Interestingly, Penguin was their highest charting US album to date, making its way into the top 50. However, during the recording of the followup Mystery to Me the band decided that Walker's vocal style did not fit the group. By June 1973 he left the group, signalling the end of one of Mac's more overlooked and underappreciated lineups. I think i'm always drawn to the odd records in bands catolouge and Penguin certainly is that in the Mac discography. I have know idea why I love this record, but I really do and I hope people find joy in this LP too.

Enjoy!

Key tracks:

Remember Me
The Derelict
Did You Ever Love Me
Caught in the Rain
If you enjoyed this album, check out:

Free - Free At Last (1972)
The Hollies - Distant Light (1971)
Bad Company - Burnin' Sky (1977)
Faces - Ooh La La (1973)

Uriah Heep - Firefly

Uriah Heep - Firefly
Bronze Records, 1977
Recorded at Roundhouse Recording, London, UK
Produced by Gerry Bron

Uriah Heep are one of my all-time favourite groups. I first heard them when I was 14 when I purchased a very suspect looking sanctuary CD called 'The Collection' at The Warehouse. I had heard the name mentioned a few times by a friends dad as we were all getting into groups like Led Zeppelin, Deep Purple, and Black Sabbath at the time. I took the punt with the CD as it had a pretty cool cover and I loved the name. Little did I know I had just begun a lifelong love affair with one of the more ridiculed bands in rock.

Formed in 1968 in London, the Group released went through a series of lineup changes before settling on the classic; David Byron, Mick Box, Ken Hensley, Gary Thain and Lee Kerslake lineup in 1972. They released a string of successful record between 1972 and 1974 such as Demons and Wizard, The Magicians Birthday, and Uriah Heep Live. However, by 1975, drug problems saw the firing of New Zealand bassist Gary Thain (who sadly passed away of an overdoes in 1976). Following Thain's departure, the band released two patchy records with John Wetton on bass. However, by 1976 relations in the Heep camp deteriorated further and David Byron was fired for his alcohol problems and erratic behavior and Wetton quit soon after. Most people, including the remaining band members, thought this was the end of Uriah Heep.

Thankfully, Heep picked themselves up and decided to carry on against the odd with a new direction and new musicians. The band recruited former Lucifer's Friend vocalist John Lawton and ex Spiders From Mars bassist Trevor Bolder. Lawton was a departure from the flamboyant Byron and had a earthier, more bluesy voice. Lawton was arguably a better singer than Byron, in terms of consistency, but possibly lacked the stage presence and charisma Byron was well-known for. Furthermore, Trevor Bolder was a terrific bass player and had been mostly present in Heep's colored history until his death in 2013.

UK 1977 Tour Poster

The first album, Firefly, with the new lineup is a confident, melodic, and convincing comeback for the band. Released in February of 1977, the height of punk music, Firefly was ignored by most rock fans and critics and the album failed to chart in the UK and reached only #166 in the US. Mostly penned by principle songwriter Ken Hensley, Firefly proved more popular in mainland Europe with its updated AOR/melodic rock sound incorporated with the classic Heap style. It is about time the US and UK music press recognize this album, and indeed all the Lawton-era Heep records, as important and overlooked melodic rock records. 

Firefly opens with the thunderous 'The Hanging Tree' which has been a regular feature in their sets over the years. Lawton expertly delivers a tale of an outlaw on the run with his rich, soulful voice - a perfect introduction for Lawton into the Heep fold. The song follows a very simple power chord riff that is blended with some awesome echo drenched synthesizers. I was lucky enough to see the group do a barnstorming version in Auckland in 2015!

Another great moment on Side A is the terrific wee rocker, 'Who Needs Me' penned by Drummer Lee Kerslake. A terrific drummer and in my opinion a lot groovier than his contemporaries like Ian Paice or Cozy Powell. Kerslake has a Charlie Watts style swing to his playing which is a vital component to the Heep sound. 'Who Needs Me' is a fast rock 'n roll number that contains some terrific background vocals - one of Heep's trademarks! Interestingly, the lyrics are apparently about producer Gerry Bron's preference for Ken Hensley's songs over the other members compositions.

Closing Side A is one of the most soulful songs Hensley has ever written, the beautiful ballad 'Wise Man'. Almost making the UK top 40, the group performed the song in their only ever appearance on Top of the Pops. An organ led song, with terrific vocals from Lawton and great musicianship from the rest of the band. The song is so suited to Lawton's tone and range that I could not see the song working with the Byron-era lineup.

'Wise Man' single cover

Side B begins with the hard rocking 'Do You Know' and the Bad Company-styled ballad 'Rollin On' which are both competent tunes, if not unspectacular, but nonetheless continue the albums flow. One of the standout tracks on Side B is the twin guitar-led song, 'Sympathy'. A hit in Germany, 'Sympathy' is a mid-tempo rocker with impassioned vocals and soaring guitar work. The song is in the vein of Groups such as Wishbone Ash and Thin Lizzy with twin guitar melodies, a technique that Heep would revisit on the tune 'Flyin' High' follow up record Innocent Victim, released in the latter half of 1977.

My favourite song on the album though is the closing title track. Sung by Ken Hensley, part one opens with a dreamy synthesizer chord progression which slowly evolves into the opening verse. The verse is followed by a chorus containing an epic three-part vocal harmony reminiscent of early seventies soft rock groups. This verse-chorus format repeats before ending part one at the conclusion of the second chorus. Part two begins with a power chord riff and a sustained organ note. The rocky section is topped with some awesome vocals and a tasty guitar solo from the cruelly underrated Mick Box. Part three of 'Firefly' is a lovely acoustic section, with beautiful guitar and electric piano interplay. Again, the vocals are very reminiscent of groups like Crosby Stills and Nash, which highlights the diverse influences on the group as songwriters. The song goes full circle and ends with a brief reprise of the opening chorus which concludes this very beautiful and well-crafted musical suite. 'Firefly' doesn't reach the heights of 'July Morning' or 'Pilgrim' but it is a wonderfully constructed and produced pieces of music and is a sublime ending to this fine record.

Firefly is one of the most overlooked and solid records in their groups lengthy back catologue. There is a cohesion to album, like the brilliant Demons and Wizards or The Magicians Birthday, That band hadn't achieved in a number of years. Of course Heep have better albums with better songs, but Firefly flows so effortless and sounds like a group who have rediscovered the love of playing melodic rock music again. The Lawton years, to me, are very underrated. Yes, the bands sound become a tad more commercial, but the group had always had a melodic touch that contemporaries like Deep Purple lacked. To me their songs have often contained 'pop' elements and fully embraced the lighter side of rock music without ever losing that heavy touch. I have always found it difficult choosing which UH album I like the most, a debate I still have today. Firefly maybe not my favourite (I'm not sure what is!), but it is the LP that I certainly play the most and will always defend defiantly.

Enjoy!

Key tracks:

The Hanging Tree
Wise Man
Firefly

If you liked this album, check out:

Rough Diamond - Rough Diamond 1977
Bad Company - Straight Shooter 1975
Deep Purple - Come Taste the Band 1976

Mike Oldfield - Hergest Ridge

Mike Oldfield - Hergest Ridge
Virgin Records, 1974
Recorded at The Manor, Oxfordshire
Produced by Tom Newman and Mike Oldfield

English musician Mike Oldfield become an overnight sensation when he released his debut record, Tubular Bells in 1973.  Entirely composed and performed by Oldfield, Tubular Bells, propelled him to the forefront of the progressive rock movement. The album was a triumph for instrumental music with sales of around 16 million records worldwide and launched Virgin, Richard Branson's enduring record label.

Despite the enormous success of Tubular Bells, the reclusive and troubled Oldfield was a reluctant star and sought solace in rural Herefordshire. Inspired and named after Hergest Ridge, a hill on the border between England and Wales, his second album Hergest Ridge follows a similar format to Tubular Bells with each side forming an entire musical piece. Recorded at the Manor in Oxfordshire, Hergest Ridge was released in September 1974 and gave Oldfield his first number one LP. Amazingly, the album was only knocked off the top of the charts by his own Tubular Bells  - a feat that only a few artists such as the Beatles and Bob Dylan have achieved!

Hergest Ridge is delicate and ambient in places with both folk and classical music, alongside rock influence. Its more down-to-earth musically than its predecessor, and ultimately not as immediately engaging or memorable. However, that does not mean this album isn't interesting - far from it! The beauty of Hergest Ridge is in its subtlety and composition and proves that Oldfield was a hugely talented arranger as well as musician. The album grows and grows with each listen and requires a lot more attention than its predecessor. Hergest Ridge is thoroughly rewarding when you give it the time it deserves.

'Part One' begins with a sustained and dreamy organ chord and a beautiful recorder melody, which to me sound like a homage to the countryside where Oldfield was living at the time. The music evolves slowly with the introduction of a pulsating electric guitar, which adds a beat and structure to the ambiance. Another keyboards fades into the mix and the recorder is subtly replaced by a mandolin playing a similar melody. The music evolves further as an electric guitar enters playing a series of phrases which add more layers and textures into the increasingly lush arrangement. The music reaches its crescendo with an epic guitar and trumpet solo. Both solos are so uplifting and yet so mournful at the same time - something which Oldfield is always able to convey so expertly in his music. This opening passage is one of my favourite pieces of music by Oldfield and one that constantly excites me. The way the music evolves from little more than simple ambient noises into a dramatic wall of sound is just incredible.

The next passage of  'Part One' begins calmly, with a beautiful, classical inspired piece of music. Oldfield uses a mixture of strings, an oboe, and a classical guitar, which weave in and out of each other. Like the opening piece, tension is built again with the introduction of electric guitar which adds complexity and depth to the music. Intriguingly, at around the 13 minute mark, Oldfield plays some Sleigh bells - which has a very similar effect to the Tubular Bells arrangement on his previous record. Suddenly, Oldfield introduces a distorted bass riff, which he builds upon with another blistering guitar solo. After playing out this rock section, the music fades and is overtaken by a coral arrangement, bringing the ambiance and classical music back into the forefront. 'Part One' goes full circle, as is concluded with a reprise of the recorder melody which opened the movement.

'Part Two' begins with an oboe melody played over some minor guitar chords. It slowly builds into with the introduction of some very complex electric guitar work from Oldfield, not too dissimilar from the work of Steve Howe from the group Yes.  The opening movement slowly develops into the main theme of 'Part Two'in which a recorder plays a soaring melodic phrase which is then overtaken by a medieval inspired choral piece. Without warning, as though a storm has come over Hergest Ridge, the music becomes dark, intense, and heavy. Oldfield apparently used 90 guitar overdubs in order to perfect one of his most progressive musical moments. Gone is the calm and peaceful ambiance, replaced by an unforgiving thunderstorm. Above the noise of the guitars, you can also hear some distorted keyboards which add a subtle melodic component to this otherwise chaotic section. As Oldfield was suffering from mental health issues at the time, one could argue, that this section maybe a reflection of what was happening to Mike internally. It is certainly an intense, almost upsetting piece of music - especially in contrast to the beautiful ambiance of 'Part One'. For me, the heavy section always creates wonderful, dramatic images of an all consuming storm battering Hergest Ridge, highlighting the volatility of nature. Like all storms, it eventually dies down and order is restored. The main theme from 'Part Two' makes a final appearance to create a satisfying and complete conclusion to Hergest Ridge.

Hergest Ridge is a masterpiece. A beautiful interpretation of the extremes of nature and possibly an insight into the mind of someone battling mental illness.  Although Hergest Ridge was a fairly strong seller at the time, it was overshadowed by the enduring Tubular Bells. Nonetheless, Hergest Ridge stands as one one of Oldfield's most complete and spectacular works and highly recommend that people revisit and enjoy this fine album.

If you enjoyed this album, check out:

Mike Oldfield - Tubular Bells  1973
Bo Hansen - Music Inspired by Lord of the Rings  1970
Jean Michele Jarre - Equinoxe  1978

Matt Berry - Witchazel

Matt Berry - Witchazel
Self-released March 2009; Acid Jazz, 2011
Recorded at Matt Berry's Home Studio, London, UK
Produced by Matt Berry

Most people will know actor/comedian Matt Berry for his roles in the TV series The IT Crowd and Toast of London to name just a few. Little people know that alongside his acting career, Matt Berry has also been writing, releasing and performing his own eclectic brand of music. Drawing influence from sixties and seventies folk, progressive rock and electronic music, Berry's take on these often ridiculed genres stands shoulder-to-shoulder alongside any of his comedy work. Berry's music is enchanting, ambitious, and unlike anything around at the moment and deserves to be recognized and applauded.

Witchazel is Berry's first album on the Acid Jazz label (he self released Jackpot in 1995 and Opium in 2008). Recorded at his home studio, Berry impressively plays the majority of the instruments himself. Officially released on vinyl in 2011 (was available as a download on his website in 2009), Witchazel conjures up whimsical images of the English countryside, with lyrics concerning pheasants, maypoles, badgers, and the like. Berry mixes common psych-folk subjects with his own surreal word play, wit and charm. There is a darker element that lurks beneath the flute-jigs and woodland dances that makes this an intriguing, slightly disturbing listen. The darkness can be heard especially on songs like 'Accident at a Harvest Festival' in which Berry tells a strange tale of a gruesome gun incident and the frightening synth breakdown/spoken word section at the end of 'Take My Hand'. Most of the songs are connected together with small instrumental fragments, gluing together this brilliant and bizarre trip through the strange and imaginative world of Matt Berry.

The song 'Take My Hand' is one of Berry's most well-known tunes. It has become a bit of an underground anthem as Berry used the song as the theme tune for his award winning series Toast of London in 2013. An upbeat piano-led song, 'Take My Hand' has ridiculously catchy lyrics and melody, both crucial ingredients for creating a joyous opening to the record. Not only does the song highlight Matt Berry's melodic abilities, but also his production and musical engineering skills. Berry incorporates various moog synths, brass, strings, bells and the odd glockenspiel, all perfectly mixed together to create a lush and dreamy ambiance - a sound which underpins the entire the album.

Following 'Take My Hand' is the wonderful breezy folk tune 'A Song For Rosie'. A catchy lyric combined with an almost nursery rhyme-like rhythm make this a really memorable moment for me. Berry tackles many more styles on Witchazel, including a blistering take on 1960s garage rock. 'So Low' opens with a pulsating, yet primitive piano riff, which really drives the song along. 'So Low' is one of the more punchy pieces, enhanced by some fuzzy organ and guitar work which wouldn't sound amiss on the well-known psych compilation Nuggets: Original Artyfacts from the First Psychedelic Era. 

Berry's most progressive rock moment though is the 8 minute epic, 'The Pheasant'. The song begins life as a strange folk number, but quickly evolves into groovy late 1960s psych song with a twangy guitar riff reminiscent of 13th Floor Elevators or Jefferson Airplane. However, Berry keeps the listener on their toes by doubling up the riff with a synthesizer (think Rick Wakeman circa 1973!). Immediately, the song is back in the English prog rock vein which emphasizes Berry's uncanny ability to fuse styles and sounds effortlessly. My favourite section of 'The Pheasant' is the beautiful acoustic guitar mandolin interplay at about 2'45. A stunning descending bass melody, with lovely textured acoustic playing is a clear nod to Mike Oldfield's more acoustic moments on the seminal Tubular Bells. 'The Pheasant' follows a number of melodic, rhythmical changes throughout, which challenge and excite the listener. After a period of musical chaos, the song resolves, reaching its climax at the 7'30 mark with an epic synth fanfare - one Jean Michel Jarre would be proud of! 'The Pheasant' ends where it began with the strange folk section, concluding arguably the albums musical centerpiece.

Other great tracks is the beautiful string-laden ballad 'Woman', containing an epic David Gilmour inspired guitar solo and the psychedelic 'The Badgers Wake' which has some interesting vocal layering effects and even a spoken word section at the end. One of the stranger moments on the record is later on Side B, the bizarre soft-rock-meets-funk number 'Rain Came Down'. The tunes outro features Peter Serafinowicz doing an impressive, but ridiculous Paul McCartney monologue! The album closes with the dreamy 'Roosting Time' which has layers upon layers of ambient textures and sounds. Satisfyingly, 'Roosting Time' ends with a 'Take My Hand' reprise - the perfect closure to Witchazel!

I'll admit, the album is a bit weird in places and takes a few spins to get into, but that only adds to the depth and layers that are uncovered on each listen. What I love most about the album is it doesn't take itself too seriously. It is by no means a comedy album or a parody. Berry does, however, recognizes the serious and pretentious nature of the music and is not embarrassed to incorporate the more ridiculed elements on Witchazel. Proggy folk-rock is undoubtedly the music he loves and what he enjoys writing and performing and this passion is evident throughout this album. Although probably not my favourite record of his (I think that goes to the sublime Music for Insomniacs - but that is a debate for another day!) Witchazel is a great LP and a clear homage to his musical heroes, and gets better and better with every listen!

Key Tracks:

Take My Hand
A Song For Rosie
So Low
The Pheasant

If you enjoyed this album, check out:

Matt Berry - Kill The Wolf
Fairport Convention - Liege and Lief
Yes - Tales From Topographic Oceans
Mike Oldfield - Hergest Ridge

Heron - Heron

Heron - Heron
Dawn, 1970
Recorded in the Devonshire countryside
Produced by Heron

The Wellington Public Library has always been a good source for discovering music. A number of years ago, I came across a compilation of a British Folk group called Heron, whilst painstakingly trying to find something obscure to entertain myself! I saw the striking cover of four long-haired hippies and I thought I would try my luck. Unwittingly, I had just borrowed one of the most charming collection of recordings of the British folk scene.

Heron: The Dawn Anthology has two disks containing all the music this group record between 1970 and 1972. The first disk is comprised of their self-titled debut album and their second double album, 'Twice as Nice and Half the Price'. Although I enjoy both discs, the bands debut album is one of the more striking British folk records of the early seventies and the subject of today's blog.

Formed in Maidenhead in 1967, Heron were part of a wave of British folk groups like Fairport Convention and The Incredible String Band. Consisting of songwriters Tony Pook, Roy Apps, and Gerald Moore, Heron found the studio a negative environment and struggled to put their music on tape. In order to overcome this obstacle, Heron took the whole earthy, pastoral-folk to a whole new level and decided to record their debut in a field! You can hear the sounds of birds, the breeze and general noises of the English countryside all captured using basic recording equipment. Recording outside had been done before by Led Zeppelin and others, however, Heron were probably one of the first groups to record (please correct me if i am wrong!) an entire LP outside.

The album opens with 'Yellow Roses', A beautiful folk-pop tune, with a gorgeous and infectious melody. Easily the most commercial song on the LP, the subtle sound of birds chirping during the opening few bars which really sets the mellow mood of the album. The minimal instrumentation (mostly acoustic guitar, mandolin and piano) is perfectly completed with breezy three-part vocals and sing-along chorus. One of my all-time favourite songs, how 'Yellow Roses' wasn't a hit is completely beyond me!

The mellow vibe continues with the gorgeous 'Car Crash'. Reminiscent of Simon and Garfunkel, 'Car Crash' is a short and sweet duet between Roy Apps and Tony Pook which is showcases the bands gift for melody and their intricate guitar picking. The guitars weave magically, like the voices, in and out of each other creating great depth and resonance without the need for overdubs. 'Smiling Ladies' is in a similar vein to 'Car Crash', with beautiful acoustic interplay and a descending, almost Beatlesque melody. One of the stronger melodies on the album, 'Smiling Ladies' is enhanced with a wee mandolin line that fits perfectly between the vocals and guitars. Both tunes sound like they were recorded in one or two takes with an emphasis on the overall feel rather than the accuracy of the playing. Yes there is a few bum notes here and there - but it only adds to the charm!

One of my favourite tracks is the the second of the two versions of 'Sally Godin', The tune begins with a jaunty harmonica line and hand claps and the first few bars are sung solo. However, each run trough another vocalist joins in harmony until the whole band are singing along. I love this version and I always think would have been a lot of fun to record that day - you can also one of them stifle a laugh during one of the vocal refrains! Interestingly, the band show a more progressive folk influence in places, especially on the moodier 'Harlequin 2', with its jarring organ and slightly-jazzy arrangements. 'Harlequin 2' and the mystical 'Lords and Master' are perhaps more reminiscent of groups like Donovan or the Incredible String Band.

The strength of this LP is the imagery and vibe it exudes. The music paints a picture of an idyllic English countryside on a peaceful and mellow afternoon. I have never heard a record like this in my life - something so warm and naturally atmospheric. I love the long pauses between songs, hearing the bands chit-chat and the gentle hum of the wind. Heron were very melodic, simple, and unashamedly poppy in places, something which sets them apart from their more 'serious' contemporaries. Indeed over, some of the songs are half finished and perhaps a tad rushed, yet the whole LP is very natural and organic and exceptionally performed. Heron's in-the-moment approach has intrigued me for years and been a constant source of inspiration.

Disappointingly, the album was released to little fanfare and Heron faded into obscurity. The band recorded one more album, 1971's Twice as Nice and Half the Price which didn't fair any better. The release of Heron: The Dawn Anthology has helped give their music a second chance and a wider exposure. Every few years I return to Wellington Library to borrow this CD, and every time I am absolutely spellbound. This album is a must have for any fans of British folk music or anyone who loves discovering obscure music like I do!

Key Tracks:

Yellow Roses

Car Crash

Sally Goodin
Smiling Ladies

If you liked this, check out:

Nick Drake - Five Leaves Left   1969
Fairport Convention - Liege and Lief   1969
Incredible String Band - The 5000 Spirits or the Layers of the Onions    1967
John Martyn - The Tumbler   1969

Eggs Over Easy - Good 'N' Cheap

Eggs Over Easy - Good 'N' Cheap
A&M Records, 1972
Recorded at Frank Wray's Studio, Tuscon, Arizona
Produced by Link Wray & Eggs Over Easy

Eggs Over Easy were unique in the fact that they were an American band who were essential in the development of the London pub rock scene in 1970s. The band were hugely influential when they were based in London, inspiring bands such as Brinsley Schwarz and Bees Make Honey with their unique take on American music.

Originally a trio consisting of members, Jack O'Hara, Austin De Lone and Brian Hopkins, Eggs Over Easy were formed in New York in 1969. After playing clubs all around the city, their manager Peter Kauff arranged with the company Cannon Films for the band to visit London and record an album with record producer and ex-Animals bassist Chas Chandler in 1970. Despite the sessions at Olympic Studios going well, problems between the financial backers Cannon Films and Peter Kauff meant the project was aborted. The band were told to remain in London until the issues were was sorted. To get by financially, the Eggs began to gig around London playing their rustic country-rock originals alongside well known rock n' roll and R&B tunes. The punters in London were wowed by the Americans and their reputation grew rapidly. Many British musicians were heavily inspired by Eggs, including Nick Lowe of Brinsley Schwarz. Unwittingly, the bands appearancse at the Telly Ho in Kentish Town among others helped to kick start the underground pub rock movement. Unfortunately, the band weren't able to continue to be a part of they scene they had help create. The band were forced to return home as they couldn't find a new record label and their visas had expired. Back in America, the band signed to A&M and recorded an album, which was to be Good 'N' Cheap.

Good 'N' Cheap is a wonderful blend of laid-back country rock, soul, pop, and good old rock n' roll. They were roots-y like Little Feat, yet catchy as any of their pop contemporaries such as America or Bread. The album opens with the brilliant 'Party Party', an uptempo song led by Piano player Andre de Lone. 'Party Party' is a fun song with some soaring guitar and piano interplay, one of the characteristics of their sound. The next track is the outlaw country song 'Arkansas', with its spoken word introduction and pedal steel licks make it a great wee country pastiche. One of the highlights of the album is the catchy soul-pop number 'Henry Morgan'. With its quirky piano riff and tasty intro guitar solo, 'Henry Morgan' is probably their most infectious, and commercial song on the album. To me, the song is reminiscent of the LA band Little Feat with its groovy piano, tight harmonies and terrific guitar work. Side A closes with the anthemic 'Face Down in the Meadow'. The song opens with a jangly power-pop-influenced guitar riff which is followed by some powerful held piano chords. 'Face Down in the Meadow' is a wonderful example of their fine musicianship with endless melodic interplay between piano, electric and acoustic guitars, alongside very professional vocal harmonies.

Side B opens with the beautiful 'Home To You' which reeks over west coast soft rockers America. Sung by Jack O'Hara (whom shares similarities vocally with America's Dan Peak), 'Home To You' reaches a dramatic climax following a tasteful piano solo. Out of the blue, the rest of the band provide soaring Crosby Stills and Nash-like backing vocals which really enhance O'Hara's lead vocal. The bands styles changes yet again, with the 'English pop' of 'Born of Riff and Tongue'. This little ditty makes the band sound more like The Hollies than Little Feat, however, it is still a fine song and demonstrates the influence of their English period had on them as songwriters. The album closes with the powerful rock of 'Night Flight' which puts the Eggs in Small Faces/Humble Pie territory, with crunchy chords and rock n' roll piano. 'Night Flight' would have been great live at places like the Telly Ho Pub and is a terrific end to the LP.

Despite the Good 'N' Cheap being released to rave reviews, the band faded into obscurity. After relocating to San Francisco and releasing the 1976 'Back of My Car' the band supported various band like Eagles and Yes to survive. The Eggs did record a second and final LP in 1980 named Fear of Frying, but it disappeared quickly after release. The band broke up in 1981, O'Hara become a sound engineer and de Lone worked as a session musician for the likes of Nick Lowe and Bonnie Raitt.

Over the years, Eggs Over Easy have been forgotten by the record buying public, despite countless musicians like Elvis Costello and Loudon Wainwright all declaring the influence of the Eggs. Good 'N' Cheap captures the bands unique sound is an essential listen for anyone interested in pub rock and American country rock. The Eggs were back in 2016, with the release of Good 'N' Cheap: The Eggs Over Easy Story. Released on Yep Hoc Records, this 3x LP/2x CD set includes their entire recording back catologue - including the tapes for the lost Olympic Studio sessions in London! I hope this compilation helps their fantastic music reach the wider audience that it undoubtedly deserves.

Key Tracks:

Henry Morgan
Face Down in the Meadow
Home To You
Arkansas

If you enjoyed this album, also check out:

Little Feat - Sailin' Shoes 1972
Brinsley Schwarz - Silver Pistol 1972
The Band - The Band 1969

Free - Highway

Free - Highway
Island Records, 1970
Record at Island Studios September 1970
Produced by Free

Free were one of the more soulful rock bands to come out of England in the late 1960s. Formed in 1968, Free consisted of future Bad Company members, vocalist Paul Rodgers and drummer Simon Kirke, alongside 16 year-old bassist Any Fraser and guitarist Paul Kossoff.

Their first two records, Tons of Sobs and Free were released to little fanfare on both sides of the Atlantic. Although great albums in their own right, the band were yet to define their sound and were in the shadow of more prominent British groups such as Led Zeppelin, Fleetwood Mac, and Humble Pie. By 1970, the bands dwindling career was given a much-needed lifeline. After a disappointing show in Durham, the band decided they needed to write songs that people could sing along to. The band wrote 'All Right Now' to hopefully remedy the lack of audience interest. 'All Right Now' was a instant hit, reaching #4 in the US and #2 in the UK, and topped the charts in twenty different countries around the world. The album Fire and Water followed a month later and was a good seller and contained other standout tracks, such as 'Heavy Load', 'Remember' and the epic 'Fire and Water'.

In order to continue the momentum of their sudden hit single and album, the band were rushed back into Island studios to work on the followup. Things weren't steady for the group and cracks were beginning to appear. Guitarist Paul Kossoff was grieving the loss of his hero Jimi Hendrix and was becoming more drug dependent - plus friction between songwriters Rodgers and Fraser were growing. The tensions combined with the pressure of following up 'All Right Now' resulted in a more personal and introspective album than its predecessor.

The album Highway was viewed by many fans and critics as a big disappointment. Released in December 1970, many fans were frustrated at the LP's low key and country-rock looseness - a far cry from the powerful blues rock of Fire and Water. Furthermore, the plain cover artwork (which I actually really like!), strangely did not feature the bands name. This, alongside the uncommercial music contributed to the albums poor sales. The album stalled at #41 in the UK, and only reached #190 in the US charts. Despite Highway's commercial and critical disappointment, the LP remains one of my all time favorites and one of the more curious and undervalued releases in British rock music.

The album opens with the groovy piano-led number, 'The Highway Song', which tells a tale of a young man seducing a farmer's daughter. The song showcases Kossoff's smooth rhythm playing - which, in my opinion, is one of his finest attributes. Next is the 'All Right Now' followup, the blues rocking 'The Stealer'. With its strutting riff and raunchy lyrics, the song should have been the hit the band needed. Unfortunately, the song only reached #49 in the US and failed to chart in the UK at all. Island Records boss Chris Blackwell had initially wanted to release the groovy 'Ride On A Pony' as the single, however, the band persuaded him to release the unsuccessful 'The Stealer' instead.

My favourite song on Highway (and probably favourite Free song  - and maybe of all-time?!) is the meandering 'On My Way'. This summery, reflective song was a far cry from the power blues of Fire and Water. With its plodding rhythm, 'On May Way' was one of the more groovy, more laid back, and more infectious pieces of music they ever wrote! Lead by Andy Fraser's wandering bass line, and Kossoff's smooth rhythm playing, the song epitomizes the often used term 'feel'. The feel that Free are often credited for because of the excellent drummer Simon Kirke. Kirke has a natural swing in his beats and forms a tight, yet-loose (If that makes any sense?) rhythm section with Fraser. Moreover, the song captures the imagery of a lazy summers day with great lyrics such as:

"I'm on my way, 

and I might be late, 

I don't worry, 

Everything can wait"

'On May Way' has never been considered a top Free song, a fact that frustrates me! The band sound happy and content (something Free are not often known for) which may have something to do with its lack of critical respect.
                               
One of the standout songs is the somber 'Be My Friend'. Considered by fans and critics these days as a Free classic, 'Be My Friend' is the band at their most reflective and moody. This soulful ballad, with its heartbreaking lyric concerning loneliness and isolation, is reminiscent of the terrific 'Heavy Load' from the previous album. Throughout their career, Free were able to 'pull of' ballads with such conviction. They were not afraid be mellow and tuneful, or rely on flashy virtuosity to enhance their music. The band were undoubtedly the most soulful group around, with a sense of melody and feel, both things contemporaneous bands like Deep Purple (don't worry - i'm a fan!) often struggled with.

On side B is the rocking 'Ride On A Pony', which has a terrific guitar solo - up there with Kossoff's best and the melancholy ballads, 'Love You So' and 'Sunny Day' along with the country-influenced 'Bodie'. The album closes with the brilliant 'Soon I Will Be Gone' - another classic Free song. The dark acoustic ballad showcases Paul Rodgers tremendous vocals and lyrical ability. With rising strings, distorted guitars, and pulsating hand claps which rise, 'Soon I Will Be Gone' is a perfect, climactic end to the LP.

After having a surprise UK hit with 'My Brother Jake', the band broke up in early 1971. Kossoff's drug problems, tensions between Fraser and Rodgers, and inconsistent record sales were probably the causes of the break. Although the band were to reform in 1972 for the albums Free at Last and Heartbreaker, the music they created in 1970-71 is undoubtedly their finest. I believe that it is imperative that Highway is revisited by fans and critics and recognized as one of the best Free albums. I understand the public's disappointment at the time as it is not as immediately powerful as Fire and Water. However, with the wonder of hindsight, the album should be now viewed as a natural transition for a band still finding their musical calling. Free are one of the finest groups to ever come out of the late 1960s, and their album Highway is an intriguing outlier in their back catologue.

Key Tracks:

Be My Friend
On My Way
The Stealer
Soon I Will Be Gone

If you enjoyed this album, also check out:

Faces - First Step 1970
Humble Pie - Town and Country 1969
Thin Lizzy - Shades of A Blue Orphanage 1971