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The rhythm section of Dave Anderson and Terry Ollis was replaced by Lemmy and Simon King, both of whose style differed notably from their predecessors. This changed the band's overall musical direction. Lemmy was a self-confessed inept guitarist who used volume and stagecraft to cover his lack of ability. He became a bassist by accident after joining the band, thinking he was replacing Huw Lloyd Langton. Lemmy said "I knew the guitarist because he took eight tabs of acid and then we never saw him for five years". However Dave Brock decided to play lead and continue without a second guitarist. Hawkwind's bass guitarist failed to turn up and Lemmy was available. He said "I learned to play bass onstage with Hawkwind… I go out onstage with this bass around my neck, and it was a Rickenbacker, too. The bass player, like an idiot, left his bass in the truck. So I'm learning. Nik Turner says to make some noises in E. 'This one's called You Shouldn't Do That.' Then he walks away." This led to Lemmy's very unorthodox technique. Lemmy stated "I just don't play like a bass player. There are complaints about me from time to time. It's not like having a bass player; it's like having a deep guitarist." King's drumming was more square beat and "rock" than the jazzier free flowing Ollis.
Doremi may not be Hawkwind's most renowned album, but it carries the same type of prog rock spaciness as their first two releases. Even though the keyboard playing is trimmed down just a tad, the introduction of Ian Kilmister, otherwise known as Lemmy of Motörhead fame, makes up for it. With Lemmy's hard-lined guitar playing and Del Dettmar's synthesizer stabs, tracks like "Space Is Deep" and "The Watcher" are infused with elaborate instrumental meanderings in perfect Hawkwind fashion.
The longer tracks, both "Brainstorm" and "Time We Left This World Today," have Lemmy getting settled in the band's extraordinary milieu, but end up being the album's strongest cuts. There's a harder feel to the songs all the way through, with the guitar and drums coming to the forefront ahead of Dik and Mik's "generators" and "hot electronics." Doremi is the inaugural album for drummer Simon King, and with guitarist Dave Anderson and percussion man Terry Ollis now departed, Hawkwind still manages to muster up a firm intergalactic space-metal atmosphere...only with a more rugged thrust.
01."Brainstorm" (Nik Turner) – 11:33
02."Space Is Deep" (Dave Brock) – 5:10
03."One Change" (Del Dettmar) – 0:49
04."Lord of Light" (Brock) – 6:59
05."Down Through the Night" (Brock) – 3:04
06."Time We Left This World Today" (Brock) – 8:43
07."The Watcher" (Ian Kilmister) – 4:00
Bonus tracks
08."Urban Guerrilla" (Robert Calvert/Brock) – 3:41
09."Brainbox Pollution" (Brock) – 5:42
10."Lord of Light" [Single Version Edit] (Brock) – 3:59
11."Ejection" (Calvert) – 3:47
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The self-titled fourth album from this Krautrock underground group is a fierce display of droning fuzz psychedelia that easily holds its own on the shelf next to the Stooges' Funhouse, Can's Tago Mago, and Kraftwerk's first three albums. While the group remains one of the more obscure footnotes in the German psychedelic underground, their first three albums were profoundly influential of the global neo-psychedelic scene, with groups such as Spacemen 3, Bevis Frond, Nurse With Wound, Fushitsusha, and High Rise citing this album as a key influence. While the lineup changed periodically throughout the '70s, the core group of Ax Genrich on guitar, longstanding member Mani Neumeier on drums and keyboards, and Bruno Schaab on bass cut this masterpiece with the aid of Krautrock legend Conrad Plank on guitar and keyboards.
This sprawling, guitar-driven workout relies on a couple of chords and a heavy dose of distortion worthy of early Hawkwind with riffs as crunching as Black Sabbath. One of the defining albums in the movement known as space rock or drone rock, this album is well deserving of the attention of those tuned into that axis.
01. Samantha's Rabbit - Genrich, Neumeier, Schaab 2:58
02. Medley: Rocken mit Eduard/Something Else/Weekend/Twenty Flight Rock - Cochran, Genrich, Neumeier ... 13:26
Composed by: Cochran, Genrich, Neumeier, Schaab
03. Woman Drum - Genrich, Neumeier, Schaab 3:59
04. Der Elektrolurch - Genrich, Neumeier, Schaab 9:46
05. The Story of Life - Genrich, Neumeier, Schaab 12:07
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Appetite for Destruction is the debut studio album by American hard rock band Guns N' Roses. Released in 1987 (see 1987 in music), it was well-received by critics and topped the American Billboard 200 chart. As of September 2008, the album has been certified diamond (plus 18x platinum) by the RIAA, accumulating worldwide sales in excess of twenty-eight million as of October 2008. The album still remains the fastest-selling debut album in history.
Axl Rose stated in 1988 that many of the songs featured on the album had been written while the band had been performing on the Los Angeles club circuit, and a number of songs that would be featured on later Guns N' Roses albums were considered for Appetite for Destruction, such as "Back Off Bitch," "You Could Be Mine" and "Don't Cry".
While the songwriting credits are credited to all five band members, many of the songs began as solo tracks that individual band members wrote separate from the band, only to be completed later. These songs include "It's So Easy" (McKagan) and "Think About You" (Stradlin). "Rocket Queen" was an unfinished Slash/Adler song that was written from their earlier band Road Crew, whereas "Anything Goes", written by Hollywood Rose and included in their compilation album The Roots of Guns N' Roses, was later re-written for Appetite.
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Released in late 1971, (A Ballad of) A Peaceful Man was Gravy Train's second - and probably their most praised - album. Unlike their heavier debut, this album sports some lovely string arrangements, provided by Nick Harrison.
A unique feature of the album is that it splits the heavy tracks from the lighter tracks: all the ballads are on side 1, while all the rockers are on side 2.
Among the lesser-feted jewels released by the Vertigo label during its swirly-logo purple patch, Gravy Train's restful hybrid of jazz-tinged virtuosity, folky pastorals, and heartfelt vocalizing peaks on this, their second album, and that despite A Ballad of a Peaceful Man doing little more than treading water when compared to the experimental peaks of its predecessor. Part of the album's appeal lies in the then-novel concept of splitting its contents neatly in half, the hard rockers on one side, the softer material on the other. On the whole, the ballads have dated a lot better than the monsters, particularly "Alone in Georgia," which clashes sweet soul with (of all things!) Southern rock and, for some reason, sounds a lot like the Heavy Metal Kids.
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Live Album is Grand Funk Railroad's first live album, and was released in November 1970 by Capitol Records. It was produced by Terry Knight. This release went RIAA Gold almost immediately, and earned GFR their fourth Gold Record Award in just one year. The raw energy of these live performances was captured without the use of any re-mixing, over-dubs or enhanced audio engineering. This "direct recording" method leaves a bit to be desired from a technical standpoint, but showcases the band in a live environment and never lets up in its effort to convey GFR's raw power as well as a sense of "being there" at a Grand Funk event.
The album's gatefold cover depicts a photograph of the band at the Atlanta International Pop Festival in July 1970, but none of the music was actually recorded there. The album was recorded at several Florida venues during June 1970.
Either you love or you hate it. Live Album by Grand Funk Railroad was a smash when released and those who loved it played it to death. A hard rock phenomenon of the waning days of the Sixties, Grand Funk proved over and over that they were the live performing act of the time, and this album is a testament to their in-concert power.
All songs by Mark Farner, except where noted.
01."Introduction" - 2:26
02."Are You Ready" - 3:38
03."Paranoid" - 7:19
04."In Need" - 10:58
05."Heartbreaker" - 7:10
06."Words of Wisdom" - 0:52
07."Mean Mistreater" - 4:53
08."Mark Says Alright" (Farner, Don Brewer, Mel Schacher) - 5:13
09."T.N.U.C." - 10:54
10."Inside Looking Out" (John Lomax, Alan Lomax, Eric Burdon, Bryan "Chas" Chandler) - 13:43
11."Into the Sun" - 11:26
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A minute or two into Gnidrolog's debut album, chances are you will realise that you have stumbled upon a sensational group. It's one hell of an entertaining ride that doesn't just continue steadily through Harry's Toe-nail, but even manages to accelerate on the follow-up Lady Lake. This killer one-two combination is a real treat for classic prog fans, and puts Gnidrolog really high on the list for those willing to strike out and discover something new.
When describing the band's music, it's tempting to make references to Gentle Giant, King Crimson and Van Der Graaf Generator and at some points, even Amazing Blondel, Mahavishnu Orchestra and Wishbond Ash, but I prefer to waffle on at length about the Gnidrolog sound, cos it's unique. There is a real note of desperation in Colin Goldring's vocals, a powerful occasionally even eerie atmosphere envelopes the music, and the band's sound is both rich and unusual ... probably because for large portions of their album, the guitar is sidelined and the keyboards are non-existent, while bassist Peter Cowling doubles up on cello and drummer Nigel Pegrum is often to be found playing the flute or oboe!. It's also notable that despite quite obviously being brilliant musicians, Gnidrolog generally eschew the "solo".
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Eric Clapton's eponymous solo debut was recorded after he completed a tour with Delaney & Bonnie. Clapton used the core of the duo's backing band and co-wrote the majority of the songs with Delaney Bramlett — accordingly, Eric Clapton sounds more laid-back and straightforward than any of the guitarist's previous recordings. There are still elements of blues and rock & roll, but they're hidden beneath layers of gospel, R&B, country, and pop flourishes.
And the pop element of the record is the strongest of the album's many elements — "Blues Power" isn't a blues song and only "Let It Rain," the album's closer, features extended solos. Throughout the album, Clapton turns out concise solos that de-emphasize his status as guitar god, even when they display astonishing musicality and technique. That is both a good and a bad thing — it's encouraging to hear him grow and become a more fully rounded musician, but too often the album needs the spark that some long guitar solos would have given it. In short, it needs a little more of Clapton's personality.
Disc 1
01. "Slunky" (Delaney Bramlett/Eric Clapton) - 3:35
02. "Bad Boy" (Delaney Bramlett/Eric Clapton) - 3:35
03. "Lonesome and a Long Way from Home" (Bonnie Bramlett/Leon Russell) - 3:31
04. "After Midnight" (J. J. Cale) - 2:53
05. "Easy Now" (Eric Clapton) - 2:58
06. "Blues Power" (Eric Clapton/Leon Russell) - 3:11
07. "Bottle of Red Wine" (Bonnie Bramlett/Eric Clapton) - 3:08
08. "Lovin' You Lovin' Me" (Delaney Bramlett/Eric Clapton) - 3:21
09. "Told You For the Last Time" (Bonnie Bramlett/Steve Cropper) - 2:32
10. "Don't Know Why" (Bonnie Bramlett/Eric Clapton) - 3:12
11. "Let It Rain" (Bonnie Bramlett/Eric Clapton) - 5:04
12. "Blues In 'A'"
Session outtake – 10:25
13. "Teasin'" (Curtis Ousley) – 2:14
Performed by King Curtis with Delaney Bramlett, Eric Clapton & Friends.
14. "She Rides"
Previously unreleased "Let It Rain" alternate version – 5:08
Disc 2
01. "Slunky" – (unreleased original mix) 3:33
02. "Bad Boy" – (unreleased original mix) 3:41
03. "Easy Now" – (unreleased original mix) 2:57
04. "After Midnight" – (unreleased original mix) 3:17
05. "Blues Power" – (unreleased original mix) 3:19
06. "Bottle of Red Wine" – (unreleased original mix) 3:06
07. "Lovin' You, Lovin' Me" – (unreleased original mix) 4:03
08. "Lonesome and a Long Way From Home" – 3:48
09. "Don't Know Why" – (unreleased original mix) 3:43
10. "Let It Rain" – (unreleased original mix) 5:03
11. "Don't Know Why" – 5:12
Previously unreleased Olympic Studios version
12. "I've Told You For the Last Time" – 6:46
Previously unreleased Olympic Studios version
13. "Comin' Home" (Bonnie Bramlett/Eric Clapton) – 3:14
Performed by Delaney, Bonnie and Friends featuring Eric Clapton
14. "Groupie (Superstar)" (Bonnie Bramlett/Leon Russell) – 2:48
Performed by Delaney, Bonnie and Friends featuring Eric Clapton
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Fairport Convention is Fairport Convention's debut album.
This is not to be confused with the A&M Records' "Fairport Convention," which is the USA release of their second album, What We Did On Our Holidays.
Fairport Convention were originally formed in 1967, allegedly as Britain’s answer to Jefferson Airplane. The original line-up was Judy Dyble and Ian MacDonald (vocals), Richard Thompson and Simon Nicol (guitars), Ashley “Tyger” Hutchings (bass) and (after their very first gig) Martin Lamble (percussion). In this form they made their major London stage debut at the Saville Theatre on one of Brian Epstein’s famous Sunday concerts.
Judy Dyble survived in the band for only one album, and this was it. She was replaced in 1968 by Sandy Denny, but during her short time with the band she managed to make a noticeable impression, particularly through her on-stage habit of knitting socks and scarves when not actually singing!
Fans of the "classic" folk/rock Fairport style will find this album a very different experience. It really does sound a lot like Jefferson Airplane!
Fairport Convention is often credited with being the first English electric folk band. Formed in April 1967, Fairport rapidly developed from playing cover versions of American 'west coast' style music to an individual style which melded rock music with traditional English tunes and songs. The lineup of their most celebrated album, Liege & Lief, comprised Sandy Denny, Ashley Hutchings, Dave Mattacks, Simon Nicol, Dave Swarbrick, and Richard Thompson.
Affected by numerous personnel changes throughout its first decade, Fairport Convention was temporarily disbanded in 1979 but played annual reunion concerts until they reformed in 1985. Since then, they have enjoyed stability and continue to tour and record regularly.
In part, the continuing success of Fairport Convention is due to the annual music festival the band organises. Cropredy Festival has been held every year since 1977 near Cropredy, a village five miles north of Banbury, Oxfordshire and attracts 20,000 fans. Now renamed Fairport's Cropredy Convention, it remains one of the key events in the UK folk festival calendar.
BBC Radio 2's Sold On Song TOP 100 songs as voted for by Radio 2 listeners put their early song "Meet On The Ledge" at Number 17. They had performed "Meet on the Ledge" on the 1969 launch of "From the Roundhouse" (a short-lived BBC-TV youth and arts programme about the London "underground scene"). In 2002 the band was given a Lifetime Achievement Award at the BBC Radio 2 Folk Awards and in 2006, Liege & Lief was voted the most influential folk album of all time in a public ballot, also run by the BBC.
Fairport Convention played their first concert at St Michael's Church Hall in Golders Green, North West London on 27 May 1967. Based in suburban north London, the group had coalesced around a bass guitar player and bandleader named Ashley 'Tyger' Hutchings.
The musicians convened for rehearsals at a house named Fairport, in Muswell Hill, North London the family home of rhythm guitarist Simon Nicol. Thus was born the name of a band that has endured for over four decades. As well as Hutchings and Nicol, there was lead guitarist Richard Thompson and Shaun Frater on drums. However, that initial line-up only played the one gig. A young drummer, Martin Lamble, was in the church hall audience and he convinced the band that he could do a better job than the incumbent. It was the first of a flurry of line-up changes that characterised Fairport's first fifteen years.
The group soon augmented its line-up with a female singer, Judy Dyble (born Judy Aileen Dyble, 13 February 1949, in Wood Green, North London), which set it apart from the dozens of other bands springing up from the fast-moving youth culture of that summer. Fairport found no shortage of work and was soon a regular act at underground venues such as The Electric Garden, Middle Earth and UFO. The band had only been playing a few months when they caught the ear of Joe Boyd who secured them a contract with Polydor Records. Boyd suggested they augment the line-up with another male vocalist and so Iain Matthews (who had changed his surname from MacDonald and was spelling his forename 'Ian' at the time) joined the band and the first album, Fairport Convention, was recorded in late 1967 and released in June 1968. Later the band would play with folk guitarist Nick Drake, who also had connections with Joe Boyd.
At this early stage, Fairport looked to America (Joni Mitchell, Bob Dylan) for material and inspiration. "The two lead vocalist approach appealed to us," Matthews recalls, "and because of our name and onstage presence, lots of people thought we were American, and we were not about to attempt to dispel that presumption." This led to the band being dubbed 'the British Jefferson Airplane'. The album did not sell many copies, and Boyd got them signed to Island Records.
Rock journalist Ritchie Unterberger writes in his book Eight Miles High:
"Prior to 1968, rather incredibly, there was not a single British rock group that played electric folk-rock consistently and well. It is thus not too surprising that the band to become roundly acclaimed as the best British folk-rock group, Fairport Convention, took its initial inspiration from American folk-rock, particularly the guitar-oriented California sort."
Although folk-rock was well-established in the USA by 1968, Fairport Convention was the first English band to concentrate on bringing rock instruments and rock arrangements to traditional songs. Initially, the British press (and Fairport Convention's members) titled this mixture electric folk but the term 'folk-rock' soon became the norm, although it is a broader category than electric folk. Therefore, although other bands in the UK were experimenting with the folk-rock genre (including Strawbs and Pentangle), Fairport Convention is widely credited with 'inventing' British folk-rock.
However, Fairport Convention was also developing in other ways. As as well as revivals of traditional material with modern instrumentation and rhythms, bandmembers were increasingly composing original material and Richard Thompson had developed into a talented and inventive guitarist. Fairport Convention even entered the singles charts with "Si Tu Dois Partir", a French-language version of Bob Dylan's "If You Gotta Go". The record just missed the top twenty but got the band (with guest triangulist, John Peel) a slot on Top Of The Pops, Britain's most popular television pop music programme at the time.
On 12 May 1969, Fairport's van crashed on the M1 motorway on the way home from a gig in Birmingham. Martin Lamble - just 19 years old - and Jeannie Franklyn, Richard Thompson's girlfriend, were killed. The rest of the band suffered injuries of varying severity. The young musicians nearly decided to call it a day. But they didn't, and once recovered they went back into the studio. Matthews had left the band by then and Dave Mattacks took over the vacant drum stool. The resulting LP, Liege & Lief, was a classic. This was arguably Fairport Convention's finest album and it established British folk-rock as a distinct and influential genre.
Liege & Lief was launched with a sell-out concert in London's Royal Festival Hall late in 1969. Dave Swarbrick had made a big contribution to the project and he now joined the band full-time. Liege & Lief was given an award at Cropredy 2006, with most of the former members picking up the award. Frank Skinner presented the award.
Recorded November 1967 at Sound Techniques, London.
01. "Time Will Show the Wiser" (Emitt Rhodes) 3'05"
02. "I Don't Know Where I Stand" (Joni Mitchell) 3'45"
03. "If (Stomp)" (Ian MacDonald/ Richard Thompson) 2'45"
04. "Decameron" (Paul Ghosh / Andrew Horvitch / Richard Thompson) 3'42"
05. "Jack O'Diamonds" (Bob Dylan / Ben Carruthers) 3'30"
06. "Portfolio" (Judy Dyble / Tyger Hutchings) 2'00"
07. "Chelsea Morning" (Joni Mitchell) 3'05"
08. "Sun Shade" (Paul Ghosh / Andrew Horvitch / Richard Thompson) 3'50"
09. "The Lobster" (George Painter / Tyger Hutchings / Richard Thompson) 5'25"
10. "It's Alright Ma, It's Only Witchcraft" (Tyger Hutchings / Richard Thompson) 3'12"
11. "One Sure Thing" (Harvey Brooks / Jim Glover) 2'50"
12. "M1 Breakdown" (Tyger Hutchings / Simon Nicol) 1'22"
Bonus tracks
13. "Suzanne" (Leonard Cohen) 5'48"
14. "If I Had a Ribbon Bow" (Hughie Prince / Lou Singer) 2'44"
15. "Morning Glory" (Larry Beckett/Tim Buckley) 3'13"
16. "Reno, Nevada" (Richard Farina) 7'43"
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Fresh Fruit for Rotting Vegetables is the debut album by the hardcore punk band Dead Kennedys, released initially on Cherry Red Records in the UK in 1980 and eventually through Faulty Products in the US (later by the DK's own Alternative Tentacles label).
The best selling and generally the most critically acclaimed album by the Dead Kennedys, Fresh Fruit for Rotting Vegetables has become a major staple of American punk.
Lead vocalist Jello Biafra's strong political statements on songs such as "California Ãœber Alles" and "When Ya Get Drafted", launched the Dead Kennedys into the political arena.
Musically, Fresh Fruit laid the blueprint for future Kennedy's releases: loud, noisy, fast, but with a sense of dynamics and musical individualism. The surf and rockabilly-inspired riffs owe something to the Ramones' most influential recordings, drawing from early American AM pop and rehashing it in the immediate, aggressive context of punk rock. The lyrics lend a significant bite to the breakthrough of the already strident (yet surprisingly catchy) musical assault. On the original vinyl version Side A was tracks 1-7 and Side B was tracks 8-14. The songs on Fresh Fruit were recorded live with minimal overdubs limited to vocals and the addition of rhythm guitar in places.
The photo on the front cover, showing several police cars on fire, was taken during the "White Night Riots" of 21 May 1979, that resulted from the light sentence given to former San Francisco City Supervisor Dan White for the murder of Mayor George Moscone and Supervisor Harvey Milk.
Release variations:
** The original back cover featured a found photograph of an old lounge band called The Sounds Of Sunshine, with the DK's logo pasted onto the drum kit and skulls and crossbones spliced onto their instruments. The original photograph, as found by Biafra at a garage sale, had no identifying remarks on it whatsoever, and was used because the band thought it was "hilarious". Somehow Warner Wilder, the former vocalist of the defunct lounge band learned of the photo and threatened to sue the Dead Kennedys. The back cover was reprinted with the heads of the band members cut off, but this solution was found to be unsatisfactory to the Sounds of Sunshine, forcing an entirely different photo of four old ladies in a living room (with the Alternative Tentacles bat mascot pasted over a picture frame). When Cleopatra Records reissued Fresh Fruit in 2002 the original, unbeheaded lounge band picture reappeared. The 25th Anniversary "Deluxe Reissue" co-released by Cherry Red Records and Manifesto Records in 2005 used the old ladies photograph, but with the Dead Kennedys logo substituted for the Alternative Tentacles Bat
** Early IRS pressings included had the cover tinted orange with black lettering. This cover variation was not authorized by the band. According to a late-80's interview with Goldmine magazine, IRS told the band they wanted to make the domestic version different from the Cherry Red import, to which Biafra claimed to have told IRS, "Yeah, inferior to the original — change it back!" During a 1981 show at the 9:30 Club in Washington, Biafra mentions, "Some of you stooped so low as to buy our wonderful album, even with the shitty Disneyland orange cover which was not our idea."
** Post-IRS, pre-Alternative Tentacles pressings on IRS's Faulty Products subsidiary added "Police Truck" to the middle of the Side A sequence, between "Let's Lynch The Landlord" and "Drug Me".
** Some Cherry Red vinyl pressings added "Too Drunk to Fuck" to the end of Side A.
** Pirate pressings of Fresh Fruit (as well as the next two Dead Kennedys releases, In God We Trust Inc. and Plastic Surgery Disasters) were manufactured in Italy, Spain and Portugal. According to Biafra, these pressings were manufactured by someone who retained the master parts from defunct Italian licensees and put out what Biafra described as "Clorox bottle-quality pressings". These pressings were sold by a cut-out distributor to record stores that were, in Biafra's words, "too snooty" to deal with the independent distributors that Alternative Tentacles dealt with.
** The run-out groove of the early Alternative Tentacles pressings as well as early Cherry Red pressings includes the text "Well?? Who ARE The Brain Police???" - a reference to the song "Who Are The Brain Police?" by The Mothers of Invention.
01."Kill the Poor" – 3:07 (East Bay Ray, Jello Biafra)
02."Forward to Death" – 1:23 (6025)
03."When Ya Get Drafted" – 1:23
04."Let's Lynch the Landlord" – 2:13
05."Drug Me" – 1:56
06."Your Emotions" – 1:20 (East Bay Ray)
07."Chemical Warfare" – 2:58
08."California Ãœber Alles" – 3:03 (Jello Biafra, John Greenway)
09."I Kill Children" – 2:04
10."Stealing Peoples' Mail" – 1:34
11."Funland at the Beach" – 1:49
12."Ill in the Head" – 2:46 (6025, Jello Biafra)
13."Holiday in Cambodia" – 4:37 (Jello Biafra, John Greenway)
14."Viva Las Vegas" – 2:42 (Doc Pomus, Mort Shuman)
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Dawn Records was a subsidiary of Pye Records. Active from 1970 to 1975, it was set up largely as Pye's 'underground and progressive' label, a rival of the EMI and Phonogram equivalents, Harvest and Vertigo.
The most successful act on the label was Mungo Jerry, whose first two singles reached No. 1 on the UK Singles Chart. The label was also notable for releasing the 1970 and 1971 Donovan albums, Open Road and HMS Donovan. It also released records by Paul Brett's Sage, Titus Groan, Mike Cooper, Heron, John Kongos (before he found greater success on the Fly label), Comus, Atlantic Bridge, Pluto, and the Mungo Jerry offshoot, the King Earl Boogie Band.
In October 1970, the UK music magazine NME reported that Dawn label acts Demon Fuzz, Titus Groan, Heron and Comus were due to take part in a series of UK concerts in November 1970. At all venues the price of admission was one penny.
Two other notable acts were Brotherhood Of Man in their Eurovision-winning line-up, who released their first album, Good Things Happening, in 1974; and Prelude, whose a cappella version of the Neil Young song "After The Gold Rush" (No. 21, 1974) was the label's only other UK hit single.
From making televisions and the unexciting beginnings of Petula Clark and Lonnie Doneghan to the freaked out acid folk of Paul Brett’s Sage, the story of Pye Records and its Dawn Records offshoot is a peculiar one.
Pye was a television and radio manufacturer in the Fifties but diversified into record label ownership with the acquisition of Nixa Records in 1953, and then Polygon Records in 1955. Polygon was the label set up by Petula Clark’s dad to control her material and out of the merger grew Pye Nixa Records, whose name was changed to Pye Records in 1959.
Throughout the Sixties Pye distributed early David Bowie, Donovan and The Kinks, and did very well out of British Invasion acts in 1964, putting out Pye artists on US labels. However, by the end of the decade, they felt that their competitors were stealing a march on them when Decca, EMI and Phonogram set up the progressive offshoots Deram, Harvest and Vertigo respectively.
In late 1969, Pye set up Dawn Records, their own label for blues, folk and heavy music. Somewhat ironically, the label’s biggest success over its six-year life-span was with the likeable but hardly radical Mungo Jerry.
At a time when the likes of Cream and Led Zeppelin were redefining rock with their heavy, technically sophisticated blues, Mungo Jerry had a sweet, uncomplicated jug sound. Their debut single, of course, was the good-time anthem ‘In The Summertime’. Unusually for the time, it was a double A side – with ‘Mighty Man’ also on side one – and was played at 33rpm. The whole of the B-side was one song, ‘Dust Pneumonia Blues’.
It sold an absolute stack, and the band – who went down a storm at the Hollywood Festival in Newcastle-under-Lyme the same week their single came out – were hot. The label, wanting to make hay while the sun shone, rushed through an eponymous debut LP for the Jerry, the first of half a dozen on Dawn in the next six years, almost of all of which enjoyed some decent sales.
The label also put out Donovan’s Open Road album in 1970, his first with the band of that same name. It had a rougher feel than the Mickie Most produced, silvery hits of the Sixties; the man himself called the sound “Celtic rock”. It did pretty well, but the Maryhill troubadour’s follow-up, HMS Donovan – a series of famous children’s poems (‘Jabberwocky’, ‘The Owl And The Pussycat’) to folk music – kind of bombed.
Other successful releases for Dawn records were the Brotherhood Of Man’s first album, Good Things Happening. An a cappella cover of Neil Young’s‘After The Goldrush’ by Prelude, a charming little version that took the Gateshead trio to the number 22 on the Billboard charts and gave them a nine-week stay in the top 50 here.
Commercial success remained largely elusive for the label, but it gave several little gems to the world.
Mike Cooper, a key figure in the British acoustic blues scene of the late Sixties, released four albums on the label that show an interesting meld of blues with Southern African jazz. Check out the last of these, The Machine Gun Company With Mike Cooper, for a strange and heady mix of free jazz and folk.
Atomic Rooster, the prog group and Crazy World Of Arthur Brown offshoot, joined Dawn in 1972 and released two albums, Made In England and Nice n Greasy on the label. By this time, Vincent Crane and the boys were rocking a slightly startling funk / soul groove that didn’t always totally hit the spot, but when it worked – ‘Little Bit Of Inner Air’ and ‘Stand By Me’ on Made In England, for instance, this was right good gear.
Talking of the Crazy World of AB, the brilliant Paul Sage put out two records on the Dawn label: Jubilation Foundry and Schizophrenia. The first, released in 1971, is like a sort of potted history of Paul’s influence –Southern blues tracks, an Everly Brothers trib, some Southern rock, even some Beatles-ish sounds – and is all cracking stuff. The 1972 follow-up was even better, equal parts psychedelic rock, chugging blues and folk. Well worth a dibble.
Mungo Jerry’s albums always sold pretty well – well enough for the label to also release records by Paul King-lead side-project King-Earl Boogie Band and also Paul’s solo LP Been in the Pen Too Long, which is an absolute little belter, sounding like very early, acoustic Bowie and showing that there was a lot more to this feller than washboards. Apart from the Jerry, though, there was not a massive amount of commercial or sales success for the label, and in 1975, Dawn Records ceased to be.
01. Atlantic Bridge - I Can't Lie to You - 3.24
02. Atlantic Bridge - Hilary Dickson - 2.40
03. Atlantic Bridge - Childhood Room - 6.50
04. Comus - Diana - Diana - 4.24
05. Comus - Diana - In The Lost Queen's Eyes - 2.50
06. Comus - Diana - Winter Is A Coloured Bird - 8.02
07. Demon Fuzz - Single - I Put a Spell on You - 3.59
08. Demon Fuzz - Single - Message to Mankind - 3.56
09. Demon Fuzz - Single - Fuzz Oriental Blues - 6.47
10. Heron - Bye & Bye - 2.25
11. Heron - Through Time - 3.28
12. Heron - Only Hobo - 3.49
13. Heron - I'm Ready To Leave - 4.40
14. Jackie McAluley - Rocking Shoes - 3.23
15. Jackie McAluley - One Fine Day - 2.05
16. Trader Horne - Here Comes The Rain - 2.44
17. Trader Horne - 02 - Goodbye Mercy Kelly - 3.14
18. Trifle - Old Fashioned Prayer Meeting - 4.44
19. Trifle - Dirty Old Town - 3.53
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The brother of Jo-Ann Kelly he also recorded solo albums and 45s in the eighties, when he was also in The Blues Band.
He'd started out playing on the folk circuit and on a trip to America in 1966 played at Gerdes Folk City in New York. Whilst over there he saw people like Muddy Waters and John Lee Hooker. Upon his return to England he developed his interest in acoustic blues with his sister Jo-Ann Kelly and Tony McPhee. In the Summer of 1967 he joined the John Dummer Blues Band on vocals and slide guitar. He quit in August 1969, worn out after the incessant touring, to embark on a solo career, recording the two above albums. Then, after a brief spell in Rock Salt, which didn't really get off the ground, in 1972, he teamed up with John Dummer again the same year in the Ooblee Dooblee Band. He later played in The Dogs from 1974-75, The Wild Cats in 1978-79, The Blues Band and later still fronted his own band.
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Nowadays Chris Harwood is being touted as Britain's great lost female folksinger. That's understandable -- her sole record, Nice to Meet Miss Christine, launched the tiny indie Birth label in 1970. The album disappeared soon after, probably because most listeners were unable to get beyond the first track, the exceedingly self-righteous, anti-racist "Mama," whose justified anger doesn't exonerate the song's lack of melody. Or maybe it was due to the fact that Nice wasn't really a folk album at all, as the guest musician roster makes clear.
Guitarist Peter Banks was a founding member of Yes, pianist/organist Tommy Eyre would soon be joining Rainbow, brass and woodwind player Ian McDonald hailed from King Crimson, drummer Pete York came from the Spencer Davis Group, and guitarist Mike Maran would eventually become Britain's top musical arranger. Not a folkie in sight, but one hell of a lineup, expanding the sound of what one assumes was Harwood's own group -- guitarist Dave Lambert, bassist Roger Sutton, and drummer J. Kay Boots. Thus the songs sound phenomenal (even if the transfer to CD creates a hollowness at the center), the musicianship is flawless, and the set is as eclectic as one would imagine with these players on board. Jazzy fusion, jammy prog rock, pomp rock, revved-up R&B, and combinations of all of the above swirl across the set.
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I recently obtained this CD after owning the original album upon it's release. Claire Hamill is a contemporary of mine, originating, like so many capable and talented musicians, from the North East of England. Like another Northeasterner, Chris Rea, Claire comes from Middlesbrough on the third of the the great North Eastern Rivers, the Tees.
The cover of this album portrays the artist amidst the artifacts of the industrial north east, an image hardly recognisable these days as industry has long since gone and services have taken over.
The industrial backdrop permeates this album, indeed it is infused throughout. In the first song, Baseball Shoes, Claire laments her loved one's desire for baseball shoes that she has. Today, an ordinary pair costs about five pounds but a brand like converse charges upwards of eighteen! What is clear is the image of poverty that this song represents. Wanting even a pair of baseball shoes comes higher up the priority list than love which comes free. But even so the singer would give up her shoes in return for his love.
Whilst the songs themselves carry images aplenty of a simplicity of life they also carry messages of hope and inspiration. Two of my favourites in this regard are When I was A Child, which marks the transition from an age of innocence into adult life after meeting a significant other. The other, Smile Your Blues Away, offers the benefits of a positive attitude and could almost have been written for the Dalai Lama!
What is remarkable about this album is firstly Claire's voice, clear and pur with a good range. The second thing is more of a complimentarity and that is the sheer breadth of the music contained within the album, with the exquisite orchestration, masterful guitar playing of John Martyn the maestro, a country and western style song to name just three. Guests abound including the aforesaid Martyn but also David Lindley, Terry Reid and others but they supplement Claire's vocals and playing rather than supplant them.
This is a powerful introduction to Claire Hamill and an outstanding first album. She may have disappeared off the map a little these days but she is still around and with albums like this deserves a little more acclaim. ["Junglies" - Amazon.com]
01. Baseball Blues 4:21
02. The Man Who Cannot See Tomorrows Sunshine 2:42
03. Consumation 2:19
04. The River Song 4:19
05. Where Are Your Smiles At 2:23
06. When I Was A Child 2:14
07. Urge For Going 6:50
08. Flowers For Grandma 1:42
09. The Phoenix 2:42
10. Smile Your Blues Away 2:20
11. Alice In The Streets Of Darlington (Bonus Track) 4:29
12. Meet Me On The Corner (Bonus Track - Previously Unreleased) 3:42
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