DANDO SHAFT
An Evening With Dando Shaft
(Youngblood SSYB 6) 7/70
‘A name to watch out for. Despite not having achieved fame on live appearances yet, their first album is incredibly good. Probably best described as progressive folk... Make a point of digging this one out – you could be surprised’ – Disc & Music Echo, 29/8/70

Fully acoustic folk-rock with solid instrumental chops almost at the level of Pentangle. Complex and clever, and while some of the odder ideas don’t completely work, they are always interesting. This is a very strong work that improves as it goes along (and with repeated listens), and is essential to any collection of UK folk-rock. (AM)

DARK
Round The Edges
(SIS 0102, 12 in colour gatefold sleeve with booklet, 8 in B&W gatefold sleeve, 40 in B&W single sleeve) 1972
The vibe I get from Dark is a group of unknown guys who have been rehearsing in a basement for a long time, building an extensive understanding of each other’s musical ideas, and honing their craft. There seems to be a certain Wishbone Ash influence. It isn't hard rock, prog or blues rock, but a classic jam outfit, almost jazzy in the playing, but never pretentious or show-offy. That’s the positive side of the coin. The negative side is that any desire to make a personal statement, or even the ability to do so, went missing about 500 hours of rehearsal ago. Dark are very sure of what they can play, and they can afford to be cool about it, but the coolness also means a lack of passion. In my ears only the outstanding opener ‘Darkside’ sounds like something born out of experience and emotion, rather than an exploration of scales and time signatures. The rest of side one is still pretty strong, though I always choke on the lyrics of ‘Maypole’, which strike me as gibberish. Side two opens with a track which I can only describe as mediocre, an uninspired melody accentuated by a lead guitar playing tandem with the vocals. The closing tracks are better, but the lack of a ‘Darkside’ makes the second half of the LP a rather pedestrian experience, with insufficient songwriting and nothing added to the full-fleshed statement of the opener. Still, it’s an enjoyable album, and of course one of the most legendary private releases from the era. Opinions on it differ, and it’s an album you need to check out and decide about for yourself. (PL)

THE DEVIANTS
Ptooff!
(Underground Impresarios IMP 1) 6/68
‘Their music is highly individual, following no style save a strong admiration for the Mothers… Free, alive, funny, freaky music’ – Disc & Music Echo, 8/6/68

Led by the afro-haired Mick Farren, these Ladbroke Grove hippies were one of the UK’s few genuinely underground groups. In some respects they resembled the Fugs, and definitely wouldn’t have been caught going to San Francisco with flowers in their hair. This album’s tone is unrelentingly cynical, as they kick out at everything and anything. Musically it’s surprisingly good, though beneath the searing bass and fuzz many of the songs owe a debt to Bo Diddley. The magnum opus is arguably the 9-minute ‘Deviation Street’, which (despite occasionally losing its way with rants against the CIA) kicks ass with the best that the MC5 had to offer. For me, though, the most interesting track is the criminally under-developed instrumental ‘Bun’, which positively simmers with menace for two-and-a-half minutes and features some lovely guitar – yet strangely goes nowhere. A fascinating artefact that’s worth acquiring just to see the magnificent fold-out poster cover. It was originally only available through mail order in the summer of 1968, but reissued by Decca in March 1969 (as LKR / SKLR 4993), with a standard single sleeve. (SC)

DIABOLUS
Diabolus
(Bellaphon BLPS 19068) 1971 [Germany only]
This Oxford band’s sole album was produced by Shel Talmy and only appeared in Germany, unbeknownst to them for many years. The LP has been compared to Comus, but I struggle to see any similarity myself. It’s impressively tight progressive jazz-rock, with plenty of flute and sax, good vocal harmonies and some cool guitar solos, as on opener ‘Lonely Days’. Overall it’s quite reminiscent of Jethro Tull and King Crimson in places, though it’s less melodic and the songs are quite repetitive, meaning that more often one is reminded of also-rans like Galliard and Titus Groan. Highlights include the intense ‘Lady Of The Moon’ and atmospheric closer ‘Raven’s Call’, though it’s a shame they decided to include a long drum solo in ‘Spontenuity’. (RMJ)

DOGFEET
Dogfeet
(Reflection REFL 8) 2/71
‘The first track, ‘For Mary’, is really pleasant, but lasts for less than a minute. It is followed by the normal set of manure and inexplicable boredom. Inexplicable? Well, you can’t understand why people bother to waste their time by putting out something which they surely know is nothing’ – Melody Maker, 27/2/71

This roughly-produced rock band had all the hallmarks of an excellent act in-the-making. There’s a distinct Wishbone Ash flavour to the music, especially on the opening three tracks. The tougher ‘Now I Know’, which closes the first side, features terrific twin leads. Side two is softer and more reflective, but none the worse for it – ‘Since I Went Away’, ‘Clouds’ and ‘Evil Woman’ have decent hooks and a distinctive, floating quality that confirm Dogfeet could well have been contenders. (GH)

THE DOG THAT BIT PEOPLE
The Dog That Bit People
(Parlophone PCS 7125) 4/71
‘The group are soft, painting acoustic pictures that blend with pleasantly-controlled heaviness… There is talent, thankfully devoid of most clichés that are tending to dominate albums by our new English bands. Just a shame it’s rather plain. Maybe next time’ – Melody Maker, 22/5/71

This post-Locomotive band put together a cool obscure mix of prog, hard rock and rural rock. Some of it is rather laid-back, but most of it rocks. At their best they create a really memorable sound (as on ‘Sound Of Thunder’, which has strong harmony vocals, equally strong harmony lead guitars and a haunting melody, somewhat reminiscent of Panama Red-era Master’s Apprentices). Elsewhere they sound not too different from a lot of other bands of the era. They do everything well: the vocals are always solid, the arrangements appealing, the performances tasteful. This all adds up to an album that is solid and recommended, though not especially distinctive. I wish there were more songs as dynamic as ‘Sound of Thunder’, more hooks as memorable as ‘Red Queen’s Dance’. Mostly I wish that there was more of an attempt to stretch boundaries, as on the one really wild song here, the all-too-brief ‘Reptile Man’, which mixes heavy riffs with distorted vocals and a crazed guitar solo. (AM)

DONOVAN
A Gift From A Flower To A Garden
(Pye NPL 20000, boxed set with 12 lyric sheets in folder) 3/68
‘These days it is very easy to overpraise the talents of Donovan. He has turned into a sort of mercurial Messiah, bringing pretty songs of hope to masses of people who long to escape back to the happiness of childhood’ – Disc & Music Echo, 9/3/68

Unfortunate choices in packaging (a 2-LP box set) and visual style (starry-eyed hippiedom) have for decades concealed the fact that this contains what may be Donovan’s single greatest achievement. I am not referring to the first disc (the one for ‘adults’, which has excellent tunes such as ‘The Land Doesn’t Have To Be’ mixed with the half-baked light jazz and calypso-styled pop heard on Mellow Yellow), but to the second disc. Conveniently released as a stand-alone LP in the US in December 1967 (entitled For Little Ones), it’s the most consistently spellbinding album of Donovan’s career; it’s also the blueprint for a whole genre which today is known as ‘folk psych’, and which was invented by Donovan, on this album. Reaching an otherworldly peak with ‘Isle Of Islay’, you can hear all his musical skills effortlessly fall into place as meditative, wistful, joyous and sorrowful moods seamlessly mingle and interchange. These twelve acoustic songs stand up to a seemingly infinite number of plays without losing any of their magic. Why Donovan (or his label) chose to bury this amazing treasure of songs as a supposed ‘children’s album’ at the bottom of a boxed set no one had asked for is a mystery almost as great as the music itself. (PL)

NICK DRAKE
Bryter Layter
(Island ILPS 9134) 3/71
‘He sings his own very personal songs in a strange, deep vaseline voice, probably more suited to crooning, accompanied at times by really funky backing, with an amazing array of faces featured. An extraordinarily good, hefty folk album’ – Disc & Music Echo, 13/3/71

The second Drake album sounds alternately like the one that would hopefully make him a household name (the production is more elaborate than on Five Leaves Left), and a stab at art-rock (there are no fewer than three instrumentals.) At times it’s a bit baffling and uncomfortable, and is somewhat uneven, but the good moments are so good, and the overall vibe so strong, that it once again is a must-own record. For every intrusive string arrangement or distracting flute there’s a perfect moment like John Cale’s viola on ‘Fly’, the rolling rhythm of ‘One Of These Things First’ or the gentle, utterly gorgeous ‘Northern Sky’. And the voice is, if anything, even more powerful than on Five Leaves Left. (AM)

BARRY DRANSFIELD
Barry Dransfield
(Polydor Folk Mill 2383 160) 10/72
‘The album is fairly outrageous in content, and has obviously had a catalytic effect in restoring Barry to a state of equilibrium. Gone is the rigid, instantly recognisable Dransfield sound that characterised the two Trailer albums, and in its place an absurdly original album executed with complete contempt for all the rules in the textbook’ – Sounds, 23/9/72

Barry Dransfield made several wise decisions when putting together his legendary solo debut. Although mainly a selection of cover tunes, the choices seem ideal for him as a performer. Not only does almost every song fit beautifully into the total puzzle of the work, but several of them sound like they had been written directly for Barry – which was not the case. His vocals are surprisingly good, and in combination with a backdrop of acoustic guitar and his trademark violin, a haunting, almost Nick Drake-like mood is created. Side one is near perfect; even the two brief jigs seem appropriate diversions between the powerful, evocative melancholy of the opening ‘The Werewolf’ (by US folkie Michael Hurley) and the extended ‘Girl Of Dances’ (the sole Dransfield original). Side two is more uneven, although ‘Lily’s Ballade’ is one of the album’s best tracks, and ‘Lots Of Little Soldiers’ is a clever satire on the arms trade. The LP closes with its weakest spot, an old ale commercial which apparently had a private significance for Barry. All over, this is one of my personal top 10 folk LPs from England, and despite its original obscurity (‘thanks’ to Polydor Folk Mill) it has gained many admirers over the years. The Spinney CD reissue claims that the mastertapes are lost, but a retrospective Dransfield collection on the Free Reed label contains two tracks from this album that are clearly from masters. (PL)

DR. Z
Three Parts To My Soul
(Vertigo 6360 048) 11/71
‘We see a couple of new Vertigo bands a month, gracing the already confused record shelves and vanishing as unnoticed as they arrived. Who picks em? Well, here’s another, a three-piece that’s roughly two years old and might really be two days… There are some interesting ideas drifting about, but that doesn’t merit a reason to make an album, put it out and expect people to buy it. I cannot imagine this selling at all’ – Melody Maker, 4/12/71

Housed in an elaborate sleeve, this is often said to be the rarest LP on Vertigo, though I found several others much harder to track down. Dr Z was one Keith Keyes, a Welsh University professor who recorded an earlier single, then this somewhat self-indulgent concept LP. It largely consists of voice and piano, with obscure occult lyrical leanings, and isn’t without interest, though there’s little here for prog or psych fans. ‘Evil Woman’s Manly Child’ is curiously insistent and worth a spin, but it’s hard to imagine much demand for repeat plays. (GH)

EAST OF EDEN
Mercator Projected
(Deram DML / SML 1038) 4/69
‘This is a very strange album – you gather that from looking at the sleeve. However, it’s also very interesting. The arrangements of each number take the listener into different worlds altogether. ‘Isadora’ is the standout track, as it includes some wonderful flute sounds and is also very cleverly recorded, as is the whole album’ – Record Mirror, 5/4/69

East Of Eden’s debut is a landmark in progressive rock. In 1969 the jazzy song styles, use of a classically trained violinist and mix of world musical styles was quite fresh, a literal progression from psychedelia into something new. Much of it is quite heavy, too, making the violins and saxes sound really exotic. The mix of bluesy harmonica, foreign-sounding flutes and jazzy sax on ‘Centaur Woman’ is unlike anything else you will hear. At the time, High Tide was also using a violin in a heavy rock setting, but they sounded nothing like this. East of Eden put their strong musical background to great use: how effortless and smooth the 5/4 time signature is used on ‘Waterways’, for example. Some of the free-form music drifts a bit, but this is a really creative and highly successful album, one that deserves more of a reputation today. (AM)

THE END
Introspection
(Decca LK-R / SKL-R 5015) 12/69
‘Introspection are one of those groups who are on the borders of straight pop and progression… A fair to good collection of numbers that doesn’t exactly blow the mind, but which won’t do the group any harm either’ – NME, 6/12/69

This pop-psych album screams ‘groovy London’ just as heavily as Billy Nicholls, Jools & Brian or Blow Up. Despite the downer feel to the dreamy harmonies and psych sound effects, it feels like a party. Much of that effect is due to the organ, which, while not the obvious lead instrument, shapes and colours each of the songs. The lead guitar is effectively economical and always exciting, and the sharp production (by Bill Wyman, no less) and consistently good songwriting add up to make this one of the best of the genre, comparable to bands like July and Kaleidoscope. Three brief monologues by a bum off the street disrupt the flow, but they only take up a total of two minutes, and the actual songs are ace throughout. Even the cover version (‘She Said Yeah’) has an interesting arrangement and fits well into the album as a whole. There is no space between songs, which was potentially a nightmare for DJs (if only the album had received the airplay it deserved), but works well because of the consistent quality of the songs. By the way, until the brief but excellent jam on the closing song, the hard rock of Tucky Buzzard (into whom they’d very soon morph) isn’t hinted at here. (AM)


FAIRFIELD PARLOUR
From Home to Home
(Vertigo 6360 001) 6/70
‘Yet another band who emerge from nowhere with an album full of memorable songs, beautifully conceived and executed… A gentle, lyrical, happy-sad album, and very English, with fine harmonies floating above solid and unflashy playing’ – Melody Maker, 27/6/70

Kaleidoscope took a new name for this album, and the switch is appropriate, as there’s a definite change of direction. They discarded both their psychedelic and childlike elements in favour of a more mature and straightforward pop / rock style, with just a hint of progressive rock. Their melodic flair remained, of course, as did their strong ability to tell a vivid story within the confines of three minutes, and a willingness to use production techniques to enhance the songs (there are Mellotrons aplenty here, along with a variety of percussion instruments, sitars and extensive vocal arrangements). The quality is somewhat variable despite some strong songs, and as a complete album it definitely falls short of the Kaleidoscope records. Nonetheless, it is still better than most similar albums of its time. Best song: the truly heartbreaking ‘Emily’. They also recorded an entire double album entitled White Faced Lady, which was unreleased at the time but appeared twenty years later. It’s musically similar to From Home To Home, but more lyrically ambitious, an extensive rock opera about a Marilyn Monroe-type movie star. It definitely has some moments, but it’s a lot to handle all at once, with the story taking up as much of their energy as the music, which is of decidedly mixed quality. Most importantly, unlike the Kaleidoscope albums and From Home To Home, there are no real killer songs this time. Both albums were released as a 2-CD set (The Fairfield Parlour Years) with elaborate booklets and many bonus tracks under their original name, Kaleidoscope. (AM)

FAIRPORT CONVENTION
Fairport Convention
(Polydor 583 035) 7/68
‘An interesting LP from a new six-strong group. They play a sophisticated kind of folk-rock, very well-produced and recorded, and every track is nicely contrasted and balanced with its neighbour. There’s an inherent jazz feeling running throughout, plus some rather out-of-place electric guitar work, but all in all the effect is pleasant and interesting’ – Record Mirror, 13/7/68

The often-forgotten first Fairport Convention album will surprise fans of the band’s later material. From the instant the needle drops and you hear the raved-up cover of the Merry-Go-Round’s ‘Time Will Show The Wiser’, it’s obvious that this is a straight rock and roll band with no more of a ‘folk’ element than the similar US West Coast bands of the era. Judy Dyble is an underrated singer, and her voice is more suited for upbeat music than Sandy Denny’s (as Denny’s lukewarm performances with the Bunch would show). There are acoustic guitars, but the focus of the instrumentation is electric, including 12-strings and even some fuzz guitar. Richard Thompson is relatively restrained on these short songs, but he shows definite glimpses of the genius he would become (check out the guitar tone on ‘I Don’t Know Where I Stand’). Only half of these songs are self-penned, but the quality of the musicianship and the melodic vocals throughout create a feeling of unity. One of their greatest strengths is synergy: the singers all sound great together, no matter what the combination. This doesn’t reach the heights of the next few albums, but it’s still a great record, a jangle-guitar rock and roll album that ranks with the best that was coming from the US at the time. (AM)

FANTASY
Paint a Picture
(Polydor 2383 246) 12/73
This is an unfairly overlooked gem of Moody Blues-inspired prog rock. The music is beautifully textured and the band make full use of their wide range of instruments without ever over-egging. The often tiresome Mellotron is employed to especially good effect. The first four songs are faultless in their execution; the dramatic, tuneful title track opens proceedings in fine style, leading into a minor epic, ‘Circus’, featuring superb synth / keyboard and guitar interplay with a similar feel to US contemporaries Kansas or Blue Oyster Cult. ‘The Award’ is especially catchy, with an effective Bowie-derived vocal, while the could-have-been-a-hit ‘Politely Insane’ veers towards pop-rock. Side two fails to match these exacting standards, but is still eminently listenable. The band’s forte is their deftness of touch and fine ear for melody – so often lacking in the bombast of their peers. The CD features a clutch of songs from an unreleased second LP, and confirms their debut was no flash in the pan. The only criticism is the extraordinarily low recording levels, which dilute the more dramatic moments and musical contrasts. (GH)

GARY FARR
Take Something With You
(Marmalade 608 013) 12/69
‘Gary Farr takes a gentle approach, and his music reflects a confident approach and grasp of many facets of pop – a fine LP’ – Record Mirror, 10/1/70

Having torn up innumerable R&B clubs as leader of the T-Bones, by the late 1960s Gary Farr had reinvented himself as a hippie singer-songwriter. This debut LP limped out on the ailing Marmalade label well after it had been recorded, and sank like a stone. It deserved far better. His songs are uniformly atmospheric, well-constructed and punchy, and he’s a fantastic 12-string guitarist. Texture is added by backing musicians including Meic Stevens and members of the Blossom Toes and Mighty Baby, helping to make every song reward repeated playing. It’s hard to nominate standout tracks, but the deep ‘Two Separate Paths Together’ and dense ‘Time Machine’ are strong contenders. Even the jokey ‘Vicar And The Pope’ (with ace slide guitar from Martin Stone) works well. A winner. (RMJ)

BILL FAY
Time Of The Last Persecution
(Deram SML 1079) 2/71
‘Another rather tuneless singer who writes his own songs, Londoner Bill Fay is 28 and has the right sound in his voice for today’s folk tunes… He plays piano and is backed by a six-piece at times, including guitarist Ray Russell, who helped produce his second LP, which is versatile and interesting’ – NME, 20/2/71

Fay’s follow-up finds a more suitable arrangement style. There are a few horns, but producer Ray Russell’s electric guitars are prominent, his band is sympathetic, and the songs fall into a comfortable, mild rock groove. Small moments, like the little guitar solo that ends ‘Dust Filled Room’, add a musical depth that the first album lacked. Fay’s voice may still be a hard sell for some, but he does show emotion and take a few risks with it. The songs are again short, but effectively so. They come off as a series of vignettes that combine to portray a lonely, desperate man singing to an unlistening world. The best ones, like ‘Til The Christ Come Back’, which has some of the toughest lead guitar on the album, are evocative and powerful. Lyrics often tackle religion, in a questioning and poetic way. They certainly cover many of the complex questions of humanity. By the time he sings about the last persecution, near the end of side two, you won’t be entirely sure if he’s lamenting Jesus or himself. Towards the end of the album, the instruments fall into random noise, seemingly evoking the state of Fay’s mind. Some of you will connect very strongly with this album, one of the more fascinating singer-songwriter records of the early 70s. (AM)

SIMON FINN
Pass The Distance
(Mushroom 100 MR 2, with insert) 4/71
‘Simon wrote the material, all of it, and his voice fits the moodiness of the lyrics well enough. Support comes from the percussive efforts of Paul Burwell and multi-instrumentalist David Toop. It’s advanced-thought music, short on basic impact. But interesting’ – Record Mirror, 10/4/71

Stark, wasted, spaced-out loner folk, as troubled as the picture on the back cover. It’s easy to overrate an album as bizarre and twisted as this, but the fact is that some of it is pretty dull. That’s not to say it isn’t worthwhile as a whole; the good bits are unique and powerful. ‘The Courtyard’ is a perfect example of the album’s pros and cons. It’s eerie and dark, the vocal arrangement is highly effective, and the acoustic instrumentation gives it a faraway vibe that adds to the effect. At the same time, it’s not especially well played and rambles on without too much purpose. Depending on your mood (or how closely you’re paying attention), you could either hate it or think it’s a masterpiece. The one unqualified success here is ‘Jerusalem’, with a tortured and insane vocal that pushes an already intense and completely engrossing song over the edge. The closing ‘Big White Car’ takes a similar approach and is almost as good, though I suppose you could argue that once is enough. Recommended to people who think Comus isn’t weird enough. (AM)

FIRE
The Magic Shoemaker
(Pye NSPL18343) 10/70
‘It is difficult to treat this album as a serious musical exercise. The sleevenotes declare that it is ‘a sample of the best in British progressive music’. It is anything but that’ – Sounds, 7/11/70

This concept album’s concept is weak, but the toe-curling and intrusive narrative sections are separated by some surprisingly meaty songs. ‘Tell You A Story’ is powered along by pounding drums and electronic guitar effects, ‘Magic Shoes’ has a decent guitar solo, ‘Only A Dream’ is appealingly dreamy (with some impassioned vocals) and ‘Flies Like A Bird’ (later covered by Christine Harwood!) has some stinging guitar. Other tracks are forgettable, however, and overall this has to be classed as yet another member of the overpriced and underwhelming club. Leader Dave Lambert went on to success with the Strawbs. (RMJ)

G.F. FITZ-GERALD
Mouseproof
(Uni UNLS 115, with insert) 10/70
Mouseproof is generally touted as a prog album, but it would be much more accurate to call it an experimental rock album. It’s defined by wacky, stoned songwriting, far-out lyrics, bizarre instrumentation, about a million different vocal styles (check out how classical choral vocals are followed by down and dirty blues mumbling on ‘Ashes Of An Empire’), abrasive musical experiments (i.e. the endlessly repeated ‘machine’ on ‘Political Machine’), and even a surprising pop sensibility. It may not exactly be listener-friendly, but it’s a really exciting album, with a bunch of cool songs and highly interesting instrumental experimentation. One of the most interesting and fun guitar rock albums of its time, and recommended to adventurous listeners. (AM)

FLEETWOOD MAC
Future Games
(Reprise K 44513) 9/71
‘There may not be the very high streaks of fire that Green came up with during his time with them, but the feeling now is one of great warmth, of great purpose… The overlying feeling is of great solidarity and reliance on each other as musicians’ – Sounds, 25/9/71

Totally different to their first four albums, this excellent LP saw Fleetwood Mac incorporating strong West Coast and progressive rock elements into their sound. Danny Kirwan’s three compositions are superb, but it’s Bob Welch’s sublime title track that really steals the show, with its shimmering layers of multiple guitars, hypnotic two-note organ line and dreamy harmonies. (RF)

FOLKAL POINT
Folkal Point
(Midas MR003) 1972
By far the most expensive and sought-after British traditional folk LP, Folkal Point’s sole album is worth every penny of its four figure price tag. Despite mainly acoustic arrangements (plus electric bass throughout), it’s actually not that traditional, with several contemporary songs and notable rock elements. The overall mood is one of poignancy and loss, brought to life by some exquisitely haunting female vocals. ‘Scarborough Fair’, ‘Victoria Dines Alone’ and ‘Sweet Sir Galahad’ in particular are quite magical, and there are no more than a couple of average tracks on the entire album. (RF)

THE 4 INSTANTS
Discotheque
(Society SOC 1016) 1966
This corking LP has become something of a cult item amongst collectors. Despite featuring utterly anonymous artwork and being issued on a budget label with no musicians credited, it’s one of the hardest-hitting British instrumental LPs of the mod / R&B era. Highlights include the tough title track, swinging ‘Water Melon Man’ (which could be the Artwoods) and pounding ‘Boggatini’ (with a surprisingly heavy drum solo). There’s deft organ and biting guitar throughout, making it clear that the musicians involved are of a high calibre. Some of the tracks are credited to Cattini / Winters / O’Neal / Keen, implying that famed session drummer Clem Cattini was involved, but the album remains a mystery. (RMJ)

FREE
Free
(Island ILPS 9104) 11/69
‘This is much better than their first effort, partly because they’ve escaped the heavy blues thing and are now proving that they have something of their own to offer. That something is simply hard, gutty rock with a distinctive edge given to it by the youthful voice of Paul Rodgers and the effective guitar of Paul Kossoff’ – Melody Maker, 8/11/69



This outstanding record was made before musicians formed bands with names that sounded like law firms, and people scoured the Yellow Pages looking for Kossoff, Kirke, Tetsu & Rabbit. It’s so heavily infused with youthful vibrancy that every time you put it on it feels like a Saturday morning. The harmonic blues-rock of ‘I’ll Be Creepin’’ kicks things off with all the swagger of a 17 year-old kid who’s just got off with the prettiest girl in school, and knows everyone knows about it. It’s complemented perfectly by the other two cock-rock gems, ‘Trouble On Double Time’ and ‘Woman’. However, what really makes this record is the dreamy, hazy, stoner tracks. More often than not your heart sinks when a rock outfit tries to bring out the lady within their music, but these guys were at the top of their game. The sublime instrumental ‘Mouthful Of Grass’ is straight out of the top drawer, as is the beautiful, psychedelic ‘Lying In The Sunshine’. Best of all is the epic ‘Free Me’, which dominates the second side and really should have been their swansong: they never got close to recording anything as good as this again. (JE)

FRESH MAGGOTS
Fresh Maggots
(RCA SF 8205) 9/71
‘Fresh Maggots are an extraordinary duo who produce enough sound to pass as several more people, and play a fine blend of electric and acoustic music that passes under the heading of folk-rock. Mick Burgoyne plays electric guitar, glockenspiel, tambourine, violin and two tin whistles in harmony, and writes lyrics. Leigh Dolphin plays acoustic guitar and writes the music. The result can often be raw, sometimes sweet, but mostly interesting’ – Disc & Music Echo, 20/11/71

Played by two teenagers who came up with possibly the worst band name of all time, this is a truly bizarre record. For about half of the album they can only be described as a hard rock duo with only one hard rock instrument: no bass and drums, just acoustic guitar and raging fuzz guitar. It’s rather exciting at first, but the fact is that there’s just plain something very obvious missing, and the novelty soon wears off. Bits of folky recorder add some spice, but a rhythm section would have been better. Some of the more straight folk songs are lovely, with the orchestrated and dreamy ‘Rosemary Hill’ being a real highlight. It’s definitely an interesting and unique record, though the first two songs are the best and the rest are just lesser variations on them. (AM)

MARK FRY
Dreaming With Alice
(IT ZSLT 70006) 6/72 [Italy only]
Released only as a local RCA pressing in Italy, Dreaming With Alice is a legendary rarity of the hippie folk-rock scene. It’s an LP that’s easy to like, with good songwriting and all the elements that genre fans crave – dreamy vocals, sitars, flute, stoned Eastern fantasies and wistful Donovan fairytale moods. Indeed, it sounds like a sliver of vintage, acid-fuelled Donovan expanded to an entire album – and why not? Those with no particular love for droney backpacker ragas may find it dated and naïve, but Fry’s undeniable talent and inviting attitude give him an edge over almost all the competition in this crowded genre. The gentle acoustic mood is wisely broken up with folk-rock jamming and even some hard-edged fuzz workouts, all within the aesthetic boundaries of this skilfully arranged yet pleasantly organic album. (PL)

FUZZY DUCK
Fuzzy Duck
(MAM 1005) 9/71
‘They make a lot of energetic sounds, mostly from the strident lead guitar and organ, though the other two make themselves heard too. Vocals are shared between Grahame White and Mick Hawksworth, and when singing together they are a force to hear’ – NME, 4/9/71

In this humble reviewer’s opinion, this is the best of all the UK prog and psych über-rarities: a record that is not only worth the considerable time and money required to acquire a copy, but also gives the big name bands of the era a run for their money. There simply isn’t a weak song on it. Opener ‘Time Will Be Your Doctor’ is a stunning heavy rock / prog crossover that drummer Paul Francis brought with him from his previous band, Tucky Buzzard. His superb drumming dictates the abrupt time changes in ‘Mrs Prout’, which segues into the anthemic, uplifting ‘Just Look Around You’. A fabulous side of vinyl closes with the breezy Who-circa-Tommy-styled ‘Afternoon Out’. The momentum is continued on side two’s Atomic Rooster-inspired ‘More Than I Am’, with its driving dual Hammond and guitar riff. ‘Country Boy’ is the album’s only lesser song, but only by virtue of its exalted company. Closer ‘In Our Time’ is a glorious slice of Hammond-fuelled prog, reminiscent of Deep Purple’s ‘Pictures of Home’. A genuine five star record - and it never came with a poster, by the way. (GH)

GALLERY
The Wind That Shakes The Barley
(Midas MFHR 046) 1973
The first and more valuable of Gallery’s two albums consists mainly of very delicate and refined interpretations of traditional themes, with notable similarities to Spriguns Of Tolgus and (to a lesser extent) Tickawinda. The closing cut ‘Icy Acres’ is especially impressive, with a haunting, melancholy and crystalline atmosphere highlighted by Barbara Atkinson’s superb vocals. (RF)

MICHAEL GARRICK
Moonscape
(Airborne NBP 0004) 1964
Garrick was one of the most versatile and important British jazz composers of the 1960s, and a fine pianist too. He recorded prolifically, variously leading a quintet, sextet, septet and other configurations of leading musicians. Only 99 copies of this painfully rare little 10" nugget were pressed up. This has led to it becoming hugely collectable, reaching prices toward £1000. Daft, I know – but some people lose their minds when it comes to a pianist and composer as gifted as Garrick. Not entirely ‘free’, yet not wholly structured either, his playing is wonderfully other-worldly on this mini-album. You really can imagine playing this on the moon. (TH)

GENESIS
From Genesis To Revelation
(Decca LK / SLK 4990, with insert) 4/69
‘On the inside notes accompanying the new LP by Genesis it says ‘We hope you won’t find it pretentious…’ Sad to say, though, it is. Their attempt at a blend of classical ideas and pop thinking has ended in only occasional shafts of daylight in a mainly depressing, bleak album, which is an overall bore’ – Disc & Music Echo, 26/4/69

Had Genesis not recorded again, this would surely be remembered as one of the best popsike albums of the 60s, rather than a callow prelude to their later, denser work. Each and every song has a strong hook and an imaginative arrangement, and there’s a strong sense of foreboding in the vocals and lyrics. Especial highlights are the creepy ‘In The Beginning’, sentimental ‘Fireside Song’, groovy ‘The Serpent’ and anthemic ‘In The Wilderness’. Some songs on the second side are less memorable, but this is a record I listen to with great pleasure. My only complaint is that the clearly bitching electric guitars were buried in the mix by the insufferable Jonathan King. Their three non-LP Decca sides are just as impressive, by the way, with the intense ‘That’s Me’ and ‘One-Eyed Hound’ indicating how much ballsier they sounded when the guitars were mixed properly, and ‘A Winter’s Tale’ standing as a lovely ballad. It’s hard to believe they were teenagers when this material was recorded. (RMJ)

GENTLE GIANT
Gentle Giant
(Vertigo 6360 020) 11/70
‘Giant are certainly exceedingly clever and exceedingly romantic, with a good sense of make-believe and vision. Musical content is actually rather glorious, with powerful heavy chords and weird, nightmarish-sounding vocals traversing a sky of complex, playful rhythm – all good stuff for an active imagination’ – Melody Maker, 28/11/70

An astonishingly mature debut from an outfit that are as much an orchestra as a band, such is the scope of their music. Quite why they were not a greater success at the time is an enigma, given the acclaim accorded Yes, Genesis and ELP. Opener ‘Giant’ sets their stall out beautifully: heavy rock guitar, sudden time changes, classical codas and ethereal interludes. One of their greatest strengths is the superb use of violins, best heard here on ‘Funny Ways’ and ‘Isn’t It Quiet and Cold?’. The latter has an agreeably jaunty music hall feel. Another signature is their close harmony vocals, combined with Ray Shulman’s rasping, throaty rock voice, heard at their best on the anthemic ‘Alucard’. The second side begins with the LP’s centrepiece, the epic ‘Nothing At All’, which features a gentle Simon & Garfunkel-style opening before segueing into heavy guitar histrionics and a bizarre drum and piano duel. It’s arguably over-stylised, but nevertheless indicative of the band’s pure inventiveness. ‘Why Not?’ is straight heavy rock, before the record closes with ‘God Save The Queen’. This is prog rock at its cleverest, but because the band never lose sight of memorable tunes and melodies it’s much more accessible than many of its peers. Yet another classic from 1970. (GH)

THE GHOST
When You’re Dead – One Second
(Gemini GME 1004) 8/70
‘This is loud, and best when played on a big stereo at top volume. The Ghost has a conventional line-up of guitar, organ, bass and a female vocalist. Shirley Kent practically screams out the lyrics, and puts every ounce into every word, but she falls flat on the folk-type song, ‘Hearts And Flowers’… Paul Eastman plays a nice lead, controls volume and knows how to use dynamics, and Charlie Grima knows his limitations on the drums and sticks within them. If you like loud, aggressive music, this album is for you’ – Melody Maker, 22/8/70

Great album cover and title, great female vocals, erratic but exciting album that mixes three rather different styles. The worst songs are undoubtedly the moderately heavy rockers, with organ, noisy lead guitar and a laughably quasi-serious male vocalist. Other songs have a really nice old-fashioned garagey feel to them. ‘The Castle Has Fallen’ and ‘Night Of The Warlock’, in particular, are solid slabs of energetic and enjoyably sloppy rock and roll. The remaining songs are moody psych, clearly influenced by US West Coast bands, with powerful female vocals that make the listener wonder why they let the guys sing at all (given the disparity of styles, I would guess that these songs were not all recorded at the same point). Some of these songs are truly excellent, with ‘Time Is My Enemy’ probably the strongest. The lyrics are pretentious and doomy throughout, which works for and against them (some are as silly as the male singer). It’s unlikely that you’ll like this from start to finish (it starts to grate as the number of songs with the male singer pile up), but there’s some good stuff here. (AM)

GOLIATH
Goliath
(CBS 64229) 2/71
‘Linda Rothwell, the five-foot-nothing soul machine, has a voice usually reserved for women twice her girth, and each of the group has something to offer with their particular instrument… None of them are virtuosi, but they have a natural gift for putting their talent over’ – Melody Maker, 13/2/71

Originally known as Petrus Boonecamp, this Mancunian quintet honed their repertoire in German clubs before recording one of the better progressive obscurities of the era. The music is jazzy but tight, with cool ensemble playing, including snappy drumming, melodic flute, sax and vibes and some exciting guitar (check out the wild Eastern-flavoured solo on the superb ‘Festival Of Light’). They cook up some intense jams elsewhere, perhaps best of all on the hard-hitting ‘No More Trash’, and end with a fine rendition of Davy Graham’s ‘Maajun (A Taste Of Tangier)’. It’s not all top-notch, but never less than interesting. The band split in March 1971, right after the LP’s release, when singer Linda Rothwell was hospitalised with a serious nervous breakdown. (RMJ)

SAM GOPAL
Escalator
(Stable SLE 8001) 1/69
‘A British underground group which, for a change, should appeal to a wide audience, as all the tracks are very melodic and easy to listen to. While most other groups dabble with the sitar, Sam Gopal has concentrated on the tabla, which fits surprisingly well into a very individual Western sound of heavy guitars and drums’ – NME, 25/1/69

One might suggest that heavy rock without a drummer is a pretty stupid idea. Fans of this album will scream that it is not, but as I see it, a drum set (there are some bongos) could only have improved this. It’s awfully wild as it is, with unrestrained fuzz guitars, crazed bass playing and dark, unearthly lyrics. All it’s missing is a beat, and some crash bang boom, and the kind of pounding that makes your skull ache. One notch it has in its belt against the heavy rock competition is that the songs are short and sweet. They have their say, the lead guitar goes crazy, Lemmy fans swoon, the song is over, and the next one, which covers similar ground to the last, begins. This really is pretty cool, with an eerie eastern feel and a truly wasted series of guitar leads. Despite the fact that it feels so offhand and unformed, and my contention that it could have been something a bit more, it’s a lot more fun than many ‘better’ albums of its time. I could have done without the Donovan cover version, though. My pick hit: ‘You’re Alone Now’, which is anchored by a great high-register bass pattern and has two false endings. By the way, do those guys look bad-ass in the cover photo or what? (AM)

DAVY GRAHAM
Large As Life And Twice As Natural
(Decca LK / SKL 4969) 1/69
‘An entertainer who actually manages to span the gaps between folk and jazz and other scenes. Includes blues such as ‘Bad Boy Blues’, ‘Beautiful City’, which is on a gospel kick, ‘Sunshine Raga’, which comes from the far East, and ‘Tristano’, which is a tribute to the blind jazz pianist… Needs careful study, this collection, to get the most out of it – but first-rate material, arrangements, performance and production. Worthy of big sales’ – Record Mirror, 25/1/69

There’s a considerable gap between Midnight Man and this, time Graham spent travelling and gigging (as evidenced by the excellent After Hours At Hull University CD, recorded on February 4th 1967). When he did finally return to the studio, it was with the sterling line-up of Harold McNair, Dick Heckstall-Smith, Danny Thompson and Jon Hiseman backing him. His playing is more influenced by Eastern and Indian music than ever, most evident on a breathtaking interpretation of ‘Both Sides Now’ (arguably the finest thing he ever recorded), his own ‘Jenra’, and the semi-improvised ragas that end each side (‘Sunshine Raga’ and ‘Blue Raga’). Elsewhere there are three blues standards, in highly original arrangements – a terrifically percussive take on Fred McDowell’s ‘Freight Train Blues’ (featuring fantastic playing from Hiseman), a languid rendition of the blues standard ‘Electric Chair’ (with prominent flute from McNair) and a punchy take on Ledbetter’s ‘Good Morning Blues’. This LP typifies the fact that, because Graham’s musical interests were so varied from the start, his albums don’t tend to have strong individual identities. Instead, they come across as batches of songs that he happened to record at the time of each session. In other words, most of the material on any of them could have been on any of the others, which makes it hard to assess his oeuvre in terms of musical development. (RMJ)

GRAPEFRUIT
Around Grapefruit
(Stateside S(S)L 5008) 4/69
‘The group sings well together and adds a gutsy instrumental sound. They can relax, as on ‘Lullaby’, get the happy-music going well with ‘Round Going Round’, and prove their imagination with ‘Theme For Twiggy’, which one might think would be a bit thin, but isn’t’ – NME, 19/4/69

Housed in one of the most hideous sleeves of all time is a darn fine popsike album. It’s equal parts Beatles, Hollies and Bee Gees, and full of terrific pop tunes. Psych fans will dig the moody ‘Yesterday’s Sunshine’, pure pop fans will love ‘Elevator’ and Lennon fetishists will get a bang from ‘Lullaby’. A splendid time is guaranteed for all. They’re not as ambitious or distinctive as, say, Kaleidoscope, but they sure can sing and write. The McCartney-style bass playing is also a plus. The only real problem is the production, which is flat and muffles the dynamics of these songs. It’s odd that this album seems to have been forgotten over the years, because it sure beats a lot of ultra-rarities and is one of the most consistent and satisfying of its type. (AM)

NORMAN HAINES BAND
Den Of Iniquity
(Parlophone PCS 7130) 9/71
‘Rough-edged but with a basic tightness. Title track is a standout, as is the marathon, multi-part ‘Rabbits’. There’s some standout guitar work, what’s more, from Neil Clarke, who really goes a bit. Birmingham-born Norman is a very real grafter on organ, piano or plain voice. Rock heavy’ – Record Mirror, 9/10/71

One of the rarest LPs on Parlophone, this was doomed to collectibility when EMI supposedly withdrew it because the mildly obscene artwork was offending retailers in the shires. The title track is heavy rock at its most epic, and starts proceedings in grand style. The pace slackens with the lightweight pop of ‘Finding My Way Home’, but picks up again with a meaty rendition of ‘Mr Armageddon’, a track Haines had already recorded with Locomotive, and the ambitious synth-led rocker ‘When I Come Down’. Most of the second side is taken up with ‘Rabbits’. Though it centres on a terrifically catchy riff, it contains too many overlong solos from guitarist Neil Clarke (who’s on great form elsewhere on the record). Overall this is uneven, but certainly worth exploring. The limited CD release on Shoestring Records contains several bonus tracks including the superb, plaintive ‘I Really Need A Friend’. The band was originally called ‘Sacrifice’, incidentally, but were forced to change that too. (GH)

JEREMY HARMER
Idiosyncratics And Swallows’ Wings
(no label, with insert) 1969
A subdued, introspective singer-songwriter LP featuring David Costa from Trees on guitar (he and Harmer were fellow students at the University of East Anglia). Most tracks feature a mini-chamber pop ensemble of guitar, flute, viola, bass, drums etc, which lends the mournful material a baroque, Swingin’ London air. Standouts include the drifting, drowsy ‘People Smile With Ghosts In The Land Of Make-Believe’, early folk-rock of ‘Tuesday PM’, ornate, psych-tinged ‘With You Each Day’ and sublimely despairing closer ‘Melanie’. It was recorded at a BBC studio in Norwich and pressed in a run of 99 copies. (DW)

ROY HARPER
Stormcock
(Harvest SHVL 789, with insert) 4/71
‘The songs, the voice and the arrangements all have Harper’s indelible print. Each reverberates with character and individuality… The enigmatic attraction of the four songs on this album contains cunning balance between emotion and cynicism… Cold print is incapable of describing in full what is so obviously an intensely direct album’ – Melody Maker, 1/5/71

With Stormcock, Harper found a fascinating middle ground between the rock of Folkjokeopus and the pure folk of his other albums. There are no drums here, but the arrangements have strength and depth, something Harper proves you don’t need density or volume to maintain. For instance, the guitar-and-voice arrangement to the opening ‘Hors D’Oeuvres’ sets the stage for some stunning backing vocals, and slowly adds organ and some subtle electric guitar. The song is simple and deliberate, but builds dramatically to a point of great intensity. There are only four songs on Stormcock, each an epic of sorts, each creating a different and equally strong mood. Most Harper fans point to this as his finest album, and it’s hard to disagree; it’s the kind of record that feels like a special occasion every time you sit down and listen. Harper’s lyrics also hit some real peaks, and his vocals are at their purest and most evocative. Stormcock is a triumph of inspired songwriting and performance from a singular talent. Jimmy Page adds some understated but lovely guitar to one song, too. (AM)

JOE HARRIOTT
High Spirits
(Columbia SX 1692) 2/65
‘That it works at all is surprising; that it works so well is astonishing. Good, light-hearted music with Harriott’s alto coming through at its punchiest’ – Record Mirror, 27/2/65

Abandoning the aggressively adventurous stylings of his previous LPs, here Harriott unexpectedly covers the songs from the stage musical adapted from Noel Coward’s play ‘Blithe Spirit’. This is light-hearted and enjoyable music, with some fine flugelhorn and trumpet from Shake Keane and typically incisive alto from the man himself. (RMJ)

JOE HARRIOTT & AMANCIO D’SILVA
Hum Dono
(Columbia SCX 6354) 8/69
‘The teaming of Harriott’s sarcastic, surging alto and D’Silva’s guitar, with its Portuguese and Indian undertones, is 100% successful’ – Melody Maker, 4/10/69

One of the greatest jazz albums ever made in Britain. The combination of Jamaican-born Harriott’s alto sax and Indian-born D’Silva’s electric guitar was an inspired idea, and the backing from Dave Green (bass) and Bryan Spring (drums) is utterly supportive and sympathetic, as is guest Ian Carr’s flugelhorn on the first and last tracks. The musical heritage of both featured musicians shines through in each piece, from the loping groove of opener ‘Stephano’s Dance’ (written for D’Silva’s infant son) to the stately beauty of ‘Ballad For Goa’ and mellow ‘Jaipur’. Norma Winstone makes her recording debut, contributing perfectly-judged wordless vocals to a number of tracks and adding hugely to their atmosphere. The LP’s zenith comes with ‘Hum Dono’ (‘we two’ in Hindi), an irresistible guitar and sax duel featuring some stupendous licks from Harriott and a virtuoso solo from D’Silva, who sings every note as he plays it. When he’s done, his abrupt return to the piece’s main chord structure and Harriott’s spine-tingling re-entry is one of the greatest moments in British jazz. The only misstep is ‘Spring Low Sweet Harriott’, a brief free piece that sits awkwardly alongside the beautifully-structured music elsewhere (and was presumably only included for its title). It’s a tragedy that Harriott and D’Silva never collaborated again. Indeed, Harriott would only record once more (a cameo on Laurie Johnson’s Synthesis), and succumbed to cancer in 1973. He spent his last years in ill-health and poverty, ignominiously eking out a living with pick-up groups in pubs and clubs, and his awesome legacy took 30 years to be recognised. (RMJ)

HARSH REALITY
Heaven And Hell
(Philips SBL 7891) 5/69
‘The harsh reality is that they obviously haven’t a clue what they’re doing or why. To be fair, they play well and try their best. But producer Fritz Fryer’s venture into Mothers Of Invention-type freaking out is painful and embarrassing’ – Melody Maker, 31/5/69

This decent piece of psych would have been more at home in 1967. Side one is superb, marking the point at which psych was turning into prog. Exuberant opener ‘When I Move’ is a ball of insistent R&B riffs, Hammond runs and wonderful Ritchie Blackmore-style soloing. ‘Tobacco Ash Sunday’ sounds like the Zombies at the top of their game, with heartfelt vocals from Alan Greed. ‘Praying For Reprieve’ is rocking psych, reminiscent of their labelmates the Open Mind, and the catchy title track has the hallmarks of a great hit single. Side two starts well with ‘Devil’s Daughter’ (heavy rock in the Spooky Tooth vein), but then collapses into a run of tuneless, sloppy and self-conscious meanderings. What a shame! (GH)

ALEX HARVEY
Roman Wall Blues
(Fontana (S) TL 5534) 12/69
‘A very, very good album… The vocals are distinctive and forceful, emphasised in parts by double-tracking, and the backing of solid brass and guitar is very well-arranged. All the guitar work is very good, and on ‘Broken-Hearted Fairytale’ there is an incredible exchange between banjo and guitar… The songs have an enormous amount of vitality, which comes over well, and a good deal of variety. This is one record that will never let you down’ – Beat Instrumental, February 1970

Recorded by the man once dubbed ‘Scotland’s Tommy Steele’ with the help of brother Leslie and an eclectic band of session cats, this inventive period piece has weathered well. Side one kicks off with a heavily fuzzed-up ‘Jumping Jack Flash’, well-served by Harvey’s dispassionate vocals, while ‘Maxine’ is a wonderfully observed ‘love song’ held together by taut keyboards, intertwining percussion and surprisingly tender vocals. The soulful instrumental ‘Down At Bart’s Place’, meanwhile, is an showcase for his technical ability, and returns to his roots with some great sax. ‘Candy’, ‘Hammer Song’ and ‘Midnight Moses’ point the way towards the SAHB; indeed, the latter two even made it to their first album. I much prefer the rendition of ‘Midnight Moses’ here, with its fantastic up-tempo rhythm. Barely 18 months later, Harvey would meet Tear Gas at the Marquee Club, and the rest, as they say, is history. This deserves to be remembered as much more than some naïve debut piece, though. (SC)

HAWKWIND
Hawkwind
(Liberty LBS 83348) 7/70
‘An excellent debut from this group, who have not yet achieved the recognition they deserve. They are most easily comparable to Pink Floyd, because of the electronic sound they send ricocheting across the stereo and right into the back of your head’ – Disc & Music Echo, 1/8/70

If you’d just picked this up and put on the first track, you would be forgiven for thinking it was a fairly straight-ahead rock record. ‘Hurry On Sundown’ is a fine track, but (aside from the last song on side two) it bears little if any resemblance to what follows. What does follow is a complex, at times quite challenging, collection of beats and rhythms that essentially paved the way for what is now known as space rock. ‘Be Yourself’ is a driving, somewhat deranged jam, and along with the epic ‘Seeing It As You Really Are’ are solid examples of the genre. ‘Mirror Of Illusion’ is a nice way for the record to end, a more accessible piece in the ‘Sundown’ vein. Dick Taylor of the Pretty Things co-produced. (JE)

TUBBY HAYES
Mexican Green
(Fontana E SFJL 911) 10/68
‘Recorded last year, this is Hayes at his most inventive on beautifully constructed tenor (etc.) solo work. A stand-out production’ – Record Mirror, 26/10/68

Often held up as Tubby’s best album, and thus by definition as one of the best British jazz albums. It’s certainly a step-change for the great man, as it contains clear examples of him exploring new pathways into arrangement and playing. By the time he recorded it he’d assembled a new quartet, injecting new blood and vigour into his playing. The opener is ‘Dear Johnny B’, a tribute to drummer Johnny Butts (who died in  a car crash), and features great solos from Tubby and pianist Mike Pyne. The title cut, meanwhile, pointed a way forward for Tubby – but it was not to be. (TH)

HELP YOURSELF
Help Yourself
(Liberty LBS 83484) 4/71
‘Instrumentally they are nothing special, but that’s not really their gig, and it’s as songsters that they come across… Help yourself to a little of their music. If you like country-rock, you’ll enjoy this album’ – Melody Maker, 22/5/71

The initial Help Yourself album doesn’t stretch out musically the way the later albums would. In place of the jams are relatively tight songs that have a clear US West Coast vibe; the UK version of US rural rock. Oddly, the album begins with an atypical song, a honky-tonk song about Jesus, and one has to think that there were listeners who at the time didn’t even bother checking out the rest after that start. It picks up from there, though. The following ‘To Katherine They Fell’, with some dreamy slide guitar, is especially choice. The rest of the album mixes mellow, thoughtful songs with harmonies and drifting lead guitar and upbeat, almost bouncy, mellow rock. It’s clear why they got a reputation as the UK version of the Grateful Dead, even on this album, which has no long jams. They hadn’t entirely hit their stride yet, but they do have the confidence of a band who are finding their voice and are comfortable with it. All of the elements that would make them great are here, and the subtle lead guitar playing throughout should enthrall all of you Neil Young fans out there. You might want to skip the first song (and, admittedly, the next two albums would also be guilty of including at least one real dud), but this is a strong record.  It is also their rarest album in the USA, where it was never released. (AM)

DORRIS HENDERSON & JOHN RENBOURN
Watch The Stars
(Fontana STL 5385) 2/67
‘She ranges through everything from folk to the blues – as the sleevenote says, you can’t pigeon-hole her. She sounds a bit like Joan Baez in parts’ – Record Mirror, 25/2/67

As a black American, Dorris Henderson perhaps wasn’t an obvious choice to be one of the key figures in the English folk revival. But, with John Renbourn, she cut two of the most important albums in the development of the genre, setting her superb voice against his virtuosic, distinctive guitar picking on a broad repertoire of traditional and contemporary numbers. Along with Shirley Collins & Davy Graham’s Folk Roots, New Routes, these are arguably where Pentangle, Fairport and the explorations that followed began. (RF)

HERON
Heron
(Dawn DNLS 3010, with insert) 11/70
‘A beautifully gentle LP of folk songs. The back cover photo sums it all up, with everyone looking relaxed, with their out-of-place equipment and the sun suinking behind the trees… The songs are pretty, the lyrics are interesting and reflective, and the whole restfulness makes a refreshing change’ – Disc & Music Echo, 28/11/70

Recorded in the open air at their Berkshire farmhouse (complete with live birdsong and chat between tracks), this is mellow and good-natured folk-pop. Gentle, melodic openers ‘Yellow Roses’ and ‘Car Crash’ set the tone, with delicately-strummed guitars and warm vocal harmonies that neatly capture the bucolic vibe. Other effective tracks in the same vein include ‘Smiling Ladies’ and ‘Lord and Master’, but the quartet are less successful on upbeat numbers like ‘Harlequin 2’ and the annoying ‘Sally Goodin’ (which comes in two short doses). Though the album’s all well played and sung, it’s not especially varied and its ultimate effect is rather soporific. (RMJ)

HIGH TIDE
Sea Shanties
(Liberty LBS 83264) 9/69
‘Heavy guitar dominates this rather rambling set, successfully reducing the album to prolonged monotony. High Tide – low ebb!’ – Melody Maker, 4/10/69

Curiously addictive and enormous fun, this is an absolutely unhinged and raucous riot of an LP. Its centrepiece, Simon House’s violin, might seem a juxtaposition too far, but in fact it melts into the cacophony effortlessly. He’s especially good on ‘Death Warmed Up’. Other highlights are the wild heavy metal of ‘Futilist’s Lament’, the almost-progressive rock of ‘Walking Down Their Outlook’ and the more subtle, varied pace of ‘Pushed But Not Forgotten’. Only the tuneless ‘Missing Out’ is poor. For those who like their rock raw and wild. (GH)

TIM HOLLIER
Message To A Harlequin
(United Artists (S)ULP 1211) 10/68
‘Super production and gentle, meaningful songs. At first hearing you think ‘okay’, and after three more you realise how very good it is. The production is in fact outstanding, with a clarity and controlled power far too rare on English records’ – Disc & Music Echo, 9/11/68

Hollier’s best-known album is a baroque psych / pop concoction that’s too pretentious for its own good. When it works (as on the majestic title track), Hollier’s lack of humour is forgiven. On the lesser material, however, his soulless vocals and hippie-dippie lyrics combine with the overwrought arrangements in a way that makes me long for croaky American folk singers, or the sparse gloom of someone like Leonard Cohen. Extra points go to whoever played bass, though: the basslines keep my interest better than most of the melodies. One inspired idea that works: the dual lead vocals on ‘Hanne’. (AM)

THE HOLLIES
Butterfly
(Parlophone PMC / PCS 7039) 11/67
‘Some interesting, weird sounds on this album, but also a lot of good, happy beat music… We get Oriental, churchy, outer space and other effects, but I must be old-fashioned because I liked the happier, beatier pieces’ – NME, 18/11/67

The second of two vital albums released by the Hollies in 1967, Butterfly successfully delivers on the promise given on the preceding Evolution. Psychedelic and experimental elements are seamlessly integrated with the band’s familiar sound. A few songs like ‘Maker’ completely abandon the old Manchester beat for acid and incense, yet I think Butterfly succeeds precisely because the boys knew where their strengths lay, in the songwriting and the vocal harmonies. Shades of Donovan and (of course) the Beatles inform the excellent and varied arrangements, which range from psychedelic sound effects over wistful chamber music and vaudeville into the majestic orchestrations of ‘Would You Believe’, and the subtly magic title track. I must admit I even enjoy the much-maligned ‘Pegasus’. Like Kaleidoscope’s debut from the same time, the captivating, upbeat mood hides a few darker strains, such as the surprising Nietzschean condescension of ‘Elevated Observations’. With typical EMI quality control, it’s an excellent recording with warmth and presence, and the running order is perfectly structured (caution: terrible rechanneled stereo mixes float around, so make sure you get an original 60s version). While I’m sure this album was greeted with ridicule by the ‘hip’ underground in ’67, I listen to it a lot more than Sgt Pepper today. (PL)

HORSE
Horse
(RCA SF 8109) 7/70
‘Stodgy, heavy sounds from a four-piece that sounds like a pale imitation of Black Sabbath’ – Melody Maker, 18/7/70

Despite ropey production values, the first side of this is truly excellent, veering between prog, psych and metal while retaining pop sensibilities. ‘The Sacrifice’ starts the LP in style as a slice of scorching metal, while ‘See The People Creeping Round’ and ‘And I Have Loved You’ are hard-edged, riff-based psych along the lines of the Open Mind. To these ears the lack of keyboards is a welcome surprise too. Typically for this kind of buried treasure, though, side two is much weaker. Drummer Rick Parnell later joined Atomic Rooster. (GH)

CATHERINE HOWE
What A Beautiful Place
(Reflection REFL 11) 6/71
‘Catherine sings her compositions with a conviction that alternately attracts and alienates… There are songs that are so personal to their composer that they suffer from obscurity. The orchestral arrangements can be recommended throughout as positive aids to the mood, without resorting to clichés. One off-putting feature is Catherine’s persistence in reciting lines that fall short of the enigmatic poetry I imagine they are intended to be’ – Melody Maker, 19/6/71

Among the most collectable UK LPs of the 70s, this usually sells for well into four figures. Rarity aside, I’m not sure why: it’s a lovely LP, but firmly in a mainstream singer-songwriter vein, not a genre that generally commands much money. The point is borne out by Howe’s subsequent albums for RCA (which are less melancholic and more uptempo), which struggle to fetch a tenner. No less talented than the singer-songwriters who did make it, Howe was simply unlucky in never penning the hit single that could have seen her joining the major names of the genre. (RF)

LINDA HOYLE
Pieces Of Me
(Vertigo 6360 060) 11/71
‘I was amazed at her vocal range with Affinity, and it’s still as wide and good on her first solo album. What’s more, she has written 9 of the 12 tracks herself, with help from pianist and arranger Karl Jenkins. They are sad, lonely, mysterious or rocking, and very rich both vocally and lyrically... The songs are all very intimately personal, and sparsely yet effectively accompanied’ – Disc & Music Echo, 4/12/71

The former Affinity singer’s sole solo outing is a decidedly mixed bag, ranging from languid blues (‘Backlash Blues’) to affecting ballads (‘Paper Tulips’), straightahead rockers (‘Black Crow’) and even screeching electronic metal (the title track). Her unusual voice is not suited to all the material (whose would be?), but when all the elements on this diverse record gel, the results are truly magnificent: witness the magical ‘Journey’s End’. And top marks to Karl Jenkins for the varied and always interesting arrangements. (RMJ)

THE HUMAN BEAST
Volume One
(Decca SKL 5053) 11/70
‘A weirdo guitar sound from Gillies Buchan, backed by Edward Jones’s bass and John Ramsey’s drums. Gillies and Edward sing, rather flatly, and David McNiven adds clarinet on one track. All rather way-out’ – NME, 7/11/70

Recorded under less than ideal circumstances during a single late-night session, the Human Beast’s sole release is a relentless journey into dark, sinister aural spaces. Understated drum and bass create an ideal backdrop for Gillies Buchan’s piercing guitar leads and some moody, Jack Bruce-influenced vocals. Combined with cynical existentialist lyrics, the result has a cathartic, near-ritualistic feel, and some of the songs had in fact been written for a theatre production in the band’s hometown, Edinburgh. The more introspective tracks on Disraeli Gears provide an obvious model, but this is three years on, during which power-trio music had grown a lot freer, and the mood even darker. Perhaps the essence of the Human Beast can be found in an amazing passage where Buchan’s wah-wah fires off an evil, sarcastic laugh at the listener, followed by the declaration that ‘appearance is nothing’. Untainted by the operatic drama-queen postures of the era, this memorable album stands alongside Elias Hulk’s Unchained as a beacon for a course that more UK hard rock bands should have followed. (PL)

HUNTER MUSKETT
Every Time You Move
(Decca Nova SDN 20) 10/70
‘Gentle, unstartling stuff with warm cellos and guitars and sad, rather nostalgic lyrics. In fact, lyrics seem one of their strong points… Praise too the gentleman who did the strong, arrangements hovering in the background’ – Sounds, 24/10/70

The rarest album in the collectable Nova series is a delightfully warm collection of acoustic ballads, with some lush string arrangements. On a cursory listen it may sound somewhat insipid, but subsequent plays reveal a depth to the songwriting, as well as gorgeous vocal harmonies and expert guitar playing, which add up to a highly enjoyable listen. My favourite tracks are the pretty, highly melodic ‘Hey Little Girl’, atmospheric ‘Midsummer Night’s Dream’ and plain gorgeous ‘Press Gang’, but the standard is consistently high. No wonder it comes up for sale so rarely. (RMJ)

ICARUS
The Marvel World Of Icarus
(Pye NSPL 28161) 7/72
‘A band of competent musicnas who produce a varied sound with frequent changes in tempo. Neat guitar work from John Etheridge and thoughtful keyboards from Iain Haines make the songs easy on the ear’ – Beat Instrumental, December 1972

A concept album with a difference (American cartoon characters), and a record of two distinct halves. Side one is punchy garage-metal with dirty riffs, good tunes and throaty, Beefheart-esque vocals from the excellent Steve Hart. ‘Spiderman’, ‘Fantastic Four’ and ‘Hulk’ are particular highlights. Side two changes direction and gets bogged down in progressive jazz, with too much noodling and tuneless synths reminiscent of Arthur Brown or even Vienna-era Ultravox (on ‘Conan the Barbarian’ and ‘Iron Man’). Given the rawness and thrown-together feel of much of this album, one gets the impression that it may all be a sardonic chuckle at the flatulent excesses of the prog era. The joke may well be on us. (GH)

IDLE RACE
The Birthday Party
(Liberty LBS 83132) 10/68
‘This English group has a distinctive, uncomplicated style, which on some tracks reminds me of the Bee Gees, and on others of Nilsson’s work. All the songs were penned by the group… A good, frivolous and original album’ – NME,

More than any other psychedelic band, the Idle Race had an old-fashioned music hall sensibility and sense of humour. The rock tradition of songs like the Kinks’ ‘Sunny Afternoon’ and the Beatles’ ‘Your Mother Should Know’ are met here with more guitars and a less self-conscious sense of nostalgia. The inevitable Move comparisons are only half-right; I suppose you could look at the Move as the rock side of the Brumbeat coin and the Idle Race as the pop side. And that’s a pretty nice coin for anyone’s collection. The Idle Race wrote terrific pop tunes, brimming with amusing lyrics, quirky melodies and just enough of a psych edge to make them a lovely product of their time. Given the great popularity of ELO and the way the Idle Race has become a footnote, it’s a surprise to find Lynne was already so strong a songwriter and arranger back in the late 60s. He changed styles as he got older, but his instincts always remained sharp. It’s rather puzzling that it took ELO for him to find his commercial success, as this is full of radio-ready songs: ‘The Skeleton And The Roundabout’, ‘On With The Show’, the hilarious ‘Lucky Man’, even the rather wussy ballad ‘Follow Me Follow’. Yeah, some of it is rather childish and lightweight, but in a charming way. I defy you to listen to ‘I Like My Toys’ without smiling. A must for any popsike collection. (AM)

INCREDIBLE STRING BAND
The Incredible String Band
(Elektra EUK 254) 9/66
‘This will probably be labelled untraditional, if only because many of the songs they perform are the catchy, jerky little numbers written by guitarist Mike Heron, which sound like a cross between American country blues and Bulgarian folk dance tunes. But Clive Palmer’s banjo has the jingle-jangle of street tradition in it, as has Robin Williamson’s fiddle… This is a group, in fact, who make you realise that categories are merely a help to thinking, not a prison to live in. The sound they make is warm, joyous and exciting’ – Music Maker, October 1966

It’s often stated that this made a massive impact in UK folk circles. If so, it only goes to show how narrow the scene was in the mid-60s, as it’s far less radical than their next couple of albums. Here they’re a trio, with mainstays Mike Heron and Robin Williamson joined by banjo maestro Clive Palmer (who actually only appears on 5 of the 16 tracks). Highlights include Heron’s frenetic, violin-led ‘Maybe Someday’ and strange ‘The Tree’, which hints at the eccentric, Eastern direction they’d take on their next LP, while Williamson’s pretty ‘October Song’ and haunting ‘Womankind’ are the best ballads. Elsewhere there are three traditional numbers, including a showcase for Palmer’s banjo (‘Niggertown’) and his likeably wistful ‘Empty Pocket Blues’. Heron also contributes a couple of the cheery ditties he’d come up with throughout their career (‘How Happy I Am’ and ‘Everything’s Fine Right Now’), as well as the quirky ‘Footsteps Of The Heron’, which is reminiscent of ‘Little Cloud’ on their next LP. Their imagery is less striking than on subsequent albums, and the instrumentation is also restrained by their future standards, consisting of guitar, fiddle, mandolin, banjo, kazoo and whistle. There’s a lot of energy and fun here, as well as sensitivity, but their next LP is a better place for newcomers to start. (RMJ)

ITHACA
A Game For All Who Know
(Merlin HF 6) 1973
One of the rarest and most expensive British private pressings, this is controversial for two reasons. First, some collectors hate its mixture of naïve sunshine pop, dreamy soft progressive rock and attempts at avant-gardism via unusual use of sound effects. Personally, I find it a masterpiece, with some brilliantly catchy songs, clever production / arrangements and a unique, almost indefinable atmosphere. Some people’s second objection is easier to refute: Ithaca was certainly not a record dealer’s joke, recorded and pressed up in the late 80s and offered for sale to an unsuspecting public as a long-lost mega-rarity. Mainman Peter Howell most definitely existed, and was for years a prominent member of the BBC Radiophonic Workshop. (RF)

THE IVEYS
Maybe Tomorrow
(Apple SAPCOR 8) 1968 [Japan / Germany / Italy only]
The first album by the band who would soon be called Badfinger is a nice glimpse into the fascinating pop act they’d become, and a pretty enjoyable piece of Beatles-influenced rock as well. It features some really catchy tunes (‘Dear Angie’, ‘Maybe Tomorrow’) and a reasonable amount of experimentation. The songwriting is patchy, but considering that their overall oeuvre is the best of anyone in the immediately post-Beatles pop / pop-rock / power pop world, even their weakest album is something that fans of the style will enjoy. It was originally only released in Japan, West Germany and Italy. (AM)