Short of recognition that is bestowed on other fifties rock and rollers and most likely a blessing in kind, no truer legend is found in the world of rock and roll. Hawkins had his roots while he toiled in cotton fields alongside the black field hands. After his navy career he worked as a counter clerk in a record store in Shreveport while at night he sang the blues along the Bossier strip which was a three mile stretch of bars and honky-tonks. Thanks to the Louisiana hayride which embraced Shreveport's local community radio station, which was now the unofficial nursery for aspiring rockabillies, Dale Hawkins had a speedy introduction into the media world of R&B.

Likened unto the latter John Mayall, Hawkins would bring forth a fruit salad of highly talented axe men that would move on to greater things in the sixties - such as sixteen year old James Burton who played the 53 Fender Telecaster which supplied one of the most recognisable licks in rock and roll. It was during this period that Dale Hawkins charted with his first big hit called 'Suzie Q' which peaked at number 27 on pop and 7 on the R&B charts. He became and overnight sensation at the Apollo theatre amongst an all black bill cast. Confusion to the author of 'Suzie Q' still reigns for it was Dale who claims he wrote the words, while James Burton is reputed to have written an instrumental version during the Nashville sessions.

Other great axe men to emerge was plectrum maestro, Kenny Paulson and a three fingered power country guitarist, Carl Adams. In stepped Telecaster genius, Roy Buchanan in 1958 while jamming with Dale at the Tulsa's Oklahoma band stand. Worth mentioning Buchanan did a reworking of little Walter's 'My Babe' which is most likely the finest ever applied to wax. Buchanan departed in the early sixties while Hawkins faded into drearier pop ballads and increased demise due to chemical substances. By 1975 Hawkins retired to North Little Rock, Arkansas, after he licked his reliance on speed and hard liquor. He is now involved in setting up crisis centres of drug abuse amongst adolescents.

James Burton found fame with the Ricky Nelson band and later Elvis Presley, while Roy Buchanan still remains one of the most underrated axe men to emerge from the States. Sadly he hung himself in jail in 1988. Kenny Paulson took to mainlining which ended his career while the notorious Carl Adams committed suicide in the sixties.

The inner circle of musicians that did session work with Dale Hawkins would probably be labelled as Melvin Rodgers, Roy Buchanan, Mark Mathis and Dean Mathis, which were commonly known as Dale Hawkins and the Hawks but changed name due to Dale's cousin Ronnie, who had a band with the same name in Toronto, Canada. During the years of the fifties bass guitar could be attributed to Sonny Trammell while drummers varied from Anthony J Tuminello or Nick Roppolo. Even Dale struggles to remember the varied musicians that passed through his rock and roll circus.

Recommended:

• Rock and Roll Tornado (MCA records)

Daytona beach, Florida, 1965, saw the brotherly combination of Duane and Greg Allman as the Y-teens performing standard Chuck Berry / Hank Ballard tracks at various youth centres. Strongly influenced by R&B radio and records from older blues masters, Duane started his career hanging out with John D Loudermilk, and most likely doing acoustic sessions with this country songwriter. Thanks to drummer Johnny Sandlin (Capricorn record producer) Duane and Greg were persuaded to move to Los Angeles where they formed The Hourglass. A powerful blues / rock combination, they gigged around LA clubs and ball rooms such as the Avalon and the Fillmore. The Hourglass suffered from contractual problems due to material being forced upon the Allman brothers and a demoralised Duane Allman proceeded to venture into session work in Muscle Shoals.

Duane Allman's session work is countless from Wilson Picket's 'Hey Jude', Aretha Franklin, King Curtis with the Grammy award single 'The Games People Play', Boz Scaggs, Johnny Hammond, etc. With the demise of The Hourglass came the birthing of The Allman Brothers Band and most likely the greatest slide guitarist ever to expound the electric guitar. Along the side Duane continually sessioned with various Southern counterparts such as Delaney and Bonnie who initially tried to sign up Ry Cooder and were not fully convinced of Duane's ability. Duane Allman's versatility can be heard with Eric Clapton's band Derek and the Dominoes on the classic 'Layla'.

The Allman's Brother Band won critical acclaim due to their growing popularity at the Fillmore East. Thanks to Bill Graham who idolised the band, the Allman brothers proceeded to go from strength to strength, remaining ever loyal to their blues niche. Known as a people's band, they would often feature along side Steve Miller Band, Elvin Bishop and The Quicksilver Messenger Service. During the recording of the album 'Eat a Peach' (summer 1971) Duane suffered a tragic accident while trying to avoid a truck. The Harley Davidson that he was on, skidded and went down on Duane. The world has yet to see a slide guitarist of this calibre come to light.

Recommendations:

• Anthology 1 and 2 on Polydor records.
• Highly recommended - listen to 'One Way Out' off the 1971 Fillmore concerts by The Allman Brothers

1965, Seattle, Washington, USA saw the formation of one of the most powerful Psychedelic groups to sign to Reprise Records. After the initial signing of the contract, the band moved to Los Angeles, California, namely James Lowe on harmonica and lead vocal, Mark Tulin on bass, Ken Williams on guitar, Preston Ritter on drums and Weasel Spagnola on guitar and vocals. The band started off poorly but by 1966 came forth with a powerful reverb single, 'I had to much to dream last night', which reached #11. Very much in answer to the Beatles 'I feel fine', the Electric Prunes overwhelm the reverb, be it voluntary or involuntary. The following year, 'Get me to the world on time', clocked in at #27 and Reprise saw the commercial future of Electric Prunes as promising. Unfortunately they underestimated the unique individualism of James Lowe who took his band across the waters to the UK in 1967. A brave move if one considers at the height of the Vietnam war, Audience from the continent were extremely negative towards American rock bands.

Then came the strangeness and the charm of a beatnik by the name of David Axelrod who took over the band once all the former members had left. He released his 1968 album 'Mass in F Minor', a concept piece of music based on Catholic transposition and sung in Latin with electric fuzz to back it up. The track, 'Kyrie Eleison' was picked for the soundtrack, "Ballad of an easy rider", which gave a commercial boost to the second phase of the Electric Prunes thanks to the hip projection of Fonda and Hopper. The Electric Prunes leave us with a legacy of unchallenged psychedelic reverb which could only be rivalled by the Californian triumvirate The Misunderstood.

Johnny Winter grew up in Beaumont, Texas, with his earliest recordings in 1959 when he was still in his mid teens. Johnny effectively started out in country blues with this brother Edgar as an Everly Brother style duo. His first record was recorded at the age of fifteen, 'School Day Blues'. He started out playing country guitar on the Nashville sessions and thanks to Texan record man Roy Ames, he was introduced to blues entrepreneurs such as Calvin Loudmouth Johnson, Isaac Sweat and The Everly Brothers. During his early days he recorded under fictitious names in order to get airplay by the ignorant DJs of the time.

The album 'Second Winter' won ecstatic raves and was most likely his biggest cash cow to date. After that album, Winter assembled a new band, including McCoy's guitarist Rick Derringer but due to heroin problems retired for a short time and then made a come back in the seventies with a album called 'Alive and Well'. Without a doubt Johnny Winter is still one of the greatest slide and lead guitarists to come out of the United States and could well be placed alongside Duane Allman, Mike Bloomfield, Harvey Mandel and Jimi Hendrix.

(four brothers of different mothers)

The birth of Quicksilver Messenger Service came forth in California during the melting pot of rock innovation in the mid sixties comprising of ex-Brogues Greg Elmore and Gary Duncan alongside John Cippolina, folk musician David Freiberg (bass) and vocalist Dino Valenti - occasionally Jim Murray on harmonica. During the imprisonment of Dino Valenti due to drugs they recruited Alexander (Skip) Spence (Moby Grape / Jefferson Airplane). The combination of this power act was most likely 1967 although the musicians had jammed together regularly two years before. The inspiration for the name of the band came from all four members sharing the birth sign Virgo, thus Mercury the ruling planet (Quicksilver), also the messenger of Greek mythology.

Recommended:

• Quicksilver (BGO records) (1971)
• Quicksilver Messenger Service (debut album, highly recommended) (Edsel records) (1968)
• Comin' Thru (One Way records) (1972)

The birth of Spirit came to be in 1967 in Griffith Park, Los Angeles during a cultural love-in. Initially Ed Cassidy, Randy California, Jay Ferguson and Mark Andes use to jam together in a band called the Red Roosters the year before. Ed Cassidy, a experienced jazz drummer who was the power behind the rising suns that included Ry Cooder and Taj Mahal met Randy's mother, Bernice Pearl, and eventually married her. Cassidy at that stage was drumming for a band called The New Jazz Trio which featured amongst others pianist John Locke and guitarist Robbie Krieger (Doors fame). Thus was born the family of Spirit.

Randy California named by Jimi Hendrix while sessioning in his band called Jimmy James and the Blue Flames, received a life long gift - a Stratocaster which Randy performed with during his Hendrix renditions. The combined influence of classically trained John Locke with jazz drummer Ed Cassidy and the blues fever of Andy and Randy gave Spirit a complex niche in the hippie society of Los Angeles. Of note a readers poll in the N.M.E. in the late sixties, rated Cassidy as number two drummer internationally, ahead of Ginger Baker. Late 1968 Spirit did a tour of Europe and was approached by a very young Jimmy Page to borrow the intro of a track called Taurus written by Randy California. (Later to be released as Stairway to Heaven.)

Recommended albums:

• Twelve Dreams of Doctor Sardonicus
• Time Circle (1968-72)
• The Mercury Years
• Spirit live at La Paloma (Highly recommended)

Born in the fair city of Glasgow, 1968, came the three part harmony of Chris Adams (six string guitar), John Mannion (twelve string guitar) and Pauline Adams (tambourine and congas). Strongly influenced by The Byrds and Bob Dylan they frequented the pubs of Glasgow until Tony Stratton-Smith signed them to the Charisma label. In 1972 Pauline and Tony teamed up with violinist Grahame Smith and Colin Wilson on bass. Strange as it would seem, there was no drummer. Grahame Smith was recruited from the Scottish national orchestra and became the dominant factor through out the band's entirety. At that particular point Grahame Smith was session violinist for Van Der Graaf Generator / Steve Hackett and later to co-found Ascend in 1978.

Recommended:

• String Driven Thing (1972)
• Keep Yer And On It
• The Machine That Cried

• Naked Child
• The Dream Goes On

• Life Mask
• Flashes from the Archives of Oblivion

Kevin Ayers went to Ibiza and formed a band called The Whole World with Mike Oldfield and Daevid Allen went to Paris to form Gong. Soft Machine went through various formations in the seventies, adding a horn section from Keith Tippet's centipede orchestra for the album Third. In the late seventies one would even find Jack Bruce and various members of Gong moving in and out of the last phase of Soft Machine. Without a doubt the root of ambient music can be sourced with the early Soft Machine and Terry Riley projects. They were the avant garde of the British art culture influencing later day Pink Floyd, King Crimson and most of the progressive jazz art rock musicians.

Willie had a powerful mid tempo vocal genius. His roots were quartet gospel and big band belting. He graduated from church to stage with absolute cocksure precocity. The first single he released was a track called "All around the world" which has been featured regularly by bands such as Grateful Dead and Country Joe Macdonald. With fourteen R&B hits on the King label he should have rightly been placed side by side with the soul brother geniuses of Sam Cooke, Jackie Wilson, James Brown etc. One of the finest releases in soul history was the album "Suffering with the blues" but unfortunately Little Willie was never to benefit from the royalties of this gem. In the mid sixties the godfather of soul, James Brown released an album "Thinking about Willie and a few nice things." Too often Peggy Lee's name appears alongside the track "Fever". Let us not forget the short little man with the big voice.

Worth mentioning Jim Peterik joined Survivor and released 'Eye of the Tiger' that became a number one hit.  Previously Jim sang for a group called The Ides of March, a Chicago based big band that featured progressive interpretations with diverse and outstanding musicianship.  Chase  were not a singles band and the true power of their group could be found in the album 'Ennea' and 'Pure Music'. A rather underrated guitarist called Angel South gave the jazz force a unique rock expression that caught the minds and hearts of hippie and jazz audience.

Thus in stepped Mick Underwood and Ritchie Blackmore from a renegade group, called the Satellites (part of Lord Sutch’s domain). During the summer of ’63 the Outlaws had the privilege of backing Gene Vincent and Jerry Lee Lewis. As time passed Blackmore’s behaviour became more erratic, he would slip into orchestral pits during breaks and would add spurious notes to orchestral scores while the orchestral players would find themselves trapped backstage with all doors mysteriously locked and bolted. What followed was a thirty-minute hell for these classical musicians as they were forced to contend with Blackmore’s thirty-minute orchestral guitar solos. This behaviour lost all form of pattern when Blackmore would take joy in releasing stink bombs into the audience and free beef burgers doctored with laxatives. Nevertheless, although Meek lost interest, he had achieved his vision with financial success and with nine singles under the belt, he ended the reign of this renegade group abruptly. Blackmore went on to super stardom with Deep Purple and Rainbow. Chas Hodges had a short span with Cliff Bennett’s Rebel Rousers and then on to Heads, Hands and Feet with Albert Lee. The rest of the musicians found themselves doing session work for the Kinks, the Herd and Lulu. To date John Peel still ranks Ritchie Blackmore as the author of Heavy Metal and whether the Outlaws sound was enhanced by Joe Meek’s esoteric production technique or not, they are still regarded as the yang of the Shadows, in character and aggression.

• The dolphins
• Sweet cocaine
• Everybody's talking
• Candy man
• Blues on the ceiling
• Recommended Albums
• The many sides of Fred Neil - EMI (CD number: CCM-070-2) (USA)
• Bleecker and MacDougal - Elektra (CD number: AMCY-2693) (Japan)

Barry Goldberg went on to release some outstanding solo albums with various session guitarists such as Harvey Mandel and Duane Allman. One of the finest Hammond B3 players to emerge alongside Booker T and Al Kooper. Mike Bloomfield, America's answer to Eric Clapton did a series of super session albums with Al Kooper, but his finest moments are sourced in the early Paul Butterfield albums. Buddy Miles released a deafening progressive Jazz Rock album with Carlos Santana which is now something of a collectors item. In one sense the Electric Flag was a short and strange trip with touches of acid genius and a remarkable fusion of colour.

Then the gods smiled upon The Gods and a contract was signed with EMI's Columbia label. This came as a result of powerful performances at London's Marquee. Personality differences led to Greg Lake leaving in 1968 to form King Crimson (then later went on to be one third of Emerson, Lake and Palmer). Enter previous member John Glasscock and a minor stir with a rendition of the Beatles's "Hey Bulldog". 

During the late sixties pretentious versions of "Baby's Rich" / "Somewhere in the Street" / "Real Love Guaranteed" were released as hopeful cash cow singles. The irony is that by the time these singles were launched The Gods had split asunder. In fact the metamorphosis enveloped into the hard blues rock of a band called Toe Fat. The line up of Toe Fat included Hensley, Kerslake, the Glasscock brothers and even ex-Rebel Rouser, Cliff Bennett, who appeared on one album.

With two albums to their name, "Genesis" and "To Samuel a Son", the Gods represented the melting pot of diverse talent that blossomed with the likes of Uriah Heep (Ken Hensley and Lee Kerslake), while John Glasscock made his name with Jethro Tull and Mick Taylor had a short-lived (thank heavens!) replacement of Brian Jones in the Rolling Stones.

In one sense The Gods were the Moby Grape of the UK. Talented musicians on the bread line siphoned by record moguls looking for pretentious singles to line their pockets. The karma of this lesson is that you can't block true talent no matter how much greed and manipulation takes place. The gift of individualism will always find its space and timing in this ever changing cosmic world.

Roy has left us with a legacy of blues that stands separate in nature and style to any other axe men of the sixties. His ability to play from the top and hold the note even higher and longer than any Clapton slowhand, gives him the unique position of being probably one of the top ten guitarists ever to walk this earth. Of note one of the most memorable instrumentals of Roy, The Messiah will come again, has been emulated in various tones by other musicians such as Gary Moore (Parisian Walkways) or Carlos Santana (Europa). Roy always claimed his Live in Japan album as his finest work, where he featured a chilling version of Hey Joe as a tribute to Hendrix. Once asked how he developed his style he said with a straight face he was half wolf.

In 1992 I had the honour of listening to Jeff Buckley during a short interim in Amsterdam.  As I closed my eyes, without a doubt, the ghost of Tim once again tainted the walls of the Paradiso in Amsterdam.  Like father to son, son of the father.

In the seventies, Shuggie assisted violin virtuosi, Don Harris on his epic album, "Sugar Cane". A regular at the Monterey jazz festival, Shuggie maintained his consistency by performing with his father on the Johnny Otis road show. By the time the eighties arrived, Shuggie's blues expression became showcased with the Johnny Otis road show and although he left an indelible stamp on the blues music of the sixties, he carries the epitaph of rising up too quickly and fading away too suddenly.

Described by the brotherhood of fellow musicians as more of a gangster than an emblem of flower power, Lee continued to tour extensively in the UK and Holland. Lee's private collection of firearms would be his final undoing. He was sentenced to a twelve year prison term for threatening behaviour, which does seem rather harsh in all manner of speaking. Although the firearm was never recovered, the colour of his skin seemed reason enough for the authorities to incarcerate him. This wayward genius deserves a place alongside Lennon / Brian Wilson / Hendrix / Syd Barrett. It is with sadness that with the countless albums ranked as influential during the millennium year, 'Forever Changes' remained distinctly absent from the polls.

Since then Ashton has concentrated on producing and also appeared at the all star concert for Kampuchea in 1979. Two months ago, Tony Ashton wowed the audience at the Green Dolphin at the Cape Town waterfront with an amazing combination of jazz and blues. Although not well marketed, the old dog showed South African audience that in time not only do you mature, but your playing becomes diverse and creative.

Formed in the heart of flower power, San Francisco, California in mid 1967 by classically endowed David LaFlamme. David's musical history started with playing the violin at the age of five and later as a soloist for the Utah symphony. He moved to California in 1962 and performed as a jazz violinist for the John Handy concert ensemble. LaFlamme was a session musician who often jammed with members of the Big Brother and the Holding Company, and ironically found himself in the early stages of a group called Dan Hicks and his hot licks. Dan Hicks of course stemmed from one of the earliest folk psychedelic combinations, the Charlatans.

It's a Beautiful Day were truly beautiful people that gave life to a season that would never be forgotten.

The official Hot Tuna trio became completed when Sammy Piazza joined them on the drums. The group officially split from Jefferson Airplane in 1972. Papa John Creach formed his own band Zulu, and Hot Tuna went from strength to strength, filling the clubs and beer halls through the seventies, eighties and nineties. They will long be remembered and still are due to their regular concerts as the finest exponents of acoustic blues, featuring favourites like "Keep your lamps trimmed and burning", "Candy man" and "Come back baby" by Lightning Hopkins. In the lasting words of Jack "It was gratifying to pull the blues out of the hotel rooms and put it on stage." Whatever Hot Tuna did in the studio, could not come near the outstanding finger work and jamming that they projected during live performances. In two words: "Hot Shit".

Strongly influenced by Ray Charles, the group decided to opt for Felix's Hammond B3 as the leading musical component other than guitar. The Young Rascals sported the look of Lord Fauntleroy, a gimmick that was quite marketable when one considers that Paul Revere and the Raiders had a similar appearance in costumes of the American war of independence. The summer of love smiled upon the Young Rascals as their hit "Groovin" hit number one on the charts. The Rascals dropped the "Young" and exchanged their peeked caps for Nehru shirts, beards and beads. Ye old flower power rose its poetic head and Dino changed record labels to Columbia and recruited guitarist Buzzy Feinten to augment the new sound. During the assassination of Robert Kennedy, Cavaliere was devastated due to the fact that the Rascals had been involved with the Kennedy election campaign. Felix wrote a track called "A Ray of Hope" for Ted Kennedy and was invited to a family function where he was personally thanked by Ted. One of the greatest albums ever to be released by the Rascals was a power driven vinyl combining fuzz based lead guitar and power keyboards called See, which released their last single a gospel flavoured "Carry me back". The group disbanded in 1972 and Felix went on to do production for Laura Nyro and released a number of solo albums.

From that point onwards they played at the famous Marquee club which was presented live on the BBC. Yet again Pierre van der Linden decided to depart due to live concert exhaustion. This was very much symptomatic of Pierre who had done a similar thing with the Dutch band Focus. Rick chose Ian Mosley to replace him and recruited Darryl Way (Curved Air) on the violin to assist on their second album, "Birds" . The album sold 40 000 copies in the Netherlands and 40 000 internationally. Due to the success of the concept album "Birds", Trace toured the Netherlands alongside Osibisa and Curved Air. The success of this tour solidified the future of Rick van der Linden. In July 1975 Trace toured the continent with Wishbone Ash and finally their dream came to fruition when they flew over to the United States to do a two month live tour. The Dutch progressive scene was quadraphonic in its classical expression, resulting from four particular groups - Focus, Cargo, Trace and Kayak. As progressive rock faded in the late seventies, so did the definitive ability of Trace. To date Rick van der Linden battles with a far greater enemy, the dreaded cancer, yet long will he be remembered as one of the great keyboard wizards to emerge from the continent.

He may be closer to the truth when one considers that the sixties were hazy and difficult to remember, a product of the true hippie.

Top

Ronnie Hawkins and the Hawks

(the real Elvis)

The Misunderstood (axe men of a finer nature)

Occasionally amidst the pink and purple surrealism of the flower world comes the sound of a fendor stratocaster, bold and significant, with ungodly force and determined to soar above the beatnik rabble that wallowed in the incense of fashion.  Such is the case of an immaculate conception, born in 1963, Riverside, California, namely Greg Treadway (guitar & keyboards), Rick Moe (drums), George Phelps (lead guitar).  Known as The Blue Notes, this surf guitar combo were predestined to smash the psychedelic barriers of ambient, and progress into a catalyst of niche electric blues.  By 1965 Rick Brown had joined them on vocals and harmonica with Steve Whiting on bass, yet their line-up had become so uncoordinated and the diversity of their style so confusing that they changed the name of their group to The Misunderstood. 

With a combination of surf guitar and blues classics The Misunderstood staggered up the spiral staircase of acknowledgement desperately trying to create some form of consistent individualism.   By 1966 Phelps decided to leave and was replaced by the steel guitar genius of Glen Ross Campbell.  Their first single, "You don't have to go" / "Who's been talking ?" received considerable airplay on the underground stations of L.A.  One particular station in San Bernardino had recently recruited John Ravenscroft (Peel), an eccentric Englishman who saw the opportunity to make it big in the States due to his exceptional knowledge on the Beatle history, strategy and the marketable Mersey power.  In the words of John Ravenscroft "..Glen Campbell looked incredible thin and ill with exceptionally long hair, hunched over his steel guitar and playing the most unbelievable stuff I'd ever hear.  Coupled with Steve Whiting's bass and bottleneck, the combination was electric and astounding."  Ravenscroft immediately adopted the band as his own while The Misunderstood became one of the most significant live acts, notorious for cyclical feedback effect which hypnotised the masses wherever they were playing. 

John felt determined to bring this cash cow to the UK, but fate struck a hardy blow when Rick Brown was drafted for Vietnam.  Nevertheless these long haired flower cats arrived on English soil with hope and enthusiasm.  A young guitarist called Tony Hill from South Shields replaced Rick and the rest of the story becomes sad and distorted.  While staying at John's mom's flat and living off handouts Peel's brother Allen, decided to rid his mother of these freaks by getting them a deal with Fontana records.  According to Glen the only two people that believed in them were producer Dick Leahy and a young engineer hooked on acid, called Roger.  They recorded six songs, two in particular "I can take you to the sun" / "Who do you love" became their debut.  Their following single, "Children of the sun", captured feedback and reverb with such intensity that even Hendrix would have marvelled at the ability of these psychedelic stalwarts. 

British visas, work permits, and a further Vietnam draft for Rick Moe resulted in the end of The Misunderstood.  Glen tried to hold his own but eventually revamped the group under its new name Juicy Lucy.  Tony Hill left and joined an outstanding progressive group called High Tide while Rick Brown finally found his peace in India with the Vaishnava sect of Hinduism.  His raga influence could still be felt in the rhythm guitar of Tony Hill. The Misunderstood can be described as a spiritual journey of five men, destined for great things under the trial and temptations of this imperfect world.  John Peel once described them as "prophets of a new order", but in the better sense of the word, they were sincere wanderers, playing in the fields of God.

England's best kept secret would undoubtedly be the puritan blues guitar ability of Tony McPhee.  Their birth in 1965 evolved from two English groups namely The Muskrats and The Grebbells.  Known as one of the most hard working blues bands in the UK, they were chosen to back up the touring concerts of John Lee Hooker and Howling Wolf.  Their line-up included the ever talented Dave Kelly and his remarkable sister Joanne Kelly on vocals.  Bob Hall on keyboards with Mike Cooper completed one of the finest blues ensembles to play the underground pub scene in the mid sixties.  One particular album Cabal could stand respectable alongside the finest of the Fleetwood Mac releases.

John Dummer's history as a drummer goes back to Leicester Square and the GTs which included the remarkable guitar of Yardbirds, Tony Topham.  The embryo of John Dummer featured three outstanding guitarists - Adrian Pietryga, Tony McPhee and Dave Kelly.  When Dave Kelly departed, Nick Pickett replaced him and they managed to release a seven single called "Nine by Nine" which sold extremely well in France.  Included in the group were the talents of John O'Leary on harp which rivalled John Mayall at extremely close quarters.  Other members that drifted in and out of John Dummer were Dave Bidwell who went to Chicken Shack and lead guitarist Roger Pearce who had a strong influence on Eric Clapton and Peter Green.  The power behind the John Dummer Blues Band has to pay tribute to Iain (Thumper) Thomson, a remarkable bass guitarist who expounded his fender precision bass to incurable degree during the countless blues jams and live concerts. 

Tony McPhee eventually joined John Lee Hooker's Groundhogs while John O'Leary could well be regarded as a founder member of the Savoy Brown Blues Band.  Dave Kelly lost his sister through a tragic brain tumour but eventually came back in power as a member of the notorious Blues Band.  The John Dummer Blues band strangely enough had their debut concert in 1967 at the Dutch Blues Festival.  It was here that the power of their blues reached the ears of the American record companies.  They turned down an invitation to join Canned Heat and remained exclusive, pure and loyal to the grass-root blues audience of the UK.

Tomorrow (a paisley adventure)

In the better sense of the word, EMI had finally struck gold and this time definitely at the end of a rainbow.  A rainbow of colours that captured the paisley expression of the English in the mid sixties, namely the diverse and psychedelic dimension of a group called Tomorrow.  Initially known as The In Crowd, with the recent inclusion of guitar extraordinaire Steve Howe, Tomorrow were most likely the first group to be signed by EMI without a hit single.  Featured on vocals Keith West, Steve Howe on guitar, John Wood on bass and John Alder on drums with production manager Mark Wirtz who would occasionally step in to assist them on keyboards.  Their first seven single "My White Bicycle" didn't even chart but later in the seventies came to world wide acknowledgement through the rock band Nazareth.  Admittedly they were an LSD band with extravagant musicianship that were notched up to tour with Traffic and Vanilla Fudge. 

Tomorrow were the first mime based band to promote theatrics and mannered gesticulation.  Historically their first break should have come when Michealangelo Antonioni settled on two songs by Tomorrow that were commissioned and recorded for the sound track "Blow Up".  Sadly both tracks, "Am I glad to see you" and "Blow Up" were substituted by the Yardbirds headed by Jeff Beck.  Controversy grew within the group due to the commercial seven single released by Keith West called "Teenage Opera".  With the result that the group were now marketed as Keith West and Tomorrow.  Tomorrow were far from commercial which resulted in a yin-yang audience and slowed ticket sales.  

Keith West decided to break away and recruited Aynsley Dunbar on drums and Ron Wood on bass but this combination faded overnight.  A spectacular single called "Revolution" followed by an interpretation of Lennon and McCartney's "Strawberry fields forever" elevated English psychedelia above the soppy paisley that was being pushed out by wannabe flower children.  The revelation of Tomorrow had its moment in 1967, at a time when Syd Barret was frying eggs on stage at Middle Earth Club while Arthur Brown was setting fire to his head.  The power of psychedelia had immersed itself fully with the English beat culture and Tomorrow would rank itself at the top of the list.  The ability of Steve Howe finally came to maturation with the progressive rock band Yes, while Tomorrow remain the creative catalyst for the dreams of fruition in the seventies.  

Lighthouse (brass power that shines forever)

Canada has always been an understated highlight for the seminal flower power invasion of the late sixties.  The very talent that has risen up from the Rocky mountain way includes Joni Mitchell, Neil Young, the Guess Who, Joe Walsh and many more.  One particular group known as Lighthouse stands branded as a peace band, achieving no less than three successive Juno awards as Canada’s finest group.  With nine gold and platinum records under the belt this fourteen piece brass ensemble smashed the bluesy barriers and parameters that Chicago and Blood Sweat and Tears had set up.  Out of the paisley defines of a Long Island hipster group called The Paupers, came the diverse and complex wrist drumming of Skip Prokop.  Having sessioned with Richie Havens, Steve Miller, Santana and a number of the Bill Graham discoveries Skip came to international focus during the Super Session album with Mike Bloomfield and Al Kooper.  Largely called upon to assemble a group to back Janis Joplin after Big Brother and the Holding Company had folded, Skip disembarked from this assignment due to his artistic and obsessive interest in combining rock and jazz with classical. 

In the latter part of 1968 he put together a diverse combination of highly talented musicians in particular Ralph Cole on lead guitar, Paul Hoffert on keyboards and the burley Bob McBride on vocals (latter stages).  During the birth of 1970 Lighthouse did numerous concerts with various symphony orchestras – one in particular the Edmonton Symphony which was referred to Gary Brooker for Procol Harum’s live concert.  Beyond these complex projects Lighthouse performed at the Isle of Wight alongside Jimi Hendrix and collaborated with the Japanese to perform at the Expo ‘70 in Osaka, a momentous occasion that marked the first rock ballet under the close guidance of choreographer, Brian McDonald and the Royal Winnipeg Ballet. 

Skip Prokop became the first rock musician to address the Canadian Parliament and departed from the group in 1974.  Ralph Cole kept the boat afloat with one last tour in 1976 and to date one memorable reunion in 1982.  During the Isle of Wight performance a standing ovation resulted in them appearing twice only to be equalled by the evening show with Jimi Hendrix.  Yet even success would have its complications when comprising a large number of musicians with brass and classical ensemble.  They turned down an invitation to play at Woodstock on the basis that they did not believe the festival would be a success and the following year refused to tour South Africa due to the political status quo.  A total of nine albums were released and one in particular “One Fine Morning” gave them the international breakthrough. 

 In 1972 they performed at the Carnegie Hall and brought the house down.  The following year they released their underrated “Can You Feel It”.  This album featured some of the most formidable back breaking brass rock ever applied to wax.  The seven single “Pretty Lady” had reasonable penetration in the world market and Lighthouse go down as a testimony of spiritual power combined with highly talented individuals that created the possible during impossible times. 

Portsmouth, Virginia - cowboy hangout for the likes of the lazy-pine wranglers and lucky Wray.  The year was 1955 and the Wray brothers were rattling the floorboards in every tavern and country barn available.  From crude rock and roll to bluesy instrumentals the brothers blasted forth in true Indian heritage, establishing themselves as a mayor item under the name The Raymen.  It kind of all happened in 1957 in Fredericksburg, Virginia when somebody approached Wray on the stage and asked for a stroll.  He launched into a crescendo D-cord that vibrated with so much distortion that the beer mugs rolled off the table.  The stinging fuzz effect became known as "The Rumble" and was banned on radio stations for being too suggestive.  "Rumble" signalled the birth of the power cord and was probably the most influential guitar piece ever to chart.  Historically this was the first instrumental, while close on its heels came the twang of a track called "Raunchy" by Bill Justice.  Epic records decided to market these vibrant instrumentals that Link churned out.  They soon discovered that this was no Duane Eddy with conservative twang, but a rather unpredictable raucous snarl that ripped all hell out of his premier amp. 

 Life was not easy for this half-Indian, a veteran from the Korean war and operating on one lung, yet what Wray lacked in vocal ability, he made up for with his Fender Stratocaster.  A number of vibrato-laced instrumentals such as "Dixie-doodle", "Comanche" and "Raw Hide" stubbed the charts for a short while.  His fans included Jeff Beck, Jimi Hendrix, Bob Dylan, Pete Townshend, Jimmy Page and Paul McCartney.  Link's influence came from Les Paul Records and country pickers like Chet Atkins.  On the side he would be listening to the blues of Elmore James and Leadbelly.  Known as Ray Vernon, Link joined up with Polydor records in the early seventies and released some outstanding blues records.  He is probably largely known for another famous instrumental called "Jack the Ripper" which appeared on a soundtrack in the nineties called "Desperado".  In one sense Link was the first musician with a serious punk attitude.  Presently living in Denmark, Link has made a serious comeback into the world of guitar rock.  During his Polydor years in the seventies, Richard Branson flew him over to England and entertained the old soldier with every available form of fraternisation.  Link stands tall as the man who started it all.  An old Indian with the finest edge to guitar that the world has ever experienced.

Goldberg was born in Chicago Illinois and as a youngster would spend much time listening to the early rock and roll and rhythm and blues.  His dream was to have a show band and retire at a very young age.   When it came to the Hammond B3 few could match the diverse ability of Barry Goldberg.  A close friend of guitarist Mike Bloomfield ,he formed the Goldberg Miller Blues Band with Texan Steve Miller.  Barry was sought after as a session keyboard player and supported Bob Dylan during the controversial appearance at the Newport Folk Festival in 1965.  During this period he often backed up Mitch Ryder while later had a brief spell with a group called Chicago Loop.  

He finally found base with a group called the Electric Flag which released their remarkable debut album "A long time coming".  The Electric Flag performed at the Monterey pop festival with outstanding vigour and brass power.  Comprising of an array of outstanding musicians, in particular Mike Bloomfield on electric guitar, drummer Buddy Miles and vocalist Nick Gravenites. the group although short lived, had an outstanding impact on the Haight Ashbury scene.  Due to personal reasons, Barry left the group and proceeded to release a number of solo albums in the late sixties.  It was also in this time that he focussed on song writing with Gerry Goffin while deeply immersing himself in the art of piano tutoring.  He also appeared on the "Super Session" album with Mike Bloomfield and Al Kooper, yet after the demise of this ensemble regrouped  with Carmine Appice of Vanilla Fudge and Ric Grech from Blind Faith.  The group was known as KGB but failed to make any impact on the market.  Early 1974 he released an album in Muscle Shoals, Alabama under the production of Bob Dylan.  

Barry Goldberg would pop up in the most obscure groups, one in particular with Scottish blues singer Maggie Bell (Stone the Crows) or across the waters with pop singer B.J.Thomas.  Outstanding Hammond B3 can be heard on the album "Barry Goldberg and friends", particularly "I think I'm gonna cry", "Jimi the fox" and "Hole in my pocket".  A worthy instrumental version of Lennon and McCartney's "Fool on a hill" places Barry in a very specialised and artistic dimension when it comes to blues.  

Often assisted by outstanding guitarists such as Harvey Mandel, Duane Allman and Mike Bloomfield, Goldberg continued his session work and produced albums for Musselwhite and the Rockets.  Various albums such as "Barry Goldberg and Friends" (1969) and reunion albums remain collectors items for the blues aficionados.  His debut album "Blowing my Mind" with a seven single of the same name seem to go unnoticed in the diverse sixties.  He featured on the classic "Devil with the Blue Dress on" and "Good Golly Miss Molly" by Mitch Ryder which scored a top five in 1966.  He remains one of the best side men in the business and will long be remembered as a` Jew with the true blues. 

Confusion often lay in the name the Grass Roots due to the fact that it was appropriated by a number of Californian groups.  The early stages of Arthur Lee's Love, can claim this title but it was songwriters P.F. Sloan and Steve Barri who employed the name pseudonymously on several folk rock performances.  The Grass Roots had overnight success with the classic "Lets Live for Today" (Originally a hit for an Italian band called the Rokes.)  This track is now regarded as one of the most therapeutic comfort singles for the Vietnam veterans during the Hanoi disaster.  Although regarded as a commercial attraction their musical ability was astounding with the Warren Entner on guitar, Creed Bratton also on guitar, Rob Grill on bass and Rick Coonce on drums.  With brilliant dual lead guitar, the group forged into the sixties with classic tracks like "Midnight Confessions" (1968), "I'd wait a million years" (1969) and "Sooner or Later" (1971).  Originally known as the Thirteenth Floor these astounding musicians were recruited by Sloan and Barri as the real McCoy.  During the latter sixties Sloan's input decreased while Barri remained as producer.  They cracked the billboard fourteen times between 1967 and 1973. 

The Grass Roots played a major role at a time when AM radio began yielding to FM complexity.  The Sloan / Barri team were experts when it came to virtual surf group concept and often the likes of Hal Blaine, Billy Strange, Tommy Tedesco and Carol Kaye were called in to session.   Sloan's influence by Bob Dylan had a strong reflection on the group.  Sloan's song writing ability brought forth the protest of "Eve of Destruction" later to be recorded by Barry McGuire.  This version can be found on the 1966 album "Where were you when I needed you".  And the eve of destruction it was for one particular group called the Turtles who had recorded this track on their debut album.  Destruction came when the Turtles refused to complete their 1969 LP "Shell Shock" which resulted in White Whale records retaliating by issuing "The Eve of Destruction" as a seven single.  Great singles like "Let me be" (Turtles) and "Take me for what I'm worth" (Searchers), formed part of the collective gemstones of Sloan's song writing collection.  Very much in the flavour of the Monkees, what started as virtual, became a very real group of musicians that refused to be acknowledged as virtual puppets.  The final combination resulted in excellent live concerts with gutsy fuzzed drenched electric and twelve string acoustic guitar.  

Although in one sense an enigma to the American public, Sloan and Barri launched a group that hold the all-time record for the number of appearances on Dick Clark's television show.  The Grass Roots were also one of the first groups to use four track machines during their recording sessions.  Most of their music although capturing a commercial tinge did have the occasional psychedelic edge such as the elusive "Feelings", which caught the power of feedback effectively.  The Grass Roots remain one of the most memorable sixties groups to come out of the diverse sixties.  Long live Sloan and Barri for their progressive song-writing and visionary tenacity. 

Formed in Oregon USA in 1961 and originally known as the Downbeats, Paul Revere included Mark Lindsay and reinstated the line-up as Paul Revere and the Nightriders.  Due to guitarist Johnny Winter having a back-up group with the same name, they settled on Paul Revere and the Raiders to avoid royalty conflict.  Their first single "Louie-Louie" was pipped by local rivals the Kingsmen who secured a national hit.  Thanks to Dick Clark and his television show "Where the action is" the Raiders launched into a series of excellent singles such as "Louis go home" (something for the Kingsmen), "Kicks" and "Stepping out".  The Raiders would wear revolutionary costumes with thigh boots and frilled shirts and three cornered hats.  Their producer Terry Melcher was largely responsible for the classic 1965 release "Kicks".  Son of Doris Day, Terry would expound the song writing ability of Mann and Weill utilising the Raiders energy.

(Of interest, it was during this time that Terry refused to sign up Charles Manson which resulted in a revenge attack on his residence with the death of Sharon Tate and other celebrities.)  Although Paul Revere and the Raiders were a real group, their first big hit "Just like me" aired a defiant message to the public that they were not some virtual surf ensemble.  Their high television profile as hosts of a show called "Happening '68" gave them nationwide popularity.  Another US chart topper that reached the top twenty was the John D Loudermilk "Indian reservation" which had previously been a UK hit for Don Fardon.  Classic albums like "Midnight Ride" or the "Alias Pink Puzz" album with the outstanding single "Let me" remain untouchable in the changing sixties.  This single could well have pioneered the false ending gimmick that captured the commercial singles of the sixties.  

In 1969 the gifted Mark Lindsay embarked on a solo career with the classic "Arizona" which sold over a million copies.  In 1983 The Raiders re-united for a re-mix of the old classic favourites under their new Raiders America label.  Revere still fronts a portion of the group for the nostalgia circuit, and occasionally pops up at various US Bicentennial celebrations.  The power energy of Paul Revere and the Raiders with Freddy Weller on guitar, Charley Coe on bass, Paul on the organ and occasionally Mark Lindsay (vocals), created some of the finest middle of the road energy during the flower power boom.  A worthy observation is the fact that their "Greatest Hits" compilation outsells most of the other collections from this period.

Out of the gospel holler of the Sunset Travellers and the Harmony Echoes came the deep and gifted soul of James Carr.  Discovered by Memphis mentor Roosevelt Jamison ,while James was working day-jobs in various hospitals, he took it upon himself to act as manager for the very shy and timid James Carr.  James expounded the soul of gospel with an intensity that very few of his contemporaries could emulate.  A US top ten in 1966 with "Love Attack" and "Pouring Water on a Drowning Man" gave the world the most underrated voice of all time.  

In 1967 he released the classic "Dark end of the Street" co-penned by Dan Penn / Chips Moman which reached the number ten place on the R&B charts.  During the eighties this track re-appeared on the very Irish  Commitments sound track yet public acknowledgement of Dan Penn or for that matter James Carr was a plus/minus nil.  During the nineties Dan Penn came out of retirement and performed some outstanding live performances with Spooner Oldham on keyboards.  These live concerts were largely due to the success of the Commitments soundtrack and various hit singles by the Boxtops that featured Spooner as the songwriter.  Other respected versions of this particular track could be found by Gram Parsons, Ry Cooder and Richard Thompson, guitarist for Fairport Convention. 

After the death of Otis Redding, James Carr was groomed to be his natural successor, yet conflicting reports reveal that James would take up to six sessions to do one song in the studio and often clam up during vital takes.  Sadly his fragile personality was increasingly disturbed by drug abuse and James's final hit Andy Gibbs - "To love Somebody" was launched in 1969.  The following year Goldwax Records collapsed and James lost a fortune in royalties.  As the years progressed various come-back live performances resulted in disaster such as the Japanese tour where he froze on stage.  

In the nineties he re-appeared on a live album recorded in Italy and later recorded his "Soul Survivor" album which had a single release in the USA.  He remains a legend of the sixties and to quote Dan Penn 'the only version of "Dark End of the Street" is James Carr'.   Soul would be incomplete without at least one album by the fragile James Carr. 

Rory Gallagher (An Irish Devil)

Irish quickness and the power of the Leprechaun came in the form of a fifteen year old school boy who toured in the early sixties with the Fontana show band.  Born in Cork, Ireland, Rory was one of those guitarists that came up the hard way.  He crossed the waters and developed his blues edge in Hamburg Germany, with bassist Charlie McCracken and ex-Them drummer John Wilson.  During the summer of '69 he moved to London and formed his power blues three piece called Taste, but for some historic reason the English never fully excepted the power vibrancy of this group.  They launched an effective four albums, the debut album "On the Boards" and later "Live Taste" and "The Best of".  The group broke up in 1971 and Rory took to the road with smaller groups.  He featured on the Muddy Waters London sessions (1972) and the brilliant come-back LP by English skiffle star Lonnie Donegan in 1978.  America welcomed him with open arms and ironically his most successful live performance was the Irish tour in 1974.  Sadly Rory Gallagher  expounded his blues during the height of the IRA revolution which could well have had a dampening exposé on his arrogant and rebellious blues expression.

Rory Gallagher could largely be ranked as the most underrated guitarist to come out of the British Isles.  Yet this qualification was only recognised on the continent by the discerning German and Dutch audience.  One of the speediest acoustic guitarists that could expound the mandolin and the dobro with equal dexterity, Rory's strength came to the fore at live concerts.  Jimi Hendrix once quoted "I've heard of the Irish quickness and now that I've seen it, it scares the hell out of me."  He blew the minds of the hippies at the Isle of Wight concert and would often record his studio albums just before or after live gigs.  The reason for this was that he drew energy from the audience which gave him the feeling and energy to release his Irish anger.  

For those that have met Rory, he remains a gentle and soft spoken country boy, always sporting his cheque shirt and denim jeans, a diverse contrast to the power and energy he releases on stage.  With the remarkable back-up of Gerry McAvoy on bass and Wilgar Campbell on drums, Rory amazed the crowds with the high speed slide and finger picking of his Strat guitar.  A roving gypsy of the electric guitar, Rory would flow with Celtic energy as he launched himself into the crest of the blues.  Highly recommended albums such as "Deuce" / "Edged in Blue" and "Tattoo" are often overlooked in the world of blues.  Rory passed away in 1985 due to complications during a liver operation.  He was never given the true acknowledgement he deserved. 

A well dressed musician in three-piece pin stripe suit and bowler hat would slice into the folk clubs of the mid sixties in London.  Jackson's roots came from the coffee houses of New York City when he jammed with John Kay, who later found fame and fortune as the lead singer in the group Steppenwolf.  Although strongly influenced by Muddy Waters and Sonny Terry, his perception of folk music got blown away when he first saw Bob Dylan performing in a folk club in New York.  Yet his own confidence made claim to the fact that he could do anything Dylan could do, and even better the vocal ability.   Jackson's strength was his ability to compose ballads and protest songs.  In the early days he met Elvis Presley while travelling South to collect folk material for an album based on the civil war.  In the winter of 1965 he made his way across the Atlantic to the UK and while aboard a luxury liner wrote a fascinating ballad called "Blues run the game".  He shared a London flat with Paul Simon and Art Garfunkel to the point that Paul Simon produced his first album.  A young admirer called Al Stewart made his recording debut with a track called "Yellow Walls" written by Jackson C. Frank.  

"Blues run the game" became a popular folk standard on the circuit, performed regularly by Bert Jansch and Jackson's present girlfriend, the wonderful Sandy Denny.  John Peel of the BBC invited Jackson to do a live radio broadcast due to the popular demand of his songs.  Then tragedy came, with bouts of depression, writer's block and the steady depletion of his bank account due to a diet of expensive guitars, hotel rooms and vehicles.  Jackson left the UK and fled for Woodstock in 1969 and married a former fashion model.  The downward spiral pathway gained momentum as his marriage broke up and his infant son died of cystic fibrosis.  From this point onwards Jackson became addicted to the anti-depressant drugs he was prescribed, and gained weight due to a thyroid problem.  He checked himself into a mental institution and later escaped and for twenty years lived on the streets of New York as a homeless man.  All contact  with friends and family were lost, and at one particular stage, a gang of street youths shot him while he was sitting on the porch of a mental asylum.  The bullet became permanently lodged in his left eye and he lost his sight.  

Thanks to a wonderful man called Jim Abbott, an American folk music fan, Jackson was tracked down to a night shelter.  They found him ravaged by arthritis to the point of having to use a cane to get around.  Abbott nursed him back to health and this tragic story ends with Jackson fully recovered in 1996 and constantly writing new material.  On the original Sandy Denny album, two outstanding tracks "Milk and Honey" and "You never wanted me" are featured by songwriter Jackson C. Frank.  Today Jackson claims "Everyone gets a second chance, don't mess up the second time."  His tracks have been featured by Tim Buckley and the most diverse of folk singers.  He remains an icon of salvation for those that believe that there is no escape from the blues.  He only released one album, the "Blues run the game", published by Moon Crest Records.

Born in Burma in 1948 at a time when Israel became a nation, Nick spend his first two years in India before his parents moved back to the UK.  A Cambridge College student who played saxophone and clarinet, Nick began writing his own songs in the late sixties.  Thanks to Ashley Hutchings of Fairport Convention who heard him performing a penetrative act at the Round House, he then introduced him to their manager Joe Boyd.  Boyd was immediately convinced that Nick was something special and signed him to Island Records.  At that stage Island Records was marketing another successful folk act, John Martyn.  At that stage Joe Boyd tried to match make Nick with Beverley Thompson, but it was the outgoing Glaswegian John Martyn who took a shine to Bev.  Nick was a shy, awkward performer who remained aloof from the public and press.  Suffering from severe mental illness he stopped doing concerts at the end of 1970.  He submitted the tapes of his album "Pink Moon" totally unaccompanied to Island Records by mail and then entered a psychiatric rest home.  

Nick's platonic love for Beverley grew more intimate with the ever increasing departure of John Martyn.  The reality is that John and Beverley loved Nick dearly and Nick would often come over and baby-sit for them.  Nick lived down the road from John and Beverley, who had a flat in Hampstead.  John Martyn's song "Solid Air" was purely dedicated to the memory of Nick Drake.  He officially only released three albums and his jazz-tinged folk music often included South African pianist Chris McGregor.  Nick developed a close friendship with Françoise Hardy while staying at her flat in Paris and to date Françoise Hardy has vowed that she would never release the recordings she made of his songs.  

He died in bed at his parents' home in 1974, a victim of an overdose of antidepressant medication.  Family and friends disagree with the coroner's reports and it could well be that his love for Beverley Martyn could have led to a possible suicide.  (All considering that he phoned Beverley hours before the tragedy.)   A superb boxed set by Hannibal Records was released in the nineties after a new generation of admirers came to the surface.  Sadly Nick's popularity gained strength after his death, very similar to that of cult figure Rodriguez and the incorrect assumption that he had passed away.  Every album that Nick Drake released has value beyond pound and fame, be it the jazz tinged "Bryter Layter" or the depth of "Five Leaves Left".  As we discover the truth of Nick Drake, there are only four leaves left, for the one that dangled in the autumn winds was bound to fall, but has given new life to the arid folk grounds of the new century.  The richness and colour of this autumn leaf will be an ever reminder of how fragile the life and times of a true poet can be.

Family (England's lost album)

Retrospectively someone once said that rock and roll had come of age in 1967.  A deliberate statement if one considers that more emphasis was placed on the album market than the overnight hit singles.  The progressive improvisation era emerged and occasionally with such overwhelming surplus that delicate masterpieces may find themselves overlooked, shelved or misinterpreted.  Such would be the case with the progressive creation of an album called "Music in a Doll's House" by Family.  The roots of the family are traced to a Leicester art college, 1962, where John Whitney (guitar and vocals), Jim King (sax and vocals), Tim Kirchin (bass) and Harry Overnall (drums) jammed together as a beat group called the Farinas.  After an unsuccessful release of two singles Kirchin left and Rick Grech replaced him.  The year was 1965 and Greg, who played violin in the city Youth Symphony Orchestra added a new dimension to the group.  The following year the powerful vibrating octave of Roger Chapman was included on vocals.

Changing their name to the Roaring Sixties they caught the attention of hippie mentor Kim Fowley.  Due to the fact that the group resembled a bunch of gangsters, Fowley re-initiated them as the Family.  By 1967 they were favourites at the Round House and the UFO Club.  With a loyal following that supported them no matter which town they played in, the Family went from strength to strength in the London underground.  In 1968 John Peel introduced them on his show Top Gear where they featured some of their material for their forthcoming album.  Their debut album "Music in a Doll's House" was released in 1968 and from that point onwards they featured as the preceding show for Jimi Hendrix at the Woburn Festival.  Their charisma made them a favourite choice for live performance and they proceeded to support Tim Hardin at London's Royal Albert Hal, while their major breakthrough was a free live concert at Hyde Park to 10 000 fans.  The Family energy were a combination of rhythm and brass soul deviating between John Whitney's soprano and double necked guitar, while Roger Chapman blasted all the hell out of his vocals, bending notes and reaching into the deep octave of improvisation.  Once their album had become entrenched in the UK top twenty Rick Grech decided to leave to join Blind Faith.

A disastrous tour in the United States resulted in the Family withdrawing to consolidate their vision for the seventies.  Roger Chapman's ability on three octave vocals was awesome in every sphere of penetration.  One of the few English vocalists to overpower the notorious Chris Farlow, he perfected the noble art of tambourine trashing and the destruction of microphone stands.  They featured in a movie called "Stomping Ground" which was recorded at the Rotterdam Festival.  From that point onwards Family went through a number of internal changes with the arrival of John Weider on bass who left shortly afterwards and was replaced by John Wetton from Mogul Thrash.  A brief period with none other than Tony Ashton on keyboards gave rise to some wonderful but non-commercial singles such as "My Friend the Sun" and "Boom Bang".   Many believed if Roger Chapman had been given the opportunity to sing at Woodstock, Joe Cocker would not have had his day.  The group retired in 1973 and leave us with a lodestone of articulate gems. 

Colosseum - the brass fusion of blues

The acceptance of jazz rock in the UK was far and few between.  Ronnie Scott's had no interest in the new expounding sounds that these long haired hippies were experimenting with.  Speckled surges would occasionally dot the horizon - Dick Morrissey's If, Chris McGregor's Brotherhood of Breath, Keef Hartley and the avant-garde Circus by Mel Collins.  Yet the nucleus of jazz rock has its source with a thoroughbred group of veterans known as Colosseum.  The core of this group had initially featured on John Mayall's "Bare Wires" album comprising of Jon Hiseman on drums, Dick Heckstall-Smith on saxophone, Dave Greenslade on keyboards , Tony Reeves bass, and James Litherland on guitar/vocals.  Their debut album "Those who are about to die, salute you" smashed the structures of jazz in the UK.  The year was 1969 and this particular album showcased each individual musician, fusing drum solo's, organ and bass patterns with deliberate wah-wah guitar.  The core of the album was strongly influenced by Heckstall-Smith who started out with Chris Barber in the fifties, yet seasoned his talents in Graham Bond's Organisation and Alexis Korner's Blues Incorporated. 

The album explodes with an opening track called "Walking in the park" written by Graham Bond, reflecting the elaborate jazz body drumming by Jon Hiseman.  From the avant-garde jazz rhythms to the Bach influenced "Ides of March" (also known as "Whiter Shade of Pale"), Colosseum claim royalty in the world of jazz rock.  An outstanding blues track by Leadbelly called "Backwater Blues" featured a rather unknown guitarist called Jim Roche.  Within the same year, Colosseum released their "Valentyne Suite" masterpiece.  Dave Litherland was replaced by a more pronounced blues guitarist called David Clemson.  Furthermore the three octave ability of Chris Farlow from the Thunderbirds gave the album a harder edge than their previous work.  Although "Valentyne Suite" leans more towards rock, the sixteen minute concept track called "Valentyne Suite" which included the service of Neill Ardley and the National Jazz Orchestra is one of the finest fusion of Hammond B3, guitar, saxophone and drum.  Jazz bassist Tony Reeves was also displaced by the more rock orientated Mark Clarke.  In 1971 their live album expressed the essence of Colosseum in true vibrant fashion.  Mark Clarke and John Hiseman left shortly afterwards and formed the progressive Tempest.  The power of Colosseum under the masterful pyrotechnics of John Hiseman remains unchallenged as a brass inferno of the late sixties.  Little did John Mayall know what he would give birth to.  Colosseum reformed in the nineties with the original line-up from "Valentyne Suite" and proceeded to pack the halls wherever they went.  These old dog soldiers of brass only got better in time. 

The Keef Hartley Band - the English glory of body drumming

The maternity ward of John Mayall gave birth in the sixties to two brass babies.  One being Colosseum and the other the formidable Keef Hartley Band.   It was a very young Keef Hartley who replaced Ringo Starr in Rory Storm and the Hurricanes in the early sixties.  After the death of Mersey beat, Hartley listed with a London base R&B group called the Artwoods.  The line-up included Jon Lord of Deep Purple fame.  After one album called "Art Gallery" he was persuaded to join John Mayall's Bluesbreakers.  Hartley's powerful body drumming and faultless timing are well expressed on the albums "Crusade" and "Diary of a band".  Legend goes that John Mayall fired Keef Hartley yet the track "Hartley Quits" of "Bare Wires" by John Mayall tells a different story.  Keef Harley's debut album "Half Breed" stands alongside Colosseum's "Ides of March" as a power brand of jazz / blues fusion.  Utilizing  the phenomenal blues ability of Miller Anderson on vocal and guitar, Keef powers into the woodwind fusion with the likes of Harry Beckett, Lyn Dobson, Chris Mercer and Henry Lowther.  This group encompassed the woodwind power of the blues circuit. 

Bass guitarist Gary Thain who later entered Uriah Heep maintained the rhythm of the blues while  much credit must be given to the Hammond organ of Peter Dines who featured strongly on the track "Half Breed" and "Just to cry".  This classic album released in 1969 on Decca label stimulated such interest across the waters that they were invited to play at the Woodstock festival.  Critics compared them favourable with Blood, Sweat and Tears.  Further albums worth mentioning would be the blues orientated "Battle of North West Six" and the phenomenal "Time is near" and "Seventy Second Brave".  A ten minute blues track by Miller Anderson called "The time is near" off the same album, clearly indicated the direction and motivation of this blues purist.  With Keef Hartley still claiming they were a jazz band, the group disintegrated approximately 1973, with one short reunion in 1974 and the release of an album called "Dog Soldier".  Keef Hartley turned his attention to carpentry and claims he no longer owns a drum kit.  Gary Thain sadly overdosed in the mid seventies while Miller Anderson has gone from strength to strength in blues.