Tag: Cherry Red Records

Review – Sharks: Car Crash Supergroup – The Island Years 1973-1974, 3CD Box Set – by John Wenlock-Smith

It almost seems that in the 1970’s you couldn’t move for supergroups, that strange scenario where bands split, only to re-emerge in a new combination of musicians. Some of these were very successful, like Emerson, Lake & Palmer, others less so, where the combination was just to volatile to exist peacefully enough to make their mark, like Beck, Bogart & Appice or Rough Diamond, for example. Punk might have brought the demise of many such groups but it didn’t kill them off completely, as bands like Asia can attest.

Sharks were one of those groups that should have been far bigger than they were, somehow they never quite made the grade despite having a very strong line up of Steve ‘Snips’ Parsons on vocals, Andy Fraser of Free on bass and Chris Spedding on guitar, along with Marty Simon on drums. Their debut album ‘First Water’ was released in 1973 on the Island label to much hype that unfortunately did not translate into many real sales.For the second album, ‘Jab It In Yore Eye’, Andy Fraser was replaced with Buster Cherry Jones. It was released in 1974 to a world that wasn’t very bothered. The band toured the USA to good audiences but, again, without more sales. Upon their return, they recorded a third album, ‘Car Crash Tapes’, produced by John Entwistle of the Who, but Island weren’t satisfied with the results and opted not to release it, this caused the band to split up and go their own ways. Spedding did some solo and Guitar Graffiti albums and he was also one of The Wombles, the one with the flying V guitar. Snip joined the Baker Gurvitz Army and Buster Cherry Jones returned to the US and started a new band with Donald and Ralph Kinsey called White Lightning, who released an album for Island records in 1975.

This set comprises of the first two releases, along with that third, unreleased, album ‘Car Crash Tapes’. It also includes live tracks recorded in Providence, Rhode Island in 1974, one of which features Leslie West of Mountain on Guitar. So that’s the back story but what’s the music like? Well, if like me, you were too young to remember them (I was 14 at the time), let’s have a listen through and I’ll tell you what I think.

The debut ‘Fresh Water’ emerged in 1973 after Fraser had left Free after their ‘Free At Last’ album of 1972, wasting little time in joining forces with Chris Spedding to form Sharks, who were signed to Island Records, with whom Fraser’s previous band Free had resided. Steve ‘Snips’ Parsons was spotted by Chris Blackwell and, after a successful audition, was offered the role of singer in Sharks, who Blackwell was managing at the time, having cut his teeth in the North East around the Hull and Humberside area.

The band travelled around in a customised PontiacLle Mans that they affectionately called The Shark Mobile, due to a fin on the roof and teeth on the grill which made an impact. A lot of their interesting history is detailed and recounted in the album booklet along with some great historical photographs of the band. They crashed the car into a tree in the north of England whilst on tour, with Andy Fraser injuring his arm. After this he though heavily about his options and decided to leave whilst he had the chance as he saw the crash as being a bad omen.

‘First Water’ is not a bad album in many respects, with a mixture of classic sounding rock and some sweet guitar work from Spedding. A lot of the tracks are slow burners, meaning that it takes time to really get into them fully, Follow Me being a prime example of this, with a strident piano from Fraser holding the song together and an ascending riff from Spedding that is fairly dramatic. I really like this track, it’s somewhat understated but could have been great live with its decent guitar break and fill section. Ol’ Jelly Roll has more piano and a initially delicate vocal from Snips which channels his inner Joe Cocker in the gritty vocals. This one has a touch of Free about it, especially in how it builds in intensity. Brown Eyed Boy is a Rolling Stones like romp with great dynamics to its swagger and Snakes And Swallowtails is another slow builder with Fraser’s bass at the forefront to good effect. I like this track with its understated playing that suggests the song is going to explode into something special, and it finally does, sounding tremendous, if not a bit short, when it could have been allowed to run on a lot more.

Drivin’ Sideways is more standard rock fare that doesn’t really go anywhere, despite good performances from Snips and Fraser and some almost countrified guitar fills from Spedding. But, despite its initial opening, I actually do like this track and it definitely grows on you. Steal Away sounds like a more mellow Free song, very subdued but actually rather good. Doctor Love is certainly of its time, especially in the lyrics. The track has a sinewy guitar line running through that sounds not unlike Paul Kossoff, which is a nice touch. The final song of the debut is Broke A Feeling, which is a fairly muscular sounding track with some good guitar fills which, along with the bass and the piano of Nick Judd, make a good sound. It’s all a little loose and all the better for that really. The mid section where Spedding lets rip is especially strong making for a strong finish to an album that had much promise that somehow the band were unable to capitalise on fully.

Sophomore album ‘Jab It In Yore Eye’ continues in a similar style and tone to the debut, although it seems a bit more focused somehow. The playing is more concise and impactful, it would seem that the departure of Fraser and the addition of Buster Cherry Jones was good for the band, allowing Snips’ songwriting abilities to be more widely seen, he writes or co writes seven of the album’s ten tracks. Baby Shine A Light is a great song with some excellent guitar work from Spedding, whose playing is subtle and yet exciting on this track. Sun Beat Down has a muscular sound to it, being quite a strident song yet somewhat understated and never actually exploding into life. It’s a bit of promise unfulfilled here despite some good guitar fills. Rain Or Shine is an acoustic song that lacks something, whereas Kung Fu is far better with its chopsticks type piano and some sweet guitar lines from Spedding which enliven proceedings. The Japanese words don’t really add much but Speeding’s playing in the mix does add some excitement to this track. Sophistication is next, a track in which The Clash were instrumental with their Should I Stay Or Should I Go track, you can see that in its stop start riff. Cocaine Blues follows and is a more restrained track. Revolution Of The Heart opens gently with acoustic guitar and then settles into  a more rock like groove. This is another slow burning track that gradually increases in its intensity to become something really fine over its six minute duration. With Chris Speeding’s understated guitar lines really hitting the mark, this track never explodes as such but the intensity and build both make a real impact.

The third album, ‘Car Crash Tapes’, is not as good as the first two and you can see why Island rejected it. The live tracks are taken from a  bootleg recording that have been cleaned up for this set. Again, these are of their time but are a nice addition to what is another fine set from the ever-reliable Cherry Red /Esoteric label and the booklet is of the usual very high standard.

In conclusion, this won’t be to everyone’s taste but it shows that some quality music was being made in the days before punk. How this band failed to achieve major success is one of Rock’s more tragic tales.

Released 24th January, 2025.

Order from Cherry Red here:

https://www.cherryred.co.uk/sharks-car-crash-supergroup-the-island-years-1973-1974-3cd-box-set

Anthony Phillips – Sail The World – New 2CD Remastered & Expanded edition

Released 25th April, 2025.

Esoteric Recordings is proud to announce the release of a newly remastered and expanded 2CD edition of Sail The World, the evocative 1994 album by celebrated composer and guitarist Anthony Phillips.

Originally composed and recorded for the UK television coverage of the Whitbread Around the World Yacht Race, Sail The World became a fan favourite, capturing the vast, cinematic beauty of the open seas. 

Now in this definitive edition, Sail The World has been newly remastered and expanded into a 2CD set, featuring an entire second disc with 15 rare and previously unreleased bonus tracks, including additional material and alternate mixes, featuring collaborations with Joji Hirota and Martin Robertson. This special release also comes with a beautifully illustrated booklet, complete with a brand-new essay by respected writer Jon Dann.

With its sweeping melodies and atmospheric textures, Sail The World remains a stunning work from one of progressive music’s most revered composers.

DISC ONE
1  Opening Theme
2  Fast Work
3  Dark Seas
4  Cool Sailing
5  Wildlife Choir
6  I Wish This Would Never End
7  Salsa I
8  Roaring Forties
9  Lonely Whales
10 Icebergs
11 Majestic Whales
12 In the Southern Ocean
13 The Fremantle Doctor
14 Long Way from Home
15 Wildlife Flotilla
16 Big Combers
17 Cool Sailing II
18 Cape Horn
19 Amongst Mythical Birds
20 Salsa II
21 Into the Tropics
22 In the Doldrums
23 Heading for Home & Victory 
Bonus tracks
24 Paradise
25 Eastern Magic
26 Closing Theme

DISC TWO
Previously unreleased bonus tracks
1  Opening Theme (original version)
2 The Dream Race
3  Starboard Drift
4  Epic Whales
5  World Piece
6 Temple
7  Ocean Life
8  Cool Sailing (alternate mix)
9  Playmaker
10 Another Day
11 Fast Work (alternate mix)
12 Journey’s End
13 Tokyo Nights
14 Paradise (alternate mix)
15 Heading for Home & Victory (alternate mix)

Pre-order from Cherry Red Records here:

https://www.cherryred.co.uk/anthony-phillips-sail-the-world-2cd-remastered-and-expanded-edition

Review – Stackridge – Lost And Found – The Reunion Years 1999-2015 – by John Wenlock-Smith

I can’t believe that in all my years, although being aware of them, I had never actually listened to any music from Stackridge, the Bristol based unit whose merging together of folk, prog, music hall and vaudeville stylings had somehow completely passed me by. Unbelievable and definitely my loss. So. now I find myself rapidly playing catch up, trying to rectify that oversight, which is rewarding, if not a little futile, as Stackridge have ceased to be, well for the moment at least.

Stackridge’s history is well documented online and in the rather marvellous ‘On Track’ book by Alan Draper, which details that history album by album. It’s possibly a book that many would enjoy reading, digesting and learning all about this seldom mentioned and largely overlooked band.

This fine 4 CD set comprises the reunion albums, ‘Something For The Weekend’, the ‘Lemon’ mini album and the 2008 release ‘A Victory For Common Sense’. The set is completed by a reissue of ‘The Final Bow’, a double album recording of their final show from their home city of Bristol recorded in 2015. It also features additional bonus tracks such as the 2006 re-recording of Purple Spaceships Over Yatton, Seek and You Will Find and both songs from the rare ‘Dummies’ CD single.

Stackridge have a near 50-year history, although it is a broken, disjointed timeline with periods of several years’ inactivity between the late 1970’s and the 1990’s, after which they returned to an increased level of activity once again. This means that ‘The Final Bow’ element of this release is able to draw material from their earliest and also their latter day releases and this makes the set different to the earlier live set of ‘The Forbidden City’ from 2007, with which it shares at least 10 tracks. The addition of track from 2008’s ‘A Victory For Common Sense’ helps as several of those tracks really make an impression here. As do long term fan favourites like Syracuse the Elephant and Slark, along with Purple Spaceships Over Yatton and Do the Stanley Stanley Aviator Brass, that draws the show to a fitting, if not a little understated, finale.

What I do like, and I think will appeal to Big Big Train Passengers, is the presence of Claire Lindley who adds her violin, guitar, ukulele and voice to these recordings. They all sound wonderful and pastoral even, at various points within the albums, especially on the live tracks where her presence is keenly felt. I also like that they delve back deep into their history for versions of The Road To Venezuela and God Speed The Plough. Something About the Beatles really appeals, with its somewhat whimsical lyrics. It does remind me at times of a less manic incarnation of the Bonzo Dog Doo-Dah Band without the whirlwind of mischief that was Vivian Stanshall, Stackridge seem to share a similar musical DNA, which makes their eccentricity all the more rewarding. I really am enjoying discovering all this wonderful music many years later on.

Whilst casual listeners may not find this the best introduction to Stackridge, it does have the advantage of offering a handy bite-size introduction to the band through its latter-day recordings and the great ‘The Final Bow’ set. This is all encased in a great clamshell box with individual sleeves for the albums, although ‘A Victory For Common Sense’ gets a gatefold sleeve and ‘The Final Bow’ gets a different picture for each disc, along with picture labels of each cover. The booklet is perfunctory and actually is a little light on details, giving more of an overview of the band’s history, the pictures are good though, it must be said, I certainly found it to be a fine set one that I will definitely return to again I’m sure.

I recommend it highly and I can only comment on how much I’ve missed out on over the years of this band’s existence. Don’t be like me, investigate Stackridge for yourself, you may be as pleasantly surprised as I have been with their excellent musicianship and witty and interesting songs.

Released 27th September, 2024.

Order from Cherry Red here:

https://www.cherryred.co.uk/stackridge-lost-and-found-the-reunion-years-1999-2015-4cd-box-set

Review – Renaissance – Tuscany – Expanded 3CD Edition – by John Wenlock-Smith

I guess that, like many, I became acquainted with the lush symphonic sound of Renaissance through their wonderful 1978 single Northern Lights and the album ‘A Song For All Seasons’, from which it was taken. Renaissance were a very different sort of group to many others, they seemed to possess some different kind of stature and class and style. They, of course, had quite a history and an extensive back catalogue of music. I remember getting the excellent compilation albums ‘Tales Of 1001 Nights’ Volumes 1 and 2 on import, both expensive but gathering together much of the essential Renaissance canon.

After ‘A Song For All Seasons’ came the somewhat less brilliant ‘Azure d’Or’ in 1979, which effectively finished the group as the coming years were not good for Renaissance. After their contract with WEA ended they signed to Miles Copeland’s IRS label which was a much smaller label and lacked much commercial clout and promotional skills. The band released the very different ‘Camera Camera’ album, as it largely ditched the lush symphonic sound to be replaced by a techno pop style that was largely ill suited to the band and, as such, they lost a lots of fans. This was compounded by the disastrous ‘Time-Line’ album which muddied the water even further with a move towards pop music which, again, did not yield the expected results and, as such, the album bombed significantly with the inevitable departure of Jon Camp.

Annie Haslam and Michael Dunford recruited some US musicians and continued to tour both the USA and Japan, both of which were strong markets for the band. However, in 1987, the group disbanded until, in 1998, Haslam, Dunford, and Terence Sullivan regrouped once again to work on new material that was more in keeping with the heyday in the 1970’s. They were also joined by John Tout on several tracks, with keyboardist Mickey Simmonds further augmenting the band. The resulting album, ‘Tuscany’, marked a return to form. Although its release was delayed until October 2000, the album was well received by fans and marked a strong return to form for Renaissance. In 2001 the band returned to Japan once more where they recorded a show in Tokyo, which later emerged as the live release ‘In The Land Of The Rising Sun’. This is included in this 3CD reissue of ‘Tuscany’ and it sounds very good indeed including, as it does, four songs from the ‘Tuscany’ album alongside familiar Renaissance staples like Carpet Of The Sun, Opening Out, Northern Lights, Mother Russia and Ashes Are Burning.

‘Tuscany’ the album is very much a return to form with excellent performances and strong and satisfying tracks like Lady From Tuscany, Pearls of Wisdom, Dear Landseer and the very epic One Thousand Roses which, again, recaptured much of what those difficult early 1980’s albums had thrown out. This was Renaissance reborn and revitalised, this made everyone happy that, from the ashes of disaster, a stronger, energised and invigorated incarnation had risen like a phoenix.

The album begins with the stately and lushly symphonic Lady From Tuscany, which has a graceful and powerful vocal from Annie. The song is very sensual in parts and is an excellent opening song which shows the Renaissance we loved are back in style. Pearls of Wisdom is another glorious track, again, very sensual lyrically and sumptuous musically. This is followed by the wonderful Eva’s Pond with its delicate piano motif and lush orchestral backing and the clear distinct voice of Annie Haslam, who adds a touch of class with her delicate and yet powerful vocals, another beautiful song. Next is the excellent Dear Landseer, which is the story of a painter who’s work is appreciated in royal circles with resulting commissions happening.

In the Sunshine features Annie’s ex partner Roy Wood on bass and keyboards, he also produced the track with Annie and Michael Dunford. Again, this song has a very sensual theme and oozes passions, mostly unfulfilled but hopeful, it is a wonderfully evocative song with excellent performances and strong content. You can capture much of Wood’s multi instrumental brilliance here, this wouldn’t have been out of place in his own earlier works. In My Life is rather more introspective in tone and wistful as the words seem to seek to right previous wrongs and lack of support. it is a very honest track and has lots of warmth and hope in its themes, another well written and delivered piece of music. The Race is another great sounding track with a great bass line from Alex Caird, who plays beautifully on this track, really driving it along with Mickey Simmons’ synths adding gracefully to the lush orchestral sounds. It is a rather up-tempo song for Renaissance but it really does work well for them here, most impressive sounding. Dolphin’s Prayer opens with a sole synthesiser sweep and sound, this shorter track has some exquisite vocals which show the strength of Annie’s voice to great effect.

The penultimate track, Life In Brazil, is rather good too, having a slightly Latin feel to it in parts. It works well enough but I feel that it somehow isn’t bold enough in embracing its Latin roots, it’s good but could have been outstanding. The album closer One Thousand Roses returns us to the sensuality that pervades much of this album, speaking as it does of an unrequited love and unfulfilled passions. There is much aching and longing to this track and it is a strong conclusion to what is a really strong later album from Renaissance. It’s great to have the band back, once again treading a well loved path and having new adventures which continue to this day.

Released 3rd May, 2024.

Order from Cherry Red Records here:

Renaissance: Tuscany, Expanded 3CD Edition (cherryred.co.uk)

Review – Warhorse; The Recordings 1970-1972 – by John Wenlock-Smith

When I heard about this 2CD set, which contains both the albums Warhorse made for the Vertigo label in 1970 and 1972, I became rather excited and curious of how these albums would sound 50 years after their original release.

Warhorse were a short lived group but with an interesting history. Formed by bassist Nick Simper when he was replaced in Deep Purple by Roger Glover in 1970, they were originally formed as a backing group to singer Marsha Hunt and originally had in their ranks, a Pre-Strawbs/Yes Rick Wakeman, who sadly left before actually recording with the group. In addition, both vocalist Ashley Holt and drummer Barney Jones would leave the band in 1974 to join Wakeman in his band The English Rock Ensemble.

In the meantime Warhorse did manage to make two albums for Vertigo, these being ‘Warhorse’ (1970) and ‘Red Sea’ (1972), both of which are here along, with a further eleven tracks of demo’s and live versions of the songs.

So what does it sound like? you ask, well, to these ears it sounds like the era in which it was made. So, if you consider a mix of say Uriah Heep and Deep Purple then you wouldn’t be a million miles away from the sound the band made.

The ‘Warhorse’ album begins with the strong, Hammond organ driven, Vulture Blood which sets out the stall in a decent manner. You can definitely detect the Deep Purple connection in the sound. No Chance features some interesting bass runs before the keyboards commence, again it’s very intense sounding and very Uriah Heep in style, although a good guitar line cuts through well. I like this track as it has good vocals which are both confident and clear, proving Ashley to be a fine singer in a certain style. It’s one that works well here at least, I was less convinced by his performances with The English Rock Ensemble somehow. Burning opens in a very strident, almost marching style, tempo, most effective, before a swirl of keyboards and a chunky guitar riff are introduced, successfully too I will say. This song has interesting lyrics too making another very fine track.

Next we have a cover of a song from The Easybeats called St Louis that was intended as a single but, sadly, wasn’t a hit as such. The track has a sprightly riff and moves along at a cracking pace, it’s actually rather good and deserved far more than it achieved, unfortunately such is often the way of  things in music. The more lengthy Ritual features three time on this collection, one album and two live versions, all being of differing length. The song is pretty powerful but despite a stomping beat and great guitar work, it actually isn’t the finest moment really as it kind of meanders somewhat aimlessly or it seems that way to me at least. Far better is Solitude, which is the albums epic track at just shy of nine minutes in length, which gives a chance for the track to really evolve and show its progressive elements off fully in a strong manner. There’s nifty guitar work from Ged Peck who plays excellently throughout, he was definitely very underrated in his time.

This leads onto another longish song, Woman Of The Devil, which bristles with energy and has more Hammond and keys from Frank Wilson, who is all over this track in a most exciting manner. More great guitar from Ged really helps lift the track greatly. It has strong echoes of Uriah Heep’s Gypsy. This concludes the Warhorse album although this version is bolstered by four live tracks and a demo of Miss Jane, all of which are decent and very welcome. You can tell that they must have been an excellent live act in the day and one that could engage, interact and captivate an audience.

The sophomore album ‘Red Sea’ was released in 1972 and contains seven more tracks of excellent early 1970’s hard rock and prog songs beginning with short title track Red Sea, which is a busy little number with doubled guitar lines and an underpinned Hammond Organ. A great guitar runs through this track, although it should be noticed that Ged Peck had been replaced at this stage by Pete Parks, who was a soloist in a different style and really makes his mark on this second album. The longer and stronger Back In Time is really excellent, especially if you like organ driven tracks, as this one is, interlaced with short guitar fills and notes. This track shows the differences between the guitarists, Ged Peck being the more adventurous and fluid player. Pete Parks is a great player but not really in the same league somehow, although his solo section on this song is pretty exciting. Confident But Wrong has a good guitar riff that holds it all together along with more concise soloing from Pete. It’s a strong track underpinned by more Hammond from Frank Wilson, who again adds great depth and colour to the track.

Sybilla is another interesting track with a throbbing bass line and chunky guitar riffs and fills making another excellent track. Next is the album’s longest track Mouthpiece which has an extended drum solo woven into it. This piece has excellent dynamics and makes for a very different, but nonetheless exciting, instrumental track where each member gets their chance to shin in some fine ensemble playing and strong performances. This then leaves the bonus tracks which are a further live version of Ritual and five demos that were to form the basis of their third, unrealised, album that was to have been on Atlantic Records.

Despite the band being signed, the OPEC oil crisis of 1974 put those plans on permanent ice and that was then end of Warhorse. Ashley Holt and Barney James were invited to join Wakeman’s TheEnglish Rock Ensemble and they duly accepted, bringing to an end the short lived career of Warhorse. However, with this excellent re-release of these albums in the full glory and with the usual Esoteric care and attention, this fine group can be heard in their full glory once again. This is a release of note that I strongly recommend to all.

Released 26th April, 2024.

Order from Cherry Red here:

Warhorse: The Recordings 1970-1972, 2CD (cherryred.co.uk)

Review – Baker Gurvitz Army: Neon Lights – The Broadcasts 1975 – by JohnWenlock-Smith

I reviewed a live Baker Gurvitz Army release last year and raved about just how good a unit the band were as evidenced on that great live set. So imagine the joy I felt when I heard that a box set of hitherto unreleased recordings and 2 DVD’s of the band live, including an expanded version of their live set for the German TV show Musikladen, a live Old Grey Whistle Test session and a BBC Radio In Concert show was to be released in January 2024.

Sheer musical heaven for me as a long time admirer of the band, a band that I first heard in 1974 or 75, I can’t remember which exactly, I have loved the band ever since. I immediately made contact to secure this for myself and today it arrived and is every bit as good as I’d hoped it would be. Parts of this set I already have, including a Video CD (remember those ill fated release’s in the early to mid 1980s?). Well, this is a proper version of that recording. Also here is an updated and expanded version of their ‘Live at Kings Hall, Derby’ CD from the early 2000’s, again with two extra tracks. As always on these sets, there is a degree of repetition but having it all in one tidy little box with great sleeve notes is fabulous

Once again, you can appreciate the strength and sheer power of the band as a unit, a five piece with Ginger Baker on drums, ex-Seventh Wave man Peter Lemer on keyboards, Paul Purvitz on bass and ex-Sharks vocalist Steve Parsons (A.K A Mr Snips) whose vocals allow Adrian Gurvitz room to play some very tasty lead guitar throughout.

For me, it is the opportunity to actually see and experience the band in my own front room that is the treat here and it is great to finally to be able to do this some nearly fifty years on from their short tenure as a band. I was too young to actually go to see these for myself, even though they played at Birmingham Town Hall in 1976. I do wish I had taken that opportunity back in the day, I’m sure I would have been blown away by them live. Instead this live footage is definitely an acceptable alternative and one I can repeat whenever I want to.

Despite several tracks being duplicated across the five discs (3CD’s and 2 DVD’s), there is sufficient variation in the different versions to still be of interest, especially for a fan boy like me! As always, great care has been taken with the sound, remastered to a very high standard by Ben Wiseman at Broadlake Studios in Hertfordshire.

The band are all on very good form on all of the recordings and it is wonderful to see ‘Whispering’ Bob Harris again introducing the band. Visually their stage setup is pretty standard, drums at the rear with keyboards to the left, bass front left, guitarist stage right and vocalist to the centre and together the five people on stage recreate their albums to perfection and even allow for extended takes of certain songs, all of which adds to the excitement and the atmosphere that the band generate.

For those fortunate enough to have been at any of these shows they certainly were treated to a highly impressive set of music and, remastered it all sounds great with no drop outs at all. Which, for recordings as old as these are, is remarkable and definitely captures a band on the rise, Sadly, as we now know, the death of their manager in a light aeroplane crash over Scotland was a blow from which the group never recovered and so it all fell apart. Baker went back to playing polo again, whilst the Gurvitz brothers teamed up with Moody Blues’ drummer Graeme Edge for his two solo albums and a string of live shows. Steve Parsons released a solo single and got involved with some punk and new wave projects but nothing that made any huge impact, he later revived The Sharks band and continued to make music once more.

Fate has derailed many a promising career, and she certainly did that here, the rifts were never healed and the band split up never to return! With Baker’s death in 2019 that dream died with him. It was a terrible loss to the world of music, however, thanks to the diligence of Esoteric, once again the Baker Gurvitz Army can March forward for a whole new raft of listeners to discover their unique and often different style of heavy rock for themselves.

For those who know of this fine band this set is a treasure trove of delights, I thoroughly enjoyed it and recommend it highly.

Released 26th January, 2024.

Order from Cherry Red here:

Baker Gurvitz Army: Neon Lights – The Broadcasts 1975, 3CD/2DVD Box Set – Cherry Red Records

Review – Anthony Phillips – Slow Dance 2CD Jewel Case Edition – by John Wenlock-Smith

Anthony Phillips is the forgotten former member of Genesis who was there at the beginning but due to his extreme fear of being on stage, quit the band after the ‘Trespass’ album, leaving the door open for a certain young Steve Hackett, whose story is widely known.

Anthony is not the first musician to quit or to struggle with stage fright as many others, like Eddie Van Halen and Ozzy Osborne have also suffered through its clutches. Andy Partridge of XTC is also a fellow sufferer, although that is more with anxiety though but still, it is similar in nature and has an a debilitating effect. Many others also are affected, more than you would imagine really. Anthony simply wasn’t able to function in this realm and he decided to leave the group he had helped found and devote himself to a more classical direction, he was also a qualified music teacher for a while and he also studied orchestration.

All of which leads me to this newly remastered and extended version of his 1990 album ‘Slow Dance’ which is heavily classically influenced and gives rein to his wonderfully inventive playing and orchestrations. There is more than a hint of 1977’s ‘The Geese And The Ghost’ album which has a similar style.

Whilst I am not a classical buff by any means, other than the basics and well known classics, I find there is much to appreciate in this fine reissue. I think of it more as a tone poem or score and as such, it is definitely a case of repeated listening to get the subtle moments of brilliance that are on display here. The main album is in 2 parts, although the extra tracks on the second CD are also interesting, mainly being edited portions of the entire main album.

I actually prefer Slow Dance Part One for some reason, I especially like the repeated gentle motif that reappears throughout the piece. This music is gentle, delicate and beautifully crafted, when you read in the accompanying booklet of the trials and tribulations that had to be stared down to enable its completion, you will, like me, no doubt be in awe of both the vision and commitment employed whilst making this album come to life. It really is a sumptuous piece of music, uplifting and life affirming in equal measure. It is a triumph of talent, perseverance and, above all, a towering testament to the grace and beauty of the music it contains.

Did I mention that it is totally instrumental? That said there is a wealth of creativity here. Slow Dance Part One is of twenty four minutes duration whilst Slow Dance Part Two is twenty six and a half minutes in length and has more orchestrations, strings and synths than part one does. The synths are all very 1980’s in tone and, whilst good, sound slightly dated in parts. I also feel that part two lacks the same emotional depth as part one, although that may be my perception having heard part one more than part two.

Let’s explore each part in greater depth shall we?

Part One begins with washes of synthesisers laying down a great sound and setting the stage for a delicate acoustic guitar motif that will be repeated at frequent intervals. The synths swell again before a fingerprinted guitar line is played and the opening melody is played on synths. I really like the gentleness of this pastoral sounding section, it is very satisfying to hear such gracious and gentle tones amidst all the synthesised backing. A stronger note then ushers in an almost pizzicato played part along with woodwind and a chopsticks sounding piano section that returns to the main melody played once again. Lush strings return to the chopsticks sounding part and a clarinet leads to orchestrations. There is then a sectionis reminiscent of the main theme of ‘The Geese And The Ghost’ album as it has a similar sound to it, not identical but definitely similar in sound. We then enter a section of syncopated percussion elements which is very effective, after which we return to the main theme once again. The final section of part one is a keyboard along with a drum machine playing and whilst it doesn’t affect the quality, it does date the music to the era in which it was recorded, this piece then ends with a few more syncopated piano notes.

Part Two is decidedly different and more keyboard focused with the major portion being concerned with keyboard orchestrations, there are less guitar parts in this as a result, although this does give the whole piece room to evolve naturally, again the drum machine plays its part in keeping the pace of the piece. As we get further in a sequenced section begins with woodwind playing alongside it most effectively, the theme from part one reappearing in a slightly different form. The vast orchestrations are introduced to the sound interspersed with the sequenced section and a harder section with guitar fills is added but soon gives way to the orchestrations once again. This is where I feel the piece lacks a little focus and is merely using synthesisers to swell the sound without much substance. The sequenced part returns with string flourishes which actually sounds really good, although a bit like 1980’s Tangerine Dream in places. After this section ends we return to the main theme through sweeping strings and synth orchestrations, I’m hearing the open sweeping soundscapes of ‘Stratosfear’ by Tangerine Dream once again but this proceeds at a stately pace. It is all very epic and measured, the final section returns to little piano and keyboard runs to good effect. Part Two ends on gentle notes before fading away in the distance with a final play of the central melody.

In summary a most interesting but, possibly for most, not essential release with a great booklet explains the background to the album. I am very glad to have heard this for myself as I really enjoyed it even it lies outside of my normal listening material.

Released 26th January, 2024.

Order from Cherry red Records here:

Anthony Phillips: Slow Dance, 2CD Jewel Case Edition – Cherry Red Records

Review – John Wetton – An Extraordinary Life – by John Wenlock-Smith

John Kenneth Wetton left us too soon, much too soon sadly, he never had the opportunity to grow old disgracefully or to see his grandchildren, leaving us on the 31st of January 2017 in what was a dreadful year for the passing of legends, with legendary musicians like Tom Petty, Gregg Allman and Alan Holdsworth also passing the same year. John, however, did leave us many years of his artistry and songwriting craft with many recordings to treasure and enjoy from his work with bands like Mogul Thrash, Family, King Crimson, Roxy Music, Uriah Heep, U.K., Wishbone Ash, Asia, Wetton/Downes and Icon, in between which he found time to carve out his own lower key solo career, during which period he made the albums this set covers.

This new boxset gathers together all of his six solo Albums from 1979 to 2016, a sixty-four page book and two discs of unreleased tracks or hard to find demo’s. This set concentrates on John’s solo work so, whilst it has a slew of contributors, you won’t find any songs from either his Icon or Asia years. What you do get is a comprehensive trawl through John’s imaginative and artfully crafted music and his strong songwriting and playing. Further sets are a possibility, although quite what form that would take is very much a case of wait and see.

The set begins with ‘Caught In The Crossfire’ from 1980 and is followed by ‘Battle Lines’ from 1994, ‘Arkangel’ from 1997, ‘Sinister’ from 2000, ‘Rock Of Faith’ from 2003 and ‘Raised In Captivity’ from 2011! The set also has 2 discs of unreleased tracks, mainly demos or alternative mixes and takes. So, although there is a lot for your money, as always the music is very mixed in styles and approaches and not everything may be to your tastes. There are progressive parts for sure, but its focus is on John’s compositional skills and how that translates into his songs.

Many folks may feel that his best work was in conjunction with various partners who helped him hit better heights, there is certainly nothing in here that moves in the same orbit of success that Heat Of The Moment or Don’t Cry did, for example. But it definitely must be said that John definitely sprinkled his magic over the recordings he made over the years and this set clearly shows that skill here. I would imagine that most folks know a little of John’s history and hopefully of his music too, making individual reviews of the albums superfluous really, instead, I will concentrate on the more obscure unreleased music in the main. John was certainly prolific in his writing, especially when you consider that he spent a large proportion of his life merely surviving his addictions and keeping his demons at bay.

He scaled the peaks and trawled the depths of addiction but still managed to be incredibly creative in his own right, he was a true professional musician who didn’t let his drinking affect his performance. His life is documented in part in the recent autobiography published after his death, in which his exploits are recounted. I’ve not read it myself but did hear Ken Hensley talk about how important John’s compositional talents were whilst making Uriah Heep’s ‘High And Mighty’ album, lots of his fellow bandmates speak positively about John’s talent and skills.

The two bonus discs contain thirty-nine tracks in total, mostly demos or sketches of ideas that never reached fruition somehow. It’s an eclectic mix of material from the atmospheric instrumental of AD2023 to the more AOR stylings of Raven. The memorable Walking On Air with its accapella opening dissolves into a more traditional form of songwriting, mostly acoustic but with great keyboard support to  flesh out the sound convincingly. The ballad Straight From The Heart is a good song that plays to John’s strengths, especially his baritone voice that floats gracefully over the track. This could have been a good Asia song, it certainly fits the mould well enough. A fine take on Dylan’s All Along The Watchtower is a fine interpretation of a classic song, with Wetton’s clear vocal impressing greatly. Deya 1986 is, I believe, an instrumental written about his son Dylan. Again, this moody piece is good listening. Tears Of Rage would have made a good track for Icon, with its striking violin playing making a real mark.

Marianne is another power ballad that Wetton could write in his sleep, all earnest vocals and surges of restrained power chords hitting the mark. As the song builds in its intensity, its pacing is possibly too slow and would be improved with a more strident march or beat. Healer Of Shattered Hearts is another mid-tempo, atmospheric, track with a strong chorus that is most impressive. I’d Give It All For You opens with church organ (an arena that John knew well) and strong vocals, again this is very earnest and emotionally compellingly performed, making another fine track. Wings Of An Angel (Intro) leads into a track of the same name, another strong atmospheric emotional piece. All For One is another Asia style track with excellent vocals and a strong middle section. From a Distant Heart is an emotion laden tearjerker ballad of the sort that John did so many of, and did so well, giving a good vehicle for his spectacular voice. For me, Real World somehow doesn’t really work for me with its sampled voices of John Lennon and Ringo Starr. Far better is The Greatest Show On Earth with its great power chords, guitar solo and keyboard backing, this is an epic track. Adagietto is another quieter song, again very choral in tone, an atmospheric instrumental that’s very religious and the sort of thing you expect to hear in a mass. The Water Is Wide is a somewhat subdued folk type song, again this has definite religious overtones. I’m not sure if John had any religious convictions but he was a choir boy when young and grew up with a church background, so it seems something stuck there.

The second disc is also interesting, nineteen tracks on this one. It opens with Raised In Captivity which is a searching song asking questions of his growing up, it has a very 1980’s sound with a particularly effective drum beat throughout. The Other Guy (Second Best) is another unrequited love song/power ballad and would have been another good Asia track. I Will is another punchy track and, again, very 80’s sounding but a very memorable track. Bad Thing is another AOR type track with a good vocal and catchy chorus. Boys Of The Diamond City follows and is another AOR stomper with 80’s drums, a great vocal from John and a strong chorus. This would have made a great single for John or even Asia. Flesh and Blood is a further AOR number with a very 1980’s rock style production, think of John’s performances on ‘Phenomena II: Dream Runner’ for a comparison. Again, it’s good single material, maybe John should have released this after he left Asia first time around, with Geffen’s involvement he maybe could have had a higher profile solo career. It’s an absolute corker of a song, as is the next track Burn Your Name In My Heart, which would have been another contender for that imaginary unrealised Geffen album. Sex/Power/AndMoney could also be on that album, a very strong track. In fact this second disc of tracks could really be that unfulfilled album, as its all there in the first ten tracks, including a duet with an unnamed female vocalist that sounds really sweet.

So what I’m hearing here is the unrealised and unreleased John Wetton Geffen era album from the mid 1980’s which gives these songs a sense of direction and focus. After this we have several songs from the ‘Over The Top’ soundtrack that John both wrote for and sang on. The remaining tracks are in a similar vein, mid tempo AOR tracks, including Halfway To Heaven, another song for a soundtrack album. There are other gems scattered throughout the set but, for me, Disc 2 of the unreleased stuff really makes the set worthwhile and worthy of purchase.

So in all this is a really interesting set but possibly not for the casual listener, more for the fervent followers.

Released 24th November, 2023.

Order from Cherry Red here:

John Wetton: An Extraordinary Life, 8CD 12”x12” Box Set – Cherry Red Records

Review – Gamma: What’s Gone Is Gone, Complete Elektra Recordings 1979-1982 – by John Wenlock-Smith

Last year Cherry Red released a ‘Complete Montrose Recordings’ boxset over 6 CD’s with various single edits and two live studio recordings. After four albums with Montrose between 1973 and 1977, plus a solo album in 1978, Ronnie Montrose formed Gamma with Davey Pattison in 1979. So, in the same tradition, comes this 3 CD boxset of the three Gamma albums made for Elektra before Ronnie Montrose called time on the band, (they did return for a fourth outing in 2000 with ‘Gamma 4’, not included here sadly, nor is there the live album that is currently about from a show in Denver in 1979 when the band were promoting their debut album). 

What is here is good, although the booklet is a little light in background information, somehow it merely reproduces the various album artworks and details the musicians playing. The music is, however, truly sensational, I bought the first few Gamma albums on vinyl and thoroughly loved them, especially the first and third. For some reason. I never really clicked with ‘Gamma 2’ but certainly do within this boxset, the album being a revelation here, sounding crisp and punchy and rocks like a b*****d!

Gamma existed at a time when rock music was undergoing a dramatic remaking. After punk had done its thing, and before the 80’s got into gear, there was a new wave of rock music emerging on American radio rock, with the likes of Bon Jovi poised to change the airwaves considerably. That process was already happening with the likes of Foreigner and Boston taking over the airwaves. 

Gamma were Ronnie Montrose’s own attempt to gain some commercial foothold and offered music that easy on the ear but still had an edge to it. Much of this came about because of his joining up with Glaswegian born Davey Pattison, who had relocated to Los Angeles to further his own career after a sojourn with Robin Trower. He was noticed by Ronnie and invited to join the project that became Gamma. 

‘Gamma 1’ was released in 1979, Pattison’s muscular vocals giving restrained power to tracks like Thunder And Lightning and the awesome epic Fight To The Finish, alongside the twisted tale of streetlights in Razor King, a song possibly inspired by the Glasgow Pattinson had left behind, and a freak instrumental in Solar Heat. There was also the distinctly poppy I’m Alive that, despite its lightweight nature and it vocoder vocals, pummelled along at a cracking pace. 

Pattison reveals himself to be a fine vocalist who has a great tone to his voice. Ronnie Montrose is very active on guitar throughout with punchy rhythm and fills galore. Razor King is a dark tale of violence and some nefarious behaviour, again this song has lot of guitars in it, it is a good track with a great guitar break from Ronnie that powers it along, especially when the guitars compliment Davey’s vocals. Ready For Action is a solid rocker with atmosphere and muscle, the production is busy and bustling with space for great dynamics and muscular bass from Alan Fitzgerald, another ex Montrose member and, once again, Pattison is in fine voice throughout. There is then a bluesy take on Wish I Was by Mackey Newbury and the final track is the brooding, sprawling epic Fight To The Finish which is full of energy and fire along with an epic guitar solo from Ronnie that peaks and the peaks again. It is a marvellous track that was always a favourite of mine back in the day and rounds out what is a varied yet consistent album, as does the second solo that draws the song to a close, a truly great song.

‘Gamma 2’ came out in 1980 and, straight from the off, it is a harder sounding album, still with lots of keyboard embellishments but also with muscular guitar work, Mean Streak being a particularly powerful opener. Again, Pattison is on cracking form, the months spent touring had definitely helped his vocal prowess develop even further. Here he is confident and assertive, with his voice soaring and floating over everything easily and gracefully and commanding respect in the process. The material he is working with is equally assured and the guitar work is fluid and powerful while also melodic and memorable to boot. Overall it makes for a winning combination. 

Dirty City is another gritty number with a strong chorus and excellent keyboard textures that turn into a driving beat amid the lyrics of streetlights tales and the dirt of it all and another blistering solo makes the track fly. Voyager is different again, having, as it does, more of a blues shuffle feel to it. This allows room for lots of blues fills as the song details the loneliness of an astronaut away from earth for a long time. This, of course, was around the time of the initial space shuttle launches when space travel was a distinct possibility once more. The song is hinged on a walking bass line that rumbles throughout in a great manner, it is a great performance that really impresses. I used to have this album on vinyl but never really took to it as well as the debut. Well, the intervening 42 years have now revealed this to be a really strong record, one that has power, muscle, attitude and brawn in spades and makes for a really enjoyable and rewarding listening experience.  

Cat On A Leash is the first sign of a track that promises but somehow fails to deliver, although the closing moments have a spark of life to them. Skin And Bone has beef and brawn to it. Great keyboard textures and more moody bass lines, with Ronnie’s sustained guitar lines, sound very effective indeed. The synth keyboard solo is a bit twee really but it is of its time and doesn’t distract to much. When the power chords charge in the song moves style and impresses greatly. A superb solo closes out the track well leading us into the riffing opening chords of Mayday, an instrumental opening section that Gamma do so well, with fiery guitar before Davey’s strong vocals begin, it closes the album in good form. 

‘Gamma 3’ come out in 1982 and, this time around, there was more emphasis on keyboard textures and sounds. Although the guitar is still present, it plays a less upfront role, with the fireworks largely saved for solo sections. The sound is a lot more radio friendly and focused, although the solo on opener What’s Gone Is Gone is glorious, as is the long sustained note like in Don’t Fear The Reaper, both most impressive indeed.  The album is a lot lighter in tone as a result, although there are undercurrents of power in play. Gamma we’re after a more commercial sound, one that would raise their stature beyond that of a perennial opening act, indeed I saw the band open for Foreigner in Birmingham on the ‘Tooth And Nail’ tour where they were fantastic. Sadly the change of approach failed to deliver any significant benefits with the result that Ronnie Montrose lost interest and split the band up to make more instrumental guitar albums.   

The rest of ‘Gamma 3’ is all fairly lightweight, electronic new age pop music with only occasional moments of merit. It’s a pity that the band went off on a tangent that didn’t really work for them for, while Stranger is a solid instrumental, what we really want are more rocky vocal tracks. Still, you can’t have them all I guess?

The boxset is good but a bit of a missed opportunity really as, without ‘Gamma 4’, it feels incomplete but certainly of interest, if only for ‘Gamma 1’ and ‘Gamma 2’, both of which are excellent.

Released 30th June, 2023.

Order from Cherry Red here:

Gamma: What’s Gone Is Gone, Complete Elektra Recordings 1979-1982, 3CD Boxset – Cherry Red Records

Review – Cairo – Nemesis

Cairo, the genre-defying project founded by the multi-talented Rob Cottingham return with the stylish ‘Nemesis’, and album that taps into contemporary global concerns and demonstrates the band’s impressive, genre-defying approach with menacing, angular riffs, pop rock hooks and electronic soundscapes that all beautifully complement powerful and emotive vocals.

Recorded with John Mitchell at Outhouse Studios, this release ventures into familiar ‘CAIRO rocks’ territory with the dynamic, moving epics. There are also some exciting departures for the band venturing into more melodic rock areas and even a short keys-based orchestral instrumental which doffs a cap to the likes of the sadly, recently departed Vangelis, and acts as a prologue into the title track.

The opening two tracks are firmly in the ‘hard rock meets prog’ arena. Asleep At The Wheel and Tripwire both major on crunching guitar riffs from the talented James Hards and thunderous drumming from the energetic Graham Brown. The dynamic and elegant bass playing of Paul Stocker keeps things on the right course and the flourishes are added by Rob’s excellent keyboards. Add into this the charismatic vocals from Sarah Bayley and you have two songs that will satisfy ardent hard rock and prog metal fans anywhere.

There’s a complete musical u-turn with the beautiful Glow where Sarah’s haunting vocal takes centre stage, this girl certainly has a wide range to her voice and it’s delicate, almost fragile, timbre here is a joy to behold. Everything goes all melodic rock when the guitar chimes in, reminding you of prime 80’s Heart, especially when Rob’s spiralling keyboards fire up. It really is a fantastic piece of music. Rogue has an energetic opening and proves to be an upbeat and uplifting slice of pop/rock and the balladic The Love is an elegant, wistful track that bleeds a melancholic grace, simply divine.

The epic New Beauty is an utterly captivating and involving seven minutes plus of progressive tinged rock pomp and splendour that beguiles and entertains in equal measure and continues to showcase the vocal talents of the wonderful Sarah Bayley who, surrounded by these prodigiously talented musicians, elevates this album to another level. Deja Vu is a winsome three minutes of refined music where Sarah and Rob deliver a wonderful vocal duet, one that lingers long in the mind. The 80’s return on the fantastic Jumping On The Moon, a proper ‘banger’ that flies along at a hectic pace and drags you along happily in its wake.

The orchestral wonder of Save The Earth always has a portentous note of warning in the background, the sophisticated music delivering an enlightened message and is a perfect foil and prologue to the final, title, track Nemesis. The longest track on the album is also my favourite, which is saying a lot with the calibre of songs on offer. A proper Cairo epic and one that stops you in your tracks, the polished, restrained introduction then sees Rob’s calm vocals delivering an important message. This is pop edged hard rock at its best, the delightful music ebbing and flowing with the mood and the vocal harmonies between Rob and Sarah are just superb. Add in a wonderfully uplifting guitar solo from James and you have a fantastic close to a sensational album.

Cairo seem to have found their niche with the elegant, epic pop and prog infused hard rock that they deliver. This is sophisticated, elegant and polished music and ‘Nemesis’ showcases a band at a creative peak. Simply a superb release and one that you really should buy…

Released 5th May, 2023.

Order from Cherry Red here:

Cairo: Nemesis, CD Edition – Cherry Red Records