1974 goes under the microscope in the ongoing series of Brit Prog Pop sounds.

Release Date: 16th February 2024

Label: Grapefruit / Cherry Red Records

Format: 3CD box set

Whilst we all have an attachment for whatever reason, to our favourite year in musical terms (that inevitably falls in the Seventies), here’s one for those who are firmly in the camp of believing that 1974 was the iconic year in British music. Carefully curated from the latest in Grapefruit’s popular year-by-year overview of the British rock/pop scenes of the 70s, it features the hits and misses, key album tracks and curios from a series of well and lesser-known musicians.

In his introductory notes, compiler David Wells remarks that “1974 wasn’t a vintage year on any level,” yet a few paragraphs later, his outlook is softened; from a personal point of view, the top 20 best selling singles listed are all ones I immediately recall with a rose-tinted/Top Of the Pops fondness. Guess you had to be there. Suffering in the recession that enforced power cuts, three day working weeks and a general air of depression in the economy. Of course, those best sellers are only the tip of the iceberg. Not many of the 67 tracks collected here strike with the same degree of recognition as Seasons In The Sun or Tiger Feet although they do provide a microcosm of what to expect in the deeper dive (ie, the spectacle that was Kung Fu Fighting or The Wombling Song that sat side by side with Abba’s Waterloo)

As usual, the set avoids the obvious hit parade path, with some of the more recognisable names represented not by their more recognisable tunes, but by alternative selections and of course plenty of names and tune that skirted under and around various points of the radar.

THE ‘NAMES’

By now, Thin Lizzy are past the Whiskey In The Jar breakthrough, so it’s the curveball of Philomena making the cut whilst Status Quo have finally found a formula that works for them. Jona Lewie is some distance from the Christmas hit with his rustic blues on Papa Don’t Go complete with groovy backing vox. Peter Hammill, stepping out from Van Der Graaf Generator is also on the solo path and Sparks’ chart successes make way for Hasta Manana Monsieur, showcasing the fact that they were (and remain to be) much more than chart fodder.

THE ‘HITS’

How Long has been good to Paul Carrack – from singing the Ace original, it’s followed him though his solo career. Hard to sometimes believe it’s been around for so long, like Denny Laine singing Go Now. Many may recall the chart bothering Tell Him by Hello. An urgent hit that’s their claim to fame and lasting memory, while Judy Teen, The In Crowd from the Ferry/Harley brigade are well placed at the start of the set to welcome in a sense of familiarity. National Flag were one of many who covered Tim Hardin’s If I Were A Carpenter and pretty faithful it is. Fox’s Only You (recorded completely nude allegedly) might be familiar from TOTP where Noosha & Co thankfully remained clothed.

GOING SOLO

In a ham-fisted segue from ‘the hits’, Rod Stewart recalled his frankly much better early solo work, hitting the Top Ten with the excellent Farewell although fellow Face, Ronnie Wood never really made the solo breakthrough; perhaps his Stones connections were proving a better bet. The period finds Ex-Fairporters, Richard (& Linda) Thompson and Iain Matthews trying their luck. Richard and Linda’s I Want To See The Bright Lights Tonight labelled “one of the greatest albums ever made in any right-thinking person’s opinion” while Ian adds Richard’s contemporary trad. Folk of Poor Ditching Boy to the selection.

Bryan Ferry and Mick Ronson both break free from more famous partners, the former setting his stall out for a hugely successful solo path although both Ronson and Ron Wood perhaps never really convinced as a solo artists, designed to be players within a framework of wider appeal..

PUB ROCKERS

One good thing about power cuts and shortages of fuel was the necessity for bands to play local, where and when they could. The whole Pub Rock scene took off with the likes of Brisley Schwartz, Kilburn And The High Roads (and we all know how that ended) and Dr Feelgood – Wilko described as “an extra from Night Of The Living Dead” amidst his unusual slashing guitar style. You could even include Georgie Fame’s Everlovin’ Woman in this group – proper boozer Rock and Roll piano and slide guitar on this one.

GLAM ROCKERS

Slade were doing better in terms of longevity than T.Rex. Bolan might have been the dog who’d probably had his day but Slade still hanging in there with Far Far Away. Roxy Music and Cockney Rebel were established bands who set the standards by which the likes of Be Bop Deluxe were to follow – themselves soon to be reshapen (musically if not sartorially) by Bill Nelson and who are represented by an Axe Victim cut.

HEAVY ROCKERS

Alongside Cozy Powell – the man with the fifty pound hammer making a case from drummers everywhere with his spate of hit singles – Nazareth, sounding very much like a proto AC/DC on Shanghai’d In Shanghai while the Sensational Alex Harvey Band and Medicine Head flitted around the edges of stardom – legends in their own lunchtime. UFO’s Doctor Doctor has gained in status and in recognition over time as a classic cut – certainly an essential part of any Iron Maiden show – and Quo had found their niche. Breaking The Rules set out their stall for a formula that worked for them in years to come.

THE CURIOS

These sets come into their own when the familiar names are peppered with outliers and bands who briefly flirted with some degree of success. Stavely Makepiece (great name) who found bizarre success with the spin off, Lieutenant Pigeon – where we head off back through the wobbly time travel effects to Hilda Woodward plinking away on the upright piano on Mouldy Old Dough.

The detailed booklet offers up all manner of pub quiz-worthy snippets and trivia – adding flesh to the bones of the likes of Compass (stars of Carry On Camping!) and the Psych popsters Holy Mackerel join the George Harrison-produced Splinter. Simon Turner’s She Was Just A Young Girl retains a big Sixties arrangement and the Beach Boys influenced The First Class (“Oh Bobby Dazzler, what they trying to do to us!”). Manchester’s Chalice was clearly in a competitive field, their local successes never taking off. The short-lived Rescue Co. No.1’s As Long As You Want Me To might have some hint of acoustic Neil Young but typically of many bands and their attempts to ‘make it’, faded and died. 67 tracks and the ice is hardly broken.

As ever, the result is a rewarding and nostalgic overview of another hugely enjoyable, multi-faceted year in
British rock and pop. Great fun and hugely educational for pop music culture students.

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