A great new collection that travels through the lazy days of British rock and pop music of 1975.

Release date: Available now

Label: Grapefruit Records/Cherry Red Records

Format: 3 CD Box Set

APPROACHING THE BOX SET

This magnificent compilation box set on the surface shouldn’t make any sense. The bringing together of a very disparate group of artists and bands from 1975, under a such a wide-ranging title as British Progressive Pop, could seem a bit odd and random. With the year 1975 seeming in some respects the only thing they have in common.

Even if that was the case, there is great fun and interest to be had exploring the artists and songs presented here. In fact this is a box set that contains some real musical gems, and captures brilliantly, and with affection, a particularly creative space and time in rock and pop history.

To provide something of a guide, through the myriad of tracks contained in the box set, which contains a massive 65 tracks over three CDs, this review will adopt a thematic approach. The themes, and choice of tracks to highlight within each theme, will of course reflect in part this reviewer’s musical preferences, but hopefully it will encourage you to seek out this set, and explore for yourself the intriguing musical tributaries it will take you down.

HEAVY ROCK

Under our theme of heavy rock, a good place to start is the opening track on disc one, which is Bad Company’s Good Lovin’ Gone Bad. The band brought together the talents of Paul Rodgers (vocals) and Simon Kirke (drums) from Free, with guitarist Mick Ralphs, who had been in Mott The Hoople, and former King Crimson bassist and vocalist, Boz Burrell. Quite a heavy-duty line up. On this single from the Straight Shooter album, the band show all the qualities that generated success in both the UK and the United States. Paul Rodgers expressive blues based vocal, is both subtle and powerful, and Mick Ralphs offers some fantastically abrasive riffs and solo phrases. The rhythm section of Simon Kirke and Boz Burrell add a propulsive drive that never lets up.  

Scotland’s Nazareth, later on disc one, provide one of their majestic covers, this time of Tomorrow’s My White Bicycle. They of course make it their own with a dynamic rock take on a classic of psychedelia. Particularly impressive are Dan McCafferty’s caustic anthemic vocal and Manny Charlton’s soaring guitar parts. This should inspire you to look out their excellent cover of Joni Mitchell’s This Flight Tonight, in this reviewer’s opinion one of the best interpretations of a Joni Mitchell song by another artist. They somehow get the essential nature of Joni Mitchell’s song, while reworking it within a heavy rock framework, producing something completely original.

WELL THOUGHT OF…

Stray were one of those 70s rock bands that were well thought of but somehow didn’t make the breakthrough they deserved. Staying with disc one, their Precious Love single, represented a subtle change of direction, combining rock with pop hooks, and it works really well. Having seen them live in the 1970s in Glasgow, their heavy rock credentials can definitely be vouched for. 

Hawkwind’s Kings Of Speed on disc three, is perhaps a bit of stretch to put under heavy rock, as the band would normally be seen as fitting more into the space rock genre. However, on this track from their Warrior on the Edge of Time album, which was also a single, they absolutely convince with a thrash driven slice of heavy rock. It is intense with some great distorted guitar riffs by Dave Brock. Lemmy’s bass playing is breakneck, and Simon House adds some nice touches on violin.  Finally, we come to Sweet, who had much more to offer than catchy pop hits, good as they were. They aspired to, and had the playing skills to deliver, genuine heavy rock sounds. On Fox On The Run, on disc two, a big hit for the band, you can hear hints of what they were capable of in this respect.

PROGRESSIVE ROCK

Be Bop Deluxe’s Jean Cocteau, from the Futurama album, is a real gem of a track. To be found on disc one, the bossa nova rhythm and Bill Nelson’s delicate acoustic and electric guitar work is an absolute delight. The heartfelt tribute to the avant-garde poet, artist, playwright and filmmaker is sung beautifully and leaves a lasting impression.  

Hatfield and the North, leading lights from the Canterbury Scene, are represented on disc two by Share It from their second album, The Rotters’ Club. It has all the Hatfield elements: whimsical lyrics and a wonderfully languorous vocal, allied with jazz influenced keyboards and guitar, and Pip Pyle’s muti-layered drumming. It is one of the shorter songs from the album and if it tempts you to hear more of the band, go straight to the magnum opus on the album, Mumps, which over its twenty minutes plus delivers some of the best progressive rock you could expect to hear from this era.

A GENIUS FOR REINTERPRETATION

Manfred Mann’s Earth Band, show their genius for reinterpretation of a classic song, as they let loose in playing Bruce Springsteen’s Spirits In The Night on disc three. The original soul swing in Springsteen’s original recording on Greetings from Asbury Park, N.J., is here revised as a full-blown progressive rock anthem. It is an intoxicating blend of subtle quieter sections giving full reign to Springsteen’s storytelling lyrics, sung sympathetically by Mick Rogers. Then hitting you with the strident anthemic chorus which includes a strings section, a backing vocal chorus, and jazzy instrumental sections featuring Mick Roger’s guitar and Manfred Mann’s synthesiser. 

Minstrel In The Gallery from Jethro Tull on disc three, is quite simply classic Tull. A lovely meandering acoustic introduction leads into a majestic Martin Barre guitar work out. The frequent time signature changes are played effortlessly with Barrie Barlow’s drumming at the fore, and as always, his playing is so interesting to follow. Ian Anderson’s songwriting and excellent vocal performance ties everything together. 

PUB ROCK

So, we move on from Progressive Rock to the underrated grouping of band and artists that went under the term Pub Rock. Well represented on this collection by Ace, Kursaal Flyers, Brinsley Schwarz and The Winkies. Ace included in their ranks Paul Carrack, a brilliant songwriter, keyboards player, and soul vocalist. On disc one, their song Ain’t Gonna Stand for This No More, is a memorable rhythm and blues traverse, with some nice blues embellishments.

Kursaal Flyers on their single Hit Records, on disc two, give a lesson in aligning a great pop song with a very endearing country feel. The pedal street guitar work and call and response vocals really elevate this song and performance. Brinsley Schwarz included Nick Lowe, and band members who would eventually provide the nucleus of Graham Parker’s The Rumour (Brinsley Schwarz on guitar and Bob Andrews on keyboards). On disc two, recording as The Brinsleys, we get to hear their final single, There’s A Cloud In My Heart. A typically well written classic piece of songwriting by Nick Lowe, bursting with melody, and with a swirling Bob Andrews organ part, that adds a rootsy sheen in the manner of The Band. 

POTENTIAL

The Winkies, produced only one album, but on the strength of the song Trust In Dick from that album, they certainly had potential. They also backed Eno on an early single and solo tour. The song, which is to be found on disc three, has guitar driven pace, and an impressive swing beat, accompanied by some attractive harmony vocals. And in musing on the subject of pub rock, there must be reference to the brilliant Dr. Feelgood, here on disc three, playing their single Back In the Night. Lee Brilleaux’s snaking vocal and Wilco Johnson’s astonishing slide guitar make for something approaching perfection in rock music terms…well in fact in any musical set of terms.

All of this should illustrate the rich musical tapestry offered by pub rock, so much more than the often labeled back-to-basics approach that was one of the inspirations for punk. Though that would be a great accolade on its own.

FOLK AND ROOTS

Alan Hull had an outstanding solo career in addition to his work with Lindisfarne. Dan The Plan, on disc one, is taken from his solo album Squire.  Combining incisive political commentary and a beautifully layered musical backing, where the acoustic and electric guitars and Ray Jackson’s bluesy harp blend seamlessly. 

Ronnie Lane’s Slim Chance have their single Brother, Can You Spare a Dime? on disc one. A song of the Great Depression, the global economic crisis of the 1930s, Ronnie Lane imbues the song with a stunning mix of pathos and resigned humour, backed by the excellent musicians of Slim Chance. With a career that spanned a key musical role in both the Small Faces and the Faces, the late Ronnie Lane is one of our true musical talents, and it is great to see his work represented on this box set.

CLASSIC ALBUMS

Al Stewart’s Carol, from the Modern Times album, can also be found on disc one. The different elements he brings to all his work, of a narrative story, a sympathetic melodic setting, and an interesting musical arrangement featuring a stellar cast of great session musicians, are all present. Tim Renwick’s electric guitar work as usual is outstanding. Al Stewart, a great singer songwriter in the classic mode, followed up Modern Times with the very well received and classic album Year Of The Cat.

SOPHISTICATED POP

What is meant here by sophisticated pop? Essentially classic pop that has that added ingredient of a conceptual approach, or high production values, or lyrics with depth, or layered musical arrangements, or any combination of these. There are of course subjective choices being made here, but hopefully another helpful navigational aid through the music in this collection.

The Kinks’ album Soap Opera has to some extent been a little overlooked in their musical oeuvre. Perhaps this isn’t surprising given how many great albums they produced. Soap Opera started life as the music for a Granada Television musical play Star Maker. Everybody’s a Star (Starmaker) from the album can be found on disc one. It features a classic Dave Davies guitar introduction, and the keyboards and brass arrangements add a dazzling pop sheen to the rock structure. Ray Davies is in fine form as he deploys his unique vocal style to ruminate on the nature of stardom and the parallels with how people navigate through life. An album that deserves a thoughtfully repackaged reissue and re-evaluation.

A MUSICAL PEAK

10cc on their third studio album, The Original Soundtrack, reached a musical peak, reflected in their high-end approach to arranging the music, particularly the vocal parts, together with a cinematic ambition expressed through both the lyrical concepts and music. Good News on disc one of this collection, was a bonus track on the reissue of the album, and written by Kevin Godley and Lol Creme. It is not as well-known as the hit singles from the album, or the incredible masterwork that is Une nuit a Paris. Nevertheless, it is a fabulous piece of music built around an extended chorus of their two voices, against a dream like bossa nova backing. Sheer musical genius.

When Ian and Gavin Sutherland joined with the band Quiver, it seemed like it was a musical partnership that was always meant to happen. Written by Ian Sutherland, Arms Of Mary by the Sutherland Brothers and Quiver on disc two, was deservedly a big hit single for the band. An upbeat ballad, supported by some divine harmonies, lilting strings, and Tim Renwick’s echoing guitar figures (yes, the same Tim Renwick from the Al Stewart song, a very gifted guitarist). There is also an intangible element, an atmosphere that conjures up the northeast of Scotland coastline, where Ian and Gavin were born.

FURTHER LISTENING…

Highly recommended for further listening are the first two Sutherland Brothers albums, The Sutherland Bros’ Band and Lifeboat, the latter containing Sailing written by Gavin Sutherland, and later an international hit for Rod Stewart. With my brother I had the good fortune to see the Sutherland Brothers and Quiver live, supported by the equally excellent Jess Roden Band, in Torquay in Devon. It was meant to be Traffic that were appearing, however our initial disappointment that Traffic was not playing was soon dissipated by two very fine live sets. The Sutherland Brothers and Quiver had both the songs and musicianship to fully hold the audience’s attention.

Mick Ronson might seem an odd fit with Sophisticated Pop, and certainly Play Don’t Worry on disc three has lots of rock elements and of course his exceptional guitar work, heard to great effect in his work with David Bowie. However, written together with Bob Sargeant, it also has a very winning pop sensibility, with a keen sense of melody.  A much-missed musician.

THE MAN CONNECTION

To complete this review, the box set also offers a connection to the rock legends from Wales, Man. We have on disc two Clive John’s Summer Song, and on disc three The Neutrons L’Hippie Nationale. Clive John was a founding member of Man, and Phil Ryan and Will Youatt, who formed the Neutrons, also played a significant part in the band’s history. 

After leaving the ranks of Man for the second time Clive recorded his solo album with the quirky title, You Always Know Where You Stand With A Buzzard. Summer Song is an exquisite representation of Clive’s talents, with some wonderfully melodic synthesizer work, a softly plaintive lead vocal, and vocal harmonies the beach Boys would be proud of. It is an absolute stand out track in this collection. Hold Your Ferret Aloft (not in this collection), where Man meets jazz fusion, in an incredibly funky work out featuring Phil Ryan on keyboards, is another reason to seek out this great solo album.

L’Hippie Nationale is taken from The Neutrons second album, Tales From The Blue Cocoons. It features a fine folk influenced vocal from Caromay Dixon, set within a backdrop of muti-tracked electric guitars, that creates a splendid hymn like musical structure. Both of the band’s albums are well worth looking out, as of course is Clive John’s solo album, particularly if you are a fan of Man. Though it might require a little bit of work to locate copies, as it is a while since they were all reissued.

A VERY ENJOYABLE COLLECTION

Lazy Days is one of the most enjoyable collections I have had the opportunity to review. It is the latest release in Grapefruit’s year-by-year overview of the British rock and pop scenes of the 1970s, and the care and affection with which it has been put together, means it is full of musical delights and surprises. It is the sort of collection that will also encourage the listener to follow up artists and bands brought to their attention through the thoughtful selection of tracks. The presentation in a quality clamshell box with a very informative accompanying booklet is to a high standard.

You can find out more about Grapefruit Records and Cherry Red Records releases here:

Grapefruit Records Facebook  / Cherry Red Records / Cherry Red Records Facebook

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