 |
Classic English Blues Albums - Early 60s: A Short History, Johnny Kidd And The Pirates, Rolling Stones, Yardbirds, Pretty Things, Steampacket, John Mayall And The Blues Breakers With Eric Clapton
Note: This was the first part of an informal survey of early English Blues and Blues Rock albums. It was written in 1997 for the Delta Snake E-zine and reprinted here with only a few minor edits.
An Unsystematic Retrospective by Al Handa, perhaps as a cynic might say, his Desert Island list for the British Blues. Needless to say, the opinions expressed are the author's only, and have no pretensions of being a scholarly text. The idea, as always in the Snake, is to discuss music and entertain. In this case, to look again at some classic records and see if the perspective has changed in the 90's. However, although I do want to avoid a pure academic history of English Blues, it is helpful to discuss the general history a bit. Much of that discussion is done in the reviews, as each record gave me an opportunity to discuss context and such. But a short overview is provided.
Al Handa
1997
History Of The English Blues:
An Overview:
As recorded in countless books and magazines, the history of the English Blues is generally seen as a progression from the work of Alexis Korner and Cyril Davies in the late 50's to their 60's rock boom. Korner in particular was a driving force, starting from his discovery of the Blues as a fan and as a player.mHe first heard Jimmy Yancey as a teen, which inspired him to play the Blues. After playing various gigs, he teamed up with Cyril Davies in 1954, and in addition to performing as a duo, brought over American Blues artists to perform in England. This helped fuel a Blues boom.
The two began recording in 1957, and in 1962 formed a loose revue type group called Blues Incorporated. It had a revolving membership of the best musicians in British Blues, which included at one time just about all of the major players in the English Blues and rock scene. That included members of the future Stones, Humble Pie, Small Faces, Manfred Mann, Colosseum, and Long John Baldry. It also inspired another Blues enthusiast, John Mayall.
Around that time, there was another musical movement, the so-called "skiffle craze," that included what were basically young musicians playing old jug band type music. From that scene came future Beatles, Kinks, etc.
Obviously, that's probably an oversimplification, and if nothing else, an overly rock-centric view. Nonetheless, it is pretty much the direct line to the British Blues as most of us know it. What this retrospective is about, is showing that the scene from the 60's on, was an interestingly diverse one. This is best examined by discussing some of the best (not necessarily the first) of each of the prominent and not so well known Blues groups that were spawned in that scene.
One point to keep in mind; the Blues at that time in England could chart, unlike in America. Many of the Blues groups had top ten hits, so more than a few famous rock bands started off as Blues groups as much for it being a route to success as for conviction. Sincerity is neither here nor there in the marketplace, but you might find it interesting to see how many of the young rock and roll musicians started off by playing Blues tunes.
Although much is made of Robert Johnson, both his myth and music, you will also see that several other Blues legends were arguably more influential in the English Blues scene, and thus by association, influences on modern rock. Artists like John Lee Hooker and Elmore James spawned groups that focused on their style, and the line of evolution runs right to the modern day. That aside from the Eric Claptons and John Mayalls.
For example, one of the most influential records was recorded on a small tape recorder in a room, by an acoustic guitarist who combined English Folk and country Blues techniques. That man was cited as a primary influence by such legends as Jimmy Page and Neil Young.
So, unsystematic and anecdotal as this series of review will be, you'll see that the English Blues scene was actually quite diverse. Also, this may be a chance to discover some new artists to check out and enjoy. In a sense, you're seeing my own exploration and journey. I hope you'll experience at least a bit of the thrill and excitement that came over me when I first heard these people.
The series will run in two parts, with the first set of reviews running in this issue, and the rest in the October issue. I haven't made an attempt to be comprehensive, and more might be added at the last minute in the second part (than those listed later). If you have a favorite that should be examined, let me know and I'll try to get that artist in.
Al Handa
1997
JOHNNY KIDD AND THE PIRATES: "Shakin' All Over" (1971 Starline)
One of the most documented eras in Beatle history was their stint at the Star Club in Germany. Less known is the band they replaced there, which was Johnny Kidd and the Pirates. The leader, one Frederick Heath, was the one constant. He originally performed under his real name, then in 1958 switched over to Johnny Kidd (and the Pirates) and began recording for EMI.
Kidd started off as a rockabilly type, also doing R&B, pop, and whatever EMI producers had him do. His first 45, "Please Don't Touch," hit 26 on the British charts. His output from then on varied widely, but in 1960 wrote what he thought would be a B-Side to his latest pop single.
That song was "Shakin' All Over," a tough R&B; rocker that ended up as the A-side, and was the first original rock song from England to become a standard throughout the world. The most famous version of the Pirates included Mick Green on guitar, who created a style that combined rhythm and lead work that influenced Peter Townsend of the Who (who opened for the Pirates early in their career) and more than a few guitarists in the late 70's English pub rock era (which spawned Elvis Costello, Dr. Feelgood, etc).
Johnny Kidd, with the Mick Green-era Pirates also recorded two other English classics. One, a very tough cover of Bo Diddley's "I Can Tell," which is a dead ringer for the late 70's Fabulous Thunderbirds sound (back in 64!) and the immortal "Need A Shot of Rhythm and Blues."
In the mid-60's, Heath formed the New Pirates, and was killed in a car crash before this new unit could get off the ground. The group toured for about a year afterwards, then split up. One member, the bassist Nicky Simper went on to become a founding member of Deep Purple.
Johnny Kidd and the Pirates weren't a major influence on the British Blues, but definitely to the young rockers who shaped both the 60's and 70's. Also, his major hits, like "Shakin' All Over," and "I Can Tell," showed that a lot of the Blues rock being done now by younger bands isn't all that new or necessarily as exciting.
The Starlight is one of many reissues of the late 50's, early and mid-60's singles you can find, and probably the best. A great deal of what the Pirates recorded were pop and standards, but this set has most of what is essential. For many listeners, "I Can Tell" and "Need A Shot of Rhythm and Blues" will be a revelation.
YARDBIRDS: "Five Live Yardbirds" (1964 Columbia)
This was the first record by this fabled band, and released during their Eric Clapton era. It's definitely the most Blues oriented of their output, and in many ways, the most fun. It's a rowdy, loose, and energetic record (more so due to the speeding up of tracks to make all the songs fit on an LP).
Their first actual recording was as a backup band for Sonny Boy Williamson, who toured England in the early 60's, but that tape wasn't issued until later.
The Yardbirds’s main gimmick, or innovation during this particular era was their use of the "rave-up," which was a gradual rise in volume until the whole band was literally making this wall of sound and noise, that then suddenly ended and the song would continue. It was, in essence, an attempt to move the improvisational passage into a pure energy mode. Not unlike the free jazz movement in a sense.
It was also during this period that Clapton developed his “slowhand" moniker, which meant that the music here is often frenetic and wild. The version of "Smokestack Lightning," for example, moves much faster than the original, and has a couple of rave up climaxes that a hardcore Wolf fan might;find irritating (although I've read that this version was one of Wolf’s favorite covers).
The leader of the group was a singer and harp player named Keith Relf. He wasn't an outstanding singer, but was certainly a talented harp player in the Sonny Boy Williamson mold. Although later versions of the group tend to be classified by the lead guitarists who came and went (Clapton, Jeff Beck, Jimmy Page), Relf also influenced the direction.
In 1968, he formed Renaissance and played one of the earliest examples of what would be called progressive rock. Relf once said in an interview that his favorite time was when Eric was in the group. The pop direction of their second record, which was why Clapton left, wasn't a particular favorite of Relf's either.
As such, the listener can hear this group during the time everyone was happiest and committed and it does show in the music here, which was recorded live at the Marquee in London. It was a harder edged sound than the Stones during the same era, and more prescient of the the Blues rock to follow. They certainly could cut the Stones live during this time.
One might consider it odd now, but this era of Yardbirds was considered a fairly radical and progressive Blues sound at the time. It certainly sounds more Bluesy now, given the changes the Blues has undergone since the 80'
ROLLING STONES: "Rolling Stones Now!" (1965 London)
This was probably the most R&B; and Blues oriented LP the group ever made. It wasn't their doing per se, being a collection of EP and single tracks collected for their third American LP release. However, it hangs together well even today. This record featured the first classic lineup of the Stones: with Brian Jones and Keith Richards on guitars, Mick Jagger on vocals, harp and keyboards, Bill Wyman on bass, Charlie Watts on drums, and Ian Stewart on organ and piano.
The Stones have never strayed completely from the Blues, but this record still reflects Brian Jones's musical leadership. Which meant that their basic aesthetic was that they were a Blues band. By the time Jagger and Richards joined up with Brian (and Ian Stewart, who played with Brian originally), he was already becoming a young star of the London Blues scene. After a short stint in Alexis Korner's Blues Incorporated, Brian went off to form his own
band and advertised for new members. One of which who responded was the pianist Stewart.
By this time, Charlie Watts had joined Korner, with the future glimmer twins occasionally sitting in on gigs. As history would have it, the three met and began playing together with Dick Taylor as the bassist, and Mick Avory (later with the Kinks) on drums. They named themselves the Rolling Stones, after the Muddy Waters song.
Their first gig was at the Marquee Club in London in 1962, and a few weeks later, Taylor had left and was replaced by Bill Wyman (who was chosen because he had all his own equipment!). Mick Avory also left and Tony Chapman briefly held the spot until Charlie Watts finally joined the group.
This lineup began an 8 month residency at the Crawdaddy Club and their increasing popularity attracted the attention of Andrew Loog Oldham, who became their manager. Andrew did two things that eventually changed the dynamics of the group; he moved them into the pop realm as the bad-boy counterpart of the Beatles (a fake rivalry, given that both groups knew each other and were good friends) and he pushed Jagger and Richard to compose original songs.
Under Brians's leadership, they were a Blues group, and in 60'snEngland, the guitarist was often the star. On their first American tour, Jagger in particular noticed a difference; that in the States, the singer was the front man. Thus, the Stones gradually became a group fronted by Jagger. Mick responded by juicing up his now famous stage act, which was a far cry from his original practice of sitting on a stool to sing.
Also, the boom created by the Beatles put a premium on original songwriters and Jones was never able to compose a song. Thus, as time went on, Jagger and Richards determined the musical direction. By the time this LP came out, that power balance had already shifted, and these covers were put out mainly to keep the product coming out. In most cases, the songs had already been released in England, and in the case of "Little Red Rooster," had been an earlier UK number one that was banned from America at the time due to it's suggestive lyrics.
In a sense, this record was reflective of the Stones as they began, which was an English Blues and R&B; group with Brian still dominant in their direction. That's really neither here nor there, unless you are a Brian Jones fan.
This set contains many of my own favorite early Stones Blues. "Little Red Rooster," is one of Brian's best performances on the slide and their "Down The Road Apiece" is one of the most swinging cuts they ever made. Also worth a mention is their cover of BomDiddley's "Mona," and the cool original, "Off The Hook."
As the Stones progressed, they played more and more on their rebellious image, and explored many different directions in their music. However, this music reflects the era when their manager had to remind them at every photo session not to smile, and when their dreams were simply to become half as good as Muddy Waters
PRETTY THINGS: "Pretty Things" (1965 Fontana)
When Dick Taylor left the Stones, he formed the Pretty Things with Phil May, who looked rather similar to Mick Jagger. They recorded a series of hard, raunchy R&B; rockers that out-Stoned the Stones at the time. Some, like "Don't Bring Me Down" were UK hits, but none ever made an impact in America. However, in their own country, they became quite influential, a fact that David Bowie paid tribute to in his covers of "Don't Bring Me Down," and "Rosalyn." Also, more than a few of the late 70's English punk groups cited them as an influence.
In 1967, they moved away from Black music influences, and became more of a Pink Floyd type outfit. In 1968 they created the first "rock opera" called "SF Sorrow." This had an influence on Peter Townsend, who the next year composed "Tommy." Important as all that was, it was quite irrelevant to the Blues and the Blues rock scene in the UK. Thus while popping up here and there in rock history, their first two records remain their testament to early English R&B.
This release contains their 1965 LP tracks (with some 1964 EP cuts I believe). These include their hits, "Honey I Need" and "Rosalyn,' their punky tribute to the Bo Diddley sound. Other classic cuts include a raucous "Road Runner" and a darkn"Judgement Day." Some might also find the Jimmy Reed cover, "The Moon is Rising" interesting.
If one looks around, one can find the reissue that packaged their first two records, and with that, have everything worthwhile that this underrated group put out. Dick Taylor may not have risen as high as the Stones did, but this was no Pete Best story. Taylor went on to rock the Blues as
well as anyone did in the mid-60's and the late 70's UK punk rockers found the Pretty Things as relevant, if not more so than the Stones.
STEAMPACKET: "First of the Supergroups" (1977 Charly)
The Steampacket was actually a sort of revue type show that was organized by singer Long John Baldry, with featured singers that included Rod Stewart (before "Maggie May"), and Julie Driscoll. The backup group was led by organist Brian Auger, which also included drummer Mick Waller, who stayed involved with Rod through his stint in the Jeff Beck Group and later solo records (that's Mick drumming on "Maggie May").
This was actually a 1965 demo tape made to shop around to get gigs, and later released by various labels to capitalize on Rod Stewart's fame. That isn't to say there wasn't a lot of talent besides Rod. The nucleus of Brian and Julie went on to record what some consider among the earliest jazz-rock fusion music, and Baldry had a long and respectable UK career.
What you get here is a sort of rock influenced soul rock, that comes off at times like fast Motown or Ramsey Lewis. The instrumental numbers are pretty much straight ahead organ jazz, like "In-Crowd" and "Back At The Chicken Shack." The coolest number is a vocal number called, "Baby, Take Me," which is a bouncy Motownish number that has the vocalists trading verses. It stands up well with any of their later work, but admittedly, the majority of the stuff here is far from any of these artist's finest. Given their later levels of fame and talent, this was indeed a supergroup, but back then, it was all still potential.
JOHN MAYALL WITH ERIC CLAPTON: "Blues Breakers" (1965 London)
One of the oddest things that this legendary record did was give John Mayall, the leader of the Bluebreakers, a reputation as a Blues purist with many in the rock audience. It was as pure a Blues record as he ever produced, but was actually an exception to an entire career in which he constantly experimented with the form in terms of content and execution.
He was, without a doubt, committed to the Blues, but his intent was always to explore. Some of his material wasn't at the level of his sources, but much of it was, at least on a different plane. In a sense, he approached the Blues with a jazz sensibility. Some of his most successful projects were experiments fusing jazz, rock and Blues, and in one, even went without a drummer (which in the English Blues at the time, seemed quite radical).
John's main strengths were as an instrumentalist, particularly as a harp player. He could be a very strong singer, particularly when doing straight Blues, but in outings like "USA Union" and "Turning Point," his voice fitted the progressive Blues material perfectly.
Mayall had been performing for quite a while, and in 1965, Eric Clapton had joined his Bluesbreakers in an on and off way (with Peter Green and others filling in). The Bluesbreakers without Clapton had released a very rocking 45 called, "I'm Your Witch Doctor," which was a Bo Diddley'ish rocker similar to the early Stones. After this single, the group with Clapton back in, went into the studio and recorded this now legendary LP. It was a surprise hit and made the UK top ten. It was recorded at a time when Clapton was deeply into a purist trip, having left the Yardbirds who were moving in what he felt was a pop direction.
Ironically, after that initial pop move, the Yardbirds moved into the direction with Jeff Beck that Clapton later explored with Cream. However, that's another story and will be pursued a few reviews down the page.
Looking back at the record (which like all young rock fans, I bought and adored), it still stands up pretty well. It now seems a bit too formal and stiff at times, although this tendency was countered by the often loose and very English rhythm section of Mick Fleetwood and John McVie.
Some of the cuts, like Otis Rush's "All Your Love," still sound powerful, and Clapton's work on the Freddie King instrumental, "Hideaway," compares well with his best work. His first vocal, Robert Johnson's "Ramblin' On My Mind," has a nice downhome feel due to Mayall's keyboard work, but seems a bit tentative given how his voice later developed.
My favorite cut was Mayall's version of "Parchment Farm," an old blues that Mose Allison did in a blues-jazz arrangement and a real harbinger of how his Blues would evolve as time went on. Other fun cuts are Clapton's guitar workout on "Steppin' Out" (which he would take to an extreme doing that same number with Cream)mand a still fine sounding performance by Mayall, "Have You Heard."
As it all turned out, this record was a kind of refreshing retreat for both Mayall and Clapton and a blueprint for a later group formed by Fleetwood and McVie. I don't know if this one should stand as their Blues testament, but given its time and context, it was certainly an important record, and unlike a lot of early British Blues, is still a very listenable and powerful work.
Al Handa
1997
 |
 |
 |
 |
 |
 |
 |
 |
 |
