Rory Gallagher

Rory Gallagher was a constant throughout the 70’s. It was not that I would every get to see him, he was a little too big to play somewhere like Norwich. Occupying a place in the popularity ratings somewhere just above Budgie but below Status Quo, Rory was just there in the background all the time.

I cant remember his records being released with any great fanfare and it was debatable why anyone could make a strong case for preferring Deuce over Blueprint or making a pitch that Tattoo was a better record than Against the Grain. It sounds like damming with faint praise but the unassuming Gallagher was one of the greatest guitarists ever.


Firstly he was older than he seemed having been musically active since the early 60’s. For most of that decade he had been tucked away in Ireland and therefore invisible to the rest of the world. While in his teens he had been a mainstay of the Fontana showband  which he managed to mutate into the  Impact which in turn became more blues orientated and eventually became a trio which was to be Gallaghers’s preferred method of working.


By this point it was the late 60’s, he had barely turned 18. Already he was flying in the face of convention, the showbands were still pretty much the only outlet for music for most of Ireland and the blues may as well have been a Mongolian death chant for the level of popularity it could garner. It would take a pretty exceptional 16 year old to start to turn this around in conservative Ireland.

Gallagher was starting to play abroad which was the only way forward. Finding that a residency in Hamburg didn’t want to book his trio he sent them some publicity pictures with a friend behind the organ and then went anyway.

By the time he had formed Taste in 1966 he had pretty much arrived at the format for the rest of his life. Taste supported Cream at their farewell gig. I you want blues based power trios I would have picked them over Eric’s boys any day of the week.


As the 70’s dawned Gallagher’s solo career was underway, joining up with bass player Gerry McAvoy  who was to be with him for the next 20 years along with assorted drummers and an occasional keyboard player he toured and toured and toured. Gallagher was the antithesis to glam and prog and punk and whatever new fad came knocking. Almost always dressed in jeans and a check shirt and playing a severely distressed Stratocaster, allegedly the first in Ireland that he had bought in 1963,he was regarded as generally humble, decent and hardworking, not always qualities associated with rock gods. Significantly he continued to tour Ireland through what we quaintly called ‘the troubles’ (also known as a war) when most English rock bands simply would not have bothered.


If anyone wants a dose of the 70’s Gallagher experience I would direct them swiftly to Irish Tour 74 where Gallagher wows provincial audiences onstage before returning soaked in sweat to the rankest dressing rooms ever, night after night. It’s a real delight to see these purest of performances, Gallagher seems to get by on a guitar, an amp and a lead, there’s no pedal gazing and without any sonic trickery there’s some scarily accurate guitar playing, night after night.

Don’t take my word for it; here’s wings of Pegasus

And there was more, Gallagher could play slide and acoustic and mandolin and harmonica.With Taste he even switched over to saxophone, and pretty good it was to!

I liked and admired Gallagher, who couldn’t but he never really moved me. I had an early compilation LP which, naturally was a bargain buy, and I liked it enough, but post Beatles there probably wasn’t enough for me in the actual songs. In my formative musical years I grappled to understand what made his music. Most people said it was blues but it wasn’t the blues like BB King or Clapton.It was only decades later when I began to understand more about folk music that I noticed the uniquely Irish take. Listen carefully and there’s an element of the ‘diddly diddly’, reels and jigs that he must have heard growing up.

Gallaghers’s reputation has grown steadily over the years. There’s a surprising amount of footage available of him in his heyday which is a mystery and a delight. He had a sad end, having survived the 80’s which were the kiss of death for organic music, his liver began to fail. There were mentions of him being a heavy drinker, but if that was the case it never seemed to affect his career which is pretty weird when you consider the amount of out and out drunks who are still with us. I had lost track of him, he still made good records and seemed to have avoided any attempt to spruce him up for the MTV generation. It was a real shock to me to find him in the pages of the glossy new Q magazine clearly ill and bloated on steroids and it was only when we lost him that I realised I missed him. Soon the blues would be back, and the likes of Stevie Ray Vaughn would be celebrating the same simple formula that Gallagher has started.


Gallagher worked hard, he didn’t seem to have any other interests, his brother was his manager but there were no other significant relationships. His musical achievements are magnified by the fact that he came from a country that would do little to promote his talent when he started out. And his legacy is his music, there are no bad or even poor performances by Gallagher, you could pick any at random and be impressed.


So here’s one of them.



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This Is Pop

A quick perusal of this month’s Shindig magazine has convinced me that 1968 is back in fashion. It’s 50 years ago of course and so it is time to convince the ageing punters that still buy CD’s that now is the time to but another version of Ogden’s Nut Gone Flake or The White Album or Electric Ladyland.

We all love nostalgia of course we do, I remember in 1976 that the New Musical Express was listing all the great albums that had been made in 1966. To be fair they had a point, it was a great year for music, but then 1966 seemed as far away as 1968 does to the present day.

And so, with my Futureispast head on I thought I would look at 1978 to see if it held the same sort of treasures as 1968. The latter, of course was when psychedelia and ‘progressive’ music was becoming heavy and ‘rock’ was being born. You can hear the Beatles doing it before your very ears on ‘Helter Skelter’ on the White Album.

So, onto 1978, a mixed bag as might be anticipated, the nearest to a classic might be Springsteen’s Darkness on the Edge of Town which has grown in stature over the years. A genuinely great British eccentric, namely Kate Bush was emerging and there was interesting stuff from the likes of Pere Ubu, Television and The Only Ones.

Inevitable there was going to be variety, these were interesting times, my overall memory of the end of the 70’s however was the emergence of post punk and the re-emergence of pop.

These days pop is hotbed of force-fed acts where the songwriter and producer are king (or queen). It is the sound of radio one and the X factor, I don’t like it, it’s too artificial. But then again, I am 60.

In the late 70’s however pop was a broader church, the weight of the Beatles still laid heavy on us all, they had been the ultimate pop band, they had spent years playing covers in clubs trying to entertain everyone with everything from showtunes to Elvis. There was a lack of snobbishness about the band but also a lack of desperation. The Beatles were happy to play pop.
After a couple of years of punk, we were beginning to consider there might be more to life than going to be insulted by a bunch of people who couldn’t play very well and risk being beaten up by whatever local subculture had turned up looking for a fight. However, Punk had opened some kind of door to other possibilities and one of these was the need for a bit higher energy playing.
All of a sudden, the time was right for a bunch of people who had been biding their time on the side-lines waiting, watching and making sure they could play their instruments. Notably  Glen Matlock’s Rich Kids were ahead of the pack. Since leaving the Sex Pistols Matlock was free to indulge in ‘wanky Beatle chords’ and this time we were willing to listen. In his new band he had recruited Midge Ure, a talented and opportunistic young Scottish Guy who would have been laughed offstage in 1976 but now was newly credible.
The Rich Kids were a very short-lived phenomena but others were in it for the long term (which in the 70’s was about 4 years)

Blondie had been lurking around as a kind of joke band since the mid 70’s. They had toured Britain with Television and during the attractive women shortage of 1977 Debbie Harry was everywhere. Blondie never got that good at playing live but Harry was a brilliantly charismatic front person. Their other strength was their songs were melodic and energetic. Likewise, Elvis Costello was transforming from county influenced  angry young man to angry young man with good pop songs. His Armed Forces was in the pipeline, chock full of tunes that had allegedly been deconstructed from Abba. Costello’s old producer Nick Lowe had released Jesus of Cool which mixed rock with pure pop. Spikey Swindon band XTC were on the verge of jettisoning their experimental keyboard player for Drums and Wires. Squeeze had suddenly revealed a real flair for melodic song writing as had Buzzcocks. The Police had now left their individual Jazz Rock and Prog Rock projects behind and after flirting with punk for a while had stumbled across a kind of pop reggae that would take over the world.
All of a sudden musicians seemed to be having a bit of a good time and getting paid for it. At the Polytechnic Disco we could dance to ‘Oliver’s Army’ ‘Heart of Glass’ ‘Can’t Stand Loosing You’ and ‘Making Plans for Nigel’ without any real self-consciousness. These were all proper bands with proper musicians who just happened to make great records. There was more to come, the Two Tone movement and then the advent of electo pop recognised the importance of tunes. We had a couple of years before it all started to get a bit silly or miserable.

But by then it was the 80’s

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The Stick Thing and Other Weird Instruments

OneManBandMusical instruments were expensive in the 70,s relatively speaking. I wore out a guitar catalogue just gazing at the impossibly expensive instruments for hours on end. A cheap electric guitar could set you back £70 in the days when I hadn’t even started earning 30p an hour. My dad, ever keen to save a few pence ,decided we could make an electric guitar. We never finished it of course, the body weighed a ton and as the neck proved too difficult to construct he took the neck off a cheap and useless acoustic which was woefully adequate. I was over 30 before I owned an electric instrument.

For financial reasons alone I was always interested in what might be called novelty instruments In the days before sampling, new sounds were a novelty and the we loved a bit of novelty between strikes and power cuts.

With the Beatles out of the way music was up for grabs, it might go in any direction, it might implode or just give up, bear in mind we had had only had 15 years of ‘pop’ and we still weren’t sure it was going to hang around.So every sound that was new potentially signposted the future of popular music.

On of the big hits with a novelty sound was Lieutenant Pigeon’s ‘Mouldy Old Dough’. Here was a group with a name that was hard to spell with a twin piano attack and a 60 year old band member. The thing that grabbed me however was the ‘penny whistle’ which pianist Robert Woodward would whip out to provide a bit of relief from the plonking pianos and growling drummer.

Just prior to glam Lieutenant Pigeon used the familiar to sound quite futuristic, a bit like some of Joe Meek’s work in the 60’s. Of course they were just a group of lad’s from Coventry (and their mum) who got lucky, they scraped another hit before we tired of them and they sloped off to earn a crust round the working men’s clubs. Their legacy lived on with me as I bought a penny whistle, not quite a penny but certainly in my price range. I learned to play the theme from the ‘Mouldy Old Dough’ and moved onto something a bit more rock.

Another exotic sound from 1972 came from Chicory Tip. Like all the other bands at the time they were 60’s survivors, in this instance  from Maidstone Kent, who had been around for the last five years trying to make a living from the music business. Amazingly their big hit ‘Son of My Father’ was written by non other than Giorgio Moroder which is probably why it features an early sighting of the Moog Synthesiser. It sounds great although to this day I still don’t know most of the lyrics to the song.

The band recorded in this commercial vein for a while but apparently at their dark hearts they were rockers who rather fancied themselves as Deep Purple. As we already had Deep Purple we didn’t want another one but the band did manage to record ‘The Future is Past’*before the public totally lost interest and they were forced to dust off the Moog to preserve their ever diminishing returns.

For strange instruments you couldn’t beat Terry Dactyl and the Dinosaurs who hit the ‘big’ time with ‘Seaside Shuffle’ another 1972 hit (what was going on!) which always conjurers up pictures of grey seas and fish and chips despite the Cajun shuffle. Terry Dactyl was a cover name for Brett Marvin and the Thunderbolts, famous for having Jona Lewie (!?!?!?) and being quite a well respected blues/jug band on the London circuit.

In this clip though they hit the jackpot,mandolin,accordion,washboard,bass drum,euphonium and beer bottle stick thing, the blueprint for Mumford and Sons !

Finally though it wasn’t just 60’s chancers who had an eye for the unusual. Here is the Who, guess the year, you might as well because I cant be bothered to look it up

Here Townsend proves he’s in charge by taking the harmonica off Daltrey who is demoted to Jews Harp, or Jaws Harp if you’re worried that might be a bit racist. I was really impressed by the J harp (as we’ll call it) and on the strength of this performance purchased one myself. The trouble was no one knew how to play it and as ‘Join Together’ wasnt a massive hit there was not much chance to learn from Daltrey as one appearance of Top of the Pops seemed to be it.The consequence of this was I spent a lot of time with the instrument vibrating painfully against my teeth. When I did discover the correct method of playing I found I was getting very dizzy and therefore didnt stick with an instrument that made me permanently nauseous. Amazing despite it’s great sound the J Harp never bothered the charts again.

It was all a brave experiment, after 1972 rock settled back down to proper expensive instruments, and the moog, which was really expensive became a novelty no longer.

* yes really!, I got the name from this blog from a Chicory Tip single

This post was first published ages ago, don’t worry you won’t have read it before.

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10 Saxophone Solos from the 70’s

After a break for Glastonbury its back to the world of 70’s saxophone. This week it’s 10 memorable sax solos  from UK Artists (America you can wait). As Greenpete58 observed on my sax in the 70’s feature the Yanks invented Jazz but the Brits integrated it into rock music (probably because we invented prog).

Here are some good old fashioned sax solos though from popular songs, no jazz rock, no prog rock just prime British rock -with added saxophone.


Year of the Cat -Al Stewart. A great bug shiny lump of fairly lightweight pop.A triumph of production for Alan Parsons featuring all sort of instruments  such as cellos and violins, it was inevitable that Parsons would squeeze in a sax solo and he did. Phil Kenzie got missed off my last saxophone feature because I had never heard of him. In fact he’s been on loads of records both in the UK and the States so I would imagine he’s gutted not to be included.


Apparently, Kenzie was watching a movie and was only dragged away as a favour to Abbey Rd. The story that he did two takes and then went back to his film seems a bit far fetched logistically but let’s just assume he wasn’t that committed to the song.


Walk on the Wild Side- Lou Reed. Yes I know he’s American but this was recorded in Trident studios London and featured the baritone sax of Ronnie Ross. Ross creates a wonderful fluttering solo because he was a proper jazz player who as well as Reed played with the Beatles and um ..Matt Bianco. Equally interestingly he taught sax to the following.


Sorrow- David Bowie. This is actually not a great song, but it’s lifted into the stratosphere by Bowie’s solo. Here is a saxophone solo you can whistle, its an essential part of the song now and Bowie’s alto is backed by a bit more baritone by Ken Fordham. It’s a timely reminder, as if we needed one, of the influence of producer Ken Fordham, Bowie’s own George Martin, an average song becomes a great record.

All the way from Memphis-Mott the Hoople. Possibly their greatest song when the band were moving into a big glam sound and honking saxophones were invited to the party. It may be Roxy Music’s Andy MacKay offering sax on this, details are sketchy and it kind of sounds the work of someone who first picked up the instrument 20 minutes ago. It all part of the fun and it’s a gonzo display by everyone.

Avalon-Roxy Music. What is it with Andy Mackay ? Is it low self esteem? having to work with Brian Ferry? maybe he’s just not that good but he always seems reticent about letting rip. Both Ends Burning is a good example, a fiery sax riff but then he’s off for a cup of tea while Phil Manzenera takes over the solo duties. With Avalon he had the opportunity to take the band into the 80’s but although he noodles away quite pleasantly  he could have created Spandau Ballet’s ‘true’ five years early


Money-Pink Floyd. The band had wised up to the fact that the more solo’s they had the longer their songs could be and so a saxophone was recruited. It often amazed me that in the 70’s there just wasn’t a global pool of musicians at the click of a mouse and recruitment was usually word of mouth or friendships. Dick Parry has played with Dave Gilmour in Joker’s Wild and so he got the call and a whole load of subsequent PF work. It was a good choice, his honking tenor adds a change of mood and pace before a change in time and instrument takes us to another part of the song.


The Logical Song -Supertramp. John Helliwell’s solo is a minor masterpiece with a solo that is part of but also very different from the song. Like with ‘Sorrow’ it’s more than a solo. Heliwell ought to get some composers credit, but he wont.


Mirror in the Bathroom- The Beat. Yes, Saxa’s solos all sounded a bit the same but when he played the song somehow took off in a different direction and he seemed to float over the chord changes.

Miss You-The Stones. In the 70’s the band clearly wished they were American and a bit of sax would edge them closer to the dream. Bobby Keys is pretty essential to their Sticky Fingers period but here the Sax is a bit cooler as befits their flirtation with Disco. Mel Collins is the player.


The final Sax solo of the 70’s, yes you guessed it, it’s got to be..


Baker Street- Gerry Rafferty.

Eight bars of solo from the late Raphael Ravenscroft netted him £27 and made Rafferty considerably more. To add insult to injury Ravenscroft considered his playing was out of tune.


I cover this in more detail here.

I’ve missed someone -do let me know !

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Glastonbury 1979

In 1979, when is seemed that the hippie dream was pretty much over, the music press announced that there would be a Glastonbury festival that summer.

In fact, I think it may have been announced there would be a Glastonbury Fayre because that was what the previous two festivals had been called. The first two fayres had been real ‘bongos in the dirt’ affairs, as distant culturally as rock and roll or Merseybeat from the slick new pop of the late 70’s.


The hippie hopelessness stuck a chord with me and my old schoolmates Dunc and Phil. There really wasn’t a lot of festival action around, the only real alternative being Reading where you could have cans of piss thrown at you by weekend bikers from Burnley. There was a sense that festivals were a thing of the past, we were no longer stardust or golden, we were savy street kids from Norwich! Glastonbury sounded a bit of a soft option compared with the hell of the average British festival, and so we agreed to send off our cheques and hope we got some tickets sent back.


I can’t remember how much a Glastonbury weekend was, but I have heard the sum of £5 quoted. If this was the case it was still an incredibly good deal, you would be lucky to get a couple of LPs for that price and our tents and sleeping bags cost a whole lot more.


What ever the cost it was more than I could really afford. I had just finished my first year of polytechnic and would presumably have made acclaim for dole money. Phil and Dunc were still at university finishing off their second year. It was agreed I would go to Birmingham where Dunc was and we would hitch down from there. I couldn’t face the prospect of solo hitching from Norwich and so I blew a load of money on a train journey, spent a night in Birmingham and we set out hitching as early as we could face on a Friday morning.

Travelling was surprisingly good, there was a heart sink moment when we were dropped at a service station to find a long queue of hippie types waiting to depart. No matter, soon a car stopped next to us and we jumped the queue and we were off again, by tea time we were handing over our tickets and finding a place to pitch our tents.


Now, this may be stating the bleedin obvious but compared with today this was a very small festival. There were quite a few tents but nothing too daunting. I cant remember fences, the usual countryside barriers of hedges and ditches seemed enough to prevent us wandering too far. The hedges also doubled as toilets, for reasons that I will explain later.

Phil was a late arrival, I think he landed a day later having got a lift down with some friends from Warwick University. He had invested heavily in travelling light, all he had was in a plastic carrier bag. It was a brave and foolish gesture, after a night nearly catching alight by sleeping next to a fire he had to share Dunc’s tent. It says something about the size of the festival though that he was able to find us without the need for mobile phones.


I think the first night featured Steve Hilliage. I had been a fan of his Green Album, I still am, Hillage had become a bit more muscular with the advent of punk but he was a natural choice being both ancient and a bit modern. Most of the bands were on at the main stage, not yet a pyramid but situated in a slight dip. It was easy to stake out a nice comfortable place on the grass and still see what was going on.


Until I did a bit of internet checking I had forgotten the Footsbarn Theatre Company who were a feature attraction, that was probably the limit of Glastonbury’s multi media experience, I had no desire to see them. There was definitely more than one stage because I remember seeing a set from the Lightning Raiders on a smaller stage but that was during the day,at night there was one stage and that had to close by the time it was dark (I think the festival was still being held during the summer solstice) as Michael Eavis  didn’t want to upset his neighbours.


So, bands I did see

Leighton Buzzards -A kind of punk/pop crossover-perfectly ok competent but a bit unmemorable

The Atoms- not sure if I caught them but mentioned here as they were a Nottingham band featuring Harry Stevenson from Plummet Airlines who still plies his craft round Nottingham pubs to this day.

The Pop Group- Challenging post punk from Bristol livened up by a guest appearance by the slits.

The Only Ones- probably the band of the festival- they blew the PA twice and had to abandon the stage on the second occasion.

Mother Gong-diluted version of Gong who I think were cobbled together for the festival, bound to be popular with the average Glasto fan of the time but I suspect I fell asleep during their set.

All star Jam- I remember this as being on the first night but it may have been on the last night. It featured Tom Robinson, Steve Hillage, Nona Hendrix, Alex Harvey possibly Peter Gabriel, John Martyn and Phil Collins. It was everything you might hope an all-star jam would be. There was an unintentionally hilarious moment in 2-4-6-8 Motorway where Robinson handed over the guitar solo to Hillage. Unable to manage a standard blues solo Hillage resorted to a psychedelic workout which was incongruous to say the least. Alex Harvey was a drunk as a skunk and pretty tedious in his efforts to involve the audience which led to quite a bit of abuse from him when we failed to comply.


Bands I didn’t see

Sky- a kind of classical fusion group featuring guitarist John Williams. I found them so uninteresting I couldn’t be arsed to make the 5 minute journey from my tent to see them

John Martyn- to this day I hadn’t realised he played, I think this was is Grace and Danger period where he had a band with Phil Collins on drums but in 1979 I wasn’t a fan (I am now).

Peter Gabriel-to this day I think that musically Peter G is a big shiney load of nothing so it’s possible I saw him and forgot it


After a nap one evening (I was probably lulled asleep by Sky) I swear I went for a wander and found a synth player set up (probably Tim Blake) officially he played the final set on the mainstage but I’m certain in this case he was just playing among the people.


It all sounds a bit low key, and it was. There was no 24 hour party going on. My main memory is sitting about a lot slightly exhausted by the camping experience. There was some food available because I didn’t starve but I can’t remember any bars. On the second day a guy came around on a tractor selling flagons of really rough scrumpy. One of the compares got a bit sniffy about this pointing out that people wouldn’t be drinking alcohol at Glastonbury Faye in the past. He had a point the crowd had got a bit leery but we calmed down once the cider ran out.

Being stupid young men, we had neglected sunscreen or hats. He still had an ozone layer in 1979 but being pasty after exams we were starting to burn which would have bad consequences later.


But back to the toilets, the facilities were basically a huge drum, Walls divided the drum like the segments of an orange, there was a door and a hole, and we sat suspended above gallons and gallons of human waste. I decided I could get around using them but simply not having a bowel movement for 4 days. Clearly a stupid tactic I was woken in the early morning with cramps and so made my way to the toilets of doom, which were thankfully deserted, (amazingly I had packed some toilet paper). Suspended over days of festival effluent I suddenly realised it was moving alarmingly. The organisers had taken the opportunity of an early start to empty the drum which they did by sucking everything out into a huge tanker. I had visions of being sucked down and either drowning or being mashed up by the suction action.

Clearly, I lived to tell the tale and, to be fair festival toilets have not improved that much.


Of course, festivals have become increasingly popular with fun for all the family, there are now phone charging points, saunas, massages, hot showers (at Glastonbury Fayre the only shower was to strip and tip a bucket of water over yourself). Killie Minogue is about to headline this year’s Glastonbury-it’s a far cry from Mother Gong.

In 1979 though, there was no violence despite no real policing of the festival, no one tried to sell me drugs and no one stole anything off me although arguably I had nothing to steal.


Leaving the festival was easy, the car to people ratio was a lot different to today in fact there was a concern all the cars would leave before I could get a lift. In fact, I was soon able to get away but it was a long journey from Somerset to Norwich. Mid afternoon I was stranded at a roundabout outside Swindon. In my memory this was Sunday afternoon as all the cars seemed full of three generations of families sailing past while I waited and waited. I must have been deluded, I’m sure now it would have been Monday but whatever, Swindon was dead. Alarmingly, the sun had awakened a dormant herpes virus which was starting on my lip but spreading alarmingly ( I don’t  learn, the same thing happened at a festival 2 years ago), I needed to get home before I turned into the Elephant Man and no driver would give me a lift. Such is the nature if hitching, as soon as I had reconciled myself to a night of rough sleeping I grabbed a lift that took me right across country and a final stage got me all the way to Norwich. I took to my room for two weeks raved by a giant cold sore.


Apparently Michael Eavis had to put up his farm as a guarantee to get funding for the 1979 festival. It absolutely beggars belief that a dairy farmer would take that sort of risk on a festival. I’m sure he didn’t make much money on the venture, it was an amazingly altruistic gesture on his part.

Today, or this weekend to be accurate, Glastonbury is the biggest festival anywhere ever. It reflects mainstream society, the BBC have been all over it for years, it’s now an event like Ascot or Wimbledon. There are loads of other festivals more ‘alternative’, festival going is now an activity for everyone. Things aren’t better or worse. Festival going was a real adventure in the 1970’s but all I did really was lie on the grass, sleep, drink some cider and have a really scary shit.

Perhaps things haven’t changed that much after all.


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Sax in the 70’s

Last week I made a case for the temporary death of the saxophone in the 70’s. This week with a bit of racking of the brain I have come up with a small tribute to the people who honked and parped their way through that decade. In an attempt to make my task easier I am totally ignoring the USA, sorry guys, you invented Jazz and had a more comfortable relationship with the instrument (and I don’t know enough about obscure American music).

So here’s a quick salute to the men (!) who kept the sax alive in the 70’s


Mel Collins

Collins was the player who took over the sax role from Ian McDonald until Robert Fripp decided he didn’t want a saxophone player anymore. Collins then went on to join the unfashionable pub funk band Kokomo by the time they disbanded he was ready for a sax for hire role with the likes of Dire Straits, Camel. Roger Waters and the Rolling Stones.

Andy Mackay

An important musical and visual element to the early Roxy Music mix of ancient and modern. Mackay’s sax could be heard honking away somewhere in the mix in the early days. By the Avalon period he was contributing more traditional saxophone breaks which left him with enough time on his hands to take a Batchelor of Divinity course in 1988


Phil Shulman

Having been born in 1937,10 years before his brothers Phil Shulman got the saxophone role in Gentle Giant while his younger siblings got the rock instruments. In a band that, between them, played over 60 instruments on one album there was a lot of instrumentation to compete with and when Phil left Gentle Giant became a bit more muscular and rock orientated.


David Bowie

A multi instrumentalist but saxophone was his first instrument and one that no one else around him could play. Its not unusual for a bit of sax to creep in in a Bowie record and very welcome it is too. Not having dedicated his life to the instrument Bowie has a distinctive tone, it’s a bit naive but also quite touching and always distinctive.


Didier Malherbe

Multi talented French person Malherbe contributed distinctive flute and sax to Gong from virtually its inception to the turn of the century.  He was interested in world music from an early age and he has adapted himself to whatever the band has served up from circus music to free Jazz. Nicknamed Bloomdido Bad De Grass by Gong leader Daevid Allen he’s a poet as well as a musician


Nik Turner

One time roadie turned musician with Hawkwind Nik Turner perhaps encapsulated the anarchic spirit of the band more than any other members. Luckily, at their prime the band had a monster rhythm section which made whatever Turner or guitarist Dave Brock play over the top relatively unimportant. Turner’s free approach to soloing over everything led to his expulsion from the band but he was a significant member for the glory years including the epic Space Ritual.

John Helliwell

Another with his roots in the 60’s soul scene Helliwell joined Supertramp from the Alan Bown Set. He compensated for the lack of consistent saxophone action in the band’s set by playing percussion and keyboards, doing backing vocals and acting as MC and general joke teller. His personality was crucial to the bands survival, acting as the luke warm water between the ice and fire of Rick Davis and Roger Hodgson

John ‘Irish’ Earle

Despite starting his musical career with the ‘challenging’ Gnidrolog Earle was a fairly standard Rock saxophonist in big demand where any band wanted to sound American (especially if that band was Irish). Earle played in the brass section for Graham Parker and the Rumour as well as Thin Lizzie and The Boomtown Rats. He even played with Shakin Stevens, the Clash and Randy Crawford


Lol Coxhill

Coxhill was in his 40’s for most of the 70’s, impossibly old! Another eccentric character (there’s a pattern emerging here) Coxhill had played with visiting Jazz musicians as well as being on the fringes of the free improvisation music scene. He didn’t like to be tied down for long but he did have stints with Kevin Ayres which led to involvement with Mike Oldfield and even an appearance on the second Dammed Album.

Ron Aspery

Back Door were destined to be remembered for their Bass player Colin Hodgkinson who played his instrument as a lead to make the best of the trio format. Aspery was overshadowed but was a crucial part of the melody of the band. Back Door could almost be classed as forgotten now but they were musicians’ favourites in the mid 70’s. The band inevitably spit with the advent of punk but Aspery was good enough to go on to play with Jan Hammer.

Davey Payne

Member of Kilburn and the High Roads and then Ian Dury’s band the Blockheads. Another bohemian character with a love of all things Jazz especially in incorporating the techniques of Roland Kirk into hisd playing. Especially skilled in making the sax produce unusual noises and irritating Ian Dury.

Gary Barnacle

Barnacle took over the role of sax for hire from John Earle at the end of the 70’s. He was born in Dover and started out their playing with his father and brothers in local jazz bands, the drummer in these bands was invariably Topper Headon. When Headon Joined the Clash Barnacle became their go to Saxophone player. From there on he’s played with a list of people so huge I can’t be bothered to try to replicate it.


Lora Logic

I’m not actually certain if it’s Ms Logic playing on X Ray Specs’ ‘Oh Bondage’ but if not it’s her arrangement at least. One of the few times pure punk used a saxophone and it’s crucial to the uniqueness of the song. She had a short career, forming her own band which transported her directly from punk to post punk and then becoming a Hare Krishna.



With the advent of Two Tone the sax was back. Saxa was even older than Lol Coxhill but the way his band mates and the press talked about him you would have thought he was 100 when he was only in his 40’s. Saxa had played with some of the original Ska and bluebeat stars before moving to England and waiting 18 years to join The Beat. Saxa was pretty essential to the bands sound although he plays pretty much the same solo every time. He died quite recently proving he couldn’t have been as old as we thought he was.


Lee Thompson

Unlike most Sax players Thompson has virtually no interest in Jazz preferring Reggae, Ska and circus music, therefore, unlike a lot of players he’s firmly integrated into the band Madness rather than occasional soloist.



So, what have we learned?


In a business that prided itself on being outside the norm it was the sax player who invariably was the real oddball. Apart from the few session players who were happy to fit in with others there’s an awful lot of strange people listed above. Perhaps it was something about playing an instrument which was out of step with everything else that was happening in music at the time, but in the 70’s the sax player could be the most ‘out there’ band member.

There’s still one more though, the greatest 70’s saxophonist/weird bloke of them all

David Jackson

As Van Der Graff Generator were essentially organ and drums any other instrument was going to have a lot to bring to the party. Jackson was an eccentric looking guy, even by prog standards who modified his instruments and would often play two at once and then modify their sound with electronics. The result was the sax as we had never heard it so far, squawks, shrieks, military fanfares and occasional moments of beauty. Years after leaving he developed the soundbeam technology which enabled disabled people to make music.


That’s it, its probably not an exhaustive list but I am exhausted after compiling it.

If I’ve missed anyone (I’m sure I must have) do share

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The Joy of Sax

If you were a young man hoping to make your way in the world of popular music in the 1920’s and you wanted to be the star of the show there was only one real choice of instrument to play and that was the trumpet. Loud, portable and flashy the trumpet was the show offs first choice of instrument. Louis Armstrong was the most influential player of the day and a whole load of wannabes trailed in his wake.


Fast forward a couple of decades and the trumpet was still popular but there was a new kid on the block. The saxophone was a bit more versatile, a bit sexier and with the rise of Charlie Parker and Be bop not to mention the swing bands it was the saxophone that had the star potential.

And so, it remained into the 50’s. Obviously there were other musicians available but inevitably the band leader would be a sax player or a trumpeter, so they could stay at the front of the stage and let loose a blistering solo now and again. For 20 years the sax was king.


All that changed in Britain with the advent of skiffle. Instead of having to study embouchure for years Britain’s schoolkids had found an instrument that was rewarding to play from day one, namely the guitar. Strange to relate but the guitar was still an exotic instrument in the 1950s being generally the province of cowboys, flamenco musicians and inaudible jazz rhythm sections. The instrument was not even that easily available and generally existing specimens were of pretty poor quality but being British we persevered and eventually we were replete with guitars and guitarists some of whom went on to become Jimmy Page and John Lennon.

And that was the beginning of the end for the saxophone, it didn’t happen overnight, through the 60’s some bands realised the added value of the brass section. In order to get that genuine soul feel the likes of Cliff Bennett and the Rebel Rousers were prepared to accept the cost of having a couple of blokes at the back giving it that extra punch.

But there’s the clue, the sax had now moved to the back of the stage along with the bass and drums, the guitar was now at the front. The trouble with the saxophone is it can only play one note at a time so essentially it solos all the time. Most songs only have limited space for solos and the guitarist is going to want to have most of them. The sax has a distinctive sound but it always sounds like a saxophone and if our ears are crying out for new sounds then the saxophone is not going to provide them. Hence Traffic’s Chris Wood would spend a lot of time on stage poking about with keyboards because there was only so much sax the band needed (OK he played flute as well but there’s a limit to how much of that we can take). Even the big man Clarence Clemons used to spend more time underutilised as a tambourine player as Springsteen really didn’t want every song to have another sax solo in it.

And increasingly the sax player is having to multitask, a bit of percussion, some background vocals, even a bit of dancing just to justify their role in the band.

The 70’s saw the sax at a low ebb -more of that in another post, keyboards were opening up a whole new world, guitars were getting more effects there was a whole new sonic palette which didn’t necessarily need a sax parping away over it.

That wasn’t the end though, for some reason as the 80’s dawned the Saxophone crept back into popular music without us really noticing. I blame Spandau Ballet who moved their second guitarist over to Sax and had a huge it with True and marked the Saxophone down as a symbol of the Thatcherite upwardly mobile decade.

As a drummer it hadn’t escaped me that drums seemed to be becoming redundant as drum machines took over. There was also the practical issue that I didn’t have a car and just moving a drum kit about was a logistical nightmare. The saxophone looked appealing, and I could take it on the bus. I spent the next 5 years learning to play the instrument. Like a lot of instruments, it was easy to make a start on but hard to sound really good, but I practised and practiced. Ironically I also bought a car and drums didn’t die out completely so I could have saved myself the trouble really.

The main thing that brought my personal love of the sax as well as the audience’s tolerance of the instrument to an end was its limitation. I did join a band but as we didn’t have a bass player I usually had to fulfil that role instead and when that band mutated into another one there were so many songs where the guitar sounded better than the sax that it just seemed better to stick with the guitar.

For a brief period, the sax was back though, ABC, the Spandau Ballet, Haircut 100 all featured the instrument and were all massive for a couple of years. And if you didn’t have a sax player one would be inserted. I recently caught a clip of archetypical 80’s band T Pau doing their massive hit ‘China in Your Hands ‘on Top of the Pops.  At the end after all the histrionics   the producer has decided there’s just got to be a sax solo. The result is all members miming and trying to convey the gravitas of the song while ignoring the fact that a sax is coming from somewhere else.


It’s probably just me that finds that sort of thing entertaining but in the 80’s there seemed to be a whole lot of artists staring off into the middle distance while the mysterious sax was dialled in. From Wham to Whitney everyone wanted the sound that suddenly smacked of sophistication.


And, all of a sudden, the bubble burst, samplers became available and from the 90’s onwards a genuine sax solo had suddenly become a thing of the past.


Here on thefutureispast we are going to remember the days when the sax still had a role


Stay tuned

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Five Forgotten Bands of the 70’s

After my ratings busting last two posts, overrated and underrated, this weekwe are looking at bands who never got big enough to be overrated or underrated, here are 5 bands that time has almost forgotten

As Jung said ‘there is gold in the dark’


Mighty Baby


I only discovered these guys myself a couple of years back. Mighty Baby are a transitional band, formed in the 60’s split in the 70’s and for a couple of years made great psychedelic rock. They had mutated out of the Action, a mod band who like so many others at the time wanted and needed to move with the times. They didn’t last long after recording an albumbut they had a legacy of sorts. lead guitarist Martin Stone wasprominent on the pub rock scene and, if my memory serves me well, was in the final line up of the 101ers with pre ClashJoe Strummer. ‘Bam’ King the rhythm guitarist was a member of Ace and Richard Thompson became a Sufi Muslim after several of the band had a religious conversion. Their music is pretty good, they would be underrated had they not been forgotten first.


Henry Cow


Formed at Cambridge university and generally too clever to ever get near the big time. Often described as an avant rock group their left-wing leanings kept them well away from the usual chord structure of decadent western music. The early virgin label was the only one that would probably sign them but because of this the Cow at least got an audience beyond benefits and community arts festivals. In fact, a lot of their music is quite acceptable, at least to fans of Hatfield and the North (yay!) or mid period Soft Machine. Eventually they joined fellow label weirdos Slapp Happy and made the rather wonderful Desperate Straights which was more song orientated but they still confused the likes of me by releasing it as an LP which played at 45 rpm which for the uninitiated made the first couple of spins a challenging experience.

By the end they were virtually exiled from Britain but thrived in the political hotbed that was Europe, their legacy is beyond just music and one day a film will be made with Maxine Peake in the role of Slapp Happy’s Dagmar Krause and then they can be promoted to underrated.  


String Driven Thing

During the winter of 78/79 as The Police (band) and Margaret Thatcher (person) were poised for domination I was in my student flatlet listening to String Driven Thing curtesy of my housemate Vince.

SDT were yet another remnant from the 60’s. Originally formed in Glasgow by husband wife duo Chris Adams and Pauline Adams they had come south and lined up with a rhythm section and, most significantly ‘classically trained’ violinist Graham Smith.

As might be anticipated there’s a wiff of the folky singer song writer with some of their songs  but Chris Adams was capable of picking up an electric guitar and coming up with some darker prog riffs. Finding a home with selected misfits on the Charisma label SDT released their masterwork The Machine That Cried but, as bands do, struggled with the whole business and the Adam’s left.


Slightly bizarrely Charisma re built the band around GrahamSmith who physically and sonically was the most recognisable member. They weren’t as good as they lost the proggyelements to a pop sheen but did manage to have one of their songs covered by the Bay City Rollers!

After the inevitable split Smith joined label mates Van Der Graff


The Count Bishops


Around 1975 I bought a sampler record on the Chiswick label, mainly so I could have a recording by the aforementioned 101ers. Chiswick was an independent much in the same mode as Stiff and their first release was by the Count Bishops. The early Bishops were fronted by rhythm guitarist Zenon DeFleur(real name Zenon Hierowski but one of his bandmates saw him crashed out on the floor hence the name). the early line up was the best and DeFleur’s ‘Train Train’ is something of a minor classic. The band then recruited Australian singer Dave Tice who was in the ‘gruff vocalist’ mode and they became a little more mainstream.

They appeared on Top of the Pops with ‘I want candy’ and toured with Motorhead and were quite big fish in London Pub Rock circles. With a bit of determination, they might have made it through to the level of the latter-day Dr Feelgood or Nine Below Zero.

Unfortunately DeFleur was killed in a road accident and although they tried to carry on it was an uphill struggle not least of their problems being they were a multinational  band, Australian, Polish, American Irish,English and members were prone to being deported.




At one pointin the early 70’s the sister of my mate Phil bought a sampler on the Transatlantic label and when she was not around we would play it to death as we only had 4-5 LPs between us. One track I loved was ‘Nature’s Way’ by Stray.

The band were almost a parody of the hard rocking local heroes. They weren’t quite heavy metal, it hadn’t really been invented yet, but they rocked hard and had long hair and quite often (at least according to a compilation album I purchased) had some decent songs some decent riffs and plenty of guitar solos.


Stray were pretty firmly a London based band, in fact at one time they were managed by Charlie Kray of Kray brothers  infamy. A reunion decades later sold out the Borderline, but that was London, in the provinces they didn’t amount to a whole lot which is why they get a mention here.


If you’ve heard of all these bands, you are super special and deserve to make a comment 


Who have I missed? as usual there are rules, British,70’s and they have to have made at least one album. Extra points if you can find anyone who isn’t on Wikipedia.



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Ok, so overrated was hard and contentious and possibly offensive (lighten up it’s just one person’s opinion!). But what could go wrong with underrated , we love the underdog don’t we ?

Similar rules, all British all linked in some ways with the 70’s all score high on the ‘why didn’t they do better?’ scale.


Robin Trower

Trying to catch the Old Grey Whistle test in the 70’s was a tricky business as the BBC changed it’s time slot regularly, at one point even putting it on around Sunday tea time. But I did get to catch Robin Trower. Trower had come up through a b listed R&B band called the Paramount’s in the mid 60’s before becoming the second guitarist to occupy that role with Procol Harum. Although formative in starting off what was to become progressive rock Thrower became fed up with competing with an organ and a piano for solo space and joined up with Jim Dewar, who had been guitarist with Lulu and the Luvvers but now fancied some heavy rock action as bass player, in the Robin Trower trio.

Unfortunately having seen them on the Old Grey Whistle Test  I had decided they were terrible, their song went on at a glacial pace for hours, Dewars doomy vocals were interspersed with solos where Trower pulled faces that made him look like a beached fish.

Over 40 years later it sounds a lot better, Trower had the Hendrix thing pretty well sown up and there’s a soulful bluesy edge and a fluidity to his playing that lifts it above the Whitesnakes and Garry Moores of this world. The track they played all those years ago was the title track to their album Bridge of Sighs which is remarkable for its languid pace and opened up the possibilities of Trower having invented stoner rock.


This isn’t earth shattering music but it’s done well and, to my ears at least, more supple and expressive than most of the blues rock genre. Trower is still around today and still pretty good, I suspect he’s more popular in America than Britain where he’s forgotten a bit.


Siouxsie and the Banshees

When I heard the first Banshees on a John Peel session my first thought was that at last Punk had thrown up something I really couldn’t understand. It seems weird now, but I genuinely couldn’t even comprehend the Ramones when I first heard them either. 40 years on it’s a lot easier on the ear but still a bit challenging and quite shockingly innovative.


In the interests of brevity lets just sidestep the rather impressive qualities of Souxsie herself (another  time maybe) and go for the music. The Banshees were really the last band of the first wave of punk to get signed. Instead of copying the other bands they took time out to make something really different, you might not like it but the first two records were shockingly distinctive.

With a change of personnel which was to evolve into a shifting rota of guitarists they were actually a successful band, 11 albums 30 singles some of them hits and by the 80’s the Banshees were a proper rock band with big tours, only the Clash came close from the class of 76.And all the while the Banshees rock was always a bit different.

So where are they now? I never hear them on the radio and they’ve never been revived with an auto biography or a bio pic, it’s as if they split up and were never heard of again (which was the way it used to be). One day they were at the very front of the alternative rock scene and the next they had disappeared.

At the time they influenced everyone from Joy Division to Morrisey. One of the problems with their legacy is that, like Joy Division they influenced a lot of groups who really weren’t that good, and the birth of goth could be traced back to the band although as far as I can see it’s actually a tenuous link.

No doubt a re evaluation is just around the corner but until that day comes they remain underrated.


Van der Graaf Generator

OK, if you knew of a band whose line up was saxophone, organ (with bass pedals) drums and vocals wouldn’t you want to see them- I would!

In fact VGG went through a few changes from a slightly normal progressive rock band to an unusual progressive rock band where the organ was replaced by cello and violin, but the above is their classic line up.

Led by the very clever Peter Hammill, VGG could make King Crimson sound like Herman’s Hermits. Hammill would write about literally everything and had a voice that would go from chorister to dalek sometimes in the space of the same line. David Jackson the sax player did things with his instrument rarely found outside the realms of free jazz and most of the harmony came from the doomy Hammond organ. The band had its fans but it was generally distrusted by the critics as overwrought and pretentious. In Italy they were stars, no one knows why really but they clearly captured the spirit of the times eventually leaving the country amid political riots and the loss of most of their equipment.


To be honest you’ll either like the band or you won’t there’s not a lot of middle ground and there’s an awful lot to listen to, not so much in quantity but this is dense, heavy heavy stuff and not easy to ignore. The amazing thing for me about the band is that they sound like no one else at all before or since. That must be worth some sort of accolade.



I covered  the mighty Welsh band a couple of years ago.

For the first half of the 70’s Man were everywhere touring Europe and the USA and making a string of records. At their worst they were a lumpy pseudo American rock band.  Deke Leonard wrote most of the actual songs which generally didn’t really distinguish them from  mass of other bands limping round the college circuit. What did lift them out of the morass was their playing. In Mickey Jones they had one of the best guitarists ever to come out of Britain, you might even call him underrated !

Man were able to go off on flights of fancy of indeterminate length at the drop of a hat. This wasn’t the endless riffing of the likes of the Allman Brothers, there would be tranquil moments, feedback, screaming and, yes endless riffing. It was like the Grateful Dead with areally good rhythm section.

Man split up and then reformed continuing to make patchy records and pay great gigs into the 80’s and 90’s but they never managed to break through into popular consciousness. If you want to go straight to the essence of Man try Live at the Padget Rooms Penarth, one of the great album titles of all time*



If you are familiar with the band which version of XTC would it be, the frantic sweaty Barry Andrews model, the pop band of ‘making plans for Nigel’ the quieter song writer orientated model of the late 80’s and 90’s or the symphonic pop of Apple Venus, the smartarses among you might even want to include the band’s alter ego period as Dukes of Stratosphear.

In short how many bands have produced such adventurous and high-quality material consistently throughout their career, only the blimmin Beatles and they only managed it for less than a decade.

Personally, I would put Andy Partridge on a par with Brian Wilson. That’s not quite the accolade it seems as I think Brian Wilson is hugely overrated and in fact Partridge produced lot less crap but he was aided my having Colin Moulding rather than Mike Love to be his second in command.

I covered the 70’s XTC here


So that’s my underrated 5. Underrated is a lot easier than overrated as there’s hundreds to choose, there’s probably someone so underrated that I missed them altogether! It’s also a lot easier to do the 70’s, most artists sell so little today they are all underrated.

It also occurred to me that I am drawn to the underrated, that’s mostly what I write about, it doesn’t mean that Man are a better band than the Eagles but I do find them a lot more interesting.


Let me know what you think,


*for anyone lacking an extensive knowledge of Wales, Penarth is a small fairly sedate seaside town near Cardiff, it’s hard to imagine it being the scene of psychedelic experiments. Coincidentally at the end of the 70’s West Runton Pavillion on the north Norfolk coast was also quite a venue.




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