Hudson-Ford - Lost In A Lost World (1981)

John Ford was born on 1 July 1948 in the South West London district of Fulham and grew up in a household where his father played piano and his four sisters were singers. When he was 14, his father bought him a Höfner 500/1 bass, a guitar that was particularly popular at the time because it was used by Paul McCartney, and in 1964 he joined with some school mates to form a band called Jaymes Fenda and the Vulcans, releasing two singles which were both written by Ford. In October 1966 he stepped in to replace the bass player of a South London R&B/soul band called the Five Proud Walkers, and he made his debut when the band opened for Champion Jack Dupree. The Five Proud Walkers was a popular club band and played a constant stream of gigs in and around London, but in the spring of 1967 they toured England with Pink Floyd and decided to make the shift to psychedelic music, changing their name to Elmer Gantry’s Velvet Opera, and recruiting Richard Hudson on drums. The band released three albums and several singles, but in May 1970 Ford and Hudson left the band to join The Strawbs. Ford's influence on the band, primarily known as a folk rock group, shifted them into a new direction in the progressive/art rock scene, penning songs such as 'Heavy Disguise'. In 1973 he and Hudson wrote some songs for the forthcoming album by The Strawbs, and originally the duo's 'Part Of The Union' was intended to be recorded by Ford and Hudson as The Brothers, but the other members of The Strawbs decided it would fit on their new album and so re-recorded it themselves, and when it was released as a single it became their biggest hit. Shortly after 'Bursting At The Seams' was released, Hudson and Ford left The Strawbs to start their own group which they called Hudson-Ford. 

Before long they were writing catchy pop songs and they soon had enough to fill their debut album 'Nickelodeon', which was released in 1973. Two singles were extracted from it, with 'Pick Up The Pieces' reaching the UK Top Ten. They followed this with their second album 'Free Spirit' in 1974, which included the Top 20 single 'Floating In The Wind', and two more albums followed in 1975 and 1977, although after the release of 'Daylight' the band quietly dissolved. As punk wiped out many of the progressive acts of the early and mid 70s, Hudson, Ford and Terry Cassidy combined together with Clive Pearce on drums to produce the 1979 album 'Bad Habits' as The Monks, and it spawned a surprise number 19 hit with the single 'Nice Legs, Shame About The Face'. They carried on the psuedo-punk format of the Monks for a follow up album, but 'Suspended Animation' wasn't released in the UK, making its biggest impact in Canada, where the band were huge, playing stadium gigs as big as the Strawbs ever achieved. Hudson, Ford and Cassidy's next project was dabbling with 1930's style music as High Society, when apparently the three were sitting around one rainy afternoon, supposedly writing Monks material, when they came up with the 30's-style ' Never Go Out In The Rain', and a rich seam of song-writing was unlocked. They released two singles and recorded an album as High Society, but it wasn't released until 1997. This album explores all aspects of the duo's work, including their contribution to The Strawbs' 'Bursting At The Seams', their recording of 'Part Of The Union' as The Brothers, singles and rare b-sides from Hudson-Ford, the flip of The Monks' 1979 hit, and songs from the two singles from High Society. 

Track listing

01 Lady Fuschia (from 'Bursting At The Seams' by The Strawbs 1973)
02 Part Of The Union (as The Brothers 1973)
03 This Is Not The Way (To End A War Or To Die) (b-side of 'Pick Up The Pieces' 1973)
04 Take It Back (7" single edit 1973)
05 Make No Mistake (b-side of 'Take It Back')
06 Burn Baby Burn (single 1974)
07 Floating In The Wind (7" single edit 1974)
08 Waterfall (single 1976)
09 Lost In A Lost World (b-side of '95º In The Shade' 1976)
10 Sold On Love (single 1976)
11 When The Lights Go Out (from the 'Repertoire' sampler album 1977)
12 You'll Be The Death Of Me (b-side of 'Nice Legs Shame About The Face' by The Monks 1979)
13 I Never Go Out In The Rain (single as High Society 1980)
14 Powder Blue (b-side of 'Gotta Get Out Of This Rut')
15 Got To Get Out Of This Rut (single as High Society 1981)

Miller Anderson - ...and on guitar (1994)

Miller Anderson was born on 12 April 1945 in Houston, Renfrewshire in Scotland, and started his career in the group The Royal Crests in Scotland around 1964, and after moving down to London in March 1965 they renamed themselves Karl Stuart And The Profiles. Under this name they released two singles in 1965, 'Love Of My Eyes'/'Not A Girl In A Million' and  and 'Haven't They Got Better Things'/'Touch Of Your Hand', before dropping the Karl Stuart part and becoming The Profiles. Two more singles followed in the same year, before Anderson left the band and joined The Voice. This time the group only managed one single, 'Train To Disaster'/'Truth', before he departed, although he was there long enough to play with Mick Ronson when they were both members at the same time. Anderson then formed a duo with Dave Dufort in the mid-60's, but with the addition of future Mott The Hoople leader Ian Hunter on bass and Dante Smith on keyboards they became The Scenery, and after Dofort left the band and was replaced by John Vernon Smith, yet another single emerged in 'To Make A Man Cry'/'Thread Of Time'. In March 1968 he joined the strangely-named At Last the 1958 Rock And Roll Show, bumping into Hunter again, and with Freddie Fingers Lee on keyboards and Pete Phillips on drums, they released one single, with the Jimmi Duncan-produced 'I Can't Drive'/'Working On The Railroad' appearing on the CBS label in 1968. 

In October 1968 the band changed their name to Charlie Woolfe, with the same line-up, and they were soon back in the studio to record another single, this time for NEMS in UK (also released by CBS in Holland), with 'Dance Dance Dance'/'Home', with the b-side being a Freddie Fingers Lee, Miller Anderson and Ian Hunter co-write. Soon afterwards, Anderson and Hunter decided to abandon Charlie Woolfe, so they resurrected The Scenery, and although this edition of the band did not record, they did back singer David McWilliams for a British tour. In November 1968 Anderson finally got the call that he'd been waiting for, with an offer to join the Keef Hartley Band as vocalist and lead guitarist, and he ended up composing most of their original material. They released the excellent 'Halfbreed' album, recorded in just three days, and which opened with 'Sacked', a recording of an answerphone message from John Mayall telling Hartley that he was out of The Bluesbreakers. On this album Miller only contributed vocals, with guitar courtesy of Spit James, but once James left the band, Anderson took over the guitar role completely, and this line-up played in Woodstock Festival on its second day, although unfortunately they don't appear on the movie or soundtrack. With the addition of Mick Weaver, the Keef Hartley Band released their second album, 'The Battle Of North West Six', with guitar by Spit James, who was still in the band when it was recorded, and with one track featuring Mick Taylor guesting on guitar. 

'Overdog' followed in 1971 , and the group converted into a big band, in order to record a live album in the legendary Marquee in London, called 'Little Big Band', and they toured with a line-up of up to 20 members. After the live recording, the band returned to their usual quintet, and after recording some tracks for BBC in March 1971, Anderson started to think of pursuing a solo career. leaving the band in 1971. His first solo album 'Bright City', was released on Dream later that year, and he assembled a band to play some concerts, although he didn't actually tour. Around January 1973 he  formed a new band with keyboardist Mick Weaver, with Hemlock having more of a folk feel than the blues that he was associated with. They released a self-titled album, 'Hemlock', which was originally conceived as Anderson's second solo album, with help from Pete Willsher on steel guitar and Chris Mercer on sax. They toured supporting Procol Harum in England in March 1973, followed by another tour supporting Savoy Brown and Uriah Heep. On that tour, the chemistry between Savoy Brown's Kim Simmonds and Anderson finished with the offer of them forming a band together, so with the addition of Hemlock's rhythm section the formed The Boogie Brothers, which eventually led to him joining Savoy Brown themselves in January 1974, giving a three-guitar line-up of Simmonds, Anderson, and ex-Chicken Shack leader Stan Webb. 

They released the 'Boogie Brothers' album in 1974, but with too many leaders in the band, they only stayed together until December. In 1975, Anderson teamed up with his old boss Keef Hartley, and formed the short-lived Dog Soldier. After releasing their self-titled album, 'Dog Soldier', Hartley and bassist Paul Bliss left the band, and although they carried on with replacements Jim Leverton and Eric Dillon, they soon parted ways after touring with Back Street Crawler. Around August 1976, Marc Bolan refreshed the line-up of T Rex completely, keeping only Dino Dines, who recruited his old mate Anderson to play on Bolan's next album 'Dandy In The Underworld', and after that he joined Donovan for a tour, but before he could re-join T Rex, Bolan was killed in a car accident in 1977. The following year Anderson put together another band with keyboardist Ronnie Leahy, and after adding Colin Allen on drums, and recruiting guitarist Jimmy McCulloch, The Dukes recorded their only album in 1979, and then toured with Wishbone Ash. They had a minor success with the single 'Hearts In Trouble', but soon after that, tragedy struck again and Jimmy McCulloch sadly died. They replaced him with Mick Grabham, but the band folder shortly afterwards. In 1982 Anderson was asked to join Stan Webb in his new band Stan Webb´s Speedway, but he was only in the group for a short while, and didn't record with them. 

His next gig evolved from a collaboration between Ian Hunter and Corky Laing, who was the drummer in Mountain, who wrote several songs together, and then Hunter called Anderson to come over and sing and play guitar on the recordings. After Leslie West was invited to contribute to the project, it was suddenly a full-blown Mountain reunion, and in 1982 they started recording an album, 'Go For Your life', but Anderson has been forced to switch to bass after West joined, and so when he realized his part was to be too small, he left the band, although he can be heard on 'Makin' It In Your Car' from the record. In 1988 he joined The Spencer Davis Group, alongside vocalist Chris Farlowe, bassist Colin Hodgkinson, Zoot Money on keyboards, Pete York on drums, and Davis himself on vocals and guitar. They released a live album, 'Extremely Live At Birmingham Town Hall' in 1988, with Anderson in great form on 'Feet's Too Big' and 'Stormy Monday'. In November and December 1988 the toured Germany under the name of Pete York's R&B Revue, and in 1991 they recorded a live album under their alternative name of Pete York & Superblues, released in 1994, and featuring renditions of the Billie Holliday classic 'Lover Man', Chris Farlowe's early hit 'Out Of Time', and Anderson's showcases on 'Dimples' and 'Resurrection Shuffle'. Anderson is still working, and in the spring of 2016, he returned to the studio, releasing his new album 'Through The Mill' in the July, and this collection of tracks from throughout his long and varied career will go some way to show how he got to that point.  

Track listing

Disc One
01 Love Of My Eyes (single by Karl Stuart And The Profiles 1965)
02 Got To Find A Way (single by The Profile 1966)
03 The Train To Disaster (single by The Voice 1966)
04 Thread Of Time (b-side of 'To Make A Man Cry' by The Scenery 1967)
05 I Can't Drive (single by At Last The 1958 Rock And Roll Show 1968)
06 Dance Dance Dance (single by Charlie Woolfe 1968)
07 You Can Choose (from 'Overdog' by The Keef Hartley Band 1971)
08 The Actor (from 'Two Weeks Last Summer' by Dave Cousins 1972)
09 Ship To Nowhere (from 'Hemlock' by Hemlock 1973)
10 You Don't Love Me (from 'Boogie Brothers' by Savoy Brown 1974)

Disc Two
01 Broken Glass (from 'Broken Glass' by Broken Glass' 1975)
02 You Are My Spark (from 'Dog Soldier' by Dog Soldier 1975)
03 Jason B. Sad (from 'Dandy In The Underworld' by T. Rex 1977)
04 We Can Make It Together (from 'Heartbreak Hill' by The Strawbs 1978)
05 Time On Your Side (from 'The Dukes' by The Dukes 1979)
06 We Are One (from 'Neutronica' by Donovan 1980)
07 Makin' It In Your Car (from 'Go For Your Life' by Mountain 1985)
08 The Thrill Is Gone (from 'Extremely Live At Birmingham Town Hall' by The Spencer Davis Group 1988)
09 Dimples (from 'Superblues' by Pete York 1994)

Strawbs - Or Am I Dreaming (1969)

After doing the rounds of the folk-club circuit in the early 60's with their banjo-based bluegrass tunes, The Strawberry Hill Boys shortened their name to the Strawbs and decamped to Denmark to record an album of their songs with future Fairport Convention stalwart Sandy Denny. That deal fell through and the album wasn't issued until many years later on a budget label, but word got around and in 1968 they were signed to Herb Albert's A&M label for a one off single in 'Oh How She Changed'/'Or Am I Dreaming'. That record did well enough for the label to offer the band the chance to record an album, so they headed off to the studio, with Nicky Hopkins, John Paul Jones, and the Ted Heath Orchestra in tow, to record their grandoise concept masterpiece. The finishing touch would be short snippets of spoken word between the tracks, but no sooner had they come up with that than Simon & Garfunkel beat them to it with 'Bookends', so the idea was abandoned. When the completed album was finished they proudly presented it to the record label, only to have it firmly rejected by a company who expected more of the psychedelic pop of the single rather than these ambitious pieces, complete with orchestra and a quintet of Middle Eastern musicians they'd met in a restaurant. They had to junk half of the songs and return to the studio to record replacement material which was more in keeping with what the label wanted, and the resultant 'Strawbs' album was released to some acclaim in 1969. Dave Cousins still thought that the rejected songs had some merit, but the band were tied to their A&M contract and so could do nothing with them, but when sessions for their second album produced some left-over material, Cousins decided to compile both sets of songs into a publisher's demo album, to be hawked around other record companies to see if anyone wanted to cover their songs. Just 100 copies were pressed, and it was distributed in a plain white sleeve with 'Strawberry Music Sampler No' 1' stamped on it. Most of the copies have since been lost, and at one point in the 90's only two copies were known to exist, but most of the songs have since leaked onto the net or been included in archive collections. Using a pretty good guess at the likely track listing of the rejected album, I've pieced it back together, including both sides of the single and a couple of early versions of tracks from the released debut album, together with some of the unheard songs from the 'Strawberry Music Sampler'. I agree with Cousins, in that these songs deserve to be heard, although you could understand the record company's trepidation about releasing them from an unknown band, but it's great to hear them at last, even the oddly appealing 'Sweetling', with Ted Heath's Orchestra swinging in the background.

Track listing

01 Or Am I Dreaming
02 Nothing Else Will Do
03 Poor Jimmy Wilson
04 Oh How She Changed
05 Just The Same In Every Way
06 All I Need Is You
07 I've Been My Own Worst Friend
08 And You Need Me
09 Pieces of 79 And 15
10 Stay Awhile With Me
11 Whichever Way The Wind Blows
12 Indian Summer
13 How Everyone But Sam Was A Hypocrite
14 The Falling Leaves
15 Sweetling

I originally made a cover based on the Japanese picture sleeve of the 'Thirty Days' single, but I had second thoughts and made this one instead, although I've left the old one in the download in case you prefer it.

Strawbs - Why And Wherefore (1976)

Strawbs were one of the best progressive folk-rock bands of the 70's, and included a number of great songwriters in their ranks, such as Dave Lambert, Dave Cousins, and Richard Hudson and John Ford, later to have considerable chart success as Hudson Ford. They started out in 1964 as a bluegrass band called The Strawberry Hill Boys, but by 1967 they'd moved into folk, and their first foray into a recording studio was in Denmark, where they recorded some folk songs with Sandy Denny, later of Fairport Convention, for an album that was never issued at the time. Following 1970's 'Dragonfly' album they recruited Rick Wakeman as their keyboard player, and were more of a folk-rock band, but when Dave Lambert joined in 1972 their music took on a harder rock sound. They had a couple of massive hits with 'Lay Down' and 'Part Of The Union', although the latter was not really representative of their music. Throughout their career they released numerous singles, and some of them had exclusive b-sides, which I've collected together here, along with a cracking live track, and some other out-takes which surfaced when their original albums were remastered and reisued.  

Track listing

01 Keep The Devil Outside (b-side of withdrawn 'Witchwood' single 1971)
02 We'll Meet Again Sometime (b-side of withdrawn 'Witchwood' single 1971)
03 Forever (single 1971)
04 Backside (b-side of 'Lay Down')
05 Changes Arranges (b-side of 'Grace Darling')
06 Why > (b-side of 'Hero And Heroine')
07 And Wherefore (b-side of 'Shine On Silver Sun')
08 Will Ye Go (b-side of 'Part Of The Union')
09 Where Is This Dream Of Your Youth (Live) (Previously unreleased) 
10 Still Small Voice (Previously unreleased)
11 It's Good To See The Sun (Previously unreleased)
12 You Won't See The Light (Previously unreleased)

'Backside' is a David Bowie parody, and was credited to Ciggy Barlust And The Whales From Venus, and 'Will Ye Go' is their take on the traditional 'Wild Mountain Thyme'. 'Why And Wherefore' was a live favourite, and was made up of two parts, usually with an instrumental bridge in the middle. The studio recording was split in two, to be put on the b-sides of a couple of the band's singles, so I've split it into separate tracks, but there's no gap between them and so it will play as one long piece.