1972 was a particularly fruitful year for rock and pop music. That year saw The Rolling Stones release their critically acclaimed ‘Exile On Main Street’; Yes explored deep sonic textures on their indulgent ‘Close To The Edge’; Alice Cooper achieved worldwide acclaim and a massive hit single with ‘School’s Out’; Deep Purple gave us ‘Machine Head and Bowie introduced us to ‘Ziggy Stardust’. That might have been enough to make it great, but in addition, Steely Dan made their debut with the brilliant ‘Can’t Buy A Thrill’; Neil Young’s ‘Harvest’ was a massive success and Roxy Music‘s debut album sounded as if it were beamed in from another planet. The year also spawned T. Rex’s ‘The Slider’, Lou Reed’s ‘Transformer’, Stevie Wonder’s ‘Talking Book’, Joni Mitchell’s ‘For The Roses’, Elton’s ‘Honky Chateau’ and Van’s ‘Saint Dominic’s Preview’. With several dozen essential albums, 1972 had so much to give…and often feels like one of those years that keeps giving.
It was also the year that Jim Capaldi released his solo debut. It wasn’t something the Traffic multi-instrumentalist and songwriter had necessarily planned; it came about through a cruel twist of fate. Towards the end of 1971, Traffic were riding high with their fourth studio album ‘The Low Spark of High Heeled Boys’, but disaster struck when Steve Winwood suffered an appendicitis and subsequently became very ill with peritonitis, forcing the band to take a break. Rather than rest, Capaldi took the time to quickly record a selection of his own material during December, and that appeared on record shop shelves as ‘Oh How We Danced’ in March ’72. Kick starting what turned out to be a successful solo career, it had been a serendipitous twist in the Traffic saga.
After leaving Uriah Heep in 1980, multi-instrumentalist Ken Hensley embarked upon an often overlooked solo career. On 27th March 2020, Cherry Red Records/HNE Records will release a five disc set collecting his extensive recordings made between 2012-2013.
The new set follows Cherry Red’s previous Hensley anthology (‘The Bronze Years’) and brings together two studio album, an acoustic live set and various live recordings made with Ken’s band Live Fire.
On the surface, it would seem that the British blues boom has been well served by compilation discs over the years. On closer inspection, that hasn’t really been the case at all: the best anthologies tend to be label specific (Blue Horizon’s ‘The Blue Horizon Story’, Decca’s ‘The Blues Scene’ and Immediate’s ‘Blues Anytime’ series, later repackaged as an excellent four CD set by Charly Records). The bulk of the rest seem too concerned with repackaging bits of ‘Blues Anytime’ with cheap, inferior packaging. There hasn’t ever really been a decent compilation covering a lot of ground from different labels, or one unafraid to dig a little deeper beyond the usual suspects.
Armed with the swagger of Motley Crue, the crunch of mid 70s Sweet and a bunch of great choruses, Ratt briefly became massive stars in the US during the mid 80s. With a couple of videos gaining heavy rotation on MTV and a best selling debut album, they were among the melodic metal/glam scene’s most successful acts.
None of that applies in the UK, even though Ratt got of lots of positive press from the rock magazines. With MTV Europe barely off the ground, they were without an outlet for their videos and a rock-averse radio system meant the singles got no real airplay. As a result, Ratt were unknowns outside of the keener rock fans’ community; the closest they came to a hit was having their second album scrape the top fifty of the album chart in 1985. It’s hardly a surprise that, for UK record buyers, most of their albums have spent most of their life in an out of print limbo. For those British fans, most Ratt discs – save for 1990’s ‘Detonator’ – were procured on vinyl, as cheap imports from cut-out bins.
A new deal with signed with Frontiers Records in the summer of 2019 quickly brought a bounty of archive treats for Blue Öyster Cult’s legion of followers. In January 2020, a welcome reissue of the very hard to find ‘Cult Classic’ disc of re-recordings made its way into the world, along with ‘Hard Rock Live – Cleveland 2016’, a double live gonzo that was well received by fans and press alike. Barely six weeks later, the equally elusive ‘Heaven Forbid’ album (originally released on the CMC label back in 1998) was given a timely reissue and the vaults were raided for yet another live set, this time focusing on their career defining ‘Agents of Fortune’ album.