TOE FAT – Bad Side Of The Moon: An Anthology 1970-1972

As the 60s drew to a close and musical fashions began to lean towards heavier sounds, The Gods renamed themselves Head Machine and headed back into the studio. The resulting album – the dubiously named ‘Orgasm’ – featured a couple of songs that sounded like 60s psych jams in bigger boots; others forged their way into the new hard rock sounds, following the example set by Deep Purple. Although it wasn’t necessary the most coherent record, it was an enjoyable one. It failed to be a commercial success and the band split almost immediately. A few months on, the core of Head Machine – Ken Hensley (gtr/keys) and Lee Kerslake (dtums) – resurfaced as the core of a new rock band Toe Fat with previous mod hit maker Cliff Bennett, whose Rebel Rousers had seen him providing vocals for a band that included Chas Hodges and legendary session pianist Nicky Hopkins.

Toe Fat released two albums between 1970 and 1972, both of which spent approximately two decades out of print between the early 70s and mid 90s. Both albums crept out on CD for the first time in 1994 thanks to the German label Repertoire Records, but the official nature of these reissues remains open to question and those CDs quickly became impossible to find, making Toe Fat a 70s curio that – much like Head Machine – went largely unheard by all but the most ardent Uriah Heep collectors. A double disc reissue from BGO Records briefly made the Toe Fat recordings available in the States, but for UK audiences, their work remained elusive.

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UK AOR legend Gary Hughes to release double disc solo anthology in March

Since the early 90s, vocalist Gary Hughes has been one of the most important figures on the British melodic rock scene.  His second solo album helped launch the much missed Now & Then record label and his subsequent work as frontman with pomp rockers Ten has taken his big voice around the world.

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Watch the new video from Gentlemen Rogues

When Gentlemen Rogues released their ‘Do The Resurrection!’ 7″ at the tail end of 2020, they gave the year one of its finest rock tracks.  The melodic riffs, straddling a fine line between melody and distortion, harked back to the very best college rock of the 90s.  The three minute banger carried elements of ‘Lick’ era Lemonheads, a massive love for The Replacements and even a bit of Sugar at their most melodic.  For lovers of the style, it surely sounded like an instant classic – a reminder that so much retro sounding 90s rock is now capable of creating a wave of nostalgic feelings.

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STRAWBS – Settlement

Like any band with a long history, Strawbs have gone through many changes over the decades. Musicians have come and gone; they’ve seen dozens of members come and go since their inception in 1964 – including legends Rick Wakeman, Sandy Denny and Curved Air’s Sonja Kristina – with each one bringing something different to the band. Through it all, Dave Cousins has been there to steer the ship. In fact, aside from very occasional silences, Strawbs have always existed in one form or other even though a lot of people would believe they threw in the towel some time during the mid 70s.

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3.2 – Third Impression

Back in 2015, Keith Emerson and Robert Berry hatched a plan to follow up their album ‘To The Power of Three’. That album (released in 1988 under the band name 3) became a cult classic, beloved by prog rock devotees and AOR fans alike, so the mere idea of a second record (no matter how belated) seemed to be cause for celebration. Various musical ideas were set in place for the new record over the next few months. Unfortunately, any future plans for the reborn 3 were put on hold in 2016 after Emerson’s untimely death.

Berry eventually paid tribute in the best way possible by ensuring all of Keith’s final musical ideas finally came to light. The resulting album ‘The Rules Have Changed’ (released under the 3.2 moniker) captured so much of the spirit of the original 3 with it’s melodic rock/prog crossover sound, but despite some great press, some of the fans seemed less enthusiastic. Those who viewed the album negatively insisted there couldn’t be a 3 album without Emerson, completely ignoring the fact that Berry had painstakingly structured a whole new work from Keith’s ideas. As always in prog circles, those who would never be pleased – no matter how good the outcome – made far too much noise and showed themselves to be wholly un-progressive in their attitudes. Those fans who seemed absolutely appalled by the idea of Berry releasing a second album based on Emerson’s ideas will surely explode with anger at the audacity of a third release, this time created solely from Berry’s own compositions.

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