Plain and Fancy: 06/19/26

Friday, June 19, 2026

rep>>> Streetwalkers - Red Card • Vicious But Fair (1976-77 uk, fascinating multicolored rock, 2005 remaster)

Punk rock made the Streetwalkers seem like old farts, but Red Card proved (upcoming metaphor overuse intended) that they still had an ace up their sleeve. From the groove-heavy "Roll up, Roll Up" to the ferocious "Run for Cover," this is the first and last great gasp from this band. In fact, had it come a few years earlier, it could have been included along with some of the better work by Chapman and Whitney's previous band, Family. The highlight, perhaps the best reason to search out this record, is a cover of Otis Blackwell's "Daddy Rollin' Stone," which Roger Chapman absolutely sings the living sh*t out of. It's an exhilarating moment and proof positive that he has one of the great voices in rock & roll.

by John Dougan

In 1977, drummer McBain was replaced by David Dowle, who later joined Whitesnake, and keyboardist Brian Johnstone and new bassist Mickey Feat joined the band. With this lineup, the last studio album, “Vicious But Fair,” was recorded in 1977. However, the album was not successful at all in a period dominated by punk and new wave.

After the 1977 album Live, the band broke up. Bobby Tench left to join Van Morrison's band, along with Mickey Feat. Charlie Whitney formed the equally unsuccessful band Axis Point, while David Dowle joined the band Midnight Flyer. Singer Roger Chapman started a solo career and was/is particularly popular in Germany. He also scored a hit as a singer on the Mike Oldfield single Shadow On The Wall.

Tracks

1. Run For Cover - 5:47

2. Me An' Me Horse An' Me Rum (Bobby Tench, Roger Chapman) - 4:04

3. Crazy Charade (Bobby Tench, Charlie Whitney, Roger Chapman) - 5:27

4. Daddy Rolling Stone (Otis Blackwell) - 3:15

5. Roll Up, Roll Up - 3:29

6. Between Us - 3:48

7. Shotgun Messiah (Bobby Tench, Charlie Whitney, Roger Chapman) - 4:49

8. Decadence Code - 6:44

9. Mama Was Mad - 4:15

10.Chilli-Con-Carne - 3:55

11.Dice Man - 9:30

12.But You're Beautiful - 3:57

13.Can't Come In - 4:03

14.Belle Star (Charlie Whitney) - 3:13

15.Sam (Maybe He Can Come To Some Arrangement) (Bobby Tench, Charlie Whitney, Roger Chapman) - 5:47

16.Cross Time Woman - 5:16

All Songs written by Charlie Whitney, Roger Chapman except where noted

Tracks 1-8 from "Red Card" LP 1976

Tracks 9-16 from "Vicious But Fair" LP 1977

The Streetwalkers

*Roger Chapman - Lead Vocals, Percussion

*Charlie Whitney - Electric, Slide Guitars, Keyboards

*Bob Tench - Electric Guitars, Vocals, Keyboards, Percussion

*Nicko - Drums, Percussion (Tracks 1-8)

*Jon Plotel - Bass, Backing Vocals (Tracks 1-8)

*David Dowle - Drums, Percussion (Tracks 9-16)

*Michael Feat - Bass Guitar, Vocals (Tracks 9-16)

*Brian Johnstone - Keyboards, Vocals (Tracks 9-16)

*Wilf Gibson - String Arrangements

*Mel Collins - Horns (Tracks 9-16)

*Poli Palmer - Synthesizer (Track 12)

*Louise, Eunice - Backing Vocals (Tracks 9-16)

1974 Chapman • Whitney - Streetwalkers (2009 edition and 2024 remaster and expanded)

1975 Streetwalkers - Downtown Flyers (2005 remaster)

1970 Family - A Song For Me ( 2004 japan remaster and expanded)

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Strawbs - Grave New World (1972 uk, distinctive, melodic progressive rock with strong folk roots)

"Benedictus" is the quintessential Strawbs, the band at their finest. If someone were to ask me to describe their unique sound, I would have to say "listen to Benedictus, then you'll know". The layering of instruments and vocals, strong use of mellotron/synthesizers, bass and especially organ (to evoke the cathedral) all say, "this is The Strawbs". The lyrics have recurrent religious themes: blessings for the highest to the lowest, the living and the dead, the wanderer/holy traveller, hero/saint, soldier/warrior. A benediction by definition is "the invocation of a blessing, especially at the close of a religious service". With its lyrics of forgiveness, saintliness and thankfulness, "Benedictus" shows the beauty of God's love in all of us. Dave Cousins' vocals at times are intentionally dystonic, perhaps to give the listener the feel of a Gregorian chant and to further reinforce the religious aspects of the song. Tony Visconti, who helped to produce "Benedictus", is well known in progressive rock circles for his work with The Moody Blues and many others.

In stark contrast to "Benedictus", "Hey, Little Man...Thursday's Child" is simple. Just voice and guitar, this song showcases Dave Cousins' expressive singing beautifully."Queen of Dreams" is an ethereal piece, brought about using intricate vocals/harmonies by the band members and the use of a synthesized squeezebox effect much like The Rolling Stones utilized in "2000 Light Years From Home" and The Beatles in "Sgt Pepper". As Grave New World was produced in 1972, most bands were dabbling in psychedelia and newly found special effects. An unusual piece for The Strawbs, decidedly experimental.

"Heavy Disguise" is a wonderful piece featuring John Ford's vocals and great guitar along with a lush orchestral interlude with lots of brass."New World" .... a favorite! Powerful, dramatic, angry, gut -wrenching. The strong use of mellotron/synthesizers, drums and strings all combine to become an overwhelming musical experience. The music cascades over you in waves...done as only The Strawbs can."Hey, Little Man...Wednesday's Child" is another deceptively simple little gem. A little beauty which offers some respite after the assault of "New World".

"The Flower and the Young Man" offers great harmonies and strong lyrical images. You can smell the salt air of the sea...a bluegrass/sea shanty feel."Tomorrow" is once again Dave Cousins at his finest. Bitter, angry...truthful. The quality of this track on the remastered version is fair-had a fading in and out quality (unintentional I'm thinking). Heard some left over riffs from the late 60's reminiscent of Jethro Tull's "Thick As A Brick" (a tongue in cheek jibe perhaps?).

"On Growing Older" describes the British love of countryside and nature in glowing colors. Sweet and harmonious. "Ah Me, Ah My" light fluff...fun..vaudeville. "Is It Today, Lord?" Eastern influenced music...use of sitar. Popularized by the Beatles and Ravi Shankar....other progressive bands using the sitar include Moody Blues (In Search of the Lost Chord). "The Journey's End" a slow, simple song once again about a weary/lonely traveller. Strong use of piano instead of guitar/bass.

"Here It Comes" (extra track) another favorite... use of drums, congas, organ...strong beat, makes you want to get up and dance. Great back up/chorus vocals....simple, repetitive lyrics are catchy. "I'm Going Home" - (bonus track)... good rocker... grainy sound to track...almost what one would expect from an LP.

Overall, the remastered Grave New World is a joy to behold and long overdue. The packaging is beautifully done and includes an insert with an interview with Dave Cousins and a history of the band, done by John Tobler. On some tracks I found the sound to be muddy/muffled as if overdubbed with too much bass. I did consider that this album was originally released in 1972, and as such, the technology would be considered primitive in comparison to today's. As such, even though digitally remastered, the CD still may suffer from the limitations of the analogue masters. In listening to another remastered CD, Ghosts, I found the sound quality to be far superior (much crisper/clearer) on the later.

by Marcia Zingman

Tracks

1. Benedictus - 4:24

2. Hey Little Man... Thursday's Child - 1:05

3. Queen Of Dreams - 5:28

4. Heavy Disguise (John Ford) - 2:50

5. New World - 4:08

6. Hey Little Man... Wednesday's Child - 1:05

7. The Flower And The Young Man - 4:17

8. Tomorrow (Blue Weaver, David Cousins, John Ford, Richard Hudson, Tony Hooper) - 4:44

9. On Growing Older - 1:54

10.Ah Me, Ah My (Tony Hooper) - 1:21

11.Is It Today Lord (Richard Hudson) - 3:04

12.The Journey's End (Blue Weaver, David Cousins) - 1:35

13.Here It Comes - 2:42

14.I'm Going Home - 3:14

All compositions by Dave Cousins except where indicated

Bonus Tracks 13,14

Strawbs

*Dave Cousins - Vocals, Acousti, 12 String, Electric Guitar, Eletro Acoustic Dulcimer , Recorder , Piano

*Tony Hooper - Acoustic Guitar , 12 String Guitar , Autoharp , Vocals

*Richard Hudson - Drums, Cymbals, Tambourine, Sitar, Tablas , Vocals

*John Ford - Bass, Acoustic Guitar , Vocals

*Blue Weaver - Organ, Piano, Mellotron, Harmonium, Clavioline, Vocals

With

*Anne Collins - Backing Vocals

*Trevor Lucas - Backing Vocals

*Robert Kirby Silver Band - Brass Ensemble

*Old Tyme Dance Orchestra • Members Of Ted Heath Orchestra

*Tony Visconti - Arrangements

*Dave Lambert - Acoustic, Electric Guitars, Vocals

1972 The Strawbs - From The Witchwood

1972 Dave Cousins - Two Weeks Last Summer (2019 remaster & expanded)

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rep>>> Quiver - Gone In The Morning (1972 uk, strong folk country rock, 2008 reissue)

Gone in the Morning is Quiver's follow-up to their self-titled debut, which was somewhat successful in the U.K., but invisible on American shores, as was this disc. It wasn't until three of the members hooked up with the Sutherland Brothers that the band got any recognition stateside. Cal Batchelor's contributions are what differentiate this group from the band that merged with Iain Sutherland and his brother Gavin, Batchelor having written or co-written eight of the nine tracks here. Tim Renwick's "Green Tree" is more laid-back and the only title not written by or with Batchelor. Renwick played the recorder on Jackie Lomax's Apple releases, and was a member of Junior's Eyes, and musically this Chris Thomas production sets the stage for what the three minstrels who carried the name on would do in the future.

There's a nice George Harrison guitar riff that begins the solo on "Love/No Boundaries," and the pop of that song works better than the pseudo-country which keeps seeping through, as on "I Might Stumble." The title track, "Gone in the Morning," is not a bad song, but at nine minutes, it descends into a jam before it re-emerges and concludes -- and that is perhaps the downside with Quiver and this record. There is more focus on riffs and pedestrian jamming than musical experimentation, and a song like "Fung-Kee Laundry," all 55 seconds of it, is a succinct and prime example of what transpires in the middle of the title track. "She's a Lady" is a weird combination of country/reggae/blues

It's competent, well-played, well-produced, but goes nowhere. The real magic is when the worlds of Quiver and the Sutherland Brothers collided, and this excellent group got to perform on some meaty material. Or maybe this quartet didn't translate well to record, the Warner Brothers hype around Quiver was that they were "one of England's best loved live groups" -- which begs the question, why not a live album to launch them? "Don't Let Go" is the most musical and exciting piece on this disc; eerie guitars and vocals conclude the record with some promise.

Cal Batchelor was from British Columbia, which might explain the heavy American music styles that permeate this British group; indeed, some of the material sounds like the Canadian offshoot of the Guess Who that was Brave Belt. Gone in the Morning is an interesting artifact, but the end result is a competent disc which doesn't beg repeated listening. Roger Daltrey sang "it's the singer not the song," and this album proves him wrong. It's definitely the song that matters.

by Joe Viglione