ALL GOOD CLEAN FUN

By 1971, many record labels such as Island and CBS (Columbia) had an extensive roster of underground or progressive bands, and had released samplers to promote their acquisitions. United Artists were slightly late to the party, and it took them until 1971 to come up with this compilation. It should be noted straight away that while the 2004 three CD release of the same name and sleeve illustration does have some of the tracks here, there are a quite number of tracks on this collection which did not re-appear on that one, and of course vice versa.

When casting an eye over the bands included on this album, It is interesting to note how many of them were considered to be "progressive" at the time, but are not listed on our site. Certainly, a number of the bands are from the USA, with their roots in blues and country rock, the brief Nitty Gritty Dirt Band track here for example being a burst of hoedown.

Elsewhere through, Eric Burdon, who by this time had moved to the US, took the blues influences he was exploring and developed his own unique, progressive style.

Looking at the more overtly prog selections IF, who had moved to UA from the Island Label, continued to develop their jazz rock sound; "Here comes Mr Time" being one of their more rock based numbers. The sleeve notes for the Man track included here are interesting, as they indicate that the band moved to UA to free themselves of the restrictions of their former label, and to "get into something a little meatier". The notes go on to claim that "In Europe.. the band share equal billing with Yes, Family and Soft Machine".

The extract of "Be yourself" from Hawkwind's first album omits some of the dispensable freeform jazz section, but as that album saw the band still seeking a direction, it is a pity they could not have included something from a forthcoming album. It is also a shame that Amon Düül II's "Race from here to your ears" is taken from their "Dance of the lemmings" album, as the "Live in London" version was to these ears vastly superior.

Canned Heat are one of those bands whose long songs may be mooted as progressive, but who are firmly rooted in blues. Here they join forces with blues legend John Lee Hooker for a fine romp through a classic boogie. The band return later with "That's alright mama". The Groundhogs too have a firm basis in blues, but their harder edge allows them to cross over to rock with ease. The track here, "Cherry red", is probably their best know but the commercial slant is not representative of their albums as a whole.

For me, one of the great injustices of the early '70's was the lack of success of Cochise. The band, which included pedal steel virtuoso BJ (then Brian) Cole, made some wonderfully diverse music with strong melodies and excellent musicianship. "Home again" is a fine example of their work.

The album from which the Colin Scot track included here is interesting, as it includes uncredited (for contractual reasons) contributions from Robert Fripp, Rick Wakeman, Jon Anderson and Jane Relf. "Let me take you home" by the Wishbone Ash like Gypsy is a wonderfully mature song for a band with an average age of 20. The guitar work in particular shows them to have in retrospect regrettably failed to achieve the level of success they were clearly capable of. Sweet Pain's "Joy" follows a similar style, and also incorporates some fine guitar work. The closing "Seed" by BB Blunder has quite a progressive structure, with what at the time would have been a distinctive vocal arrangement and some complex instrumental work. What ever happened to them?

Several of the tracks are by members of the "Down home" (the name of the house Brinsley Schwarz moved into together) family, described here as "A loose family of artists involving Brinsley Schwarz and Help Yourself". Both those bands have tracks on this collection, as does Ernie Graham. All are 70's country rock tinged songs, with fine harmonies and rock influences.

There are inevitably a few tracks which can be safely bypassed. The brief "Dirt Roads" by Morning (who bizarrely are afforded two tracks here) for example, is a Crosby Stills and Nash sound-a-like. Allan Taylor's "Song for Cathy" is a pleasant but unremarkable folk ballad. On the plus side, it does feature the backing by members of Fairport Convention, including the fiddle of Dave Swarbrick. Denver band Sugarloaf sound like they are trying to emulate Uriah Heep with their high harmonies and driving Hammond organ, but they never quite get there.

In all, an interesting and enjoyable package, which showed that United Artists may have been slow in jumping on the bandwagon, but still managed to sign up some diverse and highly talented acts. Some went on to enjoy varying degrees of success, while others disappeared without trace.

The album is attractively packaged in a sleeve which opens envelope style, and includes a detailed booklet with background on each of the bands.