MOGUL THRASH

The guitar and vocals of one James Litherland made this album a love at first listen for yours truly. James started this band after being thrown out of COLOSSEUM. MOGUL THRASH were a six piece band with three horn players and that's really what tempers my enthusiasm about this one is the Horn Rock style here but man the rest is gravy, so good! On bass is none other than John Wetton who would go on to play with FAMILY after this one album endeavour by MOGUL THRASH. No keyboards! Okay there's some piano to open "St. Peter" by none other then Brian Auger who was producing this album. What! Two of the horn players who happened to be Scottish would join the AVERAGE WHITE BAND after this.

Favourite two tracks are the two that get the album started beginning with "Something Sad" and the COLOSSEUM track "Elegy". Having said that the last four tracks are almost as good making this in my opinion very close to being a 4.5 star release if not for the blasting horns. How about that closer? Lone soprano sax comes out of the silence before it all kicks into a heavy sound a minute in. Vocals after 1 1/2 minutes as the sax stops. Horns come and go in this raw sounding piece with not so great lyrics. The most ambitious track might be the over 12 minute "Going North, Going West". Lots of tempo and mood changes this one has it all.

Highly recommended especially if you like COLOSSEUM.

The six-piece MOGUL THRASH were a short-lived, brassy and bluesy, heavy Jazz-Rock band from London. Who knows where they came up with the bizarre name, but maybe Mogul Thrash refers to the powerful drumming on the album. The band were originally known as James Litherland's Brotherhood, which sounds like an Easy Listening MOR group, so perhaps the change of bandname was no bad thing. Singer/guitarist James Litherland was previously a member of Colosseum. Mogul Thrash also features John Wetton on bass and vocals. Wetton is best-known as the frontman of Asia, as well as being a one-time member of Family, King Crimson, Roxy Music and Uriah Heep during his long and distinguished career. Sadly, John Wetton is no longer with us, having passed away in 2017 at the age of 67, but he'll be long-remembered for many years to come, gaining the musical equivalent of immortality. This one and only self-titled album by Mogul Thrash was produced by renowned Hammond organ maestro Brian Auger, who also played piano on Track 5: "St, Peter". The 1999 CD reissue also included the single "Sleeping in the Kitchen." Are you ready to Rock!?? Well, Let's Go!!

The album opens with the bright and brassy number "Something Sad", but something sad it definitely isn't! This music will invigorate you, exhilarate you, and maybe even rejuvenate you with its raw energy and power. It's brassy and bold, which is just what you'd expect from a Jazz-Rock band. The heartfelt plea contained in the lyrics tell a story of a relationship gone sour:- "Where is the love, That you said you would bring me today?, Nothing is left, Of the debt that I had to repay, 'Cause when you get to making your mind up, When you get to telling your lies, There's one thing that will always deceive you, The look of something sad in your eyes." ..... It's bluesy, it's brassy, it's gutsy, but above all, it's great music! Onwards now to Track 2, the 10-minute-long epic "Elegy". This is a re-working of the classic Colosseum song that originally appeared on the "Valentyne Suite" album. This song features a wild and extended psychedelic jam to stimulate and delight the senses. If you're in the mood for a hefty slice of Psychedelic Rock, then you'll be in seventh heaven with this song. As the song title implies , it's another moody blues number, but sounds nothing like THEE Moody Blues. No, this is bold and brassy blues with an attitude. It's another sad tale of lost love with these mournful lyrics:- "Baby don't you leave me in this world alone, We'll go and see somebody who won't shake his head and moan, Doctors can do anything, it is said today, I'll do anything, yeah I'll even pray, But don't you leave me alone like this, I couldn't stand it without your kiss, So don't go, Oh don't you go." ..... It's another good old-fashioned slice of British blues, spiced up with some loud and brassy horns. The intriguingly titled "Dreams of Glass and Sand" is up next. What's it all about, you may ask? Well, maybe the lyrics will enlighten you:- "Lost in the answers, Under the sea, Trapped, staring outwards, Waiting for me, You can stay with me, You hold the last scars of light in your hand, Stay with me, In the dreams of glass and sand." No, I'm STILL baffled, but who cares about the lyrics anyway when the music is this good!? It's another upbeat and lively Jazzy number with brassy horns in abundance, and who could ask for anything better than that when it comes to classic British Jazz-Rock!? We come now to the longest song on the album, "Going North, Going West", with a running time of 12 minutes. This is one long extended jam session without vocals. The brass section sound like they're having the time of their lives on this energetic number, not to mention the wild guitarist who goes off on one hell of an acid trip with some freaky psychedelic riffing. This is where the musicians really get to strut their stuff and show what they're made of. Prepare to be amazed! It's All That Jazz and a lot more besides. And now we come to the penultimate song on the album, "St. Peter", another energetic song that's as bold as brass with the spirited horn section sounding like they're having a blast. And "What's This I Hear?" Have we come to the final song already? Yes, indeed we have, because "What's This I Hear?" is the sixth and final song on the album. The singer gets down and dirty with this raw bluesy number, with lyrics that are too rude to be re-printed here, so I'd better leave them to your imagination. This is a powerful Jazz-Rock number to close the album in memorable style with the sonorous brass section in solid form again. This album Rocks!

If you're in the mood for a good old-fashioned dollop of classic British Jazz-Rock, then this might be just the album you're looking for. This one-off album is bound to appeal to fans of the bright and brassy sound of Colosseum and other bands of that ilk. It's very heavy, but not so very humble. Play it loud and proud, but try not to annoy the neighbours.

For years I wanted to listen to this album. Well, I did it yesterday. MOGUL TRASH was a short-lived band created by ex-Colosseum`s guitarist James Litherland with John Wetton and other very good musicians, and they played together for about eighteen months between late 1969 and early 1971. In an interview done some years ago with Wetton, he said that in this band there was a bit of conflict about the musical direction of the band, with him being more in favour for the Progressive Rock elements in the music and with Litherland more interested in playing Jazz and Rock arrangements, but the horn players were more interested in the Funk elements of the music. This things, along with very important problems with the manager, led to the split of the band. The horn players later joined the AVERAGE WHITE BAND while Wetton joined FAMILY for two albums. It seems that Wetton was somewhat impatient to be the front man and lead singer in a band, so he also didn`t last for a very long time with FAMILY and he became in 1972 the lead singer and bassist with KING CRIMSON, on which band he also became one of the main composers, a thing that he also wanted to do a lot. But in MOGUL TRASH he was mostly a backing singer and a very good and heavy bassist. In fact, in this album the lead singer and main composer was Litherland, but as a whole this band sounded very well, in my opinion, with some very heavy arrangements and playing, sounding like the album was really recorded "live in the studio" (with a few notable guitar overdubs), with a lot of freedom but fortunately no mistakes can be listened in the final product. Even if this happened, Litherland in another interview said that recording engineer Eddie Offord edited the tracks and that the band liked the results very well. It is similar in some ways to Colosseum in musical style, something that is very obvious due to Litherland`s presence. But I think that a line-up like this (a guitar-bass-drums trio plus a horn section but no keyboards) was a bit unusual combination of sounds. Producer Brian Auger played a bit of piano on one track and Litherland said in that interview that Auger gave to them a lot of freedom to record in this album. Well. The album as a whole sounds a bit dated, but it is very good anyway.Maybe there are some influences from bands like BLOOD, SWEAT AND TEARS and CHICAGO, but the music is heavier and more "raw", in my opinion. Litherland is a very good guitarist and lead singer.

'Mogul Thrash' - another album I originally purchased as a vinyl sometime in the 1970's. Can't remember where I heard from it first or who suggested it to me. The line-up is a who is who of the prog and rock scene basically and only regarding Michael Rosen and drummer Bill Harrison there's nothing to find about a life after MOGUL THRASH. There we have James Litherland who started with Colosseum, John Wetton - at the very start here, evolving to a prolific (prog) rock musician later - I never heard him playing the bass that virtuoso! Roger Ball and Malcolm Duncan changed to the Average White Band in the aftermath - a scottish soul funk band which I also like ... at least when it comes to their early phase.

Now when listening to this album after such a long time (the original version) I at least can recollect that I found the trippy sci-fi cover art somewhat fascinating, six cool musicians in front of clouds, nowadays this can't move me anymore though. The music so much the more. Elegy starts as a typical jamming instrumental jazz rock track with a line-up reduced on bass, drums and guitar (Litherland on top) . After some time though the track turns into another direction including vocals and brass contributions which remind me of Blood, Sweat & Tears.

Keyboards are missing, okay except when Brian Auger's piano once appears on the short St. Peter - and finally What's This I Hear comes truely shimmering, a challenging composition. Their self-named debut is a very good jazz rock effort, with John Wetton in a genial mood, produced by Brian Auger, James Litherland is quite dominant. So besides the aforementioned bands this is also reminiscent to Colosseum, Chicago, IF a bit. Vocals and musicianship are excellent. The digital re-issue comes with several alternative songs versions, this might be an additional argument to check this album out.

A strangely unsatisfying jazz-rock excursion featuring ex-Colosseum guitarist James Litherland and star progressive bass-player John Wetton(King Crimson, Family, Asia), the one-and-only release from Mogul Thrash proves once again just how difficult it is to properly nail the mixture of jazz and rock without over-egging the pudding. Whilst there is nothing wrong with the actual playing - this is an album filled with virtuoso instrumental displays and impressive interplay - the actual tunes prove pretty uninspiring. The album kicks off with the fragmented 'Something Sad', before serving up a lengthy re-worked version of Colosseum's 'Elegy', albeit with a harder edge and pacier rhythm section, though in this case bigger and faster doesn't equate to better. The twelve-minute 'Going North, Going West' fares better, with Litherland's quicksilver guitar work prominent, yet in truth it's a rare moment of clarity in an otherwise overwrought album. That's not to say 'Mogul Thrash' belongs in the bargain basement bin. Fans of Nucleus, Tony Williams, The Keith Tippett Group etc might find much to admire here, yet the adventurous essence that made those artists appeal beyond the jazz demographic is largely absent. Lots of style then, and even a little substance, but very little soul. In a word then: disappointing.

STEFAN TURNER, STOKE NEWINGTON 2012

FInally aquired an original viyl copy of this after much searching. Was not dissapointed!

After his departure from COLLOSEUM, guitarist James Litherland continued with the brassy sounding rock. This time we have a sound not too far removed from his previous band only with more emphasis on the brass section. After all they did have 3 players. The result gives a pretty heavy album with lots of stunning guitar solos and great arrangements. Also featuring JOHN WETTON, 2 years before his spell with KING CRIMSON. He plays like a trooper on this album, with bass melodies flying all over his fretboard.

Well worth checking out!

I bought myself a Disconforme Records re-release of this album, as I had heard a sample of this album when I was searching stuff of John Wetton, and the song's excerpt sounded quite good. I wasn't disappointed, as the record was very good in my opinion. This music resembles Blood, Sweat & Tears and Finnish Tasavallan Presidentti, being fast, energetic and soulful jazz rock. There are some very tasteful saxophones here, especially the solo in "Dreams of Glass and Sand" is wonderful, where the sax blows very long and calm notes over the powerfully pulsing band. My album version opens with a single cut "Sleeping in the Kitchen", which brings a very cool and groovy start for this uplifting record. "Going North, Going West" is a longer jam number, reaching nearly twelve minutes, and it's one of my top favorites here. "St. Peter" has peculiar jazzy rhythms, and Wetton does the singing here. I'm not sure if all of the bonus tracks are very essential, but the CD was quite cheap so I didn't have to pay much extra for them. This is a worthy album to check out, if you like the bands I mentioned in the beginning of this review, or you are interested of John's earlier work.

Mogul Trash I suppose were one of the early "Supergroups" of the 70's who recorded this one and only fantastic album. Featuring the alumni talents of John Wetton on bass (King Crimson, Roxy Music), James Litherland Guitars (Colosseum), Roger Ball (Sax) & Malcolm Duncan - Sax (Average White Band), Michael Rosen- Trumpet (Eclection), Bill Harrison - Drums and the magician Mr. Brian Auger. Musically these guys were a pure mix of Jazz, fusion and Canterbury Progressive rock having written some pretty cool tunes here. Hard to exactly compare their sound but I would suggest a mix of "Colosseum" with "King Crimson" might be an attempt. Included on this album is a great 10 min version of Colosseum's hit "Elegy" which will blow your lips off. I love their mix of sax'es, trumpet with the wild guitar and bass interplay that accompanies this. I was lucky enough to have snagged Disconforme's CD re-mastered release which includes a couple extra bonus numbers which are very complimentary to this album.

COLOSSEUM fans beware , this is for you!!! After Litherland came out of that band , clearly he had not enough of that style of music as this album is quite similar to the first two album , rather a bit more hard-rocking , also a bit brassier but with no keyboards bar Brian Auger's contribution on one track on top of his production work - aside of the sound engineer being Eddy Offord (of Yes fame).

From the first notes of Something Sad (leading to superb bass works from Wetton) to the end of What's this I hear , we deal with a speeded-up Colosseum jazz-rock with loads of energy. The 12 min Going North track is the center piece of the album with searing guitar leads divinely underlined by brass lines, over a superb bass hook. The St-Peter track is somewhat sticking out of the rest of the album, but it was also the B-side of the Sleeping In The Kitchen single that is the featured bonus track on the Blueprint cd version that was released in 1999.

On the down-side if things , however superb (and greatly expanded) the Colosseum track Elegy might be (a good sign that his leaving that band was probably not on a friendly basis), I just wish , he would have written yet another track instead of giving us already heard material. Please note that the horn section of Ball and Duncan will be the foundation of Scotland's Average White Band.

As for Dick's surprising low rated review , his excellent remarks about the future of Litherland points to a wasted talent. The Disconforme re-issue of the album appears not to be of more interest than this version since the bonus tracks are all alternate version/takes.

Recently I acquired, after a long search , original Mogul Thrash LP and I must admit that I was very eager to hear James Litherland accompanied with some talented musicians and supported by such a name as Brian Auger, who not only played piano on one track but even produced this album. I must say that my expectations were fulfiled. Interesting album, sounding very much as Colosseum, with no weak point but also none to be specially highlighted - except the variation of ''Elegy'' (originally from Colosseum's ''Valentyne Suite'' album) with Litherland's strong guitar improvisation. Really it's a pitty that such a talented musician as James Litherland was ( is ) not more present on the rock scene. During the Colosseum era he was , alongside Dave Greenslade , the author of the most interesting material on their best albums (''Those who are about to die salute you'' and ''Valentyne Suite''). His unjust dismissal from Colosseum, based on faulty estimate of band leaders, brought to a decline of Colosseum on one side and to only this one Litherland's album on the other. However, this Mogul Thrash album is excellent addition to any prog music collection.