BAKERLOO

Continuing from the British blues rock scene that got underway in the mid-60s with bands like the Yardbirds and John Mayall and the Bluesbreakers, the power trio BAKERLOO rode in the wave of the more accomplished blues rock acts that culminated with Cream and The Jimi Hendrix Experience. Serving somewhat as a crossroads pit stop between the blues rock 60s and the blues-based hard rock that would take the 70s by storm like its early namesake The Bakerloo Blues Line (a London subway line) then shortened to simply BAKERLOO, this short-lived band only existed for a mere two years but proved to be quite influential as well as the gestating grounds for all of the musicians involved.

Initiated by guitarist David "Clem" Clempson and vocalist / bassist Terry Poole the band went through a couple of drummers before settling on Keith Baker BAKERLOO was a fast-rising hit at local London establishments such as Henry's Blueshouse before receiving an invitation to join the UK Big Bear Ffolly tour which included the soon to be called Black Sabbath band Earth, Locomotive and Tea Symphony but also opened for Led Zeppelin's London debut event at the Marquee Club on the 18th of October, 1969. While the band seemed like a guaranteed success story, BAKERLOO only released its sole self-titled album in September of 69 and would soon part ways with all members joining some of the most famous blues based hard rock bands that the UK produced in the 1970s.

The original album featured seven tracks which added up to 46 minutes of playing time but future reissues have found various numbers of bonus tracks included. While the album was primarily self-penned originals, "Bring It On Home" was actually an uncredited Willie Dixon song, a trend that was common in the British blues scene of not giving credit where it's due as well as a tasteful rearrangement of a Johann Sebastian Bach's "Bourée in E Minor" composition in the form of "Drivin' Backwards." All three members were at the top of their game and effortlessly delivered fast-paced virtuosic blues rock jamming sessions bringing a sense of sophistication that the style wasn't particularly known for which possibly proved to be a bit alienating for the audiences who gravitated towards the style but caught the attention of the early prog rock lovers for its attention to detail and in particular the 15-minute closing "Son Of Moonshine."

The opening "Big Bear Ffolly" which refers to the tour which got them noticed immediately finds the band firing on full cylinders with a fiery enthusiasm that found the members almost telepathically crafting a super tight instrumental interplay. The creative diverse musical motifs and lightning fast playing style surely must've wowed the audience because BAKERLOO was truly on another level of competency. While mostly looking back to the earlier blues rock style of Cream as the primary source of inspiration, tracks like "Gang Bang" clearly pointed to the future world of faster hard rock with more intense instrumental displays and heavier chord stomping including an exquisite drumming solo. "The Worried Feeling" slows things down a bit to offer a more traditional blues style with less reliance on rock. The sprawling closer "Son Of Moonshine" showcases the band's expertise in extended jamming sessions and a 15-minute string of creative improvisation skills. While not exactly reaching prog rock territory certainly wasn't too far away from jumping on that bandwagon.

Although the band had only formed in February 1968 and found enthusiastic reviews over its album, the first to jump ship was Clem Clempson who would soon join Colosseum and then eventually Humble Pie and The New Jazz Orchestra. The band's end soon followed with Terry Poole most notably forming May Blitz and Keith Baker also joining May Blitz and Uriah Heep. Early drummer John Hinch would go on to join Judas Priest while early drummer Poli Palmer went to Family. A short stint for all involved but BAKERLOO's sole release is a fondly remembered album and live band from the era and had it continued could've gone far in the anything goes 70s. As it stands this is the only representation of the band's recording efforts but what a pleasant and exhilarating display of blues rock BAKERLOO unleashed. The bonus tracks on future editions are also very nicely done.

3.5 stars. A tough one to rate because they were an influential band although short lived with one album to their credit. A power trio playing bluesy rock this was released in 1969 and featured guitarist Clem Clempson who would leave after this album to join COLOSSEUM and eventually he would end up in HUMBLE PIE. The drummer would go on to play on URIAH HEEP's "Salisbury" record. If my copy sounded better I might consider the fourth star just because this was the music I was into when I was in my 20s, that blues based rock where the singer and lead guitarist were everything. CREAM seems to be the standard because they came on the scene so early and also because they were so awesome! So many bands though from the early seventies like FREE, LED ZEPPELIN and on and on played in this style.

I like the jazz references on here too with the walking bass at times and more. They did mix it up a little for sure. What a display of talent though when it comes to the guitarist. He is all over this soloing at will. Funny how the jazz guys were so academic and keeping within themselves, no showing off while the blues guys loved to strut their stuff and had such an attitude. Jazz fusion is where jazz crossed that line in my opinion and why I love that sub genre so much. I always thought BAKERLOO seemed like a silly name before realizing it's the name of a subway line in London. The band originally called themselves the BAKERLOO BLUES LINE before shortening that title.

That opener is a tough one and the one song that on my copy that sounds off. The drums especially. We get that jazz bass here. The most straight up blues tracks are that cover "Bring It On Home" with harmonica and slide guitar along with "This Worried Feeling" which has very bluesy vocals and guitar along with piano. Some guest trumpet on "Drivin' Bachwards" as we get more jazzy moments. "Gang Bang" has a drum solo in it and is quite a heavy track with lots of guitar. Best track by far is that 15 minute closer "Son Of Moonshine", I mean this was my music back in the day and while this record is patchy just to have it for this track back then would have been special. Just a light show when it comes to the guitar.

Even sites that aren't prog call this bluesy progressive. For fans of COLOSSEUM and the like.

BAKERLOO (previously known as The Bakerloo Blues Line) were a Proto-Prog fossil first discovered in Staffordshire, England in 1968. The band were a short-lived power trio of Blues-Rock musicians in similar style to the legendary Jimi Hendrix Experience and the Clapton/Baker/Bruce trio of Cream. Bakerloo's one and only self-titled album emerged like a progosaurus rex from the sleepy town of Tamworth in the heart of England in 1969. It's time now to head on down to the Bakerloo Line station and get onboard the tube-train, ready to begin our musical journey together.

The first stop on our musical tour is the curiously-titled "Big Bear Ffolly", a fairly typical heavy Blues-Rock excursion into the realms of Cream and other heavy British blues bands of the late-1960's era, so there are no real surprises in store here. The same goes for "Bring It On Home", a dirty-low-down, plodding bluesy harmonica number, that sounds a long way off the beaten track from the London Bakerloo Line. This bluesy Louisiana Swamp Rock sounds like it could have emerged straight out of the Missippippi Delta. We're not going anywhere with our next stop on the journey because we're "Drivin' Bachwards". That's no spelling mistake or typo error in the song title, because this is a Jazzy instrumental inspired by Mr. J.S. Bach no less, so you can expect to hear some very familiar-sounding classical motifs in this free-style jazzy jam session, demonstrating that Bakerloo have more diverse musical strings to their bow than just back-to-basics British blues. The fourth stop on our tour is "Last Blues", so it'll come as no surprise that this seven-minute-long piece is another (lower case) moody blues number. The music begins as a slow lament, but the band really crank up into high gear at the midway point for a full-blown psychedelic acid trip in true Jimi Hendrix style. Even more surprising is when the song returns to a sedate leisurely pace for the conclusion, so it's really a three-piece suite. Bakerloo are proving to be far more versatile than first appeared. The next song "Gang Bang" sounds rather rude, but it's really all about percussion, because the fired-up drummer bangs away manically on his kit here as if his pants are on fire, featuring an almost obligatory very long and very impressive drum solo in the style of legendary Cream drummer Ginger Baker.

There are just two tracks on Side Two and the first seven minute song "This Worried Feeling" is very reminiscent of the early blues of Eric Clapton and Peter Green's Fleetwood Mac. It's a real raw and earthy, S--L--O--W plodding blues number, but don't let that put you off, because there's a truly awesome virtuoso performance to enjoy from the talented blue guitar player. If you don't know the song, If you can't put the words to the tune, Tell the rhyme from the reason, What should it matter, To the fool or the dreamer? ..... but that's another moody blue guitar song altogether. And so, we've arrived at the final terminus on the Bakerloo Line with the 15-minute-long "Son of Moonshine", a spirited wild ride along the illegal U.S. moonshine trail, featuring a manic outburst of heavy guitar riffing in an all-out psychedelic freak-out to take you to flower-power hippy heaven and back again.

If you're in the mood for some heavy British Blues-Rock, then get onboard the Bakerloo Line. It's going to be a wild ride, so fasten your seat belts and hold on tight to your dreams.

This is what we would call Progressive Blues Rock! Not many bands were brave enough to experiment with both blues rock and what we would later come to know as progressive rock! Among these were Bakerloo, Ten Years After, Steamhammer, and Killing Floor.

I think, this album is a true beauty. First time I listened to it, I was absolutely stunned by emotion and beauty of "This Worried Feeling". Clem Clempson's playing is top notch here and is probably his first shine and the reason why he would become such a sought after musician in later years. The rhythm section does a great job here as well. With a jazzy influence, they very proficiently support the overall vibe given by Clem Clempson. "Son of Moonshine" is the proggiest track on the album, a very enjoyable listening expirience with some serious guitar playing.

Definitely not a prog album, less prog than most proto-prog, in fact. However, this still gets four stars for its strong entertainment value and pure emotion that comes through.

Gritty, earthy blues from this short-lived outfit that featured future Humble Pie guitarist Clem Clempson, this self-titled released from 1969 is a must for anyone with a penchant for the bluesier side of progressive music. Similar in sound-and-scope to the likes of Steamhammer, Ten Years After, The Groundhogs and Savoy Brown(to name but a few), it's a shock to discover that Bakerloo were actually a three-piece, such is the depth to much of the material on this criminally-undersold record. Fortunately, and although only one album would be released under the Bakerloo moniker, the members - Clempson(guitar, piano, vocals), Terry Poole(bass) and Keith Baker(drums) - would all feature in an array of excellent progressive and psychedelic acts over the years, turning up in, amongst others, the short-lived power-psych-trio May Blitz, prog-rockers Uriah Heep, jazz- proponents Colosseum, the bluesy Vinegar Joe, and heavy-metal pioneers Judas Priest. Some great music would be produced by the trio in their later guises, yet nothing quite matches the electrified blues-prog on offer here, the slight R'n'B-tinged formula producing a succession of powerful rockers('Big Bear Ffolly'), slow, psychedelic workouts('Last Blues') and wigged-out boogie rock epics('Son Of Moonshine'). Original vinyl copies are now highly-collectible(of course) yet for once the quality of the music really does live up to the reputation of the record. Highly recommended. STEFAN TURNER, STOKE NEWINGTON, 2012

This 1969 release is the only album from UK band Bakerloo, their existence cut short by guitarist Dave 'Clem' Clempson jumping ship to John Hiseman's Colosseum. A band in the classic power trio tradition aka Cream, they played powerful Blues Rock with a Jazzy edge clearly evident on opening track and instrumental Big Bear Ffolly. From Clempson's dextrous playing it's clear why he was soon to be sought by Hiseman for Colosseum.

Bring It On Home is the Willie Dixon number brought to wider attention by Led Zeppelin's bombastic version on their second album. Bakerloo play a more restrained and no doubt more faithful to the original rendition, though I must admit to preferring the explosive qualities brought to the piece by Zeppelin.

Drivin' Bachwards treads the same territory as Bouree by Jethro Tull being based on a piece as the title suggests by composer Johann Sebastian Bach, though with a faster tempo than Tull used.

Last Blues' restrained beginnings soon give way to more dextrous instrumental interplay before returning to where we started to close. Despite the main appeal of the band lying in Clempson's guitar work, bassist Terry Poole and drummer Keith Baker make up a fine rhythm section, clearly evident in Gang Bang which some may be put off by it being a vehicle for a Baker drum solo.

This Worried Feeling is a typical laid back formulaic blues number which is good enough, though not spectacular but as expected Clempson rises to the occasion.

The album closes with the 15 minute Son Of Moonshine, a driving bluesy rocker, the type of track that lends itself to endless jamming that goes on forever..and it almost does!

Overall a decent enough though not spectacular album largely forgotten about today, though no doubt still retaining affection by the largish cult following the band had in the late sixties, in the main down to Clempson's fine guitar playing.

Bakerloo is an album that seems to have shown up in just about every discount bin of every record store I visited in the seventies. For that very reason I never bothered to pick it up, which is too bad because from what I understand the original vinyl is worth a bit of money today. The digipack reissue from Repertoire is nowhere near as valuable, but I imagine the sonic qualities are a bit better.

These guys were basically a blues band, although there's a fair amount of experimentation going on with this album. This is especially true of the middle part of the record, with the Doors-like dirge vibe of "Last Blues" and the percussion-heavy (hence the title) "Gang Bang". The album doesn't start off as promising though with the decent but unadventurous bluesy "Big Bear Ffolly". The band further bolsters the argument for their being a blues band by serving up their own version of the Willie Dixon Delta-blues standard "Bring it on Home".

But once those two are past things start to improve, beginning with the classically-inspired "Drivin' Bachwards" which is brief and clearly only intended to create a transitional bridge to "Last Blues".

"Gang Bang" features an extended drum/bass solo the likes of which you won't hear on too many progressive music albums. Its great virtuosity, but I can't say as there's anything particularly experimental or progressive about it.

The band returns to their blues form with "This Worried Feeling", a rather lengthy tune full of bent notes and 'done me wrong' lyrics. Considering the times and musicians the likes of which these three hung around with I suppose the sound shouldn't be a surprise, but from a purely progressive perspective this and the first two tracks sound quite dated nearly forty years later.

All is pretty much forgiven with the closing "Son of Moonshine" though, a nasty-lick affair that goes on for fifteen minutes and ranges wildly from stomping raunchy blues to early metal to what almost sounds like heavy funk. This is clearly a highly improvised track with some self-indulgent harpsichord, harmonica and guitar experimentation that doesn't always quite work. But for the most part the sound had to have been influential on later groups like Uriah Heep, Grand Funk and others of that ilk.

I put together a genealogy once that started with Bakerloo and managed to show connections to virtually every other band that is generally classified as "Proto-prog". Truth be told that's only because guitarist/pianist and stylishly "Clem" Clempson went on to a career that included Colosseum, Humble Pie, Champion, Rough Diamond and the Assembly; and because half those bands had members who can be traced to hundreds of other late sixties and seventies prog acts. Drummer Keith Baker played on Uriah Heep's 'Salisbury', and bassist Terry Poole ended up playing jazz as far as I know. Only Clemson really had much of a noteworthy musical career after Bakerloo fractured.

As someone who listened to a lot of sixties and seventies blues rock growing up I like this album, but I wouldn't call it essential, either for rock or progressive music fans. Three stars is fair enough, but I would say it is recommended to anyone who wants to hear a little bit of the transition from Delta blues to sixties rock while it was in the process of happening.

peace

Catch the Bakerloo train!

A fine, underrated album from a fine British blues band, one I kept seeing on the shelves during the 70's but unfortunately passed up, originally issued on EMI's fledgling "Harvest" label and recently reissued on CD by Repertoire RF4870 digipak. The recording has transferred well overall and is brilliant, very clear though sometimes rather gritty, not a bad thing for a blues band!

Bakerloo, which laid the foundations for "May Blitz" and later connections with "Colosseum" and "Humble Pie" were originally named "Bakerloo Blues Line", and were strongly compared to Cream (as were many blues bands at the time including "Free") and Fleetwood Mac, take their name from the London Underground line of that name, originally called "The Baker Street & Waterloo Railway" (the brown one which goes from Harrow & Wealdstone to the Elephant & Castle), which I guess the band members may have travelled on now and then, though they made their first break at Birmingham's "Henry's Blues House", frequented by the likes of Cozy Powell, Jeremy Spencer, Spencer Davis, Robert Plant, John Bonham, though most importantly for the band Jim Simpson, who had earlier discovered an early incarnation of "Black Sabbath". After famously supporting Led Zeppelin at London's "Marquee", John Peel showcased the band on "John Peel's Top Gear", they then returned to the Marquee to support Jethro Tull, eventually leading to a record deal with EMI/Harvest, which brings us to this great album.

The artwork on the sleeve depicts a group of men surrounding a huge drilling machine(?), I guess the building of the Underground cost many lives, this could be a depiction of the dangerous work involved, the Bakerloo Line first being built just so a group of rich cricket fans could visit Lord's more easily it is rumoured! But to the music - an interesting mix of blues, boogie, jazz and classical leanings here and there.

The first track, a jazzy instrumental called "Big Bear Ffolly", was named after Jim Simpson's British tour Bakerloo were on, which included the fledgling Black Sabbath named "Earth" . This piece includes some fantastic gritty guitar playing from Clempson, and some fast and furious bass/drums from Terry Poole and Keith Baker (coincidentally another famous drummer of that name is relevant!). The band do a brilliant version of "Bring It On Home" made famous to us by Led Zeppelin, and have kept the song to the same style here, though Plant sings it better! "Drivin' BACHwards" ( pun intended!) shows Prog leanings into classical music, using Bach's "Bouree" - the track is a clever jazzy improvisation with some fine playing. "Last Blues" is a slow, gloomy, atmospheric song, "...take me to the train...", followed by shimmering cymbals, howling winds then leads into an amazing blues jam featuring some great Cream-style playing from all musicians. As a big fan of the long forgotten art of the drum solo, the next track "Gang Bang" is one of the best I've heard on record, basic drumming techniques very similar to a Ginger Baker style solo, the track also features some brilliant guitar playing, and the sound quality is really good, you can almost see them drums, and that Bakerloo train clattering, rumbling and rolling through the tunnels - play loud! "This Worried Feeling" is a Fleetwood Mac style slow blues style number, complete with atmospheric vocal and "lonely" Peter Green style guitar, the song drifts into a slow blues including some bar room piano and dirty blues guitar playing from Clempson- amazing stuff. The last track on the original album (the poppy/Clapton/Pagey "Once Upon a Time" and an alternate take of "This Worried Feeling" are on the CD) is "Son of Moonshine", a dirty Tony McPhee (Groundhogs) style guitar intro leading to a blues/boogie rocker, heavy blues at its best!

Overall an amazing though until recently overlooked blues gem, but not by musicians. Any Prog fan even remotely into blues should hear this album, which could create a Prog genre all of its own and could tie in some of the bands included in this review.

BRITISH BLUES / MUSIC RATING 5/5 HISTORICAL IMPORTANCE 4/5

PROG RATING 3.5/5

The album opens jazzy instrumental 'Big Bear Ffolly' followed by Willie Dixon's classic blues 'Bring It On Home'; interesting arrangement of a well known J.S.Bach piece is supported with J.Salisbury trumpet, so bringing us to the highlight of this record side called 'Last Blues' which consists basically of two different parts- first one with slow tempo and strong Terry Poole vocals, fading into second, an guitar driving instrumental eventually ending by repeating slow intro. 'Gang Bang' instrumental offers Clempson furious guitar which leads to Keith Baker's superb drumming performance. Side B opener 'This Worried Feeling' is a hard core blues tune (and a very good one!) while 'Son Of Moonshine' is excellent example of prog blues definition. Thre is also a bonus track on this Akarma reissued record 'Once Upon A Time' not present on genuine album release, at that time it was issued as a single.This album revealed talents of three young musicians, among them Clempson's turned out to be the brightest, shining till nowadays. This sole Bakerloo release I would hihgly recommend!

Progressive Blues!

Progressive Blues is something whose existance I've been defending for a while now. And while this isn't the place to rant on about, I just have to praise the fact that some of the who fit that "genre" are slowly being added, even if it's just as "Proto-Prog".

Such is the case with Bakerloo and their homonymous album. A one-shot wonder, this combo of three very talented sessions musicians managed to put out in 1969 this fantastic blues-rock masterpiece, which was a natural progression from acts like John Mayall, Cream and Fleetwood Mac, and a percursor of Zeppelin's and some of Jethro Tull's hard-blues approach.

First track, Big Bear Ffolly, along with the third track Drivin' Bachwards are a couple of almost free jazz improvisations, with hints of Django in the first track and an obvious nod to Bach's Bouree (as it's title indicates), harpsicord included, in the third.Gang Bang also begins in that vein, providing some great guitar riffing from Clempson before giving way to some fine drum soloing, ending with the initial riff. All these tracks are instrumental.

Bring It On Home and This Worried Feeling sound a bit more like typical Mississipi Delta Blues with an harder edge, with very basic riffing, with the greatest show of virtuosism in the first coming from the harmonica, while the blues vocals and guiter dominate the second.

Last Blues and Son of Moonshine are the two most progressive tracks in the album. The first starts of with a nice vocal performance from Terry Poole, very gently accompanied by guitar and bass, but then fades into a fast-paced hard- rock section with great soloing from Clempson. This song has some fantastic production for the time, like the use of echo. The hard-rock section fades out into the beggining of the song as quickly as it first appeared. Son of Moonshine, clocking at almost 15 minutes, is generaly considered the highlight of the album. Starts off with guitar soloing before the entrance of some realy heavy druming.The song is basicaly a long jam-session, with vocals at the beggining that 3 minutes into the song give way to some fantastic guitar work by Dave Clempson leading a strict blues rhythm provided by the drum n' bass, even if at points enriched with overlays. At it's eight minutes, the songs begins to fade out before re-emerging as it begun, introducing some more heavy jamming and great guitar work, with all instruments gathering pace until its almost cacophonic near-end. After another fade-out, the song restarts with some gentle guitar, before bursting out again to complete a series of odd variations.

Bonus tracks on the 2000 re-release are the b-side Once Upon A Time and an alternate take of This Worried Feeling. The first is a nice addition, a gentle rock piece with less emphasis on blues but still featuring great guitar soloing with multi vocals chorus. The alternate take of This Worried Feeling is basicaly a shorter version of the original with slightly diferent guitar parts.

One of the rare but highly apretiated attempts at aproaching Blues-Rock with a Progressive twist, this album is satisfaction guarenteed from the first listen on. If you like Led Zeppelin, but especialy Ten Years After, Cream, early Fleetwood Mac and the lesser-known Pink Floyd takes on blues, then you will definitly love this.