Scuffles in the studio were a regular occurrence and over the first 3 weeks not much progress was made. Dawn were skint by this point and in order to hasten the recording process and thereby save money they drafted in session players to complete things in a fortnight. This took a fair deal of the skittish appeal of the band out of the equation and as a result this album has always been one to polarise the fans.
Taken just as a record of the time, it is in truth pretty damn good and few other artists at this point in the 70s presented the kind of subject matter, depth of thought or such a British-centric approach as shown here. For my part, it is more of a frustrating listen than a bad one. In the sense that there are thrilling pieces of prime Kilburns contained therein, but these are sometimes a bit stymied by the middle of the road elements grafted on by outsiders at the behest of Dawn Records.
On this first disc containing the LP, we also get all the associated single tracks and other errant offerings recorded around the same time. Keith Lucas, angry that his guitar did not show up much in the final mix, quit the band among unpleasant circumstances, but quickly bounced back with hardy Punk outfit changing his name to Nick Cash in the process.
In the final throes of the Kilburns, Dury encountered a young man called Chaz Jankel and his future was assured. Ideally this is how the Kilburn and the High Roads first album should have sounded — funny, raging, lurching musically in all directions and with more than just a hint of menace.
Beautifully turned out with an excellently detailed sleeve-note by Alan Robinson with some great photos, this reissue finally delivers the Kilburn and the High Roads that all their fans wanted, warts and all and all the better for it. All words by Ian Canty — see his author profile here. Hi guys. Cheers Say hi to Wayne. Save my name, email, and website in this browser for the next time I comment. Streams Videos All Posts.
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