M=
UNGO
JERRY
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B=
IOGRAPHY
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For RAY DORSET, the band's driving force for over 35 years,=
the
story began as long ago as 1957, when influenced by rock'n roll greats li=
ke
BILL HALEY and ELVIS, he formed his first band, THE BLUE MOON SKIFFLE GRO=
UP.
After turning up to school for his 'O' levels in a gold lame'-lined overc=
oat,
he was expeled from school in 1960 and became a ladies hairdresser in Egh=
am,
not far from his home in Ashford, Middlesex. In his spare time, he played with THE BUCCANEERS, whoose
line-up included bass player, DAVE HUTCHINS and drummer, DEREK 'DEGS' SIR=
MON,
who was later to play on SCREAMING LORD SUTCH'S, 'JACK THE RIPPER' single=
. THE BUCCANEERS became THE CONCHORDS a year later cutting th=
eir
first demo's at TONY PIKE's studio in Putney, including the blues standar=
d,
'GOING DOWN SLOW', and a song called 'WO-OH-OH'. The session was paid for=
at
a cost of £10 by Ray's father. The band also played alternate Friday
and Saturday night residencies at The Station Hotel in Richmond with THE
ROLLING STONES playing the Thursdays and Sundays. Another name change transpired after a gig at a 'Tramps Bal=
l'
at a London club, the band adopted the stage clothes that they had been
wearing that night, and became THE TRAMPS and their first taste of
recognition came when they won the 1964 Loughton Beat Contest, in Essex.
Another name change to THE SWEET AND SOUR BAND brought in ROGER EARL on
drums, who was just pipped at the post by MITCH MITCHELL for the drummers=
job
with rock legend JIMI HENDRIX. Producer JIMMY MILLER booked SWEET AND SOU=
R to
back MILLIE'MY BOY LOLLIPOP'SMALL and SPENCER DAVIS hitmaker JACKIE EDWAR=
DS
(who became a big influence on RAY DORSET's developing songwriting) on to=
ur. In 1967, Ray answered an advert in MELODY MAKER for a
'DOORS/LOVE' style-band which had been placed by CHICKEN SHACK/SAVOY BROWN
managers, BARRY MURRAY and HARRY SIMMONDS. They fixed the band up with
residencies at trendy London clubs, such as THE SPEAKEASY and BLAISES, wi=
th
gigs at MIDDLE EARTH in Covent Garden, where they supported CAPTAIN
BEEFHEART, on his first U.K gig. The band had yet more name changes becomming firstly, CAMINO
REAL and then MEMPHIS LEATHER,and witnessed the departue of drummer, ROGER
EARL who left to join up with SAVOY BROWN, and went on to experience huge
success with U.S based, U.K rockers, FOGHAT. He was replaced by RAY BOWERMAN and meanwhile, Roger's boogie-woogie piano playing brother, COLIN EARL had joined the band, havi= ng earned his living as a commercial artist. His most prestigious commission= was working with designer PETER BLAKE on THE BEATLES 'SGT.PEPPER's' sleeve. <= o:p>
COLIN EARL describes the GOOD EARTH's debut album, 'IT'S HA=
RD
ROCK & ALL THAT', as "no audio delight", but it actually st=
ands
up in it's own right as a worthy late-60's British revivalist rock LP. It
also contains some excellent RAY DORSET compositions, such as the melanch=
oly
and truly brilliant, 'MY OWN COUNTRY' and 'STOP COMPLAININ', from which t=
he
instrumental break reappeared on MUNGO JERRY's 1972 single, 'OPEN UP'. After losing BOWERMAN & HUTCHINS in more line-up change=
s,
the band implemented a radical change in style which paved the way for MU=
NGO
JERRY's future success. Ray teamed up with Timex workmate, JOE RUSH on
washboard and stand-up bass, and COLIN EARL on piano, playing old country
blues and jug band music, something they all had a keen interest in. THE =
GOOD
EARTH ROCK'N ROLL BAND, as they were now called, played at Oxford Univers=
ity
at Christmas 1968 on a bill with KEEF HARTLEY. Ray had met Joe, an old boozy jazzer when they worked at Ra=
dio
Control Specialists in Hounslow, and they later worked together at Timex
where they played impromptu sets during their lunchbreaks. They had pract=
ised
their 'new' style of music at a gig at the Duke Of Northumberland in
Isleworth and it seemed to have something. At Oxford University, Colin
recalled, "We had two spots, one early evening to get everyone in, a=
nd
one at 3 a.m, to send them home! Two hours later, we were still playing t=
o a
packed, gyrating ballroom!" THE GOOD EARTH alternated their gigs between their jug
band/blues nights around London, and rock'n roll with a "hardcore
rockabilly" element at the NORTHCOTE ARMS in Southall. Those days we=
re
fondly remembered on rock'n roll b-sides of latter-day MUNGO singles and a
song named after the venue on the 'YOU DON'T HAVE TO BE IN THE ARMY' albu=
m in
1971. Saga had little faith in this change in musical direction a=
nd
dropped the band in 1969. JOE RUSH also quit after Ray played a version of
DESMOND DEKKER's, 'THE ISRAELITES' on stage one night and was replaced by
PAUL KING, a guy who had been along to see the band a few times at THE MA=
STER
ROBERT MOTEL, in Hounslow, one of the band's regular haunts. Paul has
previously busked his way around Southern Europe and his chosen instrumen=
ts
were, acoustic guitar, banjo, harp and kazoo. He was also a very talented
artist and had worked as a prop maker and set dresser at Shepperton Studi=
os.
He even "looked after URSULA ANDRESS's handbag on the set of the Bond
film, 'CASINO ROYALE'! The band's first big break came when they were signed to Pye
Records by BARRY MURRAY, who had taken over as in-house producer. Pye had=
set
up their progressive label Dawn, despite not having too much idea of what=
to
do with it. Barry devised a way to launch the label - the 33 1/3 rpm
maxi-single, which would basically be like an E.P containing 3-4 tracks, =
but
played at the slower speed, come in a picture sleeve and sell for just
slightly more than a standard 45. His new charges would be the first band=
to
release a record in this format. At the label's insistence, the band
underwent a final name change. MUNGO JERRY (named after a character in T.S ELIOT's 'BOOK OF
PRACTICAL CATS'), went into the Pye studios to record the tracks for their
first album and single, and (at BARRY MURRAY's insistence), the decision =
was
made to release a RAY DORSET composition, the infectious singalong, 'IN T=
HE
SUMMERTIME' as the lead track on their debut (maxi) single, backed with
another DORSET number, the riotous 'MIGHTY MAN' and a version of WOODY
GUTHRIE's, 'DUST PNEUMONIA BLUES'. The band had wanted 'MIGHTY MAN' as the
single but Barry had his way, and the rest as they say is history!
It topped the charts in over 20 countries and in France, be=
came
the fastest selling single ever! In the UK, they sold 73,000 copies of the
record in one day! To date, including inclusion on compilation albums, the song
has clocked up global sales in excess of 30 million! Just after the single's release, the band turned in a
breathtaking performance at the Hollywood Music Festival, near Newcastle
Under-Lyme, which had been organised by their management company, Red Bus.
Acts included, BLACK SABBATH, TRAFFIC, JOSE FELICIANO and making their fi=
rst
UK appearance, GRATEFUL DEAD. Following the GRATEFUL DEAD on stage, MUNGO JERRY with their
irregular, drummerless line-up of guitars, banjo, piano, double bass and
washboard gave the performance of their lives, doing so well, they were a=
sked
to make another unscheduled appearance the following day, to similar scen=
es
of hysteria. Soon after, the music press screamed their approval with the=
ir
headlines of - MUNGOMANIA! and MUNGO JERRY FEVER! MUNGO JERRY's self-titled debut album, issued in July 1970 =
and
complete with 3D sleeve and glasses peaked at a slightly disappointing 14=
in
the LP charts. A tour of the U.S was 'organised', where the band often fo=
und
themselves appearing with, and in some cases headlining over the likes of,
THE FACES, HUMBLE PIE & POCO. On their return to the U.K, MIKE COLE w=
as
asked to leave the band to be replaced by JOHN GODFREY on bass. Early in '71, the band released their long awaited follow-u= p to 'SUMMERTIME' with 'BABY JUMP', a hard rocking number from their rockabilly days which had been based on the "groove" of VINCE TAYLOR's, 'B= RAND NEW CADILLAC'. Most cynical reviewers expected a 'SUMMERTIME' 'sound-a-li= ke' were surprised at the band's change of direction and after a shaky start = when it dropped down to No.32 in the charts, it became the band's second successive chart topper. It was yet another maxi-single, accompanied by P= AUL KING's amusing, 'THE MAN BEHIND THE PIANO', plus 'MIDNIGHT SPECIAL' and 'MIGHTY MAN', recorded at the previous year's Hollywood Music Festival. <= o:p> Both No.1's were included on the second album, 'ELECTRONICA=
LLY
TESTED', named after the guarantee of quality found on a packet of Durex
condoms, which again stopped just short of the top 10 when it stalled at
No.13. Noticeably, there were no PAUL KING numbers included and it was
unfortunately, a sign of things to come and that things were not always w=
ell
within the MUNGO JERRY ranks.
This particular line-up of MUNGO JERRY were no strangers to
controversy and often fell foul of officialdom with their bawdy approach.=
RAY
DORSET, for instance was often criticised for his lewd remarks on stage a=
nd
in turn took a swipe at a moralistic society with 'YOU DON'T HAVE TO BE IN
THE ARMY TO FIGHT IN THE WAR', their fourth maxi-single issued in Septemb=
er
1971. JOE RUSH had returned to guest on the record and also on the 'YOU D=
ON'T
HAVE TO BE IN THE ARMY' album (banned in Australia for being subversive),=
and
there was no doubt that his washboard playing and sheer presence improved=
the
band's sound considerably. He had also guested with the band at that summ=
er's
Weeley Festival. MUNGO produced some excellent music on this particular
four-tracker with the brilliant blues number, 'THE SUN IS SHINING' and the
traditional old American folk songs, 'O'REILLY' and 'WE SHALL BE FREE' am=
ong
their finest work. Despite internal friction, the band embarked on a successful
tour of the Far East, Australia and New Zealand early in '72. On their
return, fans were shocked to learn that RAY DORSET had been sacked from t=
he
band! King and Earl cited Ray's attitude as the main problem but the press
claimed that the disagreements centered around Dorset's desire to bring i=
n a
drummer and change the band's musical direction. Pye made it clear that as
far as they were concerned, RAY DORSET was MUNGO JERRY and in the end, it=
was
Paul and Colin who left the band to form their own group, THE KING EARL
BOOGIE BAND with old friend, JOE RUSH, folk and blues singer DAVE LAMBERT=
and
bass player RUSSELL BROWN. Only JOHN GODFREY remained with Ray. Both RAY DORSET and PAUL KING issued solo albums at the tim=
e of
the split, and both proved that they had more to offer than just jug band
music. Ray's well received 'COLD BLUE EXCURSION' was a beautifully varied
album, where the orchestral arrangements contrasted starkly with his work
with MUNGO JERRY, and demonstrated that he could write songs in almost any
style. Likewise, PAUL KING's, 'BEEN IN THE PEN TOO LONG' also impressed t=
he
critics, winning album of the month in the respected rock magazine, Beat
Instrumental. MUNGO JERRY's first single after the split was 'OPEN UP',
recorded with Godfrey and session musicians. It charted, at No.21 and a
different more upbeat version was included on the 'new look' MUNGO JERRY
album, 'BOOT POWER', with new drummer TIM REEVES and keyboard player, JON
POPE. 'BOOT POWER' is believed by many fans to be musically the best ever=
MJ
album. A management shake-up resulted in another line-up change which saw=
two
ex-members of CHICKEN SHACK, BOB DAISLEY & PAUL HANCOX, join Dorset in
MUNGO JERRY. BOB DAISLEY was to later distinguish himself on the heavy ro=
ck
scene with the likes of, RAINBOW, URIAH HEEP, GARY MOORE and worked
extensively with OZZY OSBOURNE, writing, recording and touring with the
'Prince Of Darkness' for many years.
'LONG LEGGED WOMAN DRESSED IN BLACK' continued the hitmaking
sequence, accompanied by more line-up changes with IAN MILNE taking over =
on
keyboards and the band became a five piece with DICK MIDDLETON, who had
played in GENE VINCENT' band at one point, coming in as lead guitarist. F=
rom
1970 to 1990, it was calculated that no fewer than 35 musicians had passed
through the MUNGO JERRY band from acts as varied as - LOVE AFFAIR, HARD M=
EAT,
SPOOKY TOOTH, CHICKEN SHACK, SAVOY BROWN, FAT MATTRESS, RAINBOW, BRONX CH=
EER
and the SADISTA SISTERS. A move from Pye to Polydor promised great things but perhaps
strangely, the band failed to chart at all in the U.K but did fair better
abroad with songs like 'HELLO NADINE' and 'IT'S A SECRET'. COLIN EARL &am=
p;
JOE RUSH had returned to the band, Colin after playing with the mighty FO=
GHAT
in the States. In the late 70's, MUNGO JERRY became the first Western rock
band to play behind the Iron Curtain when they played live in Bulgaria,
(spawning a live bootleg LP of the same name) the whole gig transmitted to
the entire Eastern Block. On his own label and publishing company, SATELLITE, Ray tea=
med
up with old friend DICK MIDDLETON, ex-CAMEL bassist DOUG FERGUSON and dru=
mmer
BORIS WILLIAMS, ex-SADISTA SISTERS & THOMPSON TWINS, and later of THE
CURE as the "whole-hoggin' rhythm & blues" THE INSIDERS. Th=
ey
issued one single for the label, 'ROLLIN' & STROLLIN' and also played
selected pub gigs together. 1980 saw RAY DORSET back at No.1, when Scottish singer KELLY
MARIE hit the top spot with 'FEELS LIKE I'M IN LOVE', one of Ray's numbers
originally written with ELVIS PRESLEY in mind. During the 80's, RAY DORSET
turned his talents towards writing the music for two popular televison sh=
ows
- PAUL DANIELS childrens TV show, 'WIZBIT', and the Thames comedy/drama
serial, 'PROSPECTS'. No history of MUNGO JERRY would be complete without mention=
of
the project in which, Ray invited rock legends, PETER GREEN, formerly of
FLEETWOOD MAC and VINCENT CRANE of ATOMIC ROOSTER, to a jam at his home
studio which resulted in the KATMANDU album, 'A CASE FOR THE BLUES'.
RAY DORSET also completed a successful tour with 'THE BRITI=
SH
LEGENDS OF RHYTHM AND BLUES', - ZOOT MONEY, PAUL WILLIAMS & the late =
LONG
JOHN BALDRY - and already has plans to return to the studio to record a n=
ew
album with his English based band in the Spring. Even though over 100 musicians have passed through the rank=
s of
the MUNGO JERRY band since 1970, the good times show no sign of abating, =
and
joined by new keyboard player TOBY HOUNSHAM, of KATRINA & THE WAVES a=
nd
GO WEST, the band have continued rocking and have lots of interesting
projects in the pipe line. The 'bluesband' album is getting rave reviews =
and
the feeling is, that 2007 could just be, yet another great year in the
history of MUNGO JERRY. |
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M=
ARK
DAVID * JON PLAYLE * RAY DORSET * ALAN JOHNSON * TOBY HOUNSHAM
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