Pisces A Lovely Sight

Pisces were Tim Greenwood (Bass and acoustic guitars), John O’Connor (6 string guitar and Bass) and more famously, Richard Digance (acoustic guitars and keyboards). They were assisted by Alan Eden (percussion) of Mr Fox fame. John O’Connor is now living in Santa Barbara, California and since Pisces had more commercial success by co-writing and recording the top ten single ‘Arthur Daley, he’s alright’ under the band name ‘The Firm’ and also co-writing the number one hit ‘Star trekkin’ which was the tenth best selling single of 1987. He also won a BMI Tv songwriting award for writing the music for the Emmy awarded series ‘King of the hill’.

Repertoire records has sort of confused the issue of Herman's Hermits CDs by releasing this 25-song compilation in 1994 and then, in 2000, re-releasing the soundtrack Mrs. Brown You've Got a Lovely Daughter on CD. To clarify, this is not the soundtrack to the 1968 movie, but a collection of the group's 1964-1965 sides from various singles and EPs. Some of it will surprise listeners who think of Herman's Hermits as the poppiest component of the British Invasion and barely a rock & roll group at all - regardless of who is actually playing on "Walking With My Baby" or "Dream On," those are as solid as any early album track by the Hollies, and they don't do a bad version of "For Your Love" either; they even make an attempt at a slightly bluesier sound on "I Wonder," though this was clearly not Peter Noone's vocal forte…

This is another great, but completely underrated album by obscure UK rock band (from Liverpool) which wasn't issued in their homeland (in contrast to some of their singles). The same fate met the other British groups from early 70's like Light Of Darkness, Diabolus, lronbridge or Grail. This LP was recorded in London and released in 1971 in USA (by Cadet Concept) and in Italy (by Music Records). The highlight is very moving anti-war anthem ‘Six Days War‘ and the beautiful progressive ballad Lord High Human Being. This fascinating, quasi-progressive and very melodic album contained an eclectic mix of styles, ranging from atmospheric psychedelia, through guitar based soft-progressive to folky ballads - not far away from late 60's The Beatles combined with early 70's The Strawbs and The Moody Blues.

While not quite as strong as the band's debut, Scoundrel Days is still a-ha succeeding as a marketed "pretty boy" band which can connect musically and lyrically as much as any musical sacred cow. The opening two songs alone make for one of the best one-two opening punches around: the tense edge of the title track, featuring one of Morten Harket's soaring vocals during the chorus and a crisp, pristine punch in the music, and "The Swing of Things," a moody, elegant number with a beautiful synth/guitar arrangement (plus some fine drumming courtesy of studio pro Michael Sturgis) and utterly lovelorn lyrical sentiments that balance on the edge of being overheated without quite going over.

While not quite as strong as the band's debut, Scoundrel Days is still a-ha succeeding as a marketed "pretty boy" band which can connect musically and lyrically as much as any musical sacred cow. The opening two songs alone make for one of the best one-two opening punches around: the tense edge of the title track, featuring one of Morten Harket's soaring vocals during the chorus and a crisp, pristine punch in the music, and "The Swing of Things," a moody, elegant number with a beautiful synth/guitar arrangement (plus some fine drumming courtesy of studio pro Michael Sturgis) and utterly lovelorn lyrical sentiments that balance on the edge of being overheated without quite going over. Although the rest of the disc never quite hits as high as the opening, it comes close more often than not…

While not quite as strong as the band's debut, Scoundrel Days is still a-ha succeeding as a marketed "pretty boy" band which can connect musically and lyrically as much as any musical sacred cow. The opening two songs alone make for one of the best one-two opening punches around: the tense edge of the title track, featuring one of Morten Harket's soaring vocals during the chorus and a crisp, pristine punch in the music, and "The Swing of Things," a moody, elegant number with a beautiful synth/guitar arrangement (plus some fine drumming courtesy of studio pro Michael Sturgis) and utterly lovelorn lyrical sentiments that balance on the edge of being overheated without quite going over. Although the rest of the disc never quite hits as high as the opening, it comes close more often than not…