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The Complete Blue Horizon Sessions (2006) - Chicken Shack

    Featuring »

Dave Bidwell, Christine McVie, Paul Raymond, Andy Sylvester/Silvester, Stan Webb

    Tracklisting »
Disc One:
It's OK With Me Baby
  Date Performance: 1967-12-06, Running Time: 2:40
  Comments: Recorded at CBS Studio, New Bond Street, London
When My Left Eye Jumps
  Date Performance: 1967-12-06, Running Time: 6:29
  Comments: Stereo Version. Recorded at CBS Studio, New Bond Street, London. Original Release: Blue Horizon #57-3135 (B-Side). Source: Original analogue tape
The Letter
  Date Performance: 1968-02-06, Running Time: 4:26
  Comments: Recorded at CBS Studio, New Bond Street, London.
Lonesome Whistle Blues
  Date Performance: 1968-02-00, Running Time: 3:02
  Comments: Recorded at CBS Studio, New Bond Street, London.
When The Train Comes Back
  Date Performance: 1968-02-07, Running Time: 3:31
  Comments: Recorded at CBS Studio, New Bond Street, London.
  Date Performance: 1968-02-05, Running Time: 3:03
  Comments: Stereo Version. Recorded at CBS Studio, New Bond Street, London. Source: Original analogue tape
King Of The World
  Date Performance: 1968-02-07, Running Time: 5:00
  Comments: Recorded at CBS Studio, New Bond Street, London.
See See Baby
  Date Performance: 1968-02-00, Running Time: 2:23
  Comments: Recorded at CBS Studio, New Bond Street, London.
First Time I Met The Blues
  Date Performance: 1968-02-05, Running Time: 6:24
  Comments: Recorded at CBS Studio, New Bond Street, London.
Webbed Feet
  Date Performance: 1968-02-05, Running Time: 2:53
  Comments: Recorded at CBS Studio, New Bond Street, London.
You Ain't No Good
  Date Performance: 1968-02-06, Running Time: 3:35
  Comments: Recorded at CBS Studio, New Bond Street, London.
What You Did Last Night
  Date Performance: 1968-02-06, Running Time: 4:41
  Comments: Recorded at CBS Studio, New Bond Street, London.
Hey BabyLyrics available
  Date Performance: 1968-10-22, Running Time: 3:39
  Comments: Recorded at CBS Studio, New Bond Street, London.
Baby's Got Me Crying
  Date Performance: 1968-10-22, Running Time: 2:35
  Comments: Intro: 0:09 Track: 2:26 Recorded at CBS Studio, New Bond Street, London.
The Right Way Is My Way
  Date Performance: 1968-10-23, Running Time: 2:34
  Comments: Intro: 0:36 Track: 1:58 Recorded at CBS Studio, New Bond Street, London.
Get Like You Used To BeLyrics available
  Date Performance: 1968-06-24, Running Time: 3:49
  Comments: Intro: 0:42 Track: 3:07 Recorded at CBS Studio, New Bond Street, London.
Pony And TrapInstrumental
  Date Performance: 1968-10-23, Running Time: 3:21
  Comments: Intro: 0:20 Track: 3:01 Recorded at CBS Studio, New Bond Street, London.
Tell Me
  Date Performance: 1968-10-23, Running Time: 4:50
  Comments: Intro: 0:14 Track: 4:36 Recorded at CBS Studio, New Bond Street, London.
A Woman Is The BluesLyrics available
  Date Performance: 1968-06-24, Running Time: 3:29
  Comments: Intro: 0:33 Track: 2:56 Recorded at CBS Studio, New Bond Street, London.
When The Train Comes Back
  Date Performance: 1968-02-07, Running Time: 3:31
  Comments: (Single Version) Recorded at CBS Studio, New Bond Street, London.
Disc Two:
Worried About My Woman
  Date Performance: 1968-08-14, Running Time: 2:35
  Comments: Recorded at CBS Studio, New Bond Street, London.
Six Nights In Seven
  Date Performance: 1968-08-14, Running Time: 4:55
  Comments: Recorded at CBS Studio, New Bond Street, London.
I Wanna See My BabyLyrics available
  Date Performance: 1968-10-22, Running Time: 3:53
  Comments: Intro: 0:25 Track: 3:28 Recorded at CBS Studio, New Bond Street, London.
Remington RideInstrumental
  Date Performance: 1968-10-22, Running Time: 3:03
  Comments: Intro: 0:14 Track: 2:49 Recorded at CBS Studio, New Bond Street, London.
Fishing In Your River
  Date Performance: 1968-10-22, Running Time: 4:40
  Comments: Intro: 0:15 Track: 4:25 Recorded at CBS Studio, New Bond Street, London.
Mean Old WorldLyrics available
  Date Performance: 1968-10-23, Running Time: 3:45
  Comments: Intro: 0:33 Track: 3:12 Recorded at CBS Studio, New Bond Street, London.
Sweet Sixteen
  Date Performance: 1968-10-23, Running Time: 6:23
  Comments: Intro: 0:19 Track: 6:04 Recorded at CBS Studio, New Bond Street, London.
I'd Rather Go BlindLyrics available
  Date Performance: 1969-02-12, Running Time: 3:14
  Comments: Stereo Version. Recorded at CBS Studio, New Bond Street, London. Original Release: Blue Horizon #57-3153 (A-Side). Source: Original analogue tape. It's unknown who plays the Tenor/Alto/Baritone Saxes on this track. Chart: Billboard UK Top 50/40 Singles Peak Position: 17 Peak Dates: Jun 14, 1969 & Jun 28, 1969 Weeks On Charts: 12
Night Life
  Date Performance: 1969-02-12, Running Time: 5:20
  Comments: Recorded at CBS Studio, New Bond Street, London. It's unknown who plays the Tenor/Alto/Baritone Saxes.
The Road Of Love
  Date Performance: 1969-04-30, Running Time: 3:29
  Comments: Recorded at Morgan Studios, Willesden, London. Originally released on the album '100 Ton Chicken' (Blue Horizon 7-63218)
Look Ma I'm Cryin'
  Date Performance: 1969-04-19, Running Time: 3:23
  Comments: Recorded at Morgan Studios, Willesden, London. Originally released on the album '100 Ton Chicken' (Blue Horizon 7-63218)
  Date Performance: 1969-04-23, Running Time: 4:15
  Comments: Recorded at Morgan Studios, Willesden, London. Originally released on the album '100 Ton Chicken' (Blue Horizon 7-63218)
Reconsider Baby
  Date Performance: 1969-04-19, Running Time: 3:20
  Comments: Recorded at Morgan Studios, Willesden, London. Originally released on the album '100 Ton Chicken' (Blue Horizon 7-63218)
Weekend Love
  Date Performance: 1969-05-01, Running Time: 2:11
  Comments: Recorded at Morgan Studios, Willesden, London. Originally released on the album '100 Ton Chicken' (Blue Horizon 7-63218)
Midnight Hour
  Date Performance: 1969-04-23, Running Time: 2:52
  Comments: Recorded at Morgan Studios, Willesden, London. Originally released on the album '100 Ton Chicken' (Blue Horizon 7-63218)
Tears In The Wind
  Date Performance: 1969-05-11, Running Time: 2:41
  Comments: Stereo Version. Recorded at Morgan Studios, Willesden, London. Originally released on the album '100 Ton Chicken' (Blue Horizon 7-63218). Also released as a single: Blue Horizon (# 57-3160) (A-Side). Source: Original analogue tape. Chart: Billboard UK Top 50/40 Singles Peak Position: 29 Peak Dates: Sep 27, 1969 Weeks On Charts: 6
Horse & Cart
  Date Performance: 1969-04-19, Running Time: 3:34
  Comments: Recorded at Morgan Studios, Willesden, London. Originally released on the album '100 Ton Chicken' (Blue Horizon 7-63218)
The Way It Is
  Date Performance: 1969-04-19, Running Time: 4:24
  Comments: Recorded at Morgan Studios, Willesden, London. Originally released on the album '100 Ton Chicken' (Blue Horizon 7-63218)
Still Worried About My Woman
  Date Performance: 1969-04-23, Running Time: 3:08
  Comments: Recorded at Morgan Studios, Willesden, London. Originally released on the album '100 Ton Chicken' (Blue Horizon 7-63218)
  Date Performance: 1969-04-23, Running Time: 1:36
  Comments: Recorded at Morgan Studios, Willesden, London. Originally released on the album '100 Ton Chicken' (Blue Horizon 7-63218)
Disc Three:
Smartest Girl In Town
  Date Performance: 1969-05-11, Running Time: 3:08
  Comments: (Previously unreleased) Recorded at Morgan Studios, Willesden, London. Mixed at Church Walk Sound Studios, London March 22, 2004.
  Date Performance: 1969-04-19, Running Time: 5:06
  Comments: (Previously unreleased) Recorded at Morgan Studios, Willesden, London.
The Things You Put Me Through
  Date Performance: 1969-05-22, Running Time: 3:51
  Comments: Recorded at Morgan Studios, Willesden, London. Originally released as a single: Blue Horizon 57-3160
Diary Of Your Life
  Date Performance: 1970-02-09, Running Time: 3:03
  Comments: Recorded at CBS Studio, New Bond Street, London. Originally released on the album 'Accept' (Blue Horizon 7-63861)
  Date Performance: 1970-03-11, Running Time: 3:21
  Comments: Recorded at CBS Studio, New Bond Street, London. Originally released on the album 'Accept' (Blue Horizon 7-63861)
Never Ever
  Date Performance: 1970-02-22, Running Time: 2:41
  Comments: Recorded at CBS Studio, New Bond Street, London. Originally released on the album 'Accept' (Blue Horizon 7-63861)
Sad Clown
  Date Performance: 1970-02-22, Running Time: 2:39
  Comments: Recorded at CBS Studio, New Bond Street, London. Originally released on the album 'Accept' (Blue Horizon 7-63861) Also released as a single (Blue Horizon 57-3176)
  Date Performance: 1969-12-01, Running Time: 2:51
  Comments: Recorded at Recorded Sound Studio, Bryanston Street, London. Mixed at CBS Studio, New Bond Street, London. Originally released on the album 'Accept' (Blue Horizon 7-63861)
Telling Your Fortune
  Date Performance: 1970-01-07, Running Time: 4:20
  Comments: Recorded at CBS Studio, New Bond Street, London. Originally released on the album 'Accept' (Blue Horizon 7-63861)
Tired Eyes
  Date Performance: 1970-01-04, Running Time: 2:03
  Comments: Recorded at CBS Studio, New Bond Street, London. Unidentified string section added at a later and unknown date. Originally released on the album 'Accept' (Blue Horizon 7-63861) Also released as a single (Blue Horizon 57-3176)
Some Other Time
  Date Performance: 1970-01-04, Running Time: 3:04
  Comments: Recorded at CBS Studio, New Bond Street, London. Unidentified trumpet/horns/string section added at a later and unknown date. Originally released on the album 'Accept' (Blue Horizon 7-63861)
Going Round
  Date Performance: 1970-01-07, Running Time: 2:29
  Comments: Recorded at CBS Studio, New Bond Street, London. Originally released on the album 'Accept' (Blue Horizon 7-63861)
Andalucian Blues
  Date Performance: 1969-12-01, Running Time: 2:18
  Comments: Recorded at Recorded Sound Studio, Bryanston Street, London. Originally released as a single (Blue Horizon 57-3168) Also released on the album 'Accept' (Blue Horizon 7-63861)
You Knew You Did You Did
  Date Performance: 1970-03-25, Running Time: 2:23
  Comments: Recorded at CBS Studio, New Bond Street, London. Originally released on the album 'Accept' (Blue Horizon 7-63861)
She Didnít Use Her Loaf
  Date Performance: 1970-03-11, Running Time: 4:11
  Comments: Recorded at CBS Studio, New Bond Street, London. Originally released on the album 'Accept' (Blue Horizon 7-63861)
  Date Performance: 1969-12-01, Running Time: 2:45
  Comments: (Single Version) Recorded at Recorded Sound Studio, Bryanston Street, London. Originally released as a single (Blue Horizon 57-3168)
    Guest Appearances »

John(ny) Almond, Bud(dy) Beadle, Geoff/Jeff Condon, Alan Ellis, Don Fey, Steve/Stephen Gregory, Dick Heckstall-Smith, (Big) Walter (Shakey) Horton, Roderick Lee, Terry Noonan, Mike Vernon, Alison Young

    Released »


    Format »

Import Vinyl/CD Album

    Other Appearances »
Walt Breeland (Songwriter), Clarence (Gatemouth) Brown (Songwriter), Paul Buskirk (Songwriter), Clarence Carter (Songwriter), Willie Dixon (Songwriter), Ahmet M. Ertegun (Nugetre) (Songwriter), Bill Foster (Songwriter), Lowell Fulson (Songwriter), Dav(e)y (David Michael Gordon) Graham (Songwriter), Jerry Harris (Songwriter), John Lee Hooker (Songwriter), Howlin' Wolf (Chester Burnett) (Songwriter), Ellington Jordan (Songwriter), Joe (Joseph) Josea (Bihari) (Songwriter), B(lues) B(oy) (Riley) King (Songwriter), Freddie/Freddy King (Songwriter), Christine McVie (Songwriter), Christine McVie (Songwriter), (Little Brother) Eurreal Montgomery (Songwriter), Alan W Moore (Songwriter), Willie (Hugh) Nelson (Songwriter), Hank (Herbert Clayton) Penny (Songwriter), Al(berta) Perkins (Songwriter), Paul Raymond (Songwriter), Paul Raymond (Songwriter), Herb Remington (Songwriter), Jules (Julius Jeramiah) Taub (Bihari) (Songwriter), Adonna M Teat (Songwriter), Sonny (Alfonso) Thompson (Songwriter), Rudy/Rudolph Toombs (Songwriter), Mike Vernon (Songwriter), T-Bone (Aaron Thibeaux) Walker (Songwriter), Stan Webb (Songwriter), Stan Webb (Songwriter), Mike Bobak (Mix Engineer), Mike Ross(-Trevor) (Mix Engineer), Mike Vernon (Liner Notes), Terry Noonan (Arranger), Dave Bidwell (Produced By), Dave Bidwell (Produced By), Chicken Shack (Produced By), Paul Raymond (Produced By), Paul Raymond (Produced By), Andy Sylvester/Silvester (Produced By), Andy Sylvester/Silvester (Produced By), Mike Vernon (Produced By), Stan Webb (Produced By), Stan Webb (Produced By), Rob Keyloch (Mixed By), Mike Vernon (Mixed By), Terry Noonan (Strings Arranged By), Roy (Thomas) Baker (Recording Engineer), Mike Bobak (Recording Engineer), Mike Ross(-Trevor) (Recording Engineer), Blue Horizon (Records) (Production), Terry Noonan (Director), Simon Cantwell (Art Direction By), Duncan Cowell (Digitally Edited By), Terry Noonan (Horns Arranged By), Terence Ibbot(t) (Photographs By), Roy (Thomas) Baker (Re-Mix Engineer), Roger Quested/Questad (Re-Mix Engineer), Bob/Robert Dowling (Photo), Jon Frost (Photo), Mike Vernon (Reissue Produced By), Duncan Cowell (Digitally Mastered By), Terry Noonan (Horns Directed By), Terence Ibbot(t) (Original Album Photography By), Peter Moody (Photo Courtesy Of), Andy Sylvester/Silvester (Photo Courtesy Of), Andy Sylvester/Silvester (Photo Courtesy Of), Mike Vernon (Photo Courtesy Of), Heinz Wolf (Photo Courtesy Of), Peter Moody (Front Cover Photos Of Perfect/Raymond), Duncan Cowell (Original Analogue Tapes Transferred By), Richard Vernon (All Original Releases Co-Ordinated By), Terence Ibbot(t) (Original Album Artwork By), CJS Associates (40 Blue Fingers Album Artwork By), Terry Noonan (Strings Directed By)

    Record Label »
Sony BMG Music Entertainment

    Catalogue Number »


    Running Time »


    Liner Notes »

Travel back in time, if you will, to January 1965, and music history will show that this was the month when the fledgling Blue Horizon label took its first tentative steps into the Blues Record market place. Strictly a specialist record label at the time and following in the footsteps of the likes of Topic, Esquire, Jazz Collector and Doug Dobell's "77" outlet, this new venture was to far exceed any expectations that the original founders might ever have perceived possible. The aim was to feature limited edition releases of strictly Afro-American blues artists. In total, ten singles and two albums were made available, mostly via the blues publication R&B Monthly. A second label - Purdah - appeared a year later. That mark would be dedicated to releasing product showcasing the talents of solely British blues acts. Only four singles were released - items featuring Groundhogs' guitarist Tony McPhee, Savoy Brown Blues Band, Stone's Masonry and John Mayall with Eric Clapton. Sides recorded by Jo Ann Kelly, were, for one reason or another, shelved. The British 'blues boom' - so called - was by then, just around the corner. The Rolling Stones were in the charts. The Bluesbreakers 'Beano' album was about to be unleashed on an unsuspecting public and Ten Years After would be next to hit the spotlight. There appeared to be no way to stern the flood. Why even try? The tide was far too strong. Blue Horizon was soon to leave the world of limited edition sales and specialist record shop distribution and sign a world-wide marketing and distribution deal with CBS. This incidentally, followed an abortive attempt to negotiate a similar deal with The Decca Record Co. Ltd., for whom I worked as a staff producer at the time. In November 1967 Peter Green's Fleetwood Mac and Aynsley Dunbar's Retaliation saw their first singles released as the result of that deal - on the orange coloured CBS label With the Blue Horizon logo overprinted in black. Following the signing, on 1st October 1967, of a three year recording deal, the very first all blue label CBS distributed Blue Horizon single featuring The Chicken Shack was launched in January of '68. A momentous occasion indeed.

That The Chicken Shack came to be signed to Blue Horizon is entirely down to one Dave 'Deacon' Yeats. If I remember correctly, it was Dave that sent me a reel to reel of the newly formed trio, as it was then. Yeats had been the featured vocalst with Sounds of Blue, a six-piece band that also numbered Stan Webb, Chris Wood (later to be of Traffic), Christine Perfect, Andy Silvester and Rob Elcock. Webb had joined this outfit sometime early in 1964 following various stints wth other local Midlands bands such as the Strangers Dance Band, the Blue Four and Shades Five. Drummer Elcock was to be replaced bY Alan Morley and in due course Messrs. Morley, Silvester, and Webb all deserted to form the first Chicken Shack line-up. That early demo tape left a lasting impression on me. Oh that I should still have it my collection. I was very taken by the sheer energy and excitement created by Stan Webb's guitar work - a mixture of Buddy Guy and Freddie King. Stan's vocals were a bit on the histrionic side but I figured that could be worked on. Such youthful enthusiasm should be both applauded and then carefully nurtured. 1967 saw the trio expanding to a quartet with the recruitment of Christine and that amalgam was to be quickly thrown into the lion's den, as it were, when a residency was secured at the Star Club, Hamburg. What better venue to work at when you need to hone your playing and stagecraft skills. Stan made the followng observations to Bob Brunning ('Blues/The British Connection' published by Blandford Press): "We were one of the first bands with great stacks of Marshall amps behind us. We were so bloody loud, we could - and did - get away with murder!" My only doubts were in the engine room, if you will. A more solid bass man than Andy Silvester you will never find but I felt he needed a little more help. My prayers were to be answered - although only fleetingly - when Stan called me from Hamburg to let me know that Californian Alvin Sykes, one-time drummer with B.B. King, was to replace Alan, who had made the decision to quit and return to Kidderminster. That did it for me and I was off to Germany.

The trip, which I recall as being both lengthy and arduous - for one reason or another - was not to be a wasted journey. Al Sykes proved not only to be a very fine drummer but also an accomplished vocalist. I remember thinking at the time how much his vocal styling mirrored that of Junior Parker. I took a series of photos of Al but never actually interviewed him, so have little to add to these notes in the way of background - sad to say. The new Chicken Shack line-up featuring Stan and Christine, along with stalwart Andy Silvester and new man Sykes, sounded pretty exciting to my ears. I was anxious to sign the band and get them to the UK and into the studio - or at least onto the blues/jazz club circuit, where I felt certain they would create quite a stir. Getting the outfit back to the UK with an American musician in tow however, and without the required work permit, presented some problems. We opted for Al to travel as a tourist and whatever drum trappings he needed would either be supplied in London or would travel with the other members of the band in the truck. The band, along with Alvin, duly arrived in London and began to rehearse. The proprietors of The Nag's Head Public House in Battersea made their upstairs Function Room available for this purpose. A far cry indeed from the band's original rehearsal unit - a small outhouse that doubled as laundry room and pigeon loft - that was part of Andy's parents house at Hackman's Gate, back up in Worcestershire. That same Battersea venue was almost immediately to become the weekly meeting place for The Blue Horizon Club. Take a look at the photo on page 4 of the Shack with Al Sykes for a glimpse of how the band might have looked had he chosen to stay the course. With three potential main focal points within the four-piece set-up something, seemingly, had to give. There could well have been frictions within the band of which I was not aware and, then again, perhaps commitments back in Germany led to Alvin's early departure. Anyone who actually got to see the band perform in that early format witnessed a rare event - sadly never captured on tape. Hands up those who were at The Blue Horizon Club when Freddie King appeared backed up by this very same line-up. Blues heaven!

Now, by this time my then Wife Judith, and I, had beoome Chicken Shack managers designate. Truly, what we knew about managing a band you could have written on the back of a sixpence. But someone needed to take the job on and we were there, ready, willing and, hopefully, able. Never again, let it be said. Our joint enthusiasm and dubious abilities were put to the test when a replacement drummer needed to be found urgently. Stan Webb recounts to Bob Brunning how Dave Bidwell appeared on the scene: "Judy told me that she knew a drummer who would be just right for the band. David turned up and was bloody awful! He really was terrible. Mike said I was mad to take him on and Christine said 'Forget it!' but I found that he could swing. I've always been a big-band jazz fan and I love Ellington and Basie. I was sure that Dave who was weening himself off drugs at the time, had the basic ability to do it if he really wanted to." Interestingly enough, bass player Peter Moody - a long time acquaintance of Stan - was gigging around on the club circuit back in 1965 when Dave was the drummer with The Muskrats and Peter Green was on bass. When Greeny left to pursue his guitar playing, Moody took over the bass spot in the group - soon to become The John Dummer Blues Band. Peter recalls: "Dave was a lovely drummer When I met him he was dossing under Kingston Bridge. I never knew where his drums came from - they were perpetually in the van 'in between gigs'. He was a real loner I knew nothing of his background or his family. He wasn't married and had no kids. He was a great guy." In any event, both Stan and more particularly, Andy Silvester, took on the job of tutoring Dave in the art of blues drumming. Andy recounts that it was he that: "spent time with the little details, like showing him how to do the two handed blues shuffle and discussing the arrangement of songs - usually in the back of the van to and from gigs - so that they would have a better musical shape. Dave always responded well to such input." By the time the band came to record their first single for Blue Horizon his playing was almost unrecognisable. And, as a by the by, had Andy not similarly 'tutored' Christine by introducing her to the blues and boogie piano work of the great Sonny Thompson - via all those Freddie King records of course - she might well still be working for Dickens & Jones. Perish the thought!

Meanwhile, in the background somewhere, the management team was working hard to secure the band some worthwhile London area gigs. We persuaded the promoters of the Seventh National Jazz and Blues Festival to give the band a slot on the B stage. Headliners on that 13th day of August 1967 were the recently formed Cream, who were, in turn, to be supported by Jeff Beck, John Mayall's Bluesbreakers with Mick Taylor and the hitherto, never before seen, Peter Green's Fleetwood Mac. The Chicken Shack proved to be a huge success and from then onwards bookings were much easier to come by. They worked extensively throughout the country building up a substantial fan base. I enthused whenever I could about our new signing. They were, quite simply, the most exciting of the blues bands on the circuit. They had the 'it' girl of the blues world in Christine Perfect - a demure. attractive and talented young singer and pianist and an outstanding hard, driving rhythm section in Andy Silvester and Dave Bidwell. But perhaps most of all, they had a blues 'nutter' in Stan Webb, whose energetic and enthusiastic guitar playing along with his almost larger than life persona and occasonal acrobatic vocal histrionics. personified sheer entertainment and won him many fans. Many of those stalwart fans still follow him around to this day.

By the autumn of 1967 Judy and I had stepped down as managers designate and handed that time consuming job over to Savoy Brown's manager, Harry Simmonds. The Shack's resulting heavy work schedule meant little time for song-writng and this left me somewhat anxious. With the label launch set for January 1968, I was very keen to get the band into the studio so that we would have a strong release ready for the 'big push' that CBS had promised us. The Fleetwood Mac debut single was to be warmly received but did not sell that well, whilst the Aynsley Dunbar Retaliation release more or less sank without trace. Fortunately, the powers that be at CBS at the time could see that both Fleetwood Mac and our new signing The Chicken Shack, were going to make serious inroads into the record market. But we needed product. The pressure was on. It would have been easy to cover a Freddie King song or some other well-known blues standard and roll with that but it was felt that we should try to go for radio play possibilities - and probably feature Christine's vocals rather than that of Stan Webb. Our biggest concern was whether we would have problems with egos once the record was out featuring one (or other) of the two lead singers. We got around that potential problem by giving credits to both singers on the two sides of the single as "featuring Christine Perfect" and "featuring Stan Webb". I suppose we could have cut a duet track in the mould of Mickey & Sylvia or Shirley & Lee - but it never crossed our minds at the time. In any event, Christine came up trumps with the self-penned "It's Okay With Me Baby" and studio time was booked for 6th December. Talk about cutting it fine! The sessions went pretty well as I recall with no major problems. Considering none of the members had had much studio experience beforehand this is to their joint credit. A three-piece horn section was added to the 'A' Side - whether the same day or not, I do not recall. But in view of the very short turnaround time being offered CBS (with the Christmas and New Year holiday period to get in the way) I would determine they were present on the session and probably added later that same day. The flip-side featured Stan delivering his version of Buddy Guy's memorable Chess recordng of "When My Left Eye Jumps" - almost six and one half minutes of exactly what you would get if you went to a Chicken Shack gig around that era. Nothing but the blues! Ensuing sales for the single were only moderate but the 'A' side did glean some worthwhile air time which helped put the name of the band out there. As if they needed it, the way their gig sheet looked!

Whenever possible, I would spend time with our Blue Horizon signings and, especially, out on the road. Not easy to co-ordinate I can tell you. To be seen enthusing - never difficult with the likes of Fleetwood Mac, The Chicken Shack, Duster Bennett, Champion Jack Dupree et al - was, in my book, an important part of a producer's role. You could gauge the value of a new song from the audience reaction. If you did not already have a demo of a new song you could get the feel of the format and suggest at a later date that maybe the intro could be shortened or the solos moved around in a different order. You might also occasionally get a brilliant idea for an additional song to add to the session and 'live' set that had, up until that moment, been ignored. That sort of stuff. And, of course, you got the all-important opportunity to relax, socialise and get drunk. I'd already spent quite a lot of time doing all these things when attempting to manage and book The Shack in those early days. Needing to spend time with the band prior to the recording of their debut album and actually trying to find the time to do so, was giving me quite a headache. For some reason there seemed to be a real sense of urgency to get this album recorded as quickly as possible - as if the band would explode or disappear into the ether if we didn't! In total, ten tracks were recorded during the first week of February 1968 and all found their way onto "Forty Blue Fingers, Freshly Packed and Ready To Serve" - a veritable feast of 'In your face' British blues at its very best and all recorded with hardly an overdub in sight. Six of those titles were covers taken from the recorded output of Freddie King, John Lee Hooker, Buddy Guy and B.B. King whilst the remaining four were originals, split equally between Christine and Stan. The files show that there was in fact, an eleventh title recorded at this time, but try as I might, and not without a little help from the guys at Sony Archives, no tape could be found. "I'm Gonna Tell My Mama" may well have been a Christine Perfect song, but I wouldn't want to put money on it. Regrettably, it may well be that any attempted and possible aborted versions of such a song would have been erased following such failed attempts. Tape was expensive and could not be wasted. Damn.

Chicken Shack - now minus the definite article - had made it. On the heels of Peter Green's Fleetwood Mac 'dog and dustbin' album, which had reached #4 on the British album charts, Chicken Shack's "Forty Blue Fingers" managed to reach #12 on the same chart only montns later. Melody Maker referred to the group as "definitely one of the most inventive blues groups in the country. Musically, Chicken Shack reach moments of high excitement, especially on Stan Webb's extended guitar solos. "This first Shack album still remains one of my favourites in the Blue Horizon catalogue. In every respect it achieved all that we were looking for in a Blue Horizon release. A saleable product featuring outstanding talent with a batch of great songs. An outrageously good 'headline' title with creative and memorable artwork. What more could you ask for? More please? Easier said than done, I was soon to find out.

Any and all attempts to get the band back into the studio to prepare for a follow-up album were thwarted at every turn. It was not until June 24th that we finally succeeded in finding a 'window of opportunity' and grabbed time enough, to cut three titles: "A Woman Is The Blues" (a duet between Christine and Stan, sharing alternate verses) and "Get Like You Used To Be" along with an untitled song. Despite further exhaustive research through the archives, no mention of this 'ghost' track could be found. It was either never recorded or, once again, recorded over. Damn.

Once again, pressure was mounting on the Blue Horizon team to deliver some new product. Somehow, someway we had to give CBS a new single to plug the gap. Mid-August saw the band back in the New Bond Street Studio to do just that. "Worried About My Woman" was typical Shack 'fare' - great shuffling rhythm section with Stan's guitar work blazing away like there would be no tomorrow. The vocal however - 'live' and not overdubbed, as were most of Stan and Christine's vocals in those early days - might be best described as being full of unbridled energy and passion but lacking in coherent melody and subtlety. Coupled with the slower, self-penned, blues ballad "Six Nights In Seven", this single did little to enhance the reputation of the band with the media, although it did, in hindsight, actually represent the way the band sounded in a club situation. I was particularly reminded of this having discovered a hitherto long forgotten analogue two track tape hidden away in a Chicken Shack master box sent down from the Sony Archives in Aylesbury. "Live in Copenhagen - 1968" stated the by-line. Hello, what's this then? Five titles in all: "First Time I Met The Blues"; 'Tell Me"; "Night Life"; "Mean Old World" and 'Worried About My Woman". Gradually I began to get the picture as I happened upon the sound of my owm voice acting as M.C. This was part of a mid-summer '68 Scandinavian promotional trip that I undertook accompanying Chicken Shack and Fleetwood Mac. Memories of the Copenhagen concert - or maybe it was a college gig - are at best, exceedingly vague. Must have been the Carlsberg. But I do recall travelling on the ferry to Malmo and thence to Stockholm and again onward to Helsinki to see the Mac and meet with all the CBS promo teams in those three countries. Anyway, back to the Copenhagen tapes. I was of course, very hopeful that the sound quality and performances would be truly wonderful and we would have the unexpected bonus of being able to include, at least, some of these previously unreleased titles on this current and definitive CD collection. All was going swimmingly - the rhythm section sounded well balanced and Stan's guitar was driving away on top of it and then - whack! A bit like being hit in the face with a concrete girder. Stan's vocal was so loud and so distorted as to render the whole performance useless. Duncan Cowell and I spent hours manfully attempting to lessen the all encompassing presence of Stan's voice (and Christine's) on the proceedings, but in the end we had to admit defeat. We made a number of musical edits that would, without doubt, have been required and sent a CDR to the Sony catalogue Marketing Department for appraisal - knowing full well in our heart of hearts that our offering would be rejected. Back came the word. "Sorry but no." In sheer desperation I even suggested editing out all the vocals - talk about clutching at straws! But I digress.

We would have to wait until the end of October before we finally managed to get the band back into the studio again, in an attempt to complete the recording of the remaining material that would make up the balance of the band's second album, "O.K. Ken?" By this time, naturally enough, Stan and crew had become far more studio wise and, in some way, such newly acquired knowledge might have knocked off the rough edges that had helped to make the first album truly exciting. In no way, however, should this imply that "O.K. Ken?" might be, in any way, inferior. Not so. Chicken Shack fans were well served - few frills, plenty of thrills and lots of honest, good rockin' blues. A great deal of thought and planning had gone into the choice of material this second time around. It was felt important that we should make the most of the burgeoning song writing talents of both Stan and Christine. Six of the eleven tracks included on that release were self-penned. There are a handful of non-originals of which the 'stand-outs' are covers of Howlin' Wolf's "Tell Me" and B.B. King's "Sweet Sixteen" - both great favourites on the club circuit and therefore deemed to be items that must be included. An additional plus is a fine cameo performance by Walter 'Shakey' Horton on Christine's rendition of T-Bone Walker's "Mean Old World". Horton, was at that time, visiting our shores as part of an American Folk & Blues Festival. During a recent telephone conversation, Andy told me that he: "remembered Horton turning up at the studio wearing a very heavy winter coat, carrying an attache case full of harmonicas and looking a little worse for several drinks. He clumsily put the case on top of the piano and, in so doing, slipped. The case flew to the floor emptying the contents everywhere! Not the best of entrances." Interestingly enough, the files show that in fact Walter recorded a song of his own during these sessions - listed as 'Walter's Blues". Once again, exhaustive research failed to turn up any tapes. Damn and double damn.

Now try as I might, I could not recall the story behind the album title. Naturally enough, Stan had the answer. "It came from Chris Wood. When socialising, in pubs and so on, Chris would talk about a Doris, Cyril and a Ken. But they were all fictitious people. It got to the point when Chris would call everybody Ken - even girls. He'd meet and greet you, saying 'OK Ken'....it really stuck!" Of course, Stan was not only a most affable, entertaining and amusing character to be around but he was also a bit of a mimic. During the course of a conversation he would often break out into impersonations of Kenneth Williams and Max Wall or other well-known personalities, often adding "O.K.?" or "O.K. Ken?" when done. A decision was taken to record some ad-libbed spoken introouctions to the songs on this new album that would feature Stan's mimicry. This was a decision that would prove to be an irritant to many (if not all) of those who were to listen to the album in the future. The inner-liner to the four-sided 'gatefold' sleeve for "O.K. Ken?" credits as follows: 'The voices of John Peel, Hughie Green, Max Wall, Kenneth Williams, Chris Wood, Rf. Hon. Harold Wilson, Steptoe and Son, and that of a Radio 5 announcer, appear by courtesy of Stan Webb. Special Effects: Harry Simmonds Chorale. M.C. for 'live' track ("Sweet Sixteen") - Harry Boxer." When I spoke with Andy Silvester at the onset of preparing this release, he almost pleaded with me to remove these 'links'. He needed not to worry as I had already determined that such would be the case - providing of course, that the offending items could indeed be removed. Duncan Cowell to the rescue. Gone. Well, almost all gone. The very introduction of "I Wanna See My Baby" is still somewhat masked by the sounds of laughter and pseudo-drunken yells. You win some and lose others.

The release of "OK Ken?" was only reasonably well received by the media but was to surprise many, when it hit the Top Ten bestselling album chart at #9. Unlike its predecessor however, "O.K. Ken?" only hung around in the charts for one week, whilst "Forty Blue Fingers" managed a stay of eight weeks. But no singles were to be forthcoming from the then, current album. Instead, horns were added to "When The Train Comes Back" - a title, featuring Christine, that had appeared on the first album. This in turn was then coupled with another item featuring Christine - "Hey Baby" - a title recorded during the "O.K. Ken?" sessions but not included on that album. The resultant single gained little interest but did no damage. The push was on to find a 'cure all' for the lack of single chart success.

Manager Harry Simmonds, whom I had known and been working with for several years, offered up the idea of covering the oddly titled soul/blues ballad "I'd Rather Go Blind", as a likely single contender for the band. Originally a massive U.S. R&B hit for Etta James in 1967 (on Cadet Records) it got the thumbs up all around and was to become the band's first (and only) major chart single success. Indeed, it would also prove to mark a crossroads in the band's fortunes. Recorded early February 1969, the A side featured the dulcet tones of the now Christine McVie (married to Fleetwood Mac bassman John McVie some months eariier) coupled with some very tasteful, melodc and restrained guitar work from Stan the Man.

The flipside, featuring Stan in soulful mood, was a re-working of the country ballad, co-written by Willie Nelson and previously covered by B.B. King. The single flew into the singles charts two and one half months later and reached the #9 spot. Christine announced her decision to leave the band even before the record had charted but agreed to honour all promotional commitments - teleVision, radio and press interviews in particular - until required no longer so to do. Unexpectedly perhaps, she was to then win the "Top Girl Singer' category in Melody Maker's Reader Poll for that year and, indeed, the subsequent year also. But the die was already cast. Christine had had enough of life 'on the road' and wanted to spend more time at home, in the hope of seeing more of her new husband. Of course, in the music business, it rarely works out like that. Christine was however, to continue recording for Blue Horizon as a solo artiste, before deciding to become a full-time member of the then non-Blue Horizon contracted Fleetwood Mac. The results of those sessions will be found elsewhere in this REMASTERED series.

The amusingly entitled album "100 Ton Chicken" represents Chicken Shack's third for the label. Released in the Spring of 1969, it heralded a shift in the band's recording outlook, brought about very largely as a result of Christine McVie's departure. Organist Paul Raymond was recruited immediately following the latter's departure in March that year and was thrown straight 'into the deep end'. Stan recalls: "Somebody recommended a Paul Raymond to me. He was out of work. I went to see him in this crummy flat he had in Cromwell Road - 'Dustbin Villas' I called it. He came and jammed with us and that was that. No other considerations or auditions." Raymond had been working with Plastic Penny - a band with one chart success: "Everything I Am" on Page One Records, reaching #6 in January 1968 - about as far away from a blues band as one can get, I would guess! Pulling Raymond into the new Shack aggregation, proved to be, under the circumstances, something of a smart move. In all fairness, how could one replace an individual talent such as that of Christine Perfect without drawing unwanted comparisons? The decision was taken to go back into the studio and record a new album as quickly as possible. Stan in particular was keen to get away from the sound that had been associated with the first two albums. It was thought it might be a good idea to find a new studio venue and therefore a change of engineers in a forthright attempt to achieve this aim. Come April of '69 we found ourselves at Barry Morgan's studio in North London, working with ex-Decca engineer Roy Baker, now perhaps better known as producer Roy Thomas Baker (he of Queen et al). The mould had been broken, for, apart from recordings that had been previously made on location or abroad, this was to be the first time any Blue Horizon act had recorded anywhere other than CBS Studios, New Bond Street. The results certainly did have a different sonic 'picture' and gave the band what they had been looking for - a much heavier and tighter sound.

As was now the norm, much consderation was given to the choice of material to be recorded. Long gone were the days of recording yet more items from the stage repertoire. Stan took to writing new material with a slighlly more commercial appeal - whilst doing his best to stay loosely within that soul/blues framework that had served the band so well. And we were all acutely aware of the need to come up with a follow-up to "I'd Rather Go Blind". To do so, we knew, would not prove to be easy. Perhaps then, to the surprise of many, the outstanding Webb original "Tears In The Wind" - which charted during August and September 1969 and reached #29 - proved to be something of a major success, when one considers that many media folk expected that follow-up to feature Christine. Stan's smoother vocal approach on that single, and indeed, throughout that new album, is deserving of mention and is particularly evident on the band's cover versions of Freddie King's "Look Ma, I'm Cryin'"; Lowell Fulson's "Reconsider Baby" and Clarence Brown's "Midnight Hour". Plenty of strong guitar work of course, including two great instrumentals, makes for a very well rounded performance and my own feeling is that this release should have done much better, sales wise, than it did. The extra bonus for Chicken Shack devotees and blues fans alike - hopefully - is that some previously unreleased items have been unearthed from those sessions. The invaluable publication entitled 'Blue Horizon Records 1965-1972: A Discography by Leslie Fancourt' (Retrack Books) lists the following items as 'unissued' but recorded as part of those sessions held through April and May 1969. "Back Door Man"; 'Talking Woman"; "Smartest Girl In Town" along with one other untitled item and yes, you guessed it-the seemingly elusive version of "Hideaway". And so, now it's lime to eat humbe pie. Damn.

If you own a copy of 'The Blue Horizon Story (1965-1970) Vol. 1" box-set (Columbia 488992 2) then you might well have been a little disappointed, and perhaps somewhat irked that the said previously unreleased "Hideaway" turned out, in fact, to be another of the band's Freddie King covers, "San-Ho-Zay". This was previously available on the band's first album. In my hurry to complete that project on time, I had not realised that the tape box labels were actually incorrect. Even when Duncan Cowell and I transferred the so-called 'unissued' version of "Hideaway" into the digital domain I did not clock the error. So folks, blame me. Please accept my apologies. Hopefully now all will be forgiven, unless of course the version contained herein turns out to be a cover of "Sen-Sa-Shun". Those Freddie King instrumentals will get you every time! The remaining three songs are Webb originals, but only "Smartest Girl In Town" proved to be in a completed state. The multi-track box also lists this title as "Unlucky Boy" - in the future to become the headline title of The Shack's sixth album, recorded for Decca/Deram. "Back Door Man" has only a mumbled 'guide' vocal but neither title has a guitar solo and so the decision was taken not to include either in this collection. Various earlier attempts at an electric guitar version of Davy Graham's erstwhile instrumental "Anji" have also been shelved - I don't think Stan would have approved - too many errors!

By the time the band and I re-entered the studios - early in 1970 - to embark on their fourth album for Blue Horizon, the British 'blues boom' was already in respiratory failure. There can be no doubt that Stan and I were, at that time, of a different viewpoint with regard to the band's change in musical policy. A comment made by Christine Perfect of Stan in an article published some eighteen months earlier, observed that: "He's a blues man and nothing else. If the boom died tomorrow it wouldn't make any difference to Stan - he's only happy playing the blues." But apparently not. Stan had other plans brewing. Now, for my part, I felt that much progress had been made in consolidating the band's image and musical approach following Christine's departure. I could not get Stan to see it my way though. He was quite determined to 'power up' the band and move toward the heavy rock arena. We agreed to disagree and made our best efforts to move forward.

I cannot truly say that I was looking forward to the recording session that was to be held on 1st December 1969 at Recorded Sound - another 'away from home' venue. Our joint plan was to cut two titles for a single release that would pre-empt the new album. I had heard a rough demo of the proposed A side and felt that perhaps it might work out, but I was not overy optimistic. I knew nothing of the coupling, although Stan had intimated that it would be an instrumental. In hindsight, I should have had more faith. "Maudie" and "Andalucian Blues" - released on 16th January 1970 - is, in my opinion at least, perhaps the strongest of all their single releases. Melody Maker's Chris Welch wrote that the topside was "a beautiful rock and soul sound that should quickly leap to the top and will be the first hit of the New Year." The reviewer for Disc and Music Echo however was somewhat dismissive, referring to "Maudie" as being something akin to "an Everly Brothers take-off".

At the time, much was made of the influence of The Everly Brothers' vocal harmonising on the plug side, but that should not cloud the fact that this was the most commercial offering from the Chicken Shack to date. And do not overlook the flamenco influenced B side, "Andalucian Blues", for it is no less outstanding, featuring, as it does, Stan's superb guitar work, sound enhanced with the use of a Hammond Leslie cabinet. The recording of this particular self-penned item must surely be seen as a high spot in Stan's personal crusade to create his own original blues instrumental sound. The 'A' side was variously described as 'a tight, energetic rock'n'roll dance tune" and as having "some Beatles-inspired melodic guitar breaks" in addition to a "wild Webb solo midway" ('Blues-Rock Explosion' published by Old Goat Publishing, Mission Viejo, California). One could say then, that, in essence, this release had everything to make it a smash hit. It was not to be. "Maudie" never found her way into the charts and organist Paul Raymond commented to Record Mirror: 'We tried to make a commercial single - but we couldn't get the plays. So we don't know where to go from here."

Come the end of March, sufficient material had been committed to tape (back to New Bond Street for those sessions, by the way) and the ensuing album "Accept" was ready to be launched. In an interview with Chris Welch of Melody Maker Stan commented that: "What we are playing now is heavy rock. There have been a few alterations in the last six months and we are not doing blues anymore. So many better than us are entitled to do it, like B.B. King - we are going to leave them to get on with it." The release of the band's fourth, and last, album for Blue Horizon - pretty much a non-blues affair - was met with interest but little real enthusiasm. Sales were rather slow and something, surely, had to give. To make matters worse, my brother and I were still having problems trying to gain any interest whatsoever from the people in New York, at Epic/Columbia Records especially, with regard to promoting the releases of our product in the States. The attitude there tended to follow the edict that they would "put it out there and if we get some positive feedback we will review the situation." Not the most satisfactory state of affairs, one would have to say. A new US distribution deal was set up with Polydor Records Inc. in New York - orchestrated by our American partners, Seymour Stein and Ritchie Gottehrer. "Accept" was included amongst the early batch of releases. Partly as a result of this new association, August of 1970 saw Harry Simmonds taking something of a gamble in organising a U.S. tour coupling Chicken Shack with Savoy Brown. The latter unit had, by this time, substantiated their reputation in the States and were being pushed and supported, to some degree anyway, by their record label, London (the U.S. arm of Decca U.K.). Savoy Browm were enjoying, along with stable mates Ten Years After and John Mayall's Bluesbreakers, chart status. Despite some worthwhile efforts by Polydor and the US Blue Horizon team, the album failed to gain much meaningful attention. The U.S. tour lost money. The German CBS company released "Accept" and the band went out there for a short tour in November. Only weeks later, keyboard man Paul Raymond left to join Savoy Brown. Stan immediately announced that he was disbanding the group. Andy Silvester and Dave Bidwell were on their way to reunite with Raymond in an almost, all new, Savoy Brown. Chicken Shack's long and fruitful association with Blue Horizon had finally come to an end.

It must have been the best part of a year, before Stan's newly formed Chicken Shack were to be found back on the road. The band had a new record deal with Decca. Two albums came out of that association. Then Stan decided he'd had enough of the whole Chicken Shack thing and pulled together a new unit and commenced work under the name of Broken Glass. That aggregate recorded one album for Capitol in 1976. Four years later and at a time when Stan truly felt his career was at an end, he took what might have appeared, at the time, as being a step backward, by reforming Chicken Shack - but with all new members. Stan stll had a large following in Germany - and indeed, continues to do so to this day - and a new album was cut for Eurodisc. Further releases followed for Shark (another German label), Gull and RCA. Stan Webb's current Chicken Shack line-up features Gary Davis, Jim Rudge and Mick Jones. The musical content is mostly blues based and always, high energy.

And whilst all that had been going on, Paul Raymond, having moved to Savoy Brown, moved onward to become a long-term member of UFO, with whom he recorded four albums. He has also worked and recorded wnh the UFO spin-offs, the Michael Schenker Group and MOGG. Paul's web site states that for the last eight years he has been working in Japan and has, to date, three albums under the group name of Paul Raymond Project, to his credit. For drummer Dave Bidwell, times were not so easy. His addiction to drugs was strong and despite great efforts to rid him of the affliction, he was unsuccessful in his battle. Dave died in 1977. Bass player Andy Silvester, having moved from the Shack to Savoy Brown, spent much of the next year or so in the States, touring. When he left Kim Simmonds' line-up he became part of a new band, Big Whakoo, fronted by ex-Steely Dan vocalist Dave Palmer. He was later to return to the UK and ever since that time - the late 1970s - he has been working with local Midlands bands. From Ricky Cool & The Realtos (later to become The Icebergs), he moved to Robert Plant's Honeydrippers and thence to The Steve Gibbons Band. By now, the bass had been lain aside and Andy was a full-time guitarist. Following a lengthy stay with the Big Town Playboys, Andy can currently be found playing guitar with singer/pianist and ex-vocalist with the Playboys, Mike Sanchez. Of course, the true success story here is that of Christine Perfect, better known to all as Christine McVie, now ex-singer/pianist and songwriter for Fleetwood Mac. With countless gold records and awards to her credit, it must seem like a mighty long way from pounding out twelve bar blues in sweaty, smelly and downright unpleasant pubs, back rooms and clubs the length and breadth of Britain. But, as a rule anyway, true talent, just like cream, rises to the top. Perhaps her greatest ability has proven to be that of a song-smith, witnessed by her contrtbutions to such albums as "Bare Trees", "Future Games", "The White Album", "Rumours", "Tusk", "Mirage" and "Tango In The Night". Songs like "Don't Stop", "Hold Me" and "Got A Hold On Me" - taken from her second solo album "Christine McVie". Christine, along with other members of Fleetwood Mac, was inducted into the Rock and Roll Hall of Fame on 12th January 1998. She has a new solo album out entitled "In The Meantime" released on Koch Records. The single lifted from that package - "Friend" - looks set to be a major hit in the States.

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Missing track
Review written by T.S. Carney, July 24th, 2011

I bought this today (24 July 2011) because I've been on a Christine McVie kick for a few weeks now. It is great, but on the third disc, the last track is missing ("Maudie" single version).

if i was a carpenter
Review written by Anonymous, January 7th, 2009

didnt they peform a song called if i was a carpenter. i always thought that was their best song ever. great great group and christine mcvies song mystified was awesome.

Found at last
Review written by (flemop@optusnet.com.au), November 19th, 2008

I first heard these guy's and girl on a documentry tv show in NZ in about 1974 called Black,White & The Blues, (anybody else ever seen it?). I loved what i heard. Everytime i walked into a record shop i would look for there music, alas i don't think to much came to australia. Finally after turning 50 i made some serious enquiries about The Shack, and got this CD, from the opening track i new i was in my blue heaven, the first disc i give 5 stars, 2nd drops away a bit 3.5 stars and the third got a 1.5. I'm blown away by their early music. it's a pity C.P. left the band.

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Rest Of Liner Notes:

To a large degree, the importance of The Chicken Shack in the Blue Horizon story has been somewhat overshadowed by the greater successes of Peter Green's Fleetwood Mac. There is little one can do about the facts, but I would wish to go on record as having always thought that The Shack were equally equipped and most certainly deserving of far greater acclaim than they actually managed to realise. In Stan, they had one of the great British blues guitarists. I thought enough of his talents to haul him into the studio during April 1968 to cut two tracks with Champion Jack Dupree. He was in and out inside two hours. The unit - minus Christine - also worked with me on an Errol Dixon album for Decca later that year. In Christine Perfect, they had an almost unique item - a female singer and pianist working in what was, virtually, an exclusive bastion of male endeavour. In Andy and Dave, they had a rhythm section second only perhaps to John McVie and Mick Fleetwood. For me, The Shack's recorded output was also more varied and contained better original material, albeit that they were unable to come up with anything to match either "Black Magic Woman" or "Albatross" in terms of sales. That failure - if indeed it could even be considered to be such - was perhaps more due to the greater street credibility of Fleetwood Mac rather than Stan's apparent inability to write a so-called hit song. As with most blues musicians who turn their hand to songwriting, even the best can be found guilty of producing some sub-standard, or even, inane material. Stan might have been guilty of turning out one or two of the former - but never of the latter. He should be ever proud of his output whilst with Blue Horizon. "Tears In The Wind" - which should have been a bigger hit; "Maudie" which should have been a massive hit but, unaccountably, died a death, and "Telling Your Fortune" are three standouts. The individual members of the band should be accorded due praise for their work ethics in the studio, and indeed, outside of the studio as well. The band never gave less than their best on stage and witnessing Stan's long stroll-abouts into the audience - a trick picked up from Buddy Guy - whilst 'spanking the plank' in the most authoritative manner imaginable, was always a delight to behold. We had a great deal of fun - many good times. We also made some great music together, now, at long last, all available in one package. Enjoy. O.K.? ..... Ken?

Mike Vernon
August 2005

Melody Maker Advert, May 17, 1969:
Chicken Shack new single
I'd Rather Go Blind
An event.......................
From Blue Horizon
Manufactured and distributed by CBS Records

Digitally mastered and edited at Sound Mastering

Every effort has been made to credit and contact the unknown photographers whose work has been included in this booklet.

The Producer would like to thank Peter Moody, Stan Webb and Andy Silvester for their help and input with the completion of this release

A special 'thank you' also to those at Sony BMG for their valued assistance: Phil Savill, Alison Calvert, Gigi Corcoran, Richard Bowe and Steve Walsh

Blue Horizon Remastered

(C) 2005 Sony BMG Music Entertainment (UK) Limited
(P) 2005 Blue Horizon Records exclusively licensed to Sony BMG Music Entertainment (UK) Limited for the world ex USA and Canada.
All trademarks and logos are protected.
'Sony' and 'BMG' as used in the name 'Sony BMG Music Entertainment' and in the 'Sony BMG Music Entertainment' logo are trademarks of, and are used under license from Sony Corporation and Bertelsmann AG respectively. Made in the E.U.

Compact Disc Digital Audio


The tracks included on this compilation which were originally released on their "OK Ken" album do not include Stan Webb's spoken song intros as they do on "OK Ken".

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Discography entry submitted by Mary Anne.