B.B. Blunder promo shot for Worker’s Playtime, with the inimitable Julie Driscoll disguised as Comely Barmaid.
Click on the link here for Audio Player – B.B. Blunder in Session for Top Of The Pops – 1970 – BBC Radio 1
As promised a few days ago after running Blossom Toes, here is the next logical step – B.B. Blunder came about as Blossom Toes ceased to exist. Together for what seemed like ten minutes, the band actually were together a bit longer, enough time to make the classic (and completely underrated/overlooked Worker’s Playtime), provide backup for a solo effort by Reg King who also briefly joined the band and then drifted back into neglect.
Worker’s Playtime was issued in the States, on the Polydor label, which may have explained why they were overlooked. Polydor was just getting it’s act together in the U.S. and not having an easy go of it in 1971. For some reason, United Artists (the label they were on in the UK) passed on the option to release them in the U.S., which probably compounded the lack of enthusiasm for what was otherwise a great debut album.
But as I’ve said countless times before; it’s almost impossible to predict what people will respond to and whey they won’t respond to where the subject of Pop Music is concerned. Bands you were dead-certain would make it massively came and went almost totally unnoticed.
At any rate – here is one of the rare appearances B.B. Blunder made via The BBC’s Top Of The Pops. Just two numbers, but enough to make you wonder why they weren’t a huge success in 1970.
One more band to wonder about.
Click on the link here for Audio Player: [audio https://pastdaily.files.wordpress.com/2013/06/renaissance-live-june-1970.]
Most people remember Renaissance as the band which had a number of concept albums and hits via the FM-AOR format stations in the late 1970s. Truth of the matter, that was the third incarnation of the band. Renaissance originally began out of the ashes of The Yardbirds, with Keith Relf and bandmate Jim McCarty, along with Relf’s wife Jane, John Hawken on keyboards and Louis Cennamo on bass.
Sadly, the band only lasted a little over a year before the Relfs and McCarty departed, with Hawken and Cennamo departing shortly after. The band that eventually surfaced bore very little, if any resemblance to The Renaissance of the post-Yardbirds period, where the direction had changed from experimental with touches of Folk and Jazz to the decidedly New-Age and more commercially accessible version.
Tonight it’s the first incarnation of Renaissance, and one of the rare appearances recorded of the band in a live setting. This one comes from the Montreux Jazz Festival from June 1970. It’s not complete and that’s frustrating as there is precious little of this version of the band either in or out of the studio. The way things go, more may show up – or a complete recording of this concert or the other festivals they performed at in 1970 may appear. Stranger things have happened – but for the moment, this is about all there is.