TITUS GROAN - S/T 1970 EARLY UK ATMOSPHERIC PROGRESSIVE ROCK 180g SEALED RE LP
  $   30

 


$ 30 Sold For
Dec 9, 2014 Sold Date
Mar 4, 2014 Start Date
1 Number Of Bids
  USA Country Of Seller
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Description

TITUS GROAN – Titus Groan. Lost Century 71009. UK release. FACTORY SEALED VINYL RECORD ALBUM. Originally issued in 1970 on Pye Records’ Dawn imprint. Also issued in the US on Janus Records (though stated as also being issued in 1970, it didn’t appear here until the spring of 1971). This edition issued in 2013, this is a straight album reissue, no bonus tracks. Comes in a heavy gatefold cover pressed on 180g vinly. MEMBERS:  Stuart Cowell, Tony Priestland, John Lee, and Jim Toomey. TRACKS:  It Wasn’t For You, Hall Of Bright Carvings:  Theme/In The Dusty High-Vaulted Hall/The Burning/Theme, I Can’t Change, It’s All Up With Us, and Fuschia. DESCRIPTION:  Titus Groan derived their name from the novel by Mervyn Peake, the first volume of the Gormenghast trilogy. The music evokes very well the dark atmosphere of this strange book. Peake's books have always remained in print, but the band Titus Groan disappeared from the scene. Their 1970 album, and their only album, exhibits all the characteristics of a debut of a promising rock band. The concept was very ambitious (multi-part complex pieces), which resembles the debuts of other English bands of the same period, such as Wishbone Ash and Gentle Giant. It makes one wonder what the next album would sound like. This replica edition comes in gatefold sleeve as did the original LP. Lengthy tracks, with flutes, searing guitars, and a psych edge. This was another of those groups/albums that I discovered back in my college radio days, which also included Gentle Giant and Wishbone Ash. Some dismiss this as peripheral, but, as I continue to give this turntable time over the years, its music and the band’s performance ranks this in the top tier of my early 70s UK progressive bands.   

 

For your further reading enjoyment and enlightenment I include an earlier description that I put together for this album (repeats some information, but offers a little deeper insight into their music):

 

Titus Groan, the book, formed the first part of Mervin Peake's imaginative, haunting Gormenghast trilogy, one of post-war Britain's finest literary achievements. Titus Groan, the group, arrived some 20+ years after its first publication, and embraced, in music, some of the novel's gothic atmosphere while adding their own slice of English progressive rock. By 1970, at least two divisions of underground music had emerged. One included the likes of Family, the Pretty Things, and Traffic; groups whose pedigree stretched back into beat and rhythm'n'blues. In their wake came a succession of newer bands whose histories were neither as long nor as detailed but who welcomed the new music as an opportunity to stretch. In common with several labelmates, Titus Groan first came to prominence at the Hollywood Pop Festival of the weekend beginning May 23rd 1970. Here, the Red Bus Company, a London Agency, masterminded three days of "love, peace, and music" on a site near Newcastle Under Lyme with a bill which included Ginger Baker's Airforce and the British concert debut of the Grateful Dead. The happening, however, is better recalled as the launching pad for Mungo Jerry, whose brand of goodtime skiffle was apparently received with wild enthusiasm; so much so that it carried their subsequent single into the charts. From there it soared to No.1 and became a multi-million seller, in turn providing their record label, Dawn, with its biggest success, a fact which was something of a paradox, as it was set up by Pye as an "alternative" outlet, on par with Harvest, Vertigo, UK Decca’s Nova, and RCA's Neon. Mungo Jerry were handled by Red Bus, as were several of the acts who appeared over the three days including Mike Cooper, Demon Fuzz, and Titus Groan, all of whom were either already signed to Dawn, or would be in the post-"Summertime" euphoria. Indeed, the first, most immediate plan was to compile a double set, Live At Hollywood, which was to feature part of the live sets from each of these groups and Loudmouth (?), but was cancelled, possibly, when permission for inclusion by non-Dawn acts, such as Family, wasn't forthcoming (I smell a potential issue from the vaults). Instead they began recording, and in October that year, Dawn announced a major release package with albums and/or maxi-singles by Demon Fuzz, Comus, and Heron, as well as the collection in question here, Titus Groan. The following tracks mentioned are for informational purposes and is not to imply that this release contains those tracks; the album on offer is a straight reissue of their album:  Three tracks, recorded early on in the album’s sessions, were released which made up the Groan's only (maxi) single, none of which were to be included on their album. The top-side was Open The Door, Homer, a Bob Dylan song also known as Open The Door, Richard, which the Groans may have picked up from the Great White Wonder bootleg. They do a nice folksy-cum-rock interpretation, emphasizing the chorus in the hope of the hit it deserved to be, while anticipating the kind of feel the group Coulson/Dean/McGuinness/Flint would find on the same kind of interpretation (on their own album, Lo And Behold). Woman Of The World continued an acoustic-mixed-with-rock perspective, sounding close to something Lindisfarne might have come up with, but the real meat of the single was Liverpool, a driving slab of pseudo-R&B with a horn and organ passage mirroring that of the Graham Bond Organisation and some S.F. Sorrow-styled vocal harmonies thrown in for good measure. It provided the perfect taster for what was one of Dawn's most exciting and eclectic albums. Titus Groan was released the same month as their maxi-single. Consisting of a mere five tracks, it was abundantly clear that the group intended to continue the progressive aspects found on Liverpool. They were extremely powerful instrumentally, Stuart Cowell's guitar and keyboard work combined perfectly with Tony Priestland's sax, flute, oboe, and assorted woodwind, creating, and indeed suggesting, the mock-medieval textures also found in Jethro Tull (albeit, heavier), while John Lee and Jim Toomey provided the supportive bass and drums, particularly on the album's epic, Hall Of Bright Carvings. Taking its title from the opening chapter of the novel which gave the band its name, it's here Titus Groan come closest to their inspiration as they wage a way through an ambitious, multi-part composition. The repeated theme adds a continuity as the piece shifts in mood, embracing a further Peake reference, The Burning on the way. The second side doesn't slouch either, Lee and Priestland offer contrasts on It Can't Change and Fuschia, while It's All Up With Us is a collective offering. "An interesting, listening format... effective in live performances... a promising first album" - such remarks contained in the relevant 'NME' album review can only be echoed here. Sadly, however, Titus Groan just seemed to slip from the tentative prominence they'd achieved, despite the obvious potential of the music enclosed here and by mid-1971 they were no more a band. Of the four members, Jim Toomey, who had earlier been in the group Jon, cropped up in several groups including the Tourists (with Annie Lennox and [the other] Dave Stewart), did some sessions for Uriah Heep’s Ken Hensley, and drummed in one of Larry Wallis' post-Pink Fairies exploits. Along with Stuart Cowell, Toomey wrote What Did We Miss for Still Life. The rest, unfortunately, appeared to keep up a less active profile. It was an unfortunate and undeserved demise; its suddenness belied the individuality and imagination of a band that seemed destined for greater things.    

 

 

If you have any questions or if you have additional information, especially corrections, to the description, please e-mail me.   

All LPs are removed from their jackets and placed outside of the jacket for shipping. If an album comes sealed (and will be noted as such in the above description), it will be shipped whole unless you request that I open it up to place the disc outside of the jacket for shipping. Both jacket and disc are placed inside of an outer plastic sleeve before packing for shipping. I use professional corrugated record mailers.

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TERMS AND ABBREVIATIONS:

 

SS or SLD:  Still Sealed or Sealed (or some variation of sealed depending on how many characters I have left in the title line). This item is new and unplayed. Also appears in the listing description as Sealed LP or Factory Sealed LP.

 

NEW LP:  This item is new and unplayed, but was received from a supplier without being shrink wrapped or cellophane wrapped; more common on imports but also many of the smaller independent US labels do not seal their LPs.

 

GFC:  Gate fold cover.

 

LTD EDT:  Limited, as in limited edition. If I know the press run number it will be included in the above description.

 

#'D:  Numbered edition. I will include the number of this item if it is visible to me.

 

CV:  Colored vinyl.

 

S/T:  Self-titled.

 

RE:  Reissue

 

OOP:  Out Of Print.

 

TERMS OF AUCTION/SALE

 

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