01. Friday The Thirteenth (3:33)
02. And So To Bed (4:13)
03. Broken Wings (5:48)
04. Before Tomorrow (instrumental) (5:53)
05. Banstead (3:36)
06. S.L.Y. (4:39)
07. Winter (7:01)
08. Decline And Fall (5:50)
01. Friday 13Th
02. And So To Bed
04. Decline And Fall
07. Broken Wings
08. Before Tomorrow
09. Friday 13Th (US Version)
10. Before Tomorrow (US Version)
11. S.l.Y. (US Version)
12. Friday 13Th (BBC Radio Session)
13. Seven Lonely Streets (BBC Radio Session)
- Vincent Crane / Hammond organ, piano, vocals
- Nick Graham / lead vocals, bass, acoustic guitar, flute
- Carl Palmer / drums, percussion
THE CRAZY WORLD OF ARTHUR BROWN having disintegrated after their sole album and their worldwide hit Fire (I am the god of hellfire) Vincent Crane (responsible for the music of that album) and Carl Palmer founded ATOMIC ROOSTER with Nick Graham on bass and vocals. This line-up soon disintegrated (Palmer abandoning them to join ELP), Crane contacted guitarist John DuCann formerly of psych bands THE ATTACK and ANDROMEDA and Paul Hammond on drums to make a seminal early Heavy Metal masterpiece "Death Walks Behind You" and then they hired Pete French, the incredible voice to make their finest album "In Hearing Of...". Most people would agree that this was the better line-up of ROOSTER but the mood was always stormy between Crane and DuCann so they disbanded at the release of the third album. Vincent Crane, always prone to depressions, had to start from scratch again and hired superb vocalist Chris Farlowe (ex-COLOSSEUM) and other men to make another fine album "Made In England" and finally "Nice and Greasy". Those last album are often over-looked by progheads being categorized as funk but this is hardly the case even if the superb use of a horn section on a third of the tracks add a lot of depth to their music. Their most popular hits (they did not spit at the singles market made often reference to the devil or Satan but the general mood was not Satanist as they have been so often categorized along with BLACK SABBATH and BLACK WIDOW. Crane would re-form his band along the years when his health permitted it until his death in 89.
Breaking up after only one album was the best thing to happen to this Proto-Prog outfit. Honestly, would anyone outside of a small cult of loyal fans even remember the band today if their young virtuoso drummer hadn't left in 1970 to join a certain Keith Emerson and Greg Lake? Let's face it: the success of ELP probably benefited this album in retrospect more than the music it actually contained.
All right, so that might not be entirely fair. It's true that the album today has all the indelible earmarks of a late '60s period piece. But a lot of it holds together surprisingly well, especially the lyrics, which reveal more cynicism than was fashionable at the tail end of the Flower Power era. "No one in the world will want you / need you / love you / miss you" repeats the acerbic chorus of "Friday the 13th". (It was on a Friday the 13th, in 1969, that Vincent Crane and Carl Palmer abandoned THE CRAZY WORLD OF ARTHUR BROWN to form their own band: hence the bitterness of the lyrics?)
And then there's the distinctly unromantic accusation in "And So to Bed": "You don't want me / you don't need me / all you want is sex with fame." How about another example: "What is the point of going on?" asks a world-weary Nick Graham in "Winter", an atypically beautiful ballad enriched by a homeopathic dose of horns and strings, with some attractive quasi-TULL flute thrown in as well.
Elsewhere the album revolves around Vincent Crane's hard-rocking Hammond organ and the soulful shriek of Nick Graham's vocals, although the obvious star of the trio was the astonishing 19-year old percussionist Carl Palmer. The kid was even allowed an energetic drum solo (always a risky proposition in a studio recording, divorced from the synergy of a live concert environment) during the song "Decline and Fall", which easily outclasses his similar turn a few short months later on ELP's debut album.
It's hard to believe music this quaint (at least when heard today) was once considered really "heavy". And while the trio certainly put a lot of sweat and muscle into their performances it must have been clear to Palmer even before his untimely defection that the limited musical range of the group probably wouldn't challenge him too much. Compare, for example, the sometimes overwrought jamming on the climactic track "Before Tomorrow" to what Emerson and Lake were at the same time accomplishing with THE NICE and KING CRIMSON.
Crane would later regroup (more than once) and continue making (reportedly) better albums, but the band's volatile line-up never allowed it a chance to gain any commercial momentum, and today their debut remains little more than a fascinating museum artifact for students of early Prog in general, and ELP completists in particular.
(Consumer's postscript: the 2004 Castle Records re-issue includes over 25 minutes of bonus material, mostly alternate takes of various album songs. The US versions, three of which are included here, kick the butts of their British counterparts.)