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"The Gods" were an English group founded in 1965. The bandmembers included Mick Taylor (later with John Mayall's Bluesbreakers and the Rolling Stones), Brian Glascock and John Glascock (later of Jethro Tull). They were schoolmates from Hatfield and had been playing together as The Juniors (or The Strangers), a band they formed in 1962. Also part of this band were Malcolm Collins and Alan Shacklock. They eventually signed with EMI / Columbia Records. Their first 7" single (Columbia DB7339) appeared in 1964 ("There's a Pretty Girl"/"Pocket Size"). In 1965, the line-up changed. Mick Taylor continued to play guitar and teamed up with Ken Hensley (organ/vocals) (later guitarist with Uriah Heep). They also added Joe Konas (guitar/vocals) and changed their name to "The Gods".

In 1966, The Gods opened for Cream at the Starlite Ballroom in Wembley, London. A single (Come On Down To My Boat Baby/Garage Man) was recorded in early 1967. At this point the line-up included Mick Taylor, Ken Hensley, John Glascock, Brian Glascock and Lee Kerslake.

In May 1967, Mick Taylor got a call from John Mayall who was looking for a new guitarist. When Taylor joined the Bluesbreakers, he left behind a faltering bluesband. The band sought to revive their fortunes on the club/college circuit. They relocated to London and secured a residency at The Marquee. John Glascock (bass) was replaced by Greg Lake in June 1967. The problem was that Greg Lake was too talented for the background role the rest of the band had in mind for him and in the Summer of 1968 he split to join King Crimson. The band had to re-group again and John Glascock was asked to return.

With John Glascock back in the fold they recorded a couple of progressive rock albums and a few 45s. Of their 45s, "Hey! Bulldog", the Beatles track, is their best known, and both sides have been included on compilation CD "The Great British Psychedelic Trip Vol. 3". The band played an amalgam of psychedelia and progressivism. Tracks like "Towards The Skies" and "Time And Eternity" from their 1968 album Genesis are full of heavy ploughing Hammond organ and distorted guitar riffs and Ken Hensley's unique and rather dramatic vocals add a further dimension.

Most of The Gods' material is fairly typical late sixties pop/rock, epitomised by songs like "Radio Show" and "Yes I Cry". There are shades of Vanilla Fudge on their cover of West Side Story extract "Maria". On a few tracks like "Candlelight" and "Real Love Guaranteed" there is an inkling of the heavier sound Hensley and Kerslake would propagate in their next venture, Uriah Heep.

The Gods were the successors of the Rolling Stones at the famous Marquee Club in London. After recording two albums, Genesis (1968) and To Samuel a Son (1969), they signed with a new record company, recruited Rebel Rousers singer Cliff Bennett and changed their name to Toe Fat which also lasted two years and two albums.

The Gods had a long and complicated history, beginning in Hatfield in the mid 1960s. At one point Greg Lake fronted them, and after his departure the group settled around the line up of Joe Konas, the late John Glascock, Lee Kerslake, and Ken Hensley around 1967. This line up as you may know would later become part of the hard hitting yet melodic group Uriah Heep. Hard hitting yet melodic sums up some of this wonderful album, but The Gods in a bid to go out with a bang and split up having achieved something of worth (their two albums prove that in spades- unfortunately I don't own Genesis yet, but I heard it some time ago) tried for one side devoted to a concept, the other to songs not linked to the concept. The concept side is quite impressive, with much mellotron, Hammond organ, soulful melodic vocal harmonies, and a great lead voice from Ken Hensley. Most impressive of Side One's nine tracks are the opening title track, "Sticking Wings On Flies" (you gotta hear this to believe it!), "He's Growing," and I'd say "Lady Lady."

There's a lot of transitional 60s into 70s stuff here, the organ and guitar sounding like a precursor to what would happen only a year later when "progressive rock" was born. I don't consider any track on this record "progressive" instead opting for the term "art rock." You should realize that though linked together sometimes these are very different things. Art rock is more the Moody Blues/Beatles/Kaleidoscope/Koobas kind of proto serious "art" in a rock context and leaning towards the song based and thoughtful. So what is progressive? That's when the longer tracks and heavy classical/jazz influences and the underground vibe come in.

The Gods then can be viewed as one of the greatest art rock bands and this one of the greatest soft psychedelic into art rock albums. There's not one thing I'd change about this record, I simply love it and think that they did a great job in pulling off some magic at the tail end of their career. Listen especially to "Momma I Need-" this track is mindblowing! The harmonies and music are first class, and the lyrics- deep and meaningful. If you like the best music of the 1960s and early 1970s you need to own this album, and this band. If you want to know what Uriah Heep started off as, buy it as well, but you may be a bit shocked as not much of this band's output is bludgeoningly heavy.

For the time was it? Yes, some tracks definitely were, but it doesn't sound heavy next to Look At Yourself or Salisbury. If you can imagine the early Deep Purple jamming with The Moody Blues and a bit of Asgard/Argent in there, you get it. Anyways, a masterpiece and an album that has stood up brilliantly.MEMBERS LOGIN ZONEAs a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

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01. To Samuel A Son (3:29)
02. Three O' Clock In The Morning (3:16)
03. He's Growing (2:25)
04. Sticking Wings On Flies (2:39)
05. Lady Lady (3:18)
06. Penny Dear (2:34)
07. Long Time, Sad Time, Bad Time (3:12)
08. Five To Three (2:59)
09. Autumn (3:12)
10. Yes I Cry (2:42)
11. Groozy (3:41)
12. Momma I Need (3:57)
13. Candlelight (2:34)
14. Lovely Anita (3:32)
15. Maria (3:58)