Author: Peter Podbrežnik
Artist: Mogul Thrash
Label: Disconforme Records
Release: 1970
Rating: 4/5
Mogul Thrash, the brainchild of James Litherland, former Colosseum guitarist and vocalist, were one of many British progressive rock bands that never got the chance to become big. Similar bands usually put out one or two albums at most and quickly vanished from the music scene of the day, where a flood of excellent acts meant a constant, merciless fight for survival. Today, some of these seemingly forgotten records enjoy cult status and have finally won the recognition they deserved but never got when they came out.
The self-titled album by these prog rock pioneers is one such case, and it was also their first and only record. In a way it’s sad that the band Litherland founded after being kicked out of Colosseum in not the nicest fashion will forever be best known among prog rock fans as the first band of the legendary bassist and singer John Wetton, who later became famous mainly as a member of King Crimson and Asia, and who also earned his keep in the likes of Family, Roxy Music, Uriah Heep, UK and Wishbone Ash.
“Mogul Thrash” is in fact a hidden gem for all fans of Colosseum and quality jazz rock fusion, since Litherland, with his recognizable, blues-leaning guitar style, carried on the creative vision and direction of the first two (and best two) Colosseum albums. Still, with more energetic hard rock passages, Mogul Thrash were already much less weighed down by blues rock than their predecessors, and you only catch a whiff of it across the album, mostly thanks to some of Litherland’s passages. The emphasis on refinement, their energetic vision of fusing jazz and hard rock with plenty of witty horn arrangements, and a good feel for melody sometimes bring them close even to Blood, Sweat & Tears.
The excellent horn section was down to saxophonists Roger Ball and Malcolm Duncan, who later found success as members of The Average White Band, and trumpeter Mike Rosen (ex-Eclection). On top of that and Litherland’s guitar wizardry, their sound was propped up by a great rhythm section in the form of drummer Bill Harrison and an already incredibly promising Wetton, who even this early in his career, with his constantly rattling, dominant bass lines, was showing signs that he’d grow into one of the best bassists of his era. Although Litherland sings most of the vocals on the album, Wetton, with his distinctive tone, successfully steps into the spotlight on a few tracks for the first time in his career. It’s worth mentioning that Mogul Thrash had an important patron in the famous keyboardist Brian Auger (especially known for his mastery of the Hammond organ), who, besides producing, also played piano on ”St. Peter”, the album’s only single. Sadly, even that didn’t help them break through or achieve anything more than cult status.
Across the whole album, “Mogul Thrash” more than convincingly confirm that they were among the first British bands (alongside Colosseum, Soft Machine and Nuclues) to cultivate an early form of jazz rock fusion, built on witty horn arrangements, a varied rhythm section, guitar acrobatics and raspy vocals. Among the many excellent tracks, special mention goes to the 10-minute version of the Colosseum hit “Elegy”, whose fast guitar and sax runs and crunchy rhythmic intervals will always blow the heads off jazz rock fusion connoisseurs; the more than 12-minute “Going North, Going West”, which, with its virtuoso guitar acrobatics, horn section and grooving bass lines, is without a doubt the centerpiece of the album; and “St. Peter”, released as a single. The latter stands out stylistically with its almost pop rock feel, but it’s also a hugely important piece, since it’s the first time (in his career) that John Wetton is introduced as lead vocalist.
With their one and only album, Mogul Thrash proved they were much more than just the band that introduced the young Wetton to the music world (who, the same year, after their breakup, moved on to the already well-established Family, and later, with King Crimson, secured his place among the greats for all time). Their witty, melodic fusion of jazz and rock still thrills today. While you can’t exactly call it a forgotten masterpiece of progressive rock, “Mogul Thrash” is better than the debut albums of plenty of much better-known progressive rock bands of the time.
With all these superb musicians and an original approach, the band had pretty much everything it took to become one of the greats, but they didn’t know how to market themselves well. It’s a shame that Litherland, who, by the way, was the creator of some of Colosseum’s best work (such as “Valentyne Suite”), threw in the towel so quickly after this record’s commercial failure and then all but vanished as a musical figure. With all due respect to his no less excellent successor Clem Clempson, I think Colosseum, who broke up soon after as well, made a big mistake showing the door to such a first-rate guitarist and musician, who, for his virtuoso skills and creative vision, only demanded a little more room.
Lineup
James Litherland – guitar and vocals
John Wetton – bass guitar and vocals
Bill Harrisson – drums
Malcolm Duncan – tenor saxophone
Michael Rosen – trumpet, mellophone and guitar
Roger Ball – alto, baritone and soprano saxophone
GUEST MUSICIAN:
Brian Auger – piano (5)
Production
Brian Auger
Track list
1. Something Sad (7:32)
2. Elegy (9:37)
3. Dreams Of Glass And Sand (5:07)
4. Going North, Going West (12:00)
5. St. Peter (3:39)
6. What’s This I Hear (7:17)
Bonus track:
7. Sleeping In The Kitchen (2:45)
Album length: 47:57
