Holyground Records ||| Last Thing On My Mind track by track

LAST THING ON MY MIND
track by track

MENU	RETURN TO MAIN CD PAGE
	oohs and ahhs corrections, amendments and omissions
	cover art
	the songs, musicians, the times and memories
	other CDs in "Holyground the Works" series

this page is to accompany HOLYGROUND : THE WORKS CD VOLUME 1
the contents of this page includes opinion, memories and recollections which may not be completely accurate
the opinions expressed are not necessarily those of Holyground

OOHS & AHHS corrections, amendments and omissions
please send other corrections to : mike@holyground

none noticed so far!

RETURN TO MAIN CD PAGE

THE MUSIC
LAST THING ON MY MIND by Mike Levon / Chris Coombs Chris Coombs vocal, guitar, harmonica	Mike says "My recollection is that this was the first track I recorded for this album. I had always intended it to be the first track you heard as well. Chris was an obvious choice of co-writer and singer for this, and GOLD OF THE LONG GIRLS, although after that it was a while before I wrote with him again - on Gagalactyca."	the first song ever written by either Mike or Chris. Mike wrote the words to fit the title for the album which he'd already chosen, the album he thought would be his last!
HANGMAN traditional Russ Little vocal, 12 string guitar	Russ Little was a double bass player as well as a guitarist and singer. He can be heard on singing along in the background on WHEN THE SHIP COMES IN as well as this solo.
GREENLAND WHALE traditional Dave Nuttall vocal Kev Slater vocal, guitar	Kev Slater brought the students in Bretton Hall at the time many songs from Ireland and other folk traditions. This one is a lovely lilting song, with Dave Nuttall on lead vocal and Kev accompanying him. Dave Nuttall says "There are many versions and titles of this song but the British whalers of the late 18th century were the first to adopt this ballad and it soon became a favourite with the other seamen. The earliest version goes back to 1700 and the ship's actual name was 'The Lion'. She was in the charge of a Commander Speedicut. The song became a 'forebitter' shanty which told a story while the sailors sat on the quayside beneath the 'forebitter' or 'sharp end' of the boat. This was in contrast to the 'halyard' or capstan shanties which were sung in rhythm to accompany the work of hauling sail or pulling rope around the capstan. The song was published as a blackletter ballad before 1725."	Bretton Hall Mike took this photo; one of the cars belonged to the father of his girlfriend, (now Shirley Levon)
FACTORY SPARROW by Bob Hart Bob Hart vocal, guitar Jeanette (Nettie) Hills vocal	Bob came to Bretton in 1965, a year after Mike. Quite when they first met is uncertain, but they were soon friends and Bob ended up with more songs on this album than any other singer, and all of them original compositions. Bob's friend Nettie sang on this one, which was probably recorded in Mike's bedroom.
GEORDIE traditional Lesley Guest vocal John Williams guitar	Lesley and Mike, and the rest of those studying English, had been in the Lake District as part of their course the previous summer and returned eager to record some songs. They went straight up to one of the music rooms in the College's Music Block and recorded all day in a tiny room. With both of them unwashed for a week the room was not too sweet-smelling; but the singing was great - this is one track from that session.	Below is a photo of some of the 'English group' in the Lakes - the house is the one they stayed in and wrote poetry. Mike wrote the beginnings of THE GOLD OF THE LONG GIRLS here. Lesley Guest may be one of the group in the background. click for enlarged view
IT AIN'T ME BABE by Bob Dylan Terry McCann vocal John Williams guitar	John Williams appears on WHERE IT'S AT later that summer; Terry had appeared on CROSS-SECTION singing another Dylan song with Marilyn Collins, who sings on this album, on guitar. This song was recorded in the student bar: the Kennel Block.

RETURN TO MAIN CD PAGE

MOUNTAIN DEW traditional Kevin Slater vocal, whistling, guitar Dave Nuttall, Angus McIntosh and Mac Nobel vocals, whistling	A traditional folk song, but it rocks! Recorded in Kennel Block, whose floor can be heard resounding to the foot tapping. Dave Nuttall says "This song tells of the illicit preparation of 'poitin', (pronounced poosheen'), or mountain dew, from the cereal crops. The song was written by Samuel Lover (1797-1869), the son of a stockbroker. The track was recorded in Kennel Block on a bright sunny afternoon. The 'Motley Crew' singing it were friends who usually sang together when under the influence of alcohol. Kev Slater was the instigator, and the only one studying music, so it's all his fault!".	Dave can still be heard singing in Wakefield pubs and folk events in the area.
DADDY YOU BEEN ON MY MIND by Bob Dylan Marilyn Collins vocals John Williams guitar Ian Jones snare drum	Mike says "Unlike many recordings I can remember this one clearly. Perhaps it was because of the snare drum - I was a drummer then myself. Ian squatted in the only space in my room that wasn't taken up by the bed, and Marilyn and John as I recall sat on the bed itself. I had the tape machine on a coffee table and Ann Calvin-Thomas, who as I remember it I got to know through Bob Hart, was also there. She was often around when I was recording this LP. I am fairly sure it is her voice which intrudes on the start! I loved this song (it always seemed to evoke Bretton's brick built student buildings) and the recording is one of my favourites".	Recorded in Mike's bedroom in the college - a room about 8 foot long by 6 foot wide. The hastily stopped voice at the start is probably Ann Calvin-Thomas!
PART TWO BLUES by John Williams and D. Brett Mallinder John Williams guitar D. Brett Mallinder harmonica	Somewhat shortened from the original four and a half minutes, partly because of severe tape drop-out and partly because it did go on a bit! Also recorded in Mike's bedroom.
ONE TOO MANY MORNINGS by Bob Dylan John Forsythe vocal, guitar	A sharp snapping vocal from John, somewhat in contrast to the other track he played on on the original album: The First Time Ever I Saw Your Face, the tape of which is not good enough for reissue; one of three tracks omitted from the WORKS version of this LP.
BELLS OF RHYMNEY by Idris Davies and Pete Seeger Chris Coombs vocal,12 string guitar, harmonica Russ Little string bass	Mike says "I love this track. Chris abandoned his 'Dylan' voice for this one and let rip. The natural reverb of the Adam Room and the thunderous double bass of Russ Little make this one of my favourite recordings ever!"	One of several recordings Mike made in the Adam Room in Bretton Hall's main building. It has a natural reverberation which you hear on several tracks on this album.
SEAN SOUTH OF GARRYOWEN traditional Lesley Guest vocals	Another of the tracks recorded by Mike during the Sunday session when he and Lesley had only just returned from the lakes. Recorded in the Music Block, part of which is just visible in the middle of the photo of Bretton's Camelia House, see right.	click for enlarged view

JUST A LITTLE RAIN by Malvina Reynolds Terry McCann vocal John Williams guitar	Recorded at the same session as It Ain't Me Babe, in Kennel Block. It is just possible that these two tracks were recorded live. Mike seems to think they were, and it might account for the extra hiss they have unlike any other track on LAST THING ON MY MIND.
LA LA GIRL by Bob Hart Bob Hart vocal, guitar Ann Calvin Thomas maracas Steve Ringsell wood block, tam–tam Mike Levon timbale	Recorded in the Adam Room, the different reverberation levels were achieved by placing people nearer or further from the two mikes. Bob was quite close. The percussion was borrowed from the Music Block. There is a half stifled shout on the loud bit towards the end : this was Mike trying to 'direct' the percussion!	Bob Hart in 1967

RETURN TO MAIN CD PAGE

IN THE EARLY MORNING RAIN by Gordon Lightfoot Russ Little vocal, 12 string guitar	Russ taking front stage again - a lovely trickly guitar on this one.
STAGNATION by Richard Parfitt Piff Parfitt vocals, guitar D. Brett Mallinder harmonica	Mike says "I can remember the blood dripping down as the tape rolled. The bedspread was a medium grey colour so the blood spots became black as they landed. On reflection this is so much like early punk singing and playing from the late seventies and early eighties: just hammering out the chords."	Recorded in Mike's bedroom. Piff played guitar so hard his hands were bleeding by the end and dripping all over Mike's bed
WHEN THE SHIP COMES IN by Bob Dylan Chris Coombs vocal, guitar, harmonica Russ Little string bass, background vocal	Mike says "Tape dropout (missing bits of sound) is one of the technical problems of working from tapes over thirty years old which were only recorded on semi-professional or domestic machines in the first place. This track was one of the worst examples - you could actually see through the tape at the start in two places. Luckily it was only on the beginning, and touches of sea and wind effects allowed Chris's jokey start and the beginning of the song to be at least listenable".	In The Early Morning Rain was the next track originally, and then 3 tracks which have been left off for technical reasons: BLUE; CUSHIE BUTTERFIELD and THE FIRST TIME EVER I SAW YOUR FACE.
BABY DON'T DRAG ME DOWN by Bob Hart Bob Hart vocal, guitar Steve Ringsell vocal	Recorded in the Adam Room again, a lovely haunting track which completed the original album.
additional un-released track
WILD MOUNTAIN THYME traditional Dave Nuttall vocal and crowd(Most of) a unique live recording from the Student Kennel Block - found on the back of one of the other tracks!	Mike says "One of my all-time favourite songs. This brings it all back - the candles, the wine and beer, the late night company - you can feel the dark". Dave Nuttall says "Wild Mountain Thyme, or Mountain Thyme, or Will Ye Go Lassie Go: there is a Scottish ballad which incorporates the 'Go Lassie Go' part of this song, but its tune is completely different. This is beyond doubt an Irish song, probably hailing from the northern part of the country. The McPeake family of musicians from Belfast did much to popularise this lovely song. Other ballads use the symbol of 'thyme' to denote female virginity being taken away when the 'thyme' was gathered. The song was controversially used to promote Scotland in recent years in TV commercials, until it was pointed out, by the Irish, that the song was traditionally from Ireland! At the time of recording, this song was regarded by many Bretton Students as a kind of anthem. It was traditionally led by me to end an evening of folk music, either in Bretton, or in Moodies Bar in Wakefield; (Number Nine Bread Street was Moodies address: now the rear of the Pizza Hut). In Moodies the almost ritualistic singing of the song (and the chorus by all the assembled company) was at the insistence, or request, of David and Gladys Sheard, landlord and landlady of Moodies Bar, and great patrons of folk music at the time."	This must have been recorded during the preceding summer. Mike's tape machines were two track and as recordings were usually in mono both sides of the tape were used. This track and several others have be found lurking on 'side two' of other tapes, thus the missing start. Kennel Block

RETURN TO MAIN CD PAGE

2 tracks from CrossSection EP (1965)	Making CROSS-SECTION after the success of BAR ONE was a brave move. Whereas it was easy to see why 99 students in a college of only 600 might want BAR ONE, a live recording, as a memento; there was no guarantee that 99 would buy an E.P. with five tracks on, especially as they ranged from electric folk rock to very traditional folk. Mike designed the cover, a strange set of rectangles with rounded corners, some magenta coloured, some black.
WITH GOD ON OUR SIDE by Bob Dylan Jane Westlake guitar and vocals	Strangely enough Jane didn't appear on LAST THING ON MY MIND, although she was featured on CROSS–SECTION and on the E.P. WHERE IT'S AT which followed LAST THING. She was well known in College for singing this song.
LOWLANDS traditional Jennie Tarren vocal	This song, unaccompanied and plaintive, emphasises the eclectic nature of CROSS-SECTION, (the title was quite literal - a cross section of the music being played by Bretton Students at the time - well, at least, Mike's view of that!).
additional un-released tracks
LONDON by Chris Coombs (to words by William Blake) Chris Coombs vocal, guitar, harmonica	It's unlikely this was recorded for the LP - where was the lovely Adam Room reverb? Chris had wanted to set Blake's words to a tune for a while.
THE GOLD OF THE LONG GIRLS by Mike Levon and Chris Coombs Chris Coombs vocal, autoharp, harmonica	Originally a long poem, influenced by the other Dylan, Dylan Thomas, the long summer college days . . . and the girls, Mike adapted his words for Chris to write a long and golden tune to, too long and too late for the original album!Mike had written the original poem in the last summer he was at Bretton, 1966. Chris Coombs says "Mike told me he was trying to write a poem in which each word started with the last letter of the word before." Although Mike can no longer remember this, the first line of the song, and the original poem, does do this in places: "all long goes summer . . . . long girls sleep"

RETURN TO MAIN CD PAGE

HOLYGROUND 'THE WORKS' SERIES In association with Kissing Spell Records, Holyground has released all the recordings from the '60s and '70's, except for Skybird's Summer Of 73, and Bill Nelson's Northern Dream. Several of the albums have only ever been released in small vinyl runs : volumes 1, 5, 9, 10 and 11. All have a considerable number of additional tracks. The average running time of each CD is over 60 minutes and often more than 70 minutes. Mike has scoured his archive and made several surprising finds, especially the songs "hidden" on the bottom track or other side of the tape - tracks even he didn't know he'd got! Each CD in the series has: from 60 to 74 minutes of music full colour eight page booklets and inlays renovated and previously unseen photographs and original artwork words to all original songs additional tracks, out-takes, and contemporary tracks (covering just about everything Holyground recorded!) several previously unreleased recordings, and some remixes a special silver label and logo, in a rainbow of colours! background and recording information a special webpage with more information, recollections, photographs and news info, and anecdotes . . . the works! ASTRAL NAVIGATIONS and A TO AUSTR are the most well known albums on the label during its early days from 1966 to 1975. These and nine others make up the "Works" released through KISSING SPELL:
album	series volume	release date	details
LAST THING ON MY MIND	1	2001	LAST THING ON MY MIND has never been released since the original 99 vinyl copies made by Mike Levon when he recorded it in 1966. It is an album of folk and early folk rock - the roots from which Holyground grew. There are standout performances from Chris Coombs and others. It's an album of great beauty: if you close your eyes you can see the candles, and feel the dark . . . There are also several out-takes and contemporary recordings never previously released at all!
NUMBER NINE BREAD STREET	2	2006	The first LP to carry the 'Holyground' label. The name comes from an Irish folk song, and was used by Mike to name his flat in Cyprus Street - doesn't everyone name their homes? Recorded partly in Bretton Hall, partly in Jacobswell Lane - Mike's later flat, shared by Norfolk Jim, Brian Wilson and Derby Dick, most of the tracks were made in Moodies Bar. Moodies was a real old-fashioned pub in 1966 - 67. Women had only just been allowed in! - although they were still excluded from the small back room where the recordings were made. In fact, Shirley Levon may have been one of the first women to drink in there during the recording sessions! A mixture of traditional folk and new acoustic songs, with a nod towards early folk-rock, Bread Street sold 243 out of 250 copies made, and still made a loss!
A TO AUSTR	3	2006	In 1967 Mike Levon moved into his own flat in Cass Yard half-way down Kirkgate. There were two large bedrooms, and one quickly became a studio, allowing Mike to start recording drums and electric guitars. His first electric recording was of Bill Nelson's group 'Global Village' - a good omen for the future! From late 1967, through 1968 and 1969 Mike recorded a variety of people including several commercial records of clubland artistes such as Winston Smith, Joanna Starr, The Method, and even an LP of mood music for a local bingo chain. During this time he started working closely with Chris Coombs, and with existing musicians such as Brian Wilson, augmented by other new people like Al Green, George Mabon, Brian Calvert and Ted Hepworth. The results was the album A to Austr. This dealt with many current themes: from drugs to sex, wisdom to wonder, and resulted in a very varied album of what has become know as psych-rock. It was Holyground's best work to date, and set the scene for the 1970-71 period: a busy, creative time which saw the making of albums like Jumble Lane, Bill Nelson's Northern Dream, Gagalactyca, and above all the seminal 'Astral Navigations'. Austr itself was viewed by some as their favourite album from England: 'they do it all,' said American dealer Greg Breth who was l;ucky enough to find one copy from the 99 made.
ASTRAL NAVIGATIONS	4	2003	Described by one collector as a “deeply evocative and enchanting album which really touches me”, ASTRAL is seminal Holyground. The album has two complementary sides: side one features songs by Mike Levon and Brian Calvert, and by Chris Coombs: acoustic rock with Holyground’s psych edge. The three Chris Coombs tracks also feature Bill Nelson on lead guitar. Side 2 showcases Thundermother, searing guitars in a progressive, acid-rock band featuring David John who had earlier recorded with Joe Meek as David John and the Mood.
GAGALACTYCA	5	2001	GAGALACTYCA has only been released on vinyl. It is a sister album to Astral Navigations. There are two "sets" of music : Chris Coombs and others (Lightyears Away), and Thundermother. Chris and Mike Levon wrote songs for the Light Years Away "side" of the album. Standout tracks are the short though beautiful "That Is What We Need", and "Cold Tired and Hungry" a storming track featuring Bill Nelson on guitar. Thundermother come up with five brilliant tracks, four of them their own songs. Standout tracks are a version of "Woman" by the group, an acid guitar epic in "Come On Home", and the beautiful "Woman In My Life".
JUMBLE LANE	6	2003	Described accurately by one reviewer as “going through so many unexpected and bizarre changes as to be completely un-categorisable”, JUMBLE LANE was recorded by friends and local students in the summer of 1971. From the delicacy of “The Gallery” and “Blues for Joanne” to the rock of “Frustration: Ends Away” it’s psych rock of the highest calibre. Bonus tracks include songs by Steve Channing who made his debut on JUMBLE LANE.
ODE by BLUE EPITAPH	7	2003	JUMBLE LANE’s success meant new students at the nearby college would turn to Holyground to record their own albums. Pete Howells and Jim Gordon, as BLUE EPITAPH, made the acoustic, psychedelic whimsy that is ODE - another highly collectable Holyground album. The third group to do this, in 1974, recorded the album “JUNCTION 32”. As an album it was not a success, but there were some fine tracks, and these are included as bonus tracks on this CD. Bonus tracks are the best of the 1974 album “JUNCTION 32” : Third Take / Whiskey In The Jar / Bill Bailey / Prickety Bush / Bold Princess Royal / Ropegate Rag.
THE LEGEND OF THE KINGFISHER	8	2003	During 1972 and 1973 local band GYGAFO recorded a variety of tracks at Holyground. Rock with a psych edge, recorded in true Holyground tradition, the band featured Charlie Speed on lead guitar. Charlie’s lead, with Eddie’s keyboards, makes the album glow. Standout tracks are “Solid Man Song”, and the long, pastoral title track. One bonus track is by a contemporary of the band, Ark; another guitar led band stretching out over a long song.
TEARS ON THE CONSOLE	9	2006	In 1975 Mike closed down Holyground (temporarily as it turned out) to start a new studio venture in Doncaster. In the last few midsummer weeks he suggested to Steve Channing that some of his songs, plus some Mike and Steve would write later on, should be recorded. Mike asked the members of 'Lazy Days' to join in giving (as he thought before the recording sessions) a line up of Steve on vocal / acoustic guitar; Dave Wilson on electric guitar; Alan Robinson on bass; and John Shepard on drums. None of the band had met Steve on the first day of recording, and to Mike's surprise Lazy Days turned up with a Hammond organ player, Mick Spurr, who also added an early Moog synth to the line-up. The results, even on the first day, were magic - a lively set of songs driven by Steve's vocals and skills on guitar, and backed by a tight and fluid group. The songs, often blued based, were lovely. The atmosphere was electric, and pushed along by the knowledge that Holyground was ending. Steve and Lazy Days had been regulars since the 70's - Steve appearing first on Jumble Lane and Lazy Days had recorded there on several occasions and in different line-ups. This CD captures the end of an era.
LOOSE ROUTES volume one	10	2002	The original Loose Routes double vinyl LP with a large format booklet consisted of many tracks which have been included with other "The Works" reissues, and in the case of Bill Nelson, on "Electrotype". This two CD release is largely unissued material and, with the other "Works" CDs, completes the Holyground recordings. Volume one covers the start of Holyground and the period upto the making of Astral Navigations in 1970/1971.
LOOSE ROUTES volume two	11	2002	Volume two starts with Thundermother and carries Holyground through to the (temporary) end in 1975. The final track is from new Holyground recordings from 1990.
ELECTROTYPE	12	2001	All the Holyground recordings made by Bill Nelson from 1968 to 1972, (excepting Northern Dream - separately available, and Teenage Archangel). The CD has 21 tracks, and covers the period from the start of Global Village up to the early Be Bop De Luxe. 68 minutes from Bill's first ever recording to the days just before signing to EMI to make Axe Victim - all the Global Village and Be Bop De Luxe recordings still in existence.

RETURN TO MAIN CD PAGE