Fog on the Tyne
Fog on the Tyne is the second studio album by the English folk rock band Lindisfarne, released on 15 October 1971 by Charisma Records.[1] Produced by Bob Johnston and engineered by Ken Scott at Trident Studios in Soho, London, the album features a blend of acoustic and electric instrumentation, reflecting the band's Geordie heritage from Newcastle upon Tyne.[2] It achieved commercial success, topping the UK Albums Chart for four weeks in early 1972, becoming the best-selling UK album of 1972, and remaining on the chart for 56 weeks, while the lead single "Meet Me on the Corner" peaked at number five.[1][3] The title track, "Fog on the Tyne", written by frontman Alan Hull, became a signature anthem for the band, capturing themes of working-class life in the industrial North East of England.[4] Lindisfarne formed in 1968 in Newcastle upon Tyne, initially as the Brethren, before renaming and releasing their debut album Nicely Out of Tune in 1970, which laid the groundwork for their folk-rock sound combining blues, rock, and regional storytelling.[5] The core lineup for Fog on the Tyne included Alan Hull on vocals, guitar, and keyboards; [Rod Clements](/page/Rod Clements) on bass, guitar, and violin; Simon Cowe on guitar and vocals; Ray Jackson on harmonica, mandolin, and vocals; and Ray Laidlaw on drums.[4] The album's raw energy and relatable lyrics propelled Lindisfarne to national fame, establishing them as key figures in the early 1970s British folk revival alongside acts like Fairport Convention and Steeleye Span.[6] In 1990, the title track was re-recorded as "Fog on the Tyne (Revisited)" with footballer Paul Gascoigne (Gazza), incorporating rap elements and reaching number two on the UK Singles Chart, reviving interest in the original amid the band's reunion efforts.[7] Fog on the Tyne has since been recognized as a landmark release and reissued multiple times, including a 180-gram vinyl edition in 2023 that underscores its enduring legacy in British music history.[6]Background
Band formation and early career
Lindisfarne formed in Newcastle upon Tyne in 1970 from the remnants of the local R&B group Brethren, which had evolved from the Downtown Faction Blues Band established in 1966 by bassist Rod Clements and drummer Ray Laidlaw.[8][9] The band's original lineup included Ray Jackson on vocals and harmonica, Alan Hull on vocals, guitar, and keyboards, Clements on bass, guitar, and violin, Simon Cowe on guitar, and Laidlaw on drums.[8][9] This configuration solidified after Hull joined in spring 1970, prompting the group to rename itself Lindisfarne in August of that year.[9] The band quickly established itself in the North East England folk scene through frequent performances in local clubs and pubs, such as Newcastle's Club a'Gogo, Quay Club, and Mayfair Ballroom, starting with their debut show at Ashington Cellar Club in May 1970.[8][9] These gigs helped build a dedicated regional following, blending covers of American folk-rock with emerging original material in an intimate, communal atmosphere reminiscent of Tyneside pub sessions.[8][5] In June 1970, Lindisfarne signed a three-year recording contract with Charisma Records, a deal that marked their professional breakthrough.[8][10] Their debut single, "Clear White Light (Part 2)," released on November 20, 1970, failed to chart despite receiving positive reviews and some radio airplay.[8][9] By this time, the band had shifted from its blues-rock roots toward a folk-rock sound deeply influenced by the Tyneside region's vibrant folk clubs and working-class ethos, emphasizing harmonious, accessible performances suited to pub environments.[8][11][12] This evolution set the stage for their move into album recording later that year.[8]Conceptual origins of the album
The album Fog on the Tyne derives its title from the opening track of the same name, penned by Alan Hull as a bittersweet ode to life on the dole in Newcastle upon Tyne, evoking the foggy atmosphere along the River Tyne and symbolizing the industrial grit, local humor, and resilient spirit of the Geordie working class.[13] Lyrics across the record frequently draw on everyday North East experiences, blending regional dialect, storytelling, and a sense of communal camaraderie to celebrate the band's Tyneside roots.[14] As Lindisfarne's principal songwriter, Alan Hull shaped the album's artistic vision, channeling influences from his immersion in local folk clubs and the broader cultural landscape of the North East to craft original material that fused traditional folk elements with rock dynamics.[15] This represented a pivotal evolution from the band's earlier performances of blues covers during their formative gigs at venues like the Club A'Gogo, toward authentic compositions rooted in Geordie identity and narrative.[16] The group intentionally adopted a raw, loose recording approach reminiscent of intimate pub sessions, prioritizing unpolished energy and genuineness over studio refinement to mirror the spontaneous vitality of their regional heritage.[17]Recording and production
Studio sessions
The recording sessions for Fog on the Tyne occurred at Trident Studios in Soho, London, during the summer of 1971.[18] The choice of this prestigious facility, known for its state-of-the-art 8-track recording capabilities, allowed the band to capture their evolving sound away from their Newcastle roots, though the distance from home introduced a sense of focused intensity to the process. Producer Bob Johnston, renowned for his work with Bob Dylan and Leonard Cohen, oversaw the sessions alongside engineer Ken Scott, emphasizing a straightforward approach to preserve the band's organic chemistry.[19] The workflow centered on tracking the core instrumentation live to retain the spontaneous energy of Lindisfarne's performances, blending folk elements like mandolin and harmonica with rock-driven rhythms for a raw, unpolished aesthetic.[6] Minimal overdubs were employed, primarily for vocal harmonies, to maintain the album's intimate, freewheeling vibe reflective of the band's Geordie heritage.[2] The band recorded over approximately one month, staying in a castle near London as part of their deal with Charisma Records.[20] A pivotal moment came during the sessions when the title track "Fog on the Tyne" was incorporated at Johnston's insistence. Originally not slated for the album, the song had premiered live at the Royal Festival Hall earlier that year, where it elicited a rapturous audience response; drummer Ray Laidlaw later recalled it "went down a storm," leading Johnston to declare it the band's defining anthem and rename the project accordingly.[13] This impromptu jamming and decision underscored the collaborative, serendipitous nature of the sessions, balancing the band's folk-rock fusion amid the studio's technical constraints.[21]Production team and techniques
The production of Fog on the Tyne was led by American producer Bob Johnston, known for his work with Bob Dylan and Leonard Cohen, who adopted a hands-off approach that allowed the band significant creative control to maintain the album's raw, organic energy.[22][20] Engineering duties were handled by Ken Scott, a veteran of sessions with David Bowie and the Beatles, whose technical expertise contributed to the album's crisp yet intimate sound.[4][23] Principal recording took place at Trident Studios in Soho, London, a facility renowned for its advanced multitrack capabilities in the early 1970s.[23] The process emphasized the band's live performance style, as evidenced by the title track "Fog on the Tyne," which was included at Johnston's urging after a strong live reception. This method preserved the communal, unpolished vibe central to Lindisfarne's folk-rock identity.[13] Techniques focused on blending acoustic elements—such as Ray Jackson's mandolin and harmonica—with electric guitars and layered vocals recorded simultaneously to evoke a choral, ensemble quality, avoiding excessive effects in favor of the natural warmth of analog tape.[4][2] Operating under the modest resources of Charisma Records, the sessions reflected a DIY ethos, prioritizing quick, efficient captures that resulted in the album's signature warm, analog tone emblematic of early 1970s British folk-rock.[20]Musical content
Style and influences
Fog on the Tyne exemplifies a fusion of folk-rock with pop sensibilities, emerging from the vibrant Tyneside music scene and marking Lindisfarne's shift toward a more acoustic-oriented sound. The album blends traditional British folk elements with rock arrangements, drawing inspiration from the British folk revival exemplified by contemporaries like Fairport Convention, while incorporating American influences such as Bob Dylan's lyrical style and songcraft.[24][25][26] Grounded in Geordie pub folk traditions, the record incorporates regional sounds from North East England, including harmonious choruses suited for communal singalongs that evoke local working-class culture and pride. This "Tyneside rock" identity contrasted sharply with the dominant London-centric rock scenes of the era, emphasizing accessible, upbeat melodies infused with wistful, folksy harmonies.[3][25][11] The band's evolution from its R&B roots in the mid-1960s—originating as the beat group The Downtown Faction—toward this acoustic-driven folk-rock style was catalyzed by the integration of Alan Hull's poetic songwriting, which added literary depth through vivid, regionally inspired narratives. Produced by Bob Johnston, who had previously worked with Dylan, the album maintains a cohesive structure unified by recurring motifs of mist, rivers, and home, creating a suite-like flow rather than isolated tracks.[27][25][24]Track listing and songwriting
The songwriting for Fog on the Tyne was led by Alan Hull, who composed or co-composed seven of the album's ten tracks, establishing him as the band's primary creative force. Contributions from other members included two songs by Rod Clements, one by Simon Cowe, and a collaboration between Hull and Terry Morgan on "Peter Brophy Don't Care," reflecting a more collaborative approach than their debut album, with all band members participating in the process. Many compositions originated as acoustic demos developed during band rehearsals in Newcastle, blending folk traditions with rock elements to capture regional identity and everyday life. The album's total runtime is 30:37,[4] and the original vinyl edition featured a textured gatefold sleeve with artwork by Trevor and Franco, including etchings of Tyne riverside scenes and band photographs.| Side | Track | Title | Writer(s) | Duration | Lead Vocals |
|---|---|---|---|---|---|
| A | 1 | "Meet Me on the Corner" | Rod Clements | 2:35 | Ray Jackson |
| A | 2 | "Alright on the Night" | Alan Hull | 3:33 | Alan Hull, Ray Jackson |
| A | 3 | "Uncle Sam" | Simon Cowe | 2:58 | Simon Cowe |
| A | 4 | "Together Forever" | Alan Hull | 2:35 | Alan Hull |
| A | 5 | "January Song" | Alan Hull | 4:15 | Alan Hull |
| B | 1 | "Peter Brophy Don't Care" | Alan Hull, Terry Morgan | 2:45 | Alan Hull |
| B | 2 | "City Song" | Alan Hull | 3:04 | Alan Hull |
| B | 3 | "Passing Ghosts" | Alan Hull | 2:30 | Alan Hull |
| B | 4 | "Train in G Major" | Rod Clements | 3:09 | Ray Jackson |
| B | 5 | "Fog on the Tyne" | Alan Hull | 3:20 | Alan Hull, Ray Jackson |