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Stone the Crows

Stone the Crows was a Scottish band formed in in late 1969, initially under the name Power before being renamed by Led Zeppelin manager Peter Grant after an impressed audience member exclaimed the phrase during their debut performance at the Burns Howff bar. The group blended elements of , and soul, emerging from the working-class pub scene and gaining recognition for their raw energy and powerful stage presence, with core members including vocalist , guitarist Les Harvey, bassist Jimmy Dewar, keyboardist John McGinnis, and drummer . Fronted by Bell's gritty, Janis Joplin-esque vocals and Harvey's expressive guitar playing, the band signed with through Grant's management and relocated to later that year, setting the stage for a brief but influential career in the early 1970s British rock scene. Over their active years from 1969 to 1972, Stone the Crows released four studio albums—Stone the Crows (1970), Ode to John Law (1970), Teenage Licks (1971), and 'Ontinuous... Performance (1972)—which showcased their evolution from bluesy roots to more progressive and soul-infused sounds, though commercial success remained elusive despite critical praise for Bell's vocal prowess. The band toured extensively, including opening for acts like , and underwent lineup changes, with leaving in 1971 to join and temporary contributions from musicians such as Peter Green and on guitar. Their trajectory was marked by internal tensions and bad luck, culminating in the tragic onstage of Les Harvey on May 3, 1972, during a concert in , , which led to the band's dissolution shortly thereafter. Despite their short lifespan, Stone the Crows left a lasting impact on Scottish , with pursuing a successful solo career and earning accolades as a top female vocalist, while the group's story of raw talent overshadowed by misfortune has cemented their status as one of Scotland's great lost bands of the era.

Formation and Early Years

Origins and Naming

Stone the Crows was formed in late 1969 in , , by guitarist Leslie "Les" Harvey and vocalist , who had been introduced to each other by Harvey's older brother, singer Alex Harvey. Prior to this, Bell and Harvey had performed together in the folk-oriented Kinning Park Ramblers, a local group that provided their initial grounding in acoustic and blues-influenced music. The pair, who were engaged at the time, had been saving money from earlier gigs while aspiring to a professional career in or the , using a reel-to-reel tape recorder to rehearse and demo material. Initially operating under the name , the band caught the attention of Peter Grant, the renowned manager of Led Zeppelin, during a performance at Glasgow's Burns Howff bar in 1969. Grant, impressed by their raw energy, exclaimed "Stone the crows!"—a expression of —upon hearing them, which inspired the band's new name. He partnered with to manage the group, facilitating their relocation to later that year and securing an initial recording deal with . Under management, Stone the Crows began transitioning from their folk and blues roots toward a harder rock sound, performing early gigs in and clubs as well as on American military bases in . These shows, often in challenging environments like air bases, honed their powerful stage presence and helped build momentum ahead of their professional breakthrough.

Original Lineup and Debut

Stone the Crows' original lineup consisted of on lead vocals, Les Harvey on guitar, on drums, Jim Dewar on bass and backing vocals, and John McGinnis on keyboards. This quintet formed in in late 1969 from the remnants of the band , with the name inspired by a Scottish expression suggested by Led Zeppelin manager Peter Grant during an early gig. Seeking greater opportunities beyond the Scottish scene, the band relocated to within weeks of forming, crashing with musician Alex Harvey and leveraging contacts to build momentum. There, they signed with and entered to record their self-titled debut , released in 1970. Produced by Mark London, the LP featured a mix of original songs like "The Touch of Your Loving Hand" and covers such as ' "," showcasing Bell's powerhouse vocals and Harvey's bluesy guitar work. In parallel with recording, Stone the Crows honed their live sound through early performances, including a challenging U.S. tour in spring 1970 under Grant's management, which provided exposure despite tough conditions. These shows, often in pubs and theaters, highlighted the band's raw energy and Bell's Janis Joplin-esque delivery, setting the stage for their emergence in the British blues-rock circuit.

Career Trajectory

Rise with First Albums

Stone the Crows' self-titled debut , released in early 1970 on , introduced the band's raw sound to audiences, featuring powerful vocals from and guitar work by Les Harvey alongside the original lineup. The record included a standout single, "The Touch of Your Loving Hand," which highlighted their soulful blend of covers and originals, such as the epic 17-minute track "I Saw America." Produced with input from at , the captured the band's energetic live style and laid the foundation for their growing reputation in the UK rock scene. The follow-up, Ode to John Law, arrived in October 1970, further refining their blues-infused with tracks like "Sad Mary" and "Mad Dogs & Englishmen," the latter serving as a nod to their touring experiences. Recorded to emphasize their improvisational prowess, the album showcased improved production and Bell's commanding presence, contributing to the band's momentum despite modest commercial returns. Accompanying singles and radio play helped amplify their visibility, as the release coincided with increased media exposure. To build on these initial efforts, Stone the Crows undertook rigorous touring across the , , and the in 1970 and 1971, often in high-profile support roles that exposed them to larger audiences. They opened for on his Mad Dogs & Englishmen tour, delivering intense sets that resonated with rock enthusiasts, and shared stages with Led Zeppelin during the "Electric Magic" events at Wembley Empire Pool in November 1971. These opportunities, bolstered by frequent sessions—including performances on John Peel's in 1970 featuring tracks like "Sad Mary" and Alan Black's Sounds of the 70s in 1971—fostered a loyal fanbase within the burgeoning community. The band's reputation as a dynamic live outfit, known for extended jams and Bell's Janis Joplin-esque delivery, solidified their breakthrough during this period.

Lineup Shifts and Key Challenges

In 1971, following the release of their second album Ode to John Law, Stone the Crows underwent significant lineup changes when bassist and vocalist Jim Dewar and keyboardist John McGinnis departed the band in February. They were promptly replaced by bassist Steve Thompson and keyboardist , revitalizing the group's sound with fresh contributions while retaining core members on vocals, Les Harvey on guitar, and on drums. This second lineup recorded the band's third album, Teenage Licks, released later that year on , featuring a blend of blues-rock tracks that showcased the new members' integration, including Leahy's prominent work on songs like "Big Jim Salter" and "Mr. Wizard." Tragedy struck on May 3, 1972, during a at the Top Rank Suite in , , when guitarist and co-founder Les Harvey was fatally electrocuted after touching an ungrounded microphone while his hands were wet from the rainy conditions. Harvey, aged 27, collapsed onstage in front of bandmates and crew, and despite immediate medical attention, he was pronounced dead at the scene from caused by the electrical shock. The incident led to the immediate cancellation of Stone the Crows' ongoing UK tour, as the band grappled with profound grief and logistical disruptions, prompting a period of uncertainty about their future. In June 1972, to continue performing, the group recruited 19-year-old guitarist , formerly of , as Harvey's replacement, bringing a younger, energetic edge to the lineup amid the emotional turmoil.

Final Recordings and Dissolution

The band's fourth and final studio album, Ontinuous Performance, was released in October 1972 on , approximately four months after the death of guitarist Les Harvey. Recorded in a converted stable in , , the album featured the lineup of vocalist , drummer , bassist Steve Thompson, keyboardist , and new guitarist , who contributed to two tracks including the closing tribute "Sunset Cowboy," dedicated to Harvey. Despite the challenges of lineup changes following Harvey's onstage in May 1972, the album showcased the band's -rock energy with songs like "On the " and "Penicillin ." It achieved moderate commercial success, peaking at number 33 on the and spending three weeks in the Top 100. The period surrounding Ontinuous Performance was marked by significant internal tensions and management challenges that ultimately contributed to the band's instability. Harvey's sudden death had a profound emotional and creative impact, forcing the group to audition replacements including Peter Green and before settling on the young McCulloch; this upheaval strained relationships within the band. Tensions escalated due to personal issues, such as keyboardist Leahy's disagreements with other members, and broader frustrations with "attitudes" that Bell later cited as eroding group cohesion. Management, led by Peter Grant and Mark London, increasingly prioritized Bell's potential solo career, viewing her as the band's primary asset and pushing for a lucrative deal that sidelined the rest of the lineup. In early 1973, Stone the Crows embarked on a promotional tour for Ontinuous Performance, delivering strong live shows that highlighted McCulloch's guitar work alongside Bell's powerful vocals; however, these performances underscored the growing irreconcilability of the band's dynamics. Their final appearance came at the Golden Rose of Festival in in April 1973, capturing the group at a high point just before the end. The tour's exhaustion, combined with unresolved internal conflicts and management's focus on Bell, led to the decision to disband in 1973. Following the dissolution, the band's assets, including contracts and equipment, were handled through Grant's ongoing management of Bell, with the remaining members dispersing without reported major disputes.

Musical Style and Impact

Core Sound and Influences

Stone the Crows were a Scottish rooted in , incorporating , R&B, and elements into their sound. Their emphasized raw and emotional depth, drawing from the pub rock scene of while expanding into more experimental structures, such as multi-part suites and complex time signatures on tracks like those from their 1970 album Ode to John Law. This blend created a dynamic, -driven style that moved beyond standard , as drummer noted: "It was a blues-based band, but it was a bit proggy as well. We went a little bit further than the usual bloody twelve-bars." Central to the band's identity was the powerful vocals of lead singer , often compared to for their lusty range, emotional intensity, and abandon across , , and genres. Bell's delivery brought a haunting presence to live performances, belting out tunes with control and movement that captivated audiences, earning her recognition as Britain's top female vocalist in polls. Her style was influenced by early figures like and , infusing the band's songs with a soulful urgency that highlighted themes of hardship and resilience. Guitarist Les Harvey provided the stormy, distinctive backbone of Stone the Crows' sound, blending traditions with a raw, energetic edge that drove their live intensity. His playing, marked by trebley riffs and subtle mood-setting, complemented the band's progressive leanings and supported extended improvisations, as heard in pieces like "Friend." Harvey's contributions, rooted in the Scottish rock scene alongside influences from his brother Alex Harvey, added a folk-tinged to the framework, though his career was tragically cut short in 1972. The rhythm section, featuring bassist/vocalist Jimmy Dewar and drummer in the original lineup, delivered a groovy, propulsive foundation that amplified the band's collective power. Keyboards, played by John McGinnis and later , introduced jazz-rock and classically inspired textures, enhancing the progressive soul dimension and allowing for layered, dynamic arrangements. This ensemble approach ensured a cohesive, high-energy performance style that prioritized interplay over individual .

Critical and Commercial Reception

Stone the Crows received mixed contemporary reviews during their active years, with critics often praising the band's raw energy and Maggie Bell's powerful vocals while critiquing their inconsistency and underdeveloped songwriting. Their 1970 debut album was lauded for tracks like "The Touch of Your Loving Hand," "Raining in Your Heart," and her soulful cover of "Fool on the Hill," which captured the group's live intensity, but longer pieces such as the 17-minute "I Saw America" were faulted for failing to coalesce into a unified whole. The follow-up, Ode to John Law (1970), earned positive notes for Bell's soulful delivery on covers like "Danger Zone," yet was criticized for lackluster original material and production that buried Jim Dewar's contributions. Later releases like Teenage Licks (1971) and Ontinuous Performance (1972) continued this pattern, highlighted for Bell's commanding presence and tracks such as "Big Jim Salter," but hampered by lineup changes and a perceived shortfall in memorable compositions. Commercially, the band achieved modest success, primarily in the UK, where only their 1972 album Ontinuous Performance charted, peaking at number 33 and spending three weeks on the Official Albums Chart. Their earlier albums sold meagerly despite favorable press, with no major hit singles and limited international breakthrough, reflecting the challenges faced by many Scottish acts in the early 1970s. In retrospect, Stone the Crows have gained appreciation for their authentic, gritty contribution to the blues rock landscape, often viewed alongside contemporaries like and [Savoy Brown](/page/Savoy Brown) for their working-class ethos and fusion of soulful blues with progressive elements. Reissues and archival releases have underscored the band's raw passion, particularly Bell's Joplin-esque intensity, positioning them as an underrecognized force in the genre despite their short tenure.

Members and Post-Band Careers

Principal Members

The principal members of Stone the Crows were on lead vocals, Les Harvey on guitar, on drums, Jim Dewar on bass and vocals, John McGinnis on keyboards, with later additions including on keyboards, Steve Thompson on bass, and on guitar. , a Scottish vocalist born in 1945, served as the band's powerful lead singer and co-founder, bringing a gritty blues-soul style honed from her early professional gigs starting at age 18 in local Scottish bands and subsequent tours of U.S. air bases in alongside Les Harvey. Her commanding presence and harmonies with Dewar defined the band's dynamic vocal front, contributing to their raw energy on stage and records. Les Harvey, the band's guitarist and co-founder, was the younger brother of Scottish musician Alex Harvey, who introduced him to Bell; born in 1944 in , he shaped the group's blues-rock sound through his soulful, fluid playing and key songwriting contributions, including co-writing tracks with Bell during their pre-band outfit . His earlier experience touring the U.S. with band Cartoone influenced the band's ambitious arrangements. Colin Allen, an experienced English drummer born in 1938, joined as the band's rhythmic backbone and primary lyricist, drawing from his prior work with Zoot Money's Big Roll Band, Georgie Fame, and John Mayall's Bluesbreakers to provide a solid, jazz-inflected groove that supported the band's direction. He remained a core member through lineup changes, contributing lyrics inspired by his U.S. tours, such as in "I Saw America." Jim Dewar, a Scottish and vocalist from born in 1942, was an original member whose warm, soulful backing vocals complemented Bell's leads and whose bass lines anchored the band's bluesy foundations; his early career included stints with The Gleneagles and before joining Power and then Stone the Crows. He later became known for his collaborations with guitarist . John McGinnis, the original keyboardist, added atmospheric organ and textures to the band's debut lineup as part of the pre-Stone the Crows group , though his contributions were limited by personal issues leading to his departure after the second album. Ronnie joined on keyboards in 1971 following McGinnis's exit, bringing a fuller sound to albums like Teenage Licks and enhancing the band's evolving rock arrangements until the 1973 dissolution. Steve Thompson replaced on bass in 1971, providing a steady, non-vocal low-end drive that revitalized the rhythm section for the later albums, drawing from his experience with . Jimmy McCulloch, a young Scottish guitarist and alumnus of , joined in 1972 after Harvey's death, infusing fresh flair and lead work into Ontinuous Performance tracks like "Sunset Cowboy" before his brief tenure ended with the band's breakup.

Individual Legacies

After the band's dissolution in 1973, pursued a solo career, releasing her debut album in 1974 on , followed by Suicide Sal in 1975 on , the latter featuring a guest contribution from on the track "If You Don't Know". Bell had earlier gained prominence through her backing vocals on Rod Stewart's 1971 album , including the hit single "". Later, she fronted the short-lived blues-rock group Midnight Flyer, with whom she recorded a self-titled album in 1981. Jimmy McCulloch transitioned to Wings in 1974, serving as lead guitarist until 1977 and contributing notably to tracks like "". His tenure with Wings included tours and recordings that helped solidify the band's post-Beatles success. McCulloch died on September 27, 1979, at age 26, from due to a and overdose in his flat. Jim joined Robin Trower's as bassist and vocalist in 1973, remaining until 1984 and co-writing much of the band's material during a prolific period. He co-authored the and other songs on Trower's breakthrough 1974 album , which peaked at number 7 on the and featured Dewar's soulful vocals alongside Trower's guitar work. Dewar's contributions helped define the band's blues-rock sound, influencing subsequent releases like (1975). Colin Allen continued as a session for various artists. He also engaged in drumming , offering instruction and clinics that emphasized and techniques, drawing from his experience with bands like Stone the Crows. Ronnie Leahy undertook session and touring work post-1973, collaborating with in the Jack Bruce Band around 1975, as well as contributing keyboards to ' recordings in the mid-1970s. His keyboard skills supported the pop- arrangements of the Rollers during their commercial peak. Les Harvey's untimely death by on May 3, 1972, during a Stone the Crows performance at the Top Rank Suite in , —caused by touching an ungrounded microphone stand—remains a poignant tragedy in rock history, highlighting the era's electrical hazards in live settings. Though his career was cut short, Harvey's raw, blues-inflected guitar style influenced a generation of Scottish musicians, including his brother Alex Harvey and later players in the scene, cementing his legacy as a pioneering figure in British blues-rock.

Discography

Studio Albums

Stone the Crows released four studio albums during their active years from 1970 to 1972, all issued by in the UK. These recordings captured the band's evolution from raw to more polished influences, reflecting lineup changes and production shifts. The debut album, Stone the Crows, was released in January 1970 and produced by Mark London, who had ties to earlier acts like . It featured the original lineup including vocalist and guitarist Les Harvey, establishing the band's gritty, soul-infused sound with tracks like "The Touch of Your Loving Hand." No UK chart position was achieved. Their second effort, Ode to John Law, followed in October 1970, retaining the core lineup and building on the debut's foundation with extended jams such as "Sad Mary." The marked the band's initial entry into the charts, though it did not reach the top 40. Teenage Licks, issued in June 1971, introduced a revamped lineup following the departure of drummer , with new members including bassist Steve Thompson and drummer Russell Grassby contributing to a tighter, more aggressive style on originals like "Big Jim Salter." It did not chart in the UK. The final studio album, Ontinuous Performance, appeared in 1972 and peaked at number 33 on the , spending three weeks in the top 75. Recorded amid internal tensions, its title derived from a misspelled "continuous performance" sign at a venue; tracks like "Penicillin Blues" highlighted the band's enduring roots before their dissolution.

Live Releases and Compilations

Stone the Crows' live releases and compilations emerged primarily after the band's dissolution in , drawing from archived radio performances and recordings to preserve their energetic blues-rock sound. These releases highlight the group's raw stage presence, particularly the interplay between vocalist and guitarist , capturing sessions that were not commercially available during their active years. The BBC sessions represent a cornerstone of their posthumous output, with early volumes issued in 1998 by Strange Fruit Records. The BBC Sessions, Volume 1 – 1969–1970 compiles tracks recorded for John Peel's Top Gear, including renditions of "Raining in Your Heart" and "Touch of Your Loving Hand," showcasing the band's formation-era intensity from November 1969 broadcasts. Similarly, The BBC Sessions, Volume 2 – 1970–1971 features later sessions from Sounds of the Seventies, with performances like "Faces" and "Keep on Rollin'," recorded in June 1971 and emphasizing their evolving edge. In 2002, Repertoire Records released Live Montreux 1972, a live documenting the band's appearance at the in May 1972, just months before their breakup. This five-track set, including extended versions of "On the Highway" and "Good Time Girl," captures their final lineup's improvisational prowess in a concert setting. The recording, previously unreleased, provides insight into their live dynamics shortly after the release of their final studio . Archival compilations continued into the 2000s and 2010s, aggregating radio material for broader accessibility. Radio Sessions 1969–1972, a two-CD set from Angel Air Records in 2009, remasters 19 tracks spanning appearances from 1969 to 1972, such as "Freedom Road" and "Hollis Brown," offering a chronological overview of their broadcast history. In 2014, issued BBC Sessions 1969–1972 as a limited-edition two-LP , combining selections from the earlier volumes with additional outtakes, limited to 500 copies for collectors. Later releases in the further expanded access to their live material. Repertoire Records' Live at the BBC (2022), a four-CD set, compiles BBC radio sessions and live concert recordings from 1969 to 1972, including performances from and Sounds of the Seventies, with by . In 2023, Repertoire followed with Transmissions, a six-CD plus two-DVD featuring over three hours of live concerts, television appearances, and studio tracks from 1970 to 1973, highlighting their stage energy and evolution. Notable among other compilations is the 1999 release The Very Best of Maggie Bell & Stone the Crows on Global Television, which includes select live and studio tracks from the band alongside Bell's solo work, serving as an introductory anthology though not exclusively live-focused. These releases collectively underscore the enduring interest in Stone the Crows' unreleased material, sustaining their legacy through high-fidelity archival efforts.

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