Pertti Hakala, Rare 3/1992:

Wigwam 1975-1978

[Part 2 of a major two part article. Translated and slightly abridged by Timo Rauhaniemi and Claes Johansen with some factual corrections by Mikko Meriläinen. Translator's note: the author of this article refers to songs co-written by Pembroke (lyrics)/Rechardt (music) as though they were written solely by Pekka Rechardt.]

Wigwam had reached a position as most important rock group in Finland. Then they split up in the summer of 1974. The original line-up’s final gig was at the Tavastia-Club in Helsinki on 13 June 1974. For a short while they ceased to exist and the only plans regarding the group were those concerning a forthcoming live LP of already recorded material.


After contemplating the situation for a brief while, founder members Österberg and Pembroke decided to carry on with the group. Måns Groundstroem, who by now was working as a producer for Love Records, was asked to join a bass player. His career had started in the group the Roosters, whose single ‘Crying in the Rain’/’See See Rider’ (Epic 59930) he had played on. After leaving the Roosters sometime around 1966 he went on to form Blues Section, which also included Österberg and Pembroke. During the first half of the Seventies Groundstroem had been a member of Tasavallan Presidentti. He also produced Wigwam’s album Being. Subsequent to Groundstroem’s agreeing to join Wigwam, Rechardt was also asked to join. He wasn’t particularly eager initially, but he eventually agreed. Before he finally made up his mind guitarist Albert Järvinen was also approached. Rechardt’s doubts were mainly concerning the group’s musical abilities. He was obviously not aware of the band’s potentials.

The four-piece went on to rehearse in a place called Kabböle, near the town of Porvoo on the south coast of Finland. The rehearsals took place in a local dance hall (called Krakabacka), and in their spare time the group lived in a summer house belonging to Groundstroem. The rehearsals went on for about two weeks, and the time was spent very effectively. Most of the time the group was recorded, and in the evenings there would be discussions about the recorded material.

Some old songs such as ‘Just My Situation’, ‘Do the Pigworm’ and ‘No new Games to Play’ were considered suitable for the new Wigwam. A song called ‘Rekun Jytä’ (‘Rekku’s Stomp’) was re-arranged. Later on, it was re-named ‘Pig Storm’ for release on the double live LP. Furthermore, the song ‘Imagine’ was included in the live repertoire.

To supplement these songs some new material was written, mainly by Rechardt. The first of these new songs were ‘Freddie Are You Ready’ (working title ‘Monday Pie’), ‘Save my Money and Name’ (working title ‘Cat Played the Fiddle’) and ‘Pagan Charm’ (composed by Groundstroem, working title ‘Hurricane’).

It was considered to extend the stage repertoire with some Steely Dan songs and ‘Layla’ by Derek & the Dominoes. All in all, about an hour’s worth of material was put together. This material differed considerably from that of the old Wigwam. The new line-up played more freely, with a stronger earthiness and swinging feel than its predecessor. At some stage it was even considered to change the name to Wigloo. However, the idea was dropped due to the fact that the Wigwam name had already won considerable respect and the group had scored some good reviews in the UK. The 1974 spring tour had been quite successful, and on 10 August 1974 a very positive article about the group appeared in New Musical Express.


The new line-up’s first gig was on 27 August 1974 in Matinkylä, Espoo. The venue was a youth disco. In fact, the gig was mainly a kind of dress rehearsal for the following bigger event, which was scheduled for the following day in Helsinki. The first gig at the Natsa-Club in Helsinki was nearly cancelled due to a dispute between the club owners and the Finnish Musicians' Union. At some point it was all very close to ending in a strike. However, important representatives for the Finnish record business as well as an A&R man from the American label Janus were going to be present at the gig and it was finally allowed to go ahead. But the group made no money from it. The gig didn’t go too well, mainly due to the stage repertoire being too short and under-rehearsed, and problems with the PA system. This resulted in a rumour that the new Wigwam wasn’t as good as the old line-up. But in September 1974, as the group started touring with Tabula Rasa (a Progressive Finnish group), the situation brightened up and they was well received by the critics.

In November and December 1974 Wigwam went out on a short tour of Sweden. Prior to that they had been invited to tour the UK, but the group as well as their manager Tapio Korjus thought it best to make an album first. And so, in January 1975, Wigwam entered Marcus Music Studios in Stockholm, where Pekka Pohjola and Jukka Tolonen had previously recorded solo albums.

Surprisingly, Paavo Maijanen was chosen to produce the LP. Maijanen was known as a gifted musician and had become friends with Groundstroem during the recording of a Maijanen solo single. Maijanen had not produced any records previously and knew practically nothing about the procedures involved. Perhaps that was why the entire project was taken extremely seriously. Maijanen was handed the rehearsals tapes, and in addition to these some further demos were recorded at Microvox Studios in Lahti, Finland.

Keyboard player Esa Kotilainen joined the group in the studio, bringing along a considerable amount of keyboards, including synthesizers. Maijanen contributed to the arrangements on some tracks and also performed backing vocals along with Pembroke. The entire album was recorded in less than two weeks, though some overdubs weren’t added until sometime later.

But the release of the album was postponed by Love Records, who didn’t want to put out two albums by the same group at once. The double live LP wasn’t ready for release until the spring of 1975, but when it finally came out it became the most successful Wigwam album up until that point.

After the recordings of their new album Wigwam went back on the road in January 1975 to tour Finland with Esa Kotilainen on keyboards. This time the tour was a success. The media started writing positively about the group again, calling it the greatest band on the planet. There was much expectation surrounding the up and coming LP release, exacerbated by the announcement that Wigwam had signed a contract with the British record label Virgin. The company had become interested in the group after hearing the tapes for the forthcoming album. The subsequent contract was the first important international record deal ever signed by a Finnish band up until this point.

In early May 1975 a new member was added to the group, when Heikki ‘Hessu’/’Pedro’ Hietanen, formerly with the group Pepe & Paradise, joined. The English keyboard player Ronnie Leahy had also been considered, but it was thought that the language barrier would be too much to cope with.

In may 1975 a pilot single for the new album was released, the first Wigwam single in five years, titled ‘Freddie Are You Ready’/’Kite’ (Love Records LRS 2082). It received some very fine reviews. The A-side showed Rechardt as a brilliant songwriter and also featured some excellent vocal work by Pembroke. The B-side was written by Pembroke and included a fine guitar solo by Rechardt, but it failed to reach quite the same heights as the A-side. The UK version of the single (Virgin VS 121) featured a slightly edited version of the A-side to make it more radio friendly.


The long awaited Wigwam album Nuclear Nightclub (Love LRLP 129) was released in June 1975 in Finland and in the UK (Virgin V 2035) as well as a number of other European countries. The working title of the LP had been Dead at the Nuclear Nightclub. In Finland the album received some enthusiastic reviews, though the occasional fan of the old line-up found it was too down-to-earth and commercial.

The album is, beyond any doubt, a masterpiece. The new version of the group were free from the artistic disputes that the old line-up had suffered under and the LP has a fresh and liberated spirit overall. Musically, the most interesting contributions are Rechardt’s, which feature a perfect balance between disciplined playing and some more ambitious ideas.

The opening song on Side 2, ‘Do or Die’, is a perfect example of a Rechardt’s excellent song writing skills as well as being one of the best tracks on the album. This song carries all the energy that Wigwam had been displaying at their gigs. However, the other included Wigwam stage favourite, ‘Bless your lucky Stars’, doesn’t work out quite so well because of the way Pembroke’s voice is electronically processed in a not particularly impressive manner.

The album’s low point is undoubtedly ‘Pig Storm’, an instrumental track that was also on the live album. It is obviously a filler track, only included because there wouldn’t otherwise be enough material for a full LP. Not just Rechardt’s contributions, but Pembroke’s too are crucial for artistic success of the entire record. He wrote all the lyrics (only ‘Bless your lucky Starts’ is co-written with Rechardt), and delivers them with strong conviction in his typical, eccentric style. His best efforts are the title track and the song ‘Simple Human Kindness’, which is quite a nice tune – a multi-facetted, colourful and dynamic.

The album’s only obvious weakness is its overall flat sound. Though engineered with a lot of care the quality of the sound isn’t much to write home about. This particularly goes for the drum sound.

Commercially Nuclear Nightclub was a much bigger success than any previous Wigwam record. It reached No 1 in the Finnish LP charts. Within a short span of time it sold 25.000 copies, winning the group their first gold disc in Finland, a fine achievement for an artistically ambitious progressive rock album. It was also a success with the critics. The Finnish rock magazine Soundi compared it to well-known masterpieces by Procol Harum and Genesis. Others compared it to Steely Dan, 10CC and Abbey Road-period Beatles. Finally Wigwam had found a clearly defined, down-to-earth style that was commercially satisfying and put them ahead of practically all the competition at the time.


In the wake of the group’s success with Nuclear Nightclub their touring schedule expanded vastly. They performed an open air gig at Kaivopuisto, Helsinki, in July 1975 and at the Korpirock-Festival in Mäntyharju, Finland. To cover the latter event three top notch music journalists from the UK arrived. They were Angus MacKinnon (Sounds), Allan Jones (Melody Maker) and Chris Salewicz (New Musical Express), and they liked what they saw. MacKinnon even proclaimed that Wigwam were the best rock group to have appeared within the last three years.

Nuclear Nightclub received some excellent reviews in the UK, too. Melody Maker, in particular, praised the LP and made it their Album of the Month. The harshest criticism came from New Musical Express, who had been highly enthusiastic about Being only a year before.

During the autumn of 1975 Wigwam went out on an eight-week tour of Scandinavia that turned out very well. The two concerts held in Copenhagen were particularly successful. But the group wouldn’t receive their real baptism of fire until 30 August 1975 when they were top of the bill at a free concert in London’s Hyde Park, performing before an audience of 7000 people. The Hyde Park concert was intended as the peak of Virgin’s publicity campaign for Nuclear Nightclub. The label’s original intention had been to make Paul Kossoff’s group Back Street Crawler top of the bill, in order to attract the largest possible audience. However, Kossoff suffered a heart attack a week prior to the concert. After that the groups on the bill were as follows: Third World, Byzantium, Supercharge and Wigwam. The crowd could have been bigger, but the weather in London had for a while been very bad, so there was some uncertainty over whether the gig would go ahead at all, and on top of that Van Der Graaf Generator were playing at the same time at the Marquee Club. Despite this combination of bad luck the concert went very well. Wigwam had arrived to a place near London the day before to rehearse before the gig and familiarise themselves with Kevin Coyne’s PA system, which was to be used for the performance. The preceding successful Scandinavian tour had raised the group’s spirits and the performance was carried out in a very relaxed mood. The repertoire consisted of the by now familiar songs from the Nuclear Nightclub album plus ‘Just My Situation’, ‘No New Games To Play’ and a new Rechardt composition, ‘Never Turn You In’. Reportedly, part of the gig was broadcast by British television programmes Today and Nationwide. A planned radio broadcast was cancelled at the last minute, but the concert was recorded by the Manor Mobile Studio, owned by Virgin. The following day Wigwam recorded their next single, ‘Tramdriver’, with the same equipment. It was nearly finished in one day, and only some guitar and vocal parts were added the next day at Ian Gillan’s Kingsway Studios. Once again, Paavo Maijanen was producing. The intention was to record the B-side later, a song by Pembroke called ‘Fanfaari G’ (‘Fanfare in G’), which he had written as a signature tune for a chess contest. But Virgin scrapped this idea and lifted a song from Nuclear Nightclub instead as flip side for the single.

Meanwhile, the situation in Finland was developing exactly the way the group had been hoping for. They did a major tour of the country in September and after that went on to rehearse and finalise new material in a former school building in Tuiskula, Finland. The British producer Ronnie Leahy attended the rehearsals to acquaint himself with the new songs, and subsequently Virgin hired him to produce Wigwam’s next album. Leahy went to see the group play live at a concert at Kulttuuritalo, Helsinki, on 30 October 1975. In November the group and their producer entered Marcus Music Studios in Stockholm to record the B-side for the up and coming single, which was planned for release that same year in both Finland and the UK.

The long awaited new Wigwam single ‘Tramdriver’/’Wardance’ was released in Finland in December 1975. The A-side was a fine pop song written by Pembroke. It was the most catchy and commercial Wigwam song so far, without being contrived. The B-side was penned by Rechardt and yet another example of his brilliant song-writing skills. Played back to back with the preceding album it is obvious that the group had developed a more firm and solid sound. Unfortunately, the single didn’t become a hit in the UK. It was met with mixed reactions from the critics and didn’t sell at all well.

Towards the end of 1975 the various reader’s and critic’s polls held by the Finnish music press were almost entirely dominated by Wigwam. Nuclear Nightclub was voted best album of the year, but the live album also reached high positions.

Recordings for the new Wigwam album started on 7 January 1976 at Virgin’s Manor Mobile Studio. Initially, the plan had been to take the studio to Finland, but the idea was dropped because of the considerable costs involved. With Ron Leahy at the controls the recordings took little over three weeks, after which the group took the tapes to the Marcus Music Studios for the remixing of five of the tracks.

During the spring of 1976 Wigwam was offered a job as support act for Gong on a UK tour. Similar jobs had already been offered to them some six months before, supporting Barclay James Harvest, Sparks and the Baker-Gurwitz Army. But none of this had come to anything. Likewise, a US tour as support band for Queen fell through for financial reasons.

In the UK Nuclear Nightclub had sold as decent 10,000 copies, but the ‘Tramdriver’ single had failed to reach the Top 10, which would have given the group a spot on the Top of the Pops TV show.

Virgin suggested the group move permanently to England, where some houses would be rented for them in the countryside. Pembroke and Rechardt were eager to make the move, but the others were against leaving Finland for any longer stretch of time.


The follow-up album to Nuclear Nightclub was titled Lucky Golden Stripes and Starpose and was released during the Gong/Wigwam tour in the spring of 1976. The Finnish and English versions of the album have quite different sleeves. The Finnish version featured an excellent painting by Mats Huldén, while the English counterpart had a band photo by Clive Arrowsmith. The Finnish version has lyrics printed on the inner sleeve, while the English version includes a poster with the lyrics.

Lucky Golden Stripes and Starpose received some very mixed reviews. The previous album had set such a high standard that the group were unable to replicate it.

The album heads off with two songs by Pembroke, ‘Sane Again’ and ‘International Disaster’. The first is dominated by a feeling of subdued madness. The second is a nice and straight-forward pop song. This is followed by a rather unnecessary studio jam titled ‘Timedance’. The best track on the album is Rechardt’s song ‘Colossus’, which sums up very neatly the stylistic ingredients of Wigwam at the time. ‘Eddie and the Boys’ features the first guitar solo to be heard on the album, and is the closing track on Side 1. Side 2 starts with the title track, which goes on for too long. Even the guitar solo comes across as uninspired. But the band returns to style with Pembroke’s ‘June may be too late’, keeping with the well-established Wigwam qualities. It’s another straight-forward tune with a well-constructed guitar riff. Rounding off the albums is ‘In a Nutshell’, for which Rechardt wrote both words and music, a tracks that would have worked better without Pembroke’s corny singing.

The songs on this album were more intricately constructed than those on its predecessor, but at the same time they have a rather unassuming feel about them. It seems obvious that Wigwam were avoiding the pitfall of becoming a ‘commercial’ group, much to the dismay of both Love Records and Virgin. For instance, the group rejected the idea of including the ‘Tramdriver’/’Wardance’ single on the LP, though it has to be said that such an inclusion could probably have freshened the record up a bit. On the whole it lacks colour, charisma and great solos. Heikki Hietanen fills out his role very well but isn’t given any space for soloing. Even more peculiar is the rather limited role Rechardt plays on the album. There are only few guitar solos, and even the ones that are included tend to be quite feeble and weak.

Jim Pembroke has never been more than a fine interpreter of songs, not a great singer by any traditional means, and on this album he tends to go quite overboard with his rather peculiar mannerisms. Lucky Golden Stripes and Starpose is not a spectacular or significant album of the kind that would have appealed to fans of progressive rock, and on the other hand there are too many complicated riffs to appeal to fans of mainstream rock. Still, it has to be said that though the LP doesn’t reach the same level as Wigwam’s finest albums, and though it didn’t break the group internationally, it is still quite a good rock album! It wasn’t a commercial success at all. In fact, it only sold a few thousand copies in Finland and in England even less.

The summer of 1976 was quite a good time for Wigwam. They were touring Europe and appeared at the Roskilde Festival in Denmark. In Finland they appeared live on a TV programme called Pop-Liisa, performing, among other ditties, 'Eddie and the Boys’. For some reason this song was never released as a single, despite its obvious hit potential.

Late 1976 and early 1977 was a quiet period for the group. New winds were blowing from the UK in the form of Punk Rock. Media interest – and gradually also that of the public – was turning in that direction.


Financially, these were hard times for Wigwam. There was hardly any money coming in from record sales, and gigs were getting few and far between. Pembroke cut his third solo LP during the autumn of 1976 at Marcus Music Studios. With him in the studio were Österberg, Rechardt, Paavo Maijanen. Måns Groundstroem acted as co-producer. It was at some point considered to release the album under the Wigwam name. This would bring some income from Virgin, who wanted the group to release two albums a year. Eventually the album, titled Corporal Cauliflowers Mental Function, was released as Jim Pembroke’s third solo LP. After a long delay it finally came out in March 1977.

In two ways that year started for Wigwam in the well-established fashion. All the readers’ and critics’ polls voted them best Finnish band. In February they went into Finnlevy Studios in Helsinki to record their next album. The decision was to produce it themselves, since Maijanen was busy working with his own group, Royals, and the work with Leahy hadn’t turned out well in the past.

The new album (working title Daemon Duncetan’s Request) was finished already in March, and Love Records soon after started advertising it in the media. However, at the last moment it was withdrawn. Virgin had received a test pressing of the LP and declared that they weren’t prepared to release it in this form. They found it too ‘low key’ and lacking in commercial potential. Two tracks, which were easily the best on the album – a new studio recording of the group’s old live classic ‘Grass For Blades’ and the walz-tempoed ‘Turn Stone to Bread’ – weren’t seen as suitable for the release.

Consequently, during the summer of 1977, Wigwam went back into the studio to record substitute tracks of the omitted material. They cut four songs, three with music written by Pembroke and one by Rechardt. The album was subsequently remixed in the autumn of 1977, pushing the release date considerably.

In the autumn of 1977 Wigwam was on the brink of breaking up but decided to continue under the same name. All the members had to take on other jobs in order to make a living. Heikki Hietanen had started backing the famous Finnish musical eccentric M.A. Numminen and quit the group sometime during the autumn. On some occasions Esa Kotilainen replaced him, and even Jukka Gustavson was seen playing live again with Wigwam during some gigs. But it was becoming clearer that Wigwam were reaching the end of their career. On top of that, Love Records were also facing severe financial problems.


Finally, just before Christmas 1977, the new Wigwam album was released under the title Dark Album (Love LRLP 227). Other suggestions for a name had been Punk Freud, Wish you were Beer and Beat the Meatles. The record didn’t quite make the Christmas sales and Love Records didn’t advertise it at all. It was a pity that this album was almost entirely ignored, because it was a much better achievement than its predecessor. The line-up was the same as on Nuclear Nightclub, with Hietanen credited only as a guest musician. Other musicians helping out in the studio were backing vocalists Paavo Maijanen and Timo Kojo, and Jukka Gustavson played organ on two tracks.

The album starts with a laid-back Pembroke track called ‘Oh, Marlene’. The lyric dates back to the time of Nuclear Nightclub. The other two Pembroke compositions on the LP don’t quite reach the level of this opener. The song ‘Silver Jubilee’, with words by English poet Gerard Manley Hopkins, is clearly just a filler track. ‘Helsinki Nights’, which rounds off side 2, is much better though the lyrics read like they have been taken straight from a tourist guide to the town!

Rechardt has some significant contributions, both as songwriter and guitarist. ‘Cheap Evening Return’ might be one of the most beautiful songs Wigwam ever wrote. The intelligent arrangement (slightly altered during the remixing stages) turns the song into a genuine Wigwam classic. Mats Huldén wrote the lyrics for ‘The Item is Totem’, another fine example of Rechardt’s skills.

Side 2 begins with Rechardt’s ‘Horace’s Aborted Rip-Off Scheme’, which along with ‘The Vegetable Rumble’ signals a new side of the group. The complicated riffs from the last album are replaced by a more rocking style. Perhaps the best song on the album is ‘The Big Farewell’, a very beautiful ballad featuring Pembroke and Rechardt at their best.

Commercially, Dark Album shared faith with its predecessor; sales were very slow. Likewise, no single was lifted from the LP. In fact, Dark Album was almost completely ignored at the time of its release. It is without a doubt the most severely underestimated of all Wigwam’s records.


Around the time of the release of Dark Album it was becoming quite obvious that Wigwam wouldn’t last much longer. Virgin refused to release the album in the UK and cancelled their contract with the group. Many changes had been made at the A&R department at Virgin, and Wigwam along with groups such as Henry Cow and Can were cold-bloodedly axed. Wigwam did a Scandinavian tour towards the end of 1977, but it was not a success.

The group never had the international break-through it had hoped for. But its demise left a lot of ‘ifs’. What might have happened IF the group had moved to England, IF they’d had enough money and sponsors behind them, IF Punk Rock hadn’t come along until a couple of years later ... but all wishful thinking were now in the past and the member were all facing severe financial problems. Furthermore, Finland was in a state of recession, fighting problems such as unemployment and a general sense of apathy. In such an environment there was no room for a band like Wigwam.

In June 1978 the group did a gig at the Punkarock festival at Punkaharju, in Finland. It was their 10 year anniversary, but the event was no big success.

In early August 1978 New Musical Express printed an article that was very positive towards both Dark Album and Corporal Cauliflower. It was half a page long and the first positive article the magazine had printed about Wigwam since the release of Being. But it was too late to change things now.

Subsequently, Rechardt has been writing music for theatre performances. Jim Pembroke wrote some lyrics for the Finnish band Hurriganes (on the album Hanger) and later on did some work with a Finnish singer called Timo Kojo. By the end of the 1970s he had a group called the Jim Pembroke Band, which later on shortened its name into Jimbo. Ronnie Österberg was the drummer in the former group. Besides this work he also did regular radio shows for the Swedish language department at the Finnish state radio [Finland has a significant Swedish-speaking minority, which several Wigwam members belonged to, cj]. Österberg died unexpectedly on 6 December 1980.

Groundstroem took on all kinds of jobs as a record producer and later on joined Hasse Walli’s group. Many thought that Wigwam was dead and buried forever. However, in July 1979 Virgin released a mid-priced double album called Rumours on the Rebound (Virgin BGD 3503), which concentrates on the later stages of the group. Two songs from Nuclear Nightclub are included (the title track plus the LP version of ‘Freddie Are You Ready’). Almost all of Lucky Golden Stripes is represented, with only the album’s three weakest tracks (‘Sane Again’, ‘Timedance’ and ‘In A Nutshell’) left out. Likewise the ‘Tramdriver’ single found its way on to the album along with its Finnish B-side ‘Wardance’. The second LP of this double issue concentrates on Dark Album and Corporal Cauliflowers Mental Function. By far the most interesting track is taken from the abandoned first version of Dark Album, ‘Turn Stone into Bread’, now re-titled ‘Daemon Duncetan’s Request’.

On the whole, Rumours on the Rebound is a fine collection of songs presented in excellent cover art by Mats Huldén. There is also a lyric sheet included, while the back of the sleeve has expertly written notes by Angus McKinnon praising the group. With this release Wigwam once again received some fantastic reviews for their unique and excellent music. The general feeling was that if timing and other circumstances had been different the group could have taken its place among the biggest names internationally.


Much to everyone’s surprise Wigwam was reunited and returned to play live during the summer of 1991 with an appearance at the Provinssirock-festival in Seinäjoki, Finland, after almost fifteen years of silence. The initial intention was only to reform for this one occasion. The line-up was Pembroke/Rechardt/Groundstroem/Hietanen, with Jan Noponen replacing Ronnie Österberg on drums. Before the gig (which took place on 9 June 1991) the group had been rehearsing for a month.

At the Provinssi-rock festival Wigwam performed some of their old classics and even a few new songs in front of an audience consisting of mainly of young people who had never seen them play live before. It was such a success that the band decided to continue, and the appearance was followed up by club gigs all over Finland. The group was also top of the bill at an open air free concert in Kaivopuisto, Helsinki, in July 1991 (in front of an audience of 30,000).

Meanwhile Hietanen got bored with touring with the group and was replaced by another keyboardist, Mikko Rintanen. There are currently plans to record a new Wigwam album. Mats Huldén, who has been doing the live mixing, is going to produce.

The final 2 1/2 pages of this article concerns Wigwam releases as collector’s items, as well as the group’s reissues on CD. Since the article is 15 years old this information is on the whole no longer relevant and is therefore omitted. However, the following is of interest:

By far the most interesting of all Wigwam re-issues is the 1985 [i.e. 1987] version of Dark Album. Due to a mistake the abandoned six-track version of this album was pressed in 200 copies before the error was detected. Around half of these were recalled from shops and destroyed, meaning that there are still some 100 copies of this mis-pressing around. This album shows how the album Daemon Duncetan’s Request was originally intended. The tracks on Side 1 are slightly different mixes from those on the official Dark Album [but the same as on Rumours on the Rebound, cj]. However, Side 2 is much more interesting. It heads off with ‘The Vegetable Rumble’. During the intro to this song you can hear a part of the track ‘International Disaster’. However, the jewel in the crown is the nine minute version of ‘Grass for Blades’ which, along with ‘Turn Stone to Bread’ were omitted from the official Dark Album.

See also Wigwam 1968-74.