The Greatest Show On Earth
One of the most riveting fuion of rock and brass to fill the shelves of a collector would be the album The Going’s Easy by The Greatest Show On Earth who first employed vocalist Ozzie Lane for a year. Greatest Show On Earth originally formed in 1968 through guitarist Garth-Roy and his bass-playing brother Norman, both members of Living Daylights in 1967 with two single releases produced by future Hookfoot Caleb Quay. The original line-up included organist Mick Deacon, drummer Ron Prudence and three horns players, Dick Hanson, Tex Phillpotts and Ian Aitcheson.
The groups rough voiced Colin Horton-Jennings and his jazz-fusion force caught the attention of EMI’s Harvest Label who signed the group in February 1970. The group launched their “Real Cool World” / “Again and Again” single that found acceptable response on the continent. Both were reissued on their debut Horizons which opened with the psyche dazzling “Sunflower Morning”, illuminating Garth Watt Roy’s spiralling leadbreaks. Their most vibrant creation was the brass furnishing “Angelina” with a tune to die for.
The release of the debut coincided with a Radio One Session for Mike Harding on which they played three new songs “Borderline”, “Mountain Song” and “Time”. The second session included “The Leader” and “Check Me Into Your Life”, the latter having never been officially released. The bands second album The Going’s Easy exploded into the rock arena with a force of brass blasting fusion.
The percussive “Borderline” with ethnical drum and bongo fusion by Ron Prudence shudders and pounds like a cannibal orgy. Colin Horton-Jennings takes lead vox, flute and assists on percussion while Rod Prudence adequately balances the bass and lead of the Watt-Roy brothers to create a jazz-rock feel to this outstanding masterpiece. Mick Deacon rolls the organ and also provides vocals. Dick Hanson, Tex Phillpotts and Ian Aitchison forcefully blow the jazz edge with a gale of Trumpet, Flugal horn, Tenor, Alto, and Baritone saxophone. The brass theme that ends “Story Times And Nursery Rhymes” encompasses the growling vox of Colin Horton-Jennings while the crystal trickling “Magic Woman Touch” lauded by the Hollies on their Willow Winded Romany stands isolated in its purity compared to the fusion that completes the rest of the album. Mick Deacon really gets down to the jazz on “The Leader” that leads up to their tour de brass “Love Magnet”.
Garth Watt Roy went on to join the latter stages of Fuzzy Duck and session for East Of Eden. Norman Watt-Roy formed Glencoe and later Loving Awareness that evolved into The Blockheads, backing band for Ian Dury. Horton-Jennings formed Chaser and Dick Hanson recorded with The Blues Band and Mick Deacon joined Vinegar Joe.