Keith Cross and Peter Ross-Bored Civilians (1972 Brit prog rock) FLAC

I've always been a fan of Keith Cross's bands/albums T2 (the albums "It'll All Work Out In Boomland" and "T2 Also Known As Fantasy") and to some extent Bull Dog Breed, where Cross began, (the band was initially called Faith Hope and Charity) who released the psyche-pop album "Made In England". Although Cross was a later band member he didn't play on the album, even though he's pictured on the album. I've always wondered if "Bored Civilians" with Peter Ross (guitar/vocals) and Keith Cross (guitar/vocals) would ever get the reissue/upgrade treatment. Well it's finally here and it's worth checking out. This album floats somewhere between 3 and 4 "stars" depending on the tune. All the songs were written by either Ross and/or Cross except one track. The remastered sound from the original tapes is very good. The booklet is informative and interesting.

This is acoustic based music from both Ross and Cross. Those who have heard T2 will be in for a surprise. No more scorching guitar from Cross in the band's progressive style. With help from guitarist Nick Lowe and Billy Rankin-drums (Brinsley Schwarz), Jimmy Hastings (who played flute with Caravan and is Caravan guitarist Pye Hastings's brother), Elton John bass player Dee Anthony, and steel-guitarist B.J. Cole (Cochise), the songs are relatively short, with a slight tinge of English psyche and progressive sounds in places. Ross is (arguably) the better vocalist with a pretty good period sound. Cross is okay but he was never known as a vocalist. But hear his guitar work in T2.

The relatively long "Story To A Friend" has some nice flute work from Hastings. "The Last Ocean Rider" has Cross and steel guitarist Cole in a nice duel. "Peace In The End" is a song written by Trevor Lucas and Sandy Denny and performed by Fotheringay. "Pastels" is reminiscent of CS&N. "The Dead Salute" has some nice harmonica adding to its folky-pop sound. "Fly Home" makes good use of an orchestral arrangement--sounding very much like it's era. Also here are two 'B' sides ("Blind Willie Johnson" has a nice vocal) which have been around previously, and are a nice addition to this duo's slim discography. It's nice (and appropriate) to see the original album cover was used for this reissue. Cross (on the left with the sign on the wall with the album title) and Ross both taking a different path after a common starting point, and disappearing virtually from public view forever. Ross (who previously played harmonica on a couple of tunes with the band Hookfoot--who's A&M label (U.S.) albums have never been reissued--a real mystery) never again surfaced on an album as far as I know. And Cross was rumored to have moved to the U.S. and somewhere along the line was also rumored to have been very ill for a time. What these two men (especially Cross who could've been a "guitar hero") went on to do in life is a real mystery.

This isn't some great long lost "classic" album. Yet it's still a favorite of mine (for whatever that's worth) because of it's sound and feel for the period--there's just something about it that's appealing. Even the not-catchy album title seems designed to be forgotten. But it is a good example of period acoustic music from two unique players. The arrangements (combining a bit of prog/folk/West Coast/English sound) help flesh out their sound, making this album a pretty good, interesting listen. There are some fans (like me) who've waited a long time for this album to be reissued. But in 1972 when this album was released, everybody was listening to high-powered bands incorporating lengthy solos. So a low-key English/West Coast/Laurel Canyon/acoustic guitar and vocals/string arranged/steel guitar/jazzy flute/folk-style sounding album, by two (basically) unknown musicians didn't have a chance. Plus, the duo didn't play any gigs (at least that anyone remembers), and went their separate ways soon after this album--and were never heard of again. But they left us with this nifty little album. Curiously refreshing and satisfying in the best tradition of early 70's English music-making. This album grows on you the more you hear it. Now, if the Esoteric label (or someone) would reissue all