Jim Cregan

Approximately fifty miles North West of Bournemouth, close to the Dorset and Somerset border, lies the small town of Yeovil. Once famous for glove making, the local football team is known as The Glovers. It is now a centre for aviation and defence industries. It was here on 9th March 1946 that James Gregan was born to Irish parents, Robert and Evelyn, the youngest of three siblings, after Maurice and Joyce. His father worked a variety of jobs, including blacksmith, postman, an aircraft fitter during the war and at the Westland helicopter factory, Yeovil’s largest employer.

The young James suffered from chronic asthma and his parents, hoping prolonged exposure to the sea air would improve his health, moved the family to the Parkstone area of Poole when he was five years old. Unfortunately, the relocation failed to cure his breathing difficulties, but the condition improved dramatically when he reached puberty. Jim attended Longfleet Infants School, where he acquired the nickname ‘Ginger’ because of his shock of curly red hair (eight years later future Rod Stewart drummer Tony Brock would attend the same school and the pair would play in Stewart’s band together throughout the eighties). He also joined the 1st Lilliput Sea Scouts, where he learnt to sail, a passion that has stayed with him throughout his life. When he was nine years old, a friend of the family gave him a ukulele with one string on which he would spend hours picking out the melody of his favourite songs of the day, such as “Rock Around the Clock”. In fact, he became so besotted with the instrument that it became a distraction, and his father would lock the ukulele in a cupboard until he had finished his homework.

The Falcons circa 1962 Left to Right: Jim Cregan, Mike Domay and Bill Nims

In 1957, Jim passed his eleven plus exam and entered Poole Grammar, where he joined the school boxing club. The following year he received a cheap acoustic guitar for Christmas and from that time forward there was no looking back, as music became his abiding passion. After learning a few basic chords, he made his first public appearance at the central library in Lagland Street, Poole, performing a set of Irish rebel songs. At fourteen, he formed his first group, The Falcons, an instrumental outfit modeled on The Shadows as Hank Marvin was Jim’s hero, with school friends Mike Domay on bass, drummer Bill Nims and second guitarist Barry, who sadly died in a motorcycle accident. Their first gig was at a youth club connected to St. James, in Church Street, Poole, where Jim had to borrow an electric guitar as he had yet to upgrade his equipment. The Falcons played around the area for two years in pubs and clubs, however, it all came to an abrupt end when his father took a job in London while Jim was studying for his A-level exams and the family (sans his sister who had married and brother who had joined the army) moved to Eastcote in the London borough of Hillingdon. As for the remaining Falcons, Bill Nims went on to play with Greg Lake in The Shame and Mike Domay joined The South Coast 5ive.  

Jim continued his education at the Harrow School of Art and Harrow Technical College, alternating between the two, but bunking off both, as neither school checked to see if he was in attendance. He also lost no time in forming a new band, The Coronado Four, named after a less successful model of Fender guitar, with guitarist Adrian Sumption, the original bassist from Johnny Kidd and the Pirates Ken Mckay and drummer Peter Hocking. Initially, a pop covers band playing Beatles numbers and various chart hits, they changed their name to The Dissatisfied Blues Band after falling under the spell of Muddy Waters, Jimmy Reed, B. B. King and Sonny Boy Williamson. Gigs at the Marquee Club in Wardour Street and Klooks Kleek in West Hampstead followed, plus support spots with The Kinks, The Spencer Davis Group and The Yardbirds. One of Jim’s abiding memories was backing one of his heroes, Howlin’ Wolf, who was in the country for a short tour with his sidekick, guitarist Hubert Sumlin.

After a few months, drummer Peter Hocking was spirited away to join Ronnie Wood’s band The Birds and Andrew Steele was chosen to take his place after they spotted him at the Marquee playing with The Herd. However, Steele was in demand and received a telephone call from Joe Meek to come to his studio in Holloway Road and try out for The Tornados, who were still schlepping around the clubs on the back of their huge hit “Telstar” to diminishing returns. Jim volunteered to drive Steele to Meek’s studio and accompanied him while he auditioned for the eccentric producer, and although Meek was impressed with the drummer, he didn’t take to him as a person and offered Jim a position in the group instead. The job lasted all of six months, giving Jim invaluable experience playing with a name band, but he soon tired of the less than salubrious venues and churning out the same old hits night after night and quit.

Next up was a one-off deal with Julian Covey and the Machine. The pianist Ramon Bouche was booked to appear on a TV variety show in his native Ghana in July 1965 and needed a back-up band to accompany him. Jim was offered the job by drummer Covey, joining future Yes bassist Chris Squire. The all-expenses paid trip to Accra went without a hitch, despite the lack of rehearsal and was the first time Jim had been out of the country, flown in an airplane and appeared on television.

The Gravediggers were formed in London in 1964 by Brian Godding on guitar and vocals, bassist Brian Belshaw, Alan Kensley on guitar and drummer Fred Love. After six months, the two Brian’s left full-time employment to go professional, resulting in the departing Kensley being replaced by Eddie Lynch and Colin Martin stepping in for Love. The reshuffle brought about a name change to The Ingoes after a little known instrumental, “Ingo”, by Chuck Berry. The band picked up a few gigs in pubs and clubs around London before accepting a three-week residency in Dortmund, Germany. On their return, Giorgio Gomelsky, a Georgian émigré best known for running the Crawdaddy Club out of the Station Hotel in Richmond where The Rolling Stones made their name, signed them to his agency. One of his first assignments was to fix them up with several dates backing the bluesman, Sonny Boy Williamson.

For whatever reason, Gomelsky wasn’t impressed with Eddie Lynch and sacked him without the band’s knowledge and hired Cregan as a replacement. He had spotted Jim playing with The Dissatisfied Blues Band while supporting The Yardbirds at the Marquee and had made a mental note. Godding was not impressed with their manager interfering with the make-up of the band, but soon accepted the new guitar player into the fold.  

The Ingoes Left to Right: Brian Godding, Jim Cregan, Colin Martin & Brian Belshaw

In November 1965, The Ingoes released a single in Italy, “Se Non Mi Aiuti Tu”, an Italian version of The Beatles “Help”. It sank without a trace. A jaunt to Paris followed with a gig at the small Le Bilboquet club, then a three-month residency at the newly opened Le Bus Palladium where the clientele included stars of the screen Sean Connery, Jane Fonda and Gregory Peck plus the Spanish surrealist Salvador Dali. Gigs around Paris and the French ski resorts became their bread and butter and their notoriety landed them a gig backing Chuck Berry at the Olympia. Chuck would turn up at gigs with just his guitar and a case to stash the cash, which he insisted be paid up front before he stepped foot onto the stage. He would also expect a back-up band to be supplied that could follow his lead. Luckily, The Ingoes were up to the job. Just before a two-week jaunt around Morocco performing in Embassies and at private parties with a magic act and a husband and wife duo, the group released a French only EP to promote a new dance to hit France, The Monkiss. The record flopped, and the dance failed to rival the Twist, ending up on the dance craze scrapheap along with the Wobble and the Buzzard.       

On their return to London, Gomelsky decided it was time for the Ingoes to undergo a name change to reflect the prevailing mood of musical exploration. His assistant Hamish Grimes came up with Blossom Toes. The band also gained a new drummer in Kevin Westlake from the Walker Brothers touring band, Johnny B Great and the Quotations. In a bid to leave The Ingoes behind, they dropped their old repertoire of soul and pop covers and began to write their own material ready for an album which would be released on Gomelsky’s own independent label, Marmalade. Their debut three track single, “What on Earth”, “Mrs Murphy’s Budgerigar” and “Look at Me, I’m You” plucked from their album, displayed an overt psychedelicized direction in keeping with the musical fad of the day. Produced by Gomelsky, the fifteen songs that made up We Are Ever So Clean were mostly written by Godding and Cregan, although they didn’t get to play on all of them. The band cut several tracks live in the studio, then Gomelsky brought in session musicians such as guitarist Jimmy Page and drummer Alan White to finish the songs off before arranger David Whittaker coated the whole concoction in brass and strings. A contemporary review from Melody Maker called it “Giorgio Gomelsky’s Lonely Hearts Club Band” while Disc and Music Echo observed, “Another new group, who make some exciting new sounds following The Beatles explorations”. The band was not happy with the brazen high jacking of their album. Jim went as far as to say Whittaker “wrecked it” and states they hadn’t heard Sgt Peppers at the time of recording even though comparisons were made. The album might not have set the world alight at the time, but it is now highly sought after by collectors of psychedelic rarities and can sell for as much as £800 on bidding sites.

Blossom Toes 1967 Left to Right: Brian Godding, Brian Belshaw, Kevin Westlake & Jim Cregan

They soon found out that one of the drawbacks of attempting to play material from a heavily orchestrated album live was nigh on impossible and resorted to songs from their previous repertoire, much to their management’s annoyance. In early 1968, the band played in Cannes at the ‘8th Annual Golden Rose of Montreux Television Festival’ with The Crazy World of Arthur Brown, the Brian Auger Trinity, Fairport Convention and Captain Beefheart and the Magic Band who borrowed their equipment as they didn’t ship theirs from over the US. The show was broadcast on French TV. March saw the release of an out of character cover of Bob Dylan’s “I’ll Be Your Baby Tonight” followed by, “Postcard”, with a B side, “Everyone’s Leaving Me Now”, written by their new drummer, John ‘Poli’ Palmer. In September, they propped up the bottom of the bill supporting The Doors and Jefferson Airplane at the Roundhouse in Chalk Farm, London and played the ‘Actuel Festival’ in Belgium where master of ceremonies Frank Zappa jammed with the band. 

Blossom Toes 1969 Left To Right: Brian Belshaw, Brian Godding, John ‘Poli’ Palner & Jim Cregan

For 1969s If Only For a Moment they changed tack altogether and left the twee psychedelia behind and brought out the big guns with a heavier two prong guitar attack. Time Out magazine gave then a glowing review with, “One of the best-kept secrets in and around London for the past two years has been Blossom Toes. Their second LP stands among the best records heard in this country this year”. Despite media approval, the album failed to make a mark, but yet again it became much admired and original copies can now fetch in excess of £600. In the autumn ‘Poli’ Palmer left the band to replace Jim King in Family and Barry Reeves stepped in from The Ferris Wheel. A couple of months later, while returning from a gig at Bristol University, the VW Beetle they were travelling in hit a patch of black ice and overturned into the fast lane of oncoming traffic. A car hit them and spun them around, but thankfully they were unhurt, just shaken up. It sounded the death knell for Blossom Toes, Godding and Belshaw went on to form B. B. Blunder with former Blossom Toes drummer Kevin Westlake and Reeves moved to Hamburg, where he threw in his lot with the James Last Orchestra.

Taste was an Irish power trio formed in Cork, Ireland by guitarist Rory Gallagher, bassist Eric Kitteringham and drummer Norman Damery. In 1968, they moved to London with a new line-up of Richard McCracken on bass and drummer John Wilson, where they opened for Cream at their farewell concerts at the Royal Albert Hall in November. The following year they toured the USA with Eric Clapton, Ginger Baker, Stevie Winwood and Ric Grech’s supergroup Blind Faith. The trio released two studio albums and in 1970 appeared at the Isle of Wight Festival with Jimi Hendrix, The Doors and The Who. However, cracks began to appear as Rory was becoming increasingly upset with their manager, who was ripping him off, and his bandmates, who sided with him. After a pre-arranged European tour and two concerts in Belfast on New Year’s Eve, Rory left to pursue a very successful solo career until his premature death in June 1995.

Stud MK 1 circa 1971 Left to Right: Richard McCracken, John Wilson & Jim Cregan

Wilson and McCracken wanted to expand their musical palette from just blues, to include jazz, folk and funk and enlisted Jim to help them in their quest. The band made their debut at the Marquee club followed by a handful gigs around the UK and Germany before entering Command Studios in London to record a self-titled album. Apart from two out of character Cregan songs performed solo on acoustic guitar, the remaining tracks are group compositions that veer from tight passages of unison interplay to flights of free-form jazz rock and the inevitable too long drum solo. The Melody Maker called it an “Instrumental lesson in how to be complex without being boring” while the NME went with “Music of intense originality, performed with impeccable musical understanding”. High praise from the leading music papers of the day, but in truth the band were always going to struggle when compared to the rhythm sections former band. Jim admits at times he felt out of his depth trying to keep up with the complex time signatures.

Stud MK 2 Left to Right: Richard McCracken, Jim Cregan, John Wilson & John Weider

For the second album recorded in 1972, they were joined by Jon Weider on guitar, piano and violin from Family. His influence and song-writing made September a different beast entirely. The dominant piano and violin overshadow Gregan’s guitar and the wild jazz interchanges of the past make way for a gentler country blues feel. The album didn’t perform any better than their first sales wise, but they were lauded in Germany, where they were voted the fourth best group in the ‘Newcomer’ category after Wishbone Ash, Mountain and the Pink Fairies in the German Sounds magazine. In May 1972, they reconvened in Command Studios and recorded a live farewell concert in front of a small select audience. Wilson had tired of the venture and consistently talked about breaking the band up, which eventually he did. Jim went on to join Family and Weider flew off to the USA where he got married.

In the summer of 1972, Bournemouth bassist John Wetton left Family and hooked up with Robert Fripp in a new line-up of King Crimson. Family’s guitarist, John ‘Charlie’ Whitney, rang up Jim and asked if he would like to play bass for them, Jim enquired “Why me?” and Charlie replied “You recommended John Wetton now he’s left so you must replace him”. Even though he wasn’t technically a bass player, Jim accepted and joined mainstays Roger Chapman, a dynamic singer with a distinctive vibrato, guitarist John ‘Charlie’ Whitney, drummer Rob Townsend and keyboard, vibes and flute player John ‘Poli’ Palmer. Family originated from the midlands’ town of Leicester and had gained prominence in 1968 on the back of their highly original debut, Music in a Dolls House. Further success followed with another two well-crafted albums, Family Entertainment and A Song For Me, plus the patchy part live, part studio Anyway. When Wetton joined, he added his considerable bass chops and vocals to Fearless and Bandstand, two solid additions to the Family catalogue.  Jim came on board in time for a tour of the USA supporting Elton John, but they failed to impress the tough American audiences.

Family Left to Right: Roger Chapman, John Whitney, Jim Cregan, Rob Townsend & ‘Poli’ Plamer

Before they recorded their seventh and final album, It’s Only a Movie, Jim’s friend, ‘Poli’ Palmer,left to be replaced by Tony Ashton of Ashton, Gardner and Dyke fame. Unfortunately, the resulting album was lacklustre fair and mostly forgettable. It was a sad end to a group that shone brightly for six years, making highly idiosyncratic and striking music, but by 1973 they had become nothing more than an above average pub rock band. After a farewell tour in October 1973, Chapman and Whitney formed Streetwalkers, Rob Townsend joined Medicine Head, then The Blues Band and Ashton became a journeyman playing with anyone that would have him.  

Family reunited in 2013 with original members Roger Chapman, ‘Poli’ Palmer, Rob Townsend and Jim, plus current members of Chapman’s touring band for sporadic gigs in England and a Festival in Italy. They played their final show in Leicester on 22nd December 2016.

In between bands, Jim produced a couple of albums for his girlfriend Linda Lewis, Lark and Fathoms Deep, and pulled together a band to back her on a world tour supporting Cat Stevens, which ran from March to July 1974. A month after returning from America, Jim was invited to play the ‘14th National Jazz, Blues and Rock Festival’ in Reading with Cockney Rebel. He had two days to learn his parts, but on the day the wind blew his notes and chord charts away, leaving him to busk the rest of the set. It didn’t hurt his chances as Steve Harley asked him to join the band after the show.

Formed in the summer of 1972, Cockney Rebel were two albums and two hit singles, “Judy Teen” a number five and “Mr Soft” a number eight, into their career. At the time, Harley had aggravated a large section of the music press by drawing attention to his own self-importance. He also managed to alienate his band, who all quit, apart from drummer Stuart Elliot, after a UK tour. Reverting to type, he renamed the band Steve Harley and Cockney Rebel and enlisted Duncan Mackay on keyboards and bassist George Ford to join Elliot and Jim in his new band. This line-up recorded the number one album, The Best Years of Our Lives, which contained the band’s biggest single, “Make Me Smile (Come Up and See Me)”, their only number one. The acoustic guitar solo Jim knocked off in two takes has been lauded over the years, and none other than Eric Clapton congratulated him on it. On the back of their success, they toured America with headliners, The Kinks, but apart from just scraping into the top twenty with “Mr. Raffles (Man, it Was Mean) and a top ten cover of George Harrison’s “Here Comes the Sun”, Cockney Rebel’s slide from dominance was rapid. Jim stayed for two more albums, Timeless Flight and Love’s a Prima Donna, but Rod Stewart was on the look-out for a guitarist for his backing band and Jim was in his sights. 

When The Faces broke up in 1975, Rod Stewart‘s solo career took off with the hugely successful Atlantic Crossing, a record that alienated a lot of Rod’s older fans, but gained him a whole legion more. It marked a shift to a slicker sound on his new record label, Warner Brothers, and a change of address from London to Los Angeles to avoid paying a hefty tax bill. When Jim joined in late 1976, Rod was promoting his latest album, Night on the Town. He came on board in time for a short tour of the UK in December joining Phil Chen on bass, drummer Carmine Appice, John Jarvis on keyboards and two guitarists, Gary Grainger and Billy Peek. At the end of the tour, Jim and Linda Lewis married in East Moseley.

By the time of his next long player, Foot Loose and Fancy Free, Rod was at the height of his powers commercially. His records were shifting by the lorry load and his concerts sold out in minutes, but the critics had their knives out as they had deserted the old guard and lauded the Emperor’s new clothes of ‘New Wave’. Stewart probably copped more flack than most, but it has to be said he brought a lot of it on himself because of some lacklustre records and sartorial gaffs of an epic proportion. Who can forget Rod wiggling his spandex encased arse in the video that accompanied his biggest ever selling single “Do Ya Think I’m Sexy”? Not Kenny Everett, whose hilarious sketch lampooned the Scot by miming to the song as he floated skyward, propelled by his ever-expanding buttocks. It succinctly defined a section of the public’s perception of Rod at that moment in time. The song came from Blondes Have More Fun on which Jim received three co-writing credits with Stewart, two more than the previous album. On 1980s Foolish Behaviour, the whole band received writing credits for nine of the ten songs, a generous deal from Rod that would swell the Cregan coffers and help finance a move to Los Angeles.

By 1981 Rod had toned down the outrageous outfits slightly and recorded Tonight I’m Yours, a partial return to form according to some reviews. The album spawned two big hits back home with the title track and “Young Turks” reaching number eight and eleven, respectively. By this time there had been a major re-jigging of the touring band, Appice had been replaced by Tony Brock, a former drummer with Spontaneous Combustion from Poole, Jay Davis replaced Chen on bass, Kevin Savigar was on keyboards and Robin Le Mesurier, son of John Le Mesurier and Hattie Jacques, had come in for Grainger and Peek. Jim had been promoted to musical director but also suffered the break-up of his marriage to Linda Lewis. An extensive tour of America and Canada with opening act Tina Turner effectively kick started Turner’s flagging solo career and saved her from a life on the cabaret circuit. After the low key Absolutely Live recorded on the road in California and England, Rod released Body Wishes, a critical failure that produced three consecutive hits with “Baby Jane”, a number one that stayed in the charts for fourteen weeks, “What Am I Gonna Do (I’m So in Love with You)” a number three hit and the less successful, “Sweet Surrender”.

To promote Camouflage, his thirteenth solo outing, Rod invited Jeff Beck along as both support act and sideman, after the pair had patched up past differences stemming from their time together in the Jeff Beck Group in the late sixties. In the event, Jeff walked out after the first half dozen concerts, muttering about the “middle-aged, blue rinse brigade” that Rod Stewart now attracted. The mammoth tour ploughed on regardless throughout the US and Canada, before calling into Japan and Rio de Janeiro, where they played to over four hundred thousand people over two nights in January 1985. The following month, Rod performed a series of much criticised dates at the Sun City Hotel casino and golf complex in South Africa, at a time when musicians were actively encouraged to boycott the country due to its apartheid policies. The shows landed him on a blacklist drawn up by the United Nations, but it has to be said he was in esteemed company as he joined a veritable who’s who of entertainers including Queen, Elton John, Barry Manilow, The Beach Boys, Dolly Parton, Ray Charles, Johnny Mathis, Julio Iglesias, Liberace and even the Vienna Boys Choir.     

In 1986 Rod returned to Bournemouth for the first time since The Faces farewell tour in 1974, only now the Winter Gardens had been superseded by the much larger, but less atmospheric, Bournemouth International Centre. The gigs on the 2nd and 3rd November were the penultimate shows of a promotional tour for Every Beat of My Heart, which included huge arena shows throughout Europe and a memorable night at the home of football, Wembley Stadium. Of note on the night, was a brief reunion of The Faces Ron Wood, Kenny Jones, Ian McLagan, an ailing Ronnie Lane who sang while sat on a chair and the Rolling Stones bassist Bill Wyman, who joined Stewart in a rousing four song interlude that brought the house down. After 1988’s Out of Order, a new manager convinced the singer to instigate a shakeup, resulting in a bruising reshuffle that saw almost his entire touring band replaced, including drummer Tony Brock. His replacement was Tony Thompson from Chic, who was also appointed co-musical director. Jim was unhappy about the arrangement and quit, although he did return for the TV show, album and tour of Unplugged… and Seated in 1993, the track “This” on 1995s Spanner in the Works and the song “Brighton Beach” on Rod’s 2013 album Time. Despite the parting of the ways, the pair have remained close friends and Jim was best man at Rod and Penny Lancaster’s wedding in 2007. It was Rod who christened Jim the ‘Somerset Segovia’.

In the early nineties, Jim tied the knot for a second time with Jane Brook. The couple had two children, daughter Camille in 1991 and son MacKenzie in 1996, but the marriage failed not long after his birth. Work wise, he became a sort after producer working with The Quireboys, Rita Coolidge, The Gypsy Kings and Gaelic Storm amongst others and in 1997 he became a staff producer with the new age Windham Hill record label. The decade also saw the release of two albums by The Farm Dogs, a band Jim put together with Elton John’s lyricist Bernie Taupin and a few of his mates including drummer Tony Brock, guitarist Robin Le Mesurier, keyboard player Billy Payne and vocalist Dennis Tufano.    

On a visit back to the UK in 2003, Jim stayed with the producer Mike Batt. At the time, he was working with a precocious new talent, the nineteen-year-old Katie Melua. Mike invited Jim to help out by providing guitar on her first album Call off the Search. After repeated plays on the Terry Wogan radio show the single, “The Closest Thing to Crazy” entered the top ten and the album, after a heavy investment in a marketing campaign by Batt and an appearance on the Royal Variety Show, topped the album charts in January 2004. The follow up, Piece by Piece, repeated the success of the previous album by hitting the number one spot and the single “Nine Million Bicycles” climbed to number three. By now, Melua was a huge draw in Europe and other countries, such as South Africa and New Zealand. Jim joined her backing band and stayed for five years, during which time he toured the world.

Cregan & Co. Left to Right: Sam Tanner, Ben Mills, Harry James, Jim Cregan & Pat Davey

In 2011, he formed Apart From Rod with guitarist Gary Grainger, Bournemouth born singer Robert Hart, Pat Davey on bass, drummer Harry James from the rock band Thunder and Sam Tanner on keyboards. After a couple of reshuffles with Grainger leaving through ill-health and Hart joining Manfred Mann’s Earth Band, the band has now coalesced under the banner of Cregan & Co. with former X Factor finalist Ben Mills on vocals. They are a much sought after band that performs the Rod Stewart hits that Jim helped to make iconic.                 

Jim’s autobiography And on Guitar published in 2019

By now Jim was living back in England where he still resides in a house on the banks of the river Stour in Christchurch, close to his extended family. He has survived prostate cancer and often plays charity gigs to raise awareness and to help US veterans with PTSD. Despite being in his mid-seventies, Jim Cregan is still gigging, writing and producing, has written an autobiography, And on Guitar, and his latest project is mentoring local singer-songwriter, Charlie Hole. Look-out for Cregan & Co. coming to a theatre near you.     

For a collection of Ingoes recordings try Before We Were Blossom Toes on the Sunbeam label. Both Blossom Toes albums plus the lone B. B. Blunder album, which Jim wasn’t a part of, are collected together on If Only For a Moment on the German Two of Us label. There are a number of Best of and Greatest Hits compilations of Cockney Rebel and a whole truckload more for Rod Stewart, so take your pick.

Jim Cregan Discography

Singles The Ingoes

Se Non Mi Aiuti Tu c/w I Don’t Want You: Ricordi International (SIR 20.004) 1965 Italian release, the A side was an Italian version of The Beatles “Help” 

EP The Ingoes

Viens Danser Le Monkiss c/w Mister Pitiful c/w Pistol Packing Mama c/w In the Midnight Hour: Riviera (231141) 1966 French release

Albums The Ingoes

Before We Were Blossom Toes: Sunbeam Records (SBRLP 5077) 2010 15 track compilation vinyl

Before We Were Blossom Toes: Sunbeam Records (SBRCD 5077) 2010 15 track compilation CD

Singles Blossom Toes

What on Earth c/w Mrs Murphy’s Budgerigar c/w Look at Me I’m You: Marmalade (598002) 1967

I’ll Be Your Baby Tonight c/w Love Is: Marmalade (598009) 1968

Postcard c/w Everyone’s Leaving Me Now: Marmalade (598012) 1968

Peace Loving Man c/w Just Above My Hobby Horse’s Head: Marmalade (598022) 1969

Albums Blossom Toes

We Are Ever So Clean: Marmalade (607001) 1967

If Only For a Moment: Marmalade (608010) 1969

Collection: Decal (LIKD 43) 1988 Double album compilation

Love Bomb Live 1967-1969: Sunbeam Records (SBR2CD5049) 2009 Live recordings and radio broadcasts

What on Earth: Rarities 1967-1969: Sunbeam Records (SBRCD5071) 2009

We Are Ever So Clean / If Only For a Moment / Workers Playtime: Two of Us (003) 2002 German Double CD includes both Blossom Toes albums plus the only album released by B. B. Blunder 

We Are Ever So Clean: Sunbeam Records (SBDP 1008) 2018 CD with nine bonus tracks

If Only For a Moment: Sunbeam Records (SBMCW 5507) 2018 CD with seven bonus tracks

Albums Stud

Stud: Deram (SML-R 1084) 1971

September: BASF (2029 054-9) 1972

September & Goodbye: Free Records (FR 2007) 2001 German compilation

The SWF Session 1972: Long Hair (LHC 00081) 2009 CD recorded in Baden-Baden Germany

Stud: Esoteric (ECLEC2053) 2008 CD remastered

Singles Family

Boom Bang c/w Stop This Car: Raft (RA 18501) 1973

Sweet Desiree c/w Drink to You: Raft (RA 18503) 1973

Albums Family

It’s Only a Movie: Raft (RA 58501) 1973

Singles Cockney Rebel

Make Me Smile (Come Up and See Me) c/w Another Journey: EMI (EMI 2263) 1975

Mr. Raffles (Man, It Was Mean) c/w Sebastian: EMI (EMI 2299) 1975

Black or White c/w Mad, Mad Moonlight: EMI (EMI 2369) 1975

White, White Dove c/w Throw Your Soul Down Here: EMI (EMI 2409) 1976 

Here Comes the Sun c/w Lay Me Down: EMI (EMI 2505) 1976

I (Believe) Love’s a Prima Donna c/w Sidetrack 1: EMI (EMI 2539) 1976 

Albums Cockney Rebel

The Best Years of Our Lives: EMI (2263) 1975

Timeless Flight: EMI (EMI OC 064) 1976

Love’s a Prima Donna: EMI (EMI 3156) 1976

Singles Rod Stewart

You’re in My Heart c/w You Really Got a Nerve: Riva (Riva 11) 1977

Do ‘Ya’ Think I’m Sexy c/w Dirty Weekend: RIVA (RIVA 17) 1978

Ain’t Love a Bitch c/w Scarred and Scared: RIVA (RIVA 18) 1978

Blondes (Have More Fun) c/w The Beast Days of My Life: RIVA (RIVA 19) 1979

If Loving You is Wrong (I Don’t Want to Be Right) c/w Last Summer: RIVA (RIVA 23) 1980

Passion c/w Better off Dead: RIVA (RIVA 26) 1980

My Girl c/w She Won’t Dance With Me: RIVA (RIVA 28) 1980

Tonight I’m Yours (Don’t Hurt Me) c/w Sonny: Riva (RIVA 33) 1981

Young Turks c/w Tora, Tora, Tora, (Out With the Boys): Riva (RIVA 34) 1981

How Long c/w Jealous: Riva (RIVA 35) 1982

Baby Jane c/w Ready Now: Warner Bros. (W 9608) 1983

What Am I Gonna Do (I’m So in Love With You) c/w Dancin’ Alone: Warner Bros. (W 9564) 1983

Sweet Surrender c/w Ghetto Blaster: Warner Bros. (W 9440) 1983

Infatuation c/w Three Time Loser: Warner Bros. (W 9256) 1984

Some Guys Have All The Luck c/w I Was Only Joking: Warner Bros. (W 9204) 1984

Love Touch c/w Heart is On The Line: Warner Bros. (W 8668) 1986

Every Beat of My Heart c/w Trouble: Warner Bros. (W 98625) 1986

Another Heartache c/w You’re In My Heart: Warner Bros. (W 8631) 1986

In My Live c/w In My Own Crazy Way: Warner Bros. (W 8489) 1986

Forever Young c/w Days of Rage: Warner Bros. (W 7796) 1987

My Heart Can’t Tell You No c/w The Wild Horse: Warner Bros. (W 7729) 1988

Have I Told You Lately (Live Version) c/w Gasoline Alley (Live Version): Warner Bros. (W 0185) 1993

Reason to Believe (Live Version) c/w It’s All Over Now (Live Version): Warner Bros. (W 0198) 1993

People Get Ready (Live Version) c/w I Was Only Joking: Warner Bros. (W 0226) 1993

Albums Rod Stewart

Foot Loose and Fancy Free: RIVA (RVLP 5) 1977

Blondes (Have More Fun): Riva (RVLP 8) 1978

Foolish Behaviour: Riva (RVLP 11) 1980

Tonight I’m Yours: Riva (RVLP 14) 1981

Absolutely Live: Riva (RVLP 14) 1982

Body Wishes: Warner Brother (WEA 92-3877-1) 1983

Camouflage: Warner Brothers (WEA 925-950-1) 1984

Every Beat of My Heart: Warner Brothers (WEA925-446-1) 1986

Out of Order: Warner Brothers (WX 152) 1988

Unplugged…and Seated: Warner Bros (9362-45289-2) 1993

A Spanner in the Works: Warner Bros. (9 45867-2) 1995

Time: Capitol () 2013

Single Farm Dogs

Foreign Windows: Sire (PRO 74621-2) 1998 One song promo

Albums Farm Dogs

Last Stand in Open Country: Discovery Records (77046) 1996

Immigrant Sons: SIRE (31014) 1998

Singles Katie Melua

The Closest Thing to Crazy c/w Faraway Voice c/w I Think It’s Going to Rain: Dramatico (DRAMCDS0003) 2003

Call off the Search c/w Shirt of a Ghost c/w Deep Purple: Dramatico (DRAMCDS0004) 2004

Crawling Up a Hill c/w Crawling Up a Hill (Live Version) c/w Jack’s Room: Dramatico (DRAMCDS0007) 2004

Blame it on the Moon c/w Anniversary Song (Live Version) c/w Belfast (Penguins and Cats) (Live Version): Dramatico (DRAMCDS0009) 2005

Nine Million Bicycles c/w Market Day in Guernica c/w Stardust: Dramatico (DRAMCDS0012) 2005

I Cried For You c/w Just Like Heaven c/w Pictures on a Video Screen: Dramatico (DRAMCDS0013) 2005

Spider’s Web c/w Spider’s Web (Live Version) c/w Cry Baby Cry: Dramatico (DRAMCDS0017) 2006

It’s Only Pain c/w Lucy in the Sky With Diamonds c/w It’s Only Pain (Acoustic Version): Dramatico (DRAMCDS0020) 2006

Shy Boy c/w Fancy (Live Version) c/w Have Yourself a Merry Little Christmas: Dramatico (DRAMCDS0023) 2006

Albums Katie Melua

Call off the Search: Dramatico (DRAMCD0002) 2003 Guest

Piece by Piece: Dramatico (DRAMCD0003) 2005 Guest

Jim Gregan Albums as Producer and Guest

Julie Driscoll 1969: Polydor (2383 077) 1971 Guest

Shawn Phillips Second Contribution: A&M (SP 4282) 1971 Guest

Linda Lewis Lark: Reprise (K 44208) 1972 Producer

Linda Lewis Fathoms Deep: Reprise (MS 2172) 1973 Producer & Guest

Chapman Whitney Streetwalkers Chapman Whitney Streetwalkers: Reprise (K 54017) 1974 Guest

Linda Lewis Not a Little Girl Anymore: Arista (ARTY 109) 1975 Producer

Murray Head Say It Ain’t So: Island Records (ILPS 9347) 1976 Guest

Linda Lewis Woman Overboard: Arista (SPARTY 1003) 1977 Producer & Guest

Steve Harley Hobo With a Grin: EMI (EMC 3254) 1978 Guest

Bruce Roberts Bruce Roberts: Elektra (7E-1119) 1978 Guest

Murray Head Between Us: Phillips (9101 725) 1979 Guest

Mike Batt Tarot Suite: Epic (EPC 86099) 1979 Guest

Mike Batt Waves: Epic (EPC 84617) 1980 Guest

Quireboys Little Bit of What You Fancy: Parlophone (PCS 7335) 1990 Producer

Steve Harley Yes You Can: CTE (084 31802) 1992 Guest

Rita Coolidge Love Lessons: Alfa International (ALCB 669) 1992 Producer

Glass Tiger Air Time: The Best of Glass Tiger: EMI (7243 8 27022) 1993 Producer

Roger Taylor Happiness?: Parlophone (7243 8 30059) 1994 Guest

Various Tribute to Curtis Mayfield: Warner Bros. (9362 45500-2) 1994 Guest

Various The Carols of Christmas 2 – A Windham Hill Sampler: Windham Hill (01934-11219-2) 1997 “Jingle Bells”

Steve Harley Uncovered: Absolute (CMUP113CD) 2020 Guest

Janis Ian God & the FBI: Windham Hill (01934 11498 2) 2000 Producer

Various Celtic Christmas (Silver Anniversary Edition): Windham Hill (01934-11603-2) 2001 “The Longing” with Kathleen Keanne

Roger Chapman One More Time For Peace: Mystic Records (MYS CD 200) 2007 Guest

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