First there was The Churchills, followed by a switch to Jericho Jones and then simply Jericho, essentially the same band in different stages of development. Formed in Tel Aviv, Israel, with a transition to the UK, an album was cut under all three names, and all three albums have been reissued on vinyl by the ever-dependable Guerssen Records of Spain. We give proper consideration to this trio of platters below.
The story here begins with the legendary UK producer Joe Meek. A new version of the Meek-affiliated band The Tornadoes (of “Telstar” fame), notably with no original members but formed through the auspices of Meek, were doing that “struggling in the 1960s” thing when they secured a six-week run of gigs in Israel.
After arriving, the arrangement fell through (naturally), but they still managed to play some shows and crossed paths with an Israeli band, The Churchills (or Churchill’s). At this stage in this region, all successful rock-oriented bands were essentially cover bands, and Tornado Robb Huxley began dishing a 30-minute set of soul belters live with The Churchills.
During this period, Huxley also met Canadian Stan Solomon, who became a musical collaborator who convinced Huxley to remain in Israel. Guitarist-vocalist Huxley and lead vocalist Solomon eventually joined a version of The Churchills with guitarist-mandolinist-vocalist Haim Romano, bassist-vocalist Miki Gavrielov, and drummer Ami Triebich.
After songwriting, practice, and a side trip to Denmark for successful shows, this version of the Churchills cut a self-titled album for the Israeli Hed-Arzi label, released in 1968. Of course, original copies of the set are scarce and seriously pricey, so the reissue from Guerssen is welcome.
The Churchills were pretty defiant in recording an album comprised entirely of original material. Psychedelia is the sound, but nothing gets too mind-expansive, even as Hendrix was an acknowledged influence. Much of the album exudes ties to Freakbeat, a stylistic inflection one might surmise was due to Huxley’s involvement.
A few tunes, like “Pictures in My Mind” and “When You’re Gone,” are downright poppy, if pleasantly so. Side one holds songs intended for a movie soundtrack. Side two was cut specifically for the album and is more rock-inclined with tangible Middle Eastern influences.
“Comics” and “Strangulation” are highlights of the band’s tougher side. Loaded with instrumental dexterity, “Subsequent Finale” is the album’s standout track. Closer “Debka” captures The Churchills at their more far-out. But the whole record, if lacking in the transcendent, progresses in a solid manner with a lack of blundering or any doofus moves.
The Churchills’ album didn’t sell well and lacked international reach, but the band still ended up in the UK, where they cut their follow-up Junkies Monkeys & Donkeys at Tangerine Studios, with Solomon departing the band, replaced by Danny Shoshan. After a last-minute name change to Jericho Jones, the album was released in the UK by A&M Records and in Israel by Hed-Arzi in 1971.
The emergence of Led Zeppelin is cited as a crucial influence on the band’s progression into Jericho Jones, but there is a refreshing lack of any blatant moves-copping throughout the album, and even more impressive is the band hitting more than a few of early hard-rock’s sweet spots.
“There Is Always a Train” is very much a forecast of Free transitioning into Bad Company, for instance, while “Yellow and Blue” is reminiscent of the Moody Blues, but more scaled back, and better for it. New singer Shoshan largely avoids the excesses that are associated with hard rock vocalizing, and there are spots, such as during the slow-groove title track, that tip off the band’s heaviest phase to come.
For their third record and second self-titled effort, also released by A&M in 1972, the Jones surname was shorn from their moniker, which surely pleased Huxley, who has stated that the full Jericho Jones appellation could give the false impression they were a pop group. But with a full album consisting of just five tracks, the band was spreading out and fully embracing a heavy dynamic.
The hard-charging “Ethiopia” is indicative, even as it’s the record’s second-shortest track. The guitar is appealingly raw without going overboard into the noodlesome, with the solo throwdown in “Featherbed” particularly blistering, and Shoshan is keeping his wailing tendencies in check.
There are moments when they divert away from standard thud and scorch. The mellotron heard during “Justin and Nova” is a welcome touch. The multifaceted “Kill Me with Your Love” solidifies the strongest of the three LPs. Jericho is the one of the three all hard rock fans should check out.
GRADED ON A CURVE:
The Churchills, The Churchills
B+
Jericho Jones, Junkies Monkeys & Donkeys
B+
Jericho, Jericho
A-
