Coming out of the Medway delta, The Prisoners were/are a maelstrom of raw garage modness, with rough and ready guitars, soaring Hammond, punchy bass and rabid drums, a perfect concoction of rock’n’roll.

In the early 80s, Graham Day (guitar), Johnny Symons (drums), Allan Crockford (bass) and James Taylor (organ) burst out of school playing blistering rock’n’roll like their life depended on it. Their early gigs with the Milkshakes taught them the libertarian ‘no messing around, get up and go’ attitude and with this individualist ethos in place, they were ready to rock.

The raw garage sound

Unlikely as it seems, The Prisoners almost were finished before they even started, with the likely move of organ grinder Jamie Taylor going off to Uni. Instead of sulking, the band got off their arses and recorded ‘A Taste of Pink’ as a swansong to a very short local band career. Fortunately for us, ‘A Taste of Pink’ was a master class of young men creating havoc on vinyl. They set up their own label ‘Own Up Records’ and managed to get it in the Rough trade shop in London. The raw garage sound was an instant hit and interested music lovers snapped up preliminary copies of the album. The main problem with this belated success, and the possibilities of gigs in London, was that there was no band. It seemed like ‘A Taste Of Pink’ was going to be an epitaph for what might have been, but luckily enough Mr Taylor decided academia was not him and was back 3 days later, ready to roll, thus The Prisoners were now ready to be unleashed.

youthful nervy razor tunes

‘A Taste Of Pink’ is no messing around, adrenaline soaked, gusty, gritty, dynamic, rock’n’roll with the classic template of guitar, drums, bass, organ and vicious vocals. ‘Better in Black’ and ‘Coming Home’ showcase The Prisoners youthful nervy razor tunes.

the band started to get rave reviews

With Taylor back in the outfit, it was time to hit the Smoke. With the aid of the Barracudas, they got their first London date at The Moonlight club in Hampstead. This was the first of many gigs beyond the Medway, including a residency at the Hope and Anchor that would help their live growing reputation.The Prisoners made a mix of 60s garage rock, The Small faces, Hammond freak out and Hendrix, and they took their sound wherever anybody wanted it. Through bloody-minded perseverance, the band started to get rave reviews and the punters were desperate to get a hold of ‘A Taste of Pink’.

run riot upon the world

This gaining underground popularity started to intrigue those who work within the murky confines of the music business. Sky Dog a small French label released a 7” ‘There’s A Time’/’Revenge Of The Cybermen’ which led to a few dates across the channel in late 1983. This was all well and good, but The Prisoners were still without any serious backing, until Roger Armstrong decided it was time to offer them a short-term deal for Big Beat. In late 83, they recorded the album ‘TheWiserMiserDemelza’ and were allowed to run riot upon the world with the single ‘Hurricane’/’Tomorrow She Said’.

1983 didn’t end the way the band would like

Surprisingly, the band were unhappy with the results of ‘TheWiserMiserDemelza’, as they didn’t think it raw enough and didn’t reflect their live sound. This was a frustration that was to crop up frequently during their career. When listening to album it is quite obvious that the recording is very raw and edgy with mad tunes like ‘Hurricane’, ‘Here Come The Misunderstood’ ‘Go Go’ blowing through your speakers. There is perhaps one nod to a more streamlined sound with a horn section added to one song, but Graham Day has recently admitted that he wasn’t too keen on his vocals on the album; mainly due to excessive amount of alcohol his was supping though the recording sessions. Though perhaps 1983 didn’t end the way the band would like, it paved the way for a more fortuitous 1984.

TV debut on The Tube hosted by Paula Yates and Jools Holland

To get their distinct live sound down on vinyl, they employed the guile of fellow garage rocker Russ Wilkins, bass player with the Milkshakes. Early in 84,they came up with The Electric Fit EP, which includes the scorcher ‘Melanie’, bright blast of righteous raw pop. Again the band were dissatisfied by the actual recording, but the tunes became fan favourites.The release of the new EP coincided with their now legendary TV debut on The Tube hosted by Paula Yates and Jools Holland. It was a special live event featuring four of the UKs best mid 80s garage bands. The Prisoners pumped out their sound through the TV with Thee Milkshakes, The Tall Boys and The Stingrays

All dressed up in Star Trek suits, this live appearance has become legendary amongst British garage rock fans, as many of the great underground rock’n’roll acts of the time hit mainstream TV on one show. The Prisoners pummelled through ‘Reaching My Head’ and all looked rosy for the future. A year of hard gigging and early forays into the US market with some releases Stateside, made 1984 a solid optimistic year for The Prisoners. The only cloud was the decision not to renew the deal with Big Beat by mutual consent.

Their ferocious independent spirit

With the beginning of 1985 The Prisoners were free agents again and it looked like it might be a struggle, but 1985 turned out to be their watershed year. Their ferocious independent spirit made them wary of marketing men and lush production. If labels want a raw and gutsy band with great tunes, join the party, but most labels like to interfere, so the band decided just got on with it on their own. With the help of Russ Wilkins, the band regrouped and recorded their finest album, ‘Revenge of the Fourfathers’. Released in June on their own label ‘Own Up Records’ it was received with accolades and applause from critics, fans and the band alike. The Prisoners had managed to get something down that they liked.

making the whole album swoop with soul

‘The Last Fourfathers’ is a mature album with skilful song craft. It is also the first time that Jamie Taylor used a real Hammond organ, making the whole album swoop with soul. Graham Days lyrics are more exploratory, but also the instrumental grooves The Prisoners became specialists in (‘Explosion on Uranus’), really shine through on this album. The authentic instruments and Leslie speakers really widened the sound of the band, mixing rock with hard-edged soul and R&B. Killer tunes like ‘Whenever I’m Gone’ ‘I’m the Fisherman’ ‘Nobody Wants Your Love’ encapsulates the fully developed sound of The Prisoners. You’d imagine The Prisoners would have been ecstatic, but releasing an album without much backing and the endless gigging was starting to take its toll on the band. Even with all the kind words, the hard grind of the business was getting to the boys and arguments were brewing over image, direction and the distinct lack of cash.

fine guitar pop record with finely crafted gems

1986 should have been the shift in the bands fortune, when Eddie Pillar of Countdown Records offered them a decent deal with a big advance to get them started on some new stuff. Countdown was a subsid of the famous Stiff Records, so all was looking on the up. The band had some cash, unlimited recording time and an alleged supportive label.Sadly, right from the start, this deal would turn into disaster. The choice of Troy Tate as producer was one of many moans the band had, as he was perfectionist of slick pop sounds and polished production. To add to this, Mr Tate had not actually seen the band live, so he went to work with his own method on the tunes. The band became increasingly horrified at the result of their recordings, as they seemed refined and soft compared to their masculine live sound.

In hindsight ‘In From The Cold’ is a fine guitar pop record with finely crafted gems that would have sat well along side many of the finely polished albums during the Britpop era. That’s fine for the success obsessed bands of the mid 90s, but not the independent no surrender bands of the mid 80s. The great pop tune ‘Wish The Rain’ and Day’s melancholy masterpiece ‘Mourn My Health’ are some of the strongest Prisoner tunes. The moody ‘Deceiving Eye’ demonstrates that Tate did have some understanding of the band, as The Prisoners are in rampant form on this tune. Though ‘In From The Cold’ is thee great disputed album, is a still a fine romp and well worth a listen.

lack of commercial success

Though arguments over ‘In From The Cold’s limp sound, and fresh arguments with the label over publishing, had started to get bitter, the band were at their peak when it came to the live experience. A tour with the Ramones meant The Prisoners hit the big venues taking their Hammond rock’n’roll to the masses.As with all good things, the arguments and the general lack of commercial success with the label had now taken its toll to the point that the band were incessantly arguing amongst themselves, so on the 16th September 1986 the band officially split up, with our great albums to their name.

imitators like Charlatans, The Inspiral Carpets and Kula Shaker

Though The Prisoners didn’t have the best of luck, their independent outlook kept them true to what they believed was right, never compromising, keeping to that distinctive raucously soulful sound, true mavericks. Over the years The Prisoners have reformed to play the odd gig and they released an incredible single on Deceptive records called ‘Shine On Me’ in 1997, which put their imitators like The Charlatans, The Inspiral Carpets and Kula Shaker, firmly in their place. The distinct sound of swelling Hammond, gritty guitar and Graham Day’s raw, but soulful vocals, could only mean The Prisoners, rock’n’roll baby.

Copyright Jonny Magus@sohostrut

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The Prisoners - Hurricane, The Best Of The Prisoners

You’re checking out the “mod” section in your local record emporium. Not a great deal new, you think. That is until your attention’s grabbed by a grey cover, a line up that looks familiar. A sharp vibe that jumps out at you.

Its one of those moments that you don’t stop to think. Take it in your discerning paw and over to the counter. In a moment, your taking the plastic out of its case and switching on your Walkman. You start to smile to yourself. From the jangly guitar introduction of the opener “Whenever I‘m Gone“, you know this is a quality offering.

It isn’t very often that a compilation comes along that stands out. The sort that creates it own niche, fills a gap in the market, gets to the essence of what a particular band is all about. Think The Who’s “Meaty Beaty Big and Bouncy” from 1971, or 2003’s “Small Faces Ultimate Collection”. It soon becomes clear that you can add to that list this little monster.

The cover boasts “The best Medway garage bar none”. And, standing in the rain at the bus stop, your Harrington zipped up, you wouldn’t argue. You remember The Prisoners well enough. They were the opposite of eighties bad taste excess. With a shedload of quality, authenticity and style - and fronted by mod cool personified, Mr Graham Day on vocals and guitar - they put together some class tunes between 1982 and 1986.

The bus arrives and you grab a seat. You take the inlay sleeve out and start to read about how the nucleus the band started playing as youngsters at Rochester Mathematical school - how Day was joined by Johnny Symons on drums, Allan Crockford on bass and later, occasionally, by Bruce Brand of The Milkshakes on guitar. And how the line was completed with the addition of one James Taylor, who was responsible for setting The Prisoners apart from their peers by delivering a seminal Hammond groove.

As the cd plays its non-chronological selection, it becomes clear that it contains the best of the band’s considerable output. It showcases their development from the raw sound of early songs such as “Better In Black” and “Coming Home” to the more sophisticated feel of “Wish The Rain” . The Hammond mood is captured in swathes along the way, both as an accompaniment to the overall mix, and as a lead instrument in its own right, such as on the excellent “Explosion on Uranus”, “Mrs Fothergill” and “Come To The Mushroom”.

When the introduction of the title track “Hurricane” comes through the earphones, you just want to start to dance. It stands out as one of the hottest tunes produced by any era, let alone the underground mod scene of the mid eighties. The Prisoners had it in shedloads. Listen to the sheer perfection of “Melanie”. Early songs such as “There’s A Time” and “Pretend”. Later output like “Deceiving Eye“, the wonderful “Pop Star Party” and “Nobody Wants Your Love”

Tomorrow you’re going back to check out the later work of the former members of the band. Taylor’s Hammond releases with The James Taylor quarter are legendary. Add to that Day and Crockford’s work with The Solarflares, and it is clear that the legacy of The Prisoners stretches into the twenty first century.

But back to the original output. There’s not a weak track on this compilation. It gets to the heart of a band that is becoming increasingly recognised as crucial, and which should have become so much bigger. As you watch the grey terrain of England deep in Winter, you feel a warmth in your heart. You know you’re going to spread the word to Prisoners fans new and old - buy this record. It is an essential purchase.