Arthur Brown (The Crazy World of Arthur Brown)
Band members Related acts
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line up 1 (1967-68) - Arthur Brown
(aka Arthur Wilton) -- vocals
- Sean Nichols (aka Nick Greenwood) -- bass
line up 2 (1968-69) - Arthur Brown (aka Arthur Wilton) - vocals - Sean Nichols - bass
line up 3 (1969-) - Arthur Brown (aka Arthur Wilton) - vocals line up 4 (1969-) - Arthur Brown (aka Arthur Wilton) - vocals NEW - Dennis Taylor - bass (replaced Sean Nicholas)
line up 5 (1982) - Arthur Brown (aka Arthur Wilton) - vocals - Earl Mankey -- drum synthesizers - Ian Ota -- synthesizers, drums, percussion
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- Asia (Carl Palmer) - The Big Band (Vincent Crane) - The Vincent Cheesman Trio - Craig (Carl Palmer) - VIncent Crane's Big Sound (Vincent Crane) - Dexy's Midnight
Runners (Vincent Crane - Chris Farlowe & the Thunderbirds (Carl Palmer) - Green Goddess (Vincent Crane - Peter Green's Katmandu (Vincent Crane) - Nick Greenwood (solo efforts) - Hazcham (Drachan Theaker) - High Tide (Drachan Theaker) - Lew HIrd's Austrailian Jazz Band (Vincent Crane) - Khan (Nick Greenwood) - Legacy (Carl Palmer) - The Simon Magus Band - Michael Moorcock's Deep Fix (Drachan Theaker) - The Carl Palmer Band (Carl Palmer) - PM (Carl Palmer) - The Puddletown Express (Drachan Theaker) - Oango (Carl Palmer) - Rustic Hinge (Drachan Theaker) - Stravinsky's Show (Drachan Theaker) - Word Engine (Vincent Crane
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Genre: psych Rating: *** (3 stars) Title: The Crazy World of Arthur Brown Company: Track Catalog: SD-8190 Country/State: Yorkshire, UK Year: 1968 Grade (cover/record): VG+/VG+ Comments: minor ring, edge and corner wear Available: 1 Catalog ID: 7373 Price: $20.00
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Here's a simple equation that serves as a decent career summary for Arthur Brown:
English + musician + eccentric = Arthur Brown
Today Arthur Brown's largely unknown, particularly to American audiences. If they recognize his name at all, it's almost certain as a result of his sole American hit; 1968's "Fire". That's unfortunate since over some five plus decades, Brown's generated an extensive recording catalog; most of it unknown to all but hardcore collectors.
Having been expelled from the University of London, the mid-'60s found Arthur Wilton (aka Arthur Brown) pursuing a law degree at Reading University. Having formed a band to play parties and local clubs while earning some spending cash, graduating from college Brown dropped out of music and went into teaching. Having spent a couple of years working 9-to-5, in 1967 Brown decided teaching had been a mistake. Deciding music was his true calling he recruited keyboardist Vincent Crane, bassist N i k Greenwood (quickly replaced by Sean Nichols) and drummer Drachan Theaker for The Crazy World of Arthur Brown. Featuring an eccentric combination of comedy, theatrics and rock and roll, the band quickly garnered exposure on the London club circuit, including the trendy UFO Club. Among fans, The Who's Pete Townshend took an active interest in the band, eventually convincing executives at Track Records (the Who's label) to sign Brown and company to a recording contract.
- 1967's 'Devil's Grip' b/w 'Give Him a Flower' (Track catalog number 60048
While
the single did little, Track went ahead and green-lighted an album - 1967's "The Crazy World of Arthur
Brown." If you've never heard the collection, it
stood as one of the year's strangest offerings. The combination of Brown's ranting vocals, Crane's fire breathing
Hammond organ, combined with an-over-the-top stage show was unlike anything else on the market. Featuring a hodge-podge collection of musical genres, the album found the band taking stabs at a broad spectrum of styles, including
psychedelia, hard rock, jazz, Sinatra-styled crooning ('Come & Buy'), and even R&
Unfortunately, success took its toll. Drummer Theaker was furious with
Lambert's production which buried the drums and added horn arrangements
throughout the set. Given Brown had agreed to the changes, Within a
year Theaker had quit, replaced by Jeff Crane. Next Brown was hit
by the 'Fire' copyright lawsuit; subsequently losing most of the royalties associated with
the song. Adding to the group's problems, while at a party the
bi-polar Crane was dosed with LSD. Left severely impaired, Crane had to drop out of the group and seek psychological help.
His replacement for the rest of the tour was Doug Henningham. Oh, the wonderful '60s ...
1.) Prelude/Nightmare (Arthur Brown) - 3:28 rating: *** stars The brief instrumental 'Prelude' showcased some attractive Crane orchestration with Brown's heavy breathing sound effects gave the song a mild "porno flick" soundtrack feel. "Prelude' wasn't even a minute long, leading to 'Nightmare' with introduced Brown's instantly recognizable shrieking, demonic vocals against Crane's wild B-3 Hammond washes. Ever seen one of those '60s "B" flicks with the psychedelic dance party scene? Well, 'Nightmare' was the perfect soundtrack for one of those scenes; Brown's delivery really did sound possessed. It's not a promotional video, rather a clip taken from the 1968 film "Committee." Regardless, the black and white performance will give you a feel for how wild these guys were in a concert setting. Brown's the guy in the mask with the flames, Crane on organ and Teaker on drums: Arthur Brown - Nightmare (1968) (youtube.com) Nightmare was also tapped as the album's lead-off single:
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1068's 'Nightmare' b/w 'What's Happening' (Track catalog number 2582) Well
the opening horn arrangement was unexpected, but Crane's jazzy-soul organ
was kind of '60s cool. Love Brown's spoken word vocals. How much
acid had the band taken at this point? Brown's creative and commercial zenith ... 'Fire' had been a standard in their live act and was intended as the focal point for their planned concept album - reportedly built around the horrors of hell. Powered by Brown's wild vocals and Crane's organ fills, it's intense. Regardless, how can you not like a song that starts with Brown screaming "I am the god of Hellfire"? It's a classic one-hit wonder. Brown and Crane were initially listed as the writers, but Mike Finesilver and Peter Ker sued for co-credits and royalties, claiming the track had been copied from a song they'd penned for Elli Meyer - 'Never Mind.' Lots of references suggest the original song title was 'Baby, You're a Long Way Behind' though no such title seems to exist. Interesting, other than the fact Crane and Theaker played on the track, I don't hear much similarity with 'Fire.'
'Fire' b/w 'Rest Cure' (Track catalog number 45-2556) It's
in black and white, but YouTube has a July1968 performance on the BBC's The
Top of the Pops that captures Brown in prime form complete with face paint,
flowing gowns and fire headgear: Fire
- The Crazy World Of Arthur Brown @ TOTP 1968 - YouTube Love his
dancing moods. Every
time I hear 'Come and Buy' I envision Vincent Price fronting a demon
populated rock band. Perhaps not quite as commercial as 'Fire' but in
every other respect this one was as good, it not even better. Hearing
Brown's rapid-fire delivery on the chorus was a hoot. His voice was
just so weird ... Propelled
by Crane's Hammond, 'Time' found the band starting out with an easy-going,
breezy ballad. Admittedly Brown's operatic delivery gave the song a
somewhat ominous aura. Framed by Crane orchestration, the spoken word
section wasn't nearly as enjoyable. In contrast 'Confusion' found the
band diving into a heavier, more conventional rock niche. (side 2) 1.) I Put a Spell on You (Screaming Jay Hawkins) - 3:41 rating: **** stars As
good as Brown's cover is (and I think it's one of the album highlights), it
remains a shadow of the Screaming Jay Hawkins original. As one of the
album's more conventional tines, I've always wondered why it wasn't tapped
as a single. So
'Spontaneous Apple Creation'
might serve as a good public service ad for the dangers associated with
excessive use of LSD and other illicit substances ... Not much in
terms of melody, or rhythm, but scores pretty high on the bizarre scale. Powered
by a nice Nichols' bass line, 'Rest Cure' found Brown and company taking a
stab at blue-eyed soul. Probably the album's most commercial song, you
weren't going to mistake this one for The Young Rascals, but it was weird
enough to spin a couple of times. Not
sure why producer Lambert didn't like
Theaker's drumming. He sounded pretty good to me on the faux James
Brown-styled 'I've Got Money.' I have to admit that Brown actually
sounded pretty good on this one. Starting
out with an English music hall vibe, 'Children of My Kingdom' quickly moving
into R&B and jazzy territory. A rarity in that Brown didn't
sound out of his mind, it featured one of the album's stronger melodies and
stands as a track that's grown on me over the years. Reportedly this
was one of two tracks that featured John Marshall on drums.
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Genre: progressive Rating: *** (3 stars) Title: Dance with Arthur Brown Company: Gull Catalog: GULP 1008 Country/State: UK Year: 1974 Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: not yet listed Price: $15.00
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Produced by Roger Bain and released by the small Gull label (which I think was distributed by Motown in the States), 1975's "Dance with Arthur Brown" was bound for instant obscurity. That was truly unfortunate since the set found Brown in good, if typically eclectic form throughout. While certainly not as demented as his debut, the album still exhibited it's share of English eccentricity. Perhaps the biggest surprise came from how good a singer Brown was. Anyone who knew him from the crazed 'Fire' was bound to be surprised by the energy he brought to material such as the disco-tinged cover of 'We've Got To Get Out of This Place', the ballad 'Helen with the Sun' and 'Take a Chance'. While catchy and commercial, much of Brown's own material (the '20s flavored 'Crazy' and 'Quietly with Tact') was simply too English for American audiences. Elsewhere, Brown's two religious numbers ('The Lord Will Find a Way' and 'Is There Nothing Beyond God') were among the oddest tracks - I've always wondered if the signaled some sort of religious rebirth, or he was simply goofing around. Not instantly likeable (I remember playing it once and dumping it in my "sell" pile), but an album that gets better the more you play it.
"Dance
with Arthur Brown" track listing: 1.) We've Got To Get Out of This Place (Barry Mann - Cynthia Weil) - rating: *** stars Hum, Brown opts for a stab at disco ... well this was recorded in 1975 so I guess there was a cultural defense for the song. With Brown screaming over a funky rhythm built on Pete Solley's keyboards and Steve Yorke's bass, the results weren't actually that bad, sounding a bit like something the band Santa Esmeralda was charting with during the timeframe. While there were better tunes on the album, this is the one that was tapped as the single.
- 1975's 'We've Got To Get Out of This Place' b/w 'Here I Am' (Gull catalog number GULS 13)
2.) Helen with the Sun (Andy Dalby - Leslie Adey) - rating: **** stars I've always liked Brown's weird sing-song, almost operatic voice ... His voice is simply unique and though I can't begin to explain it, he's always sounded great on mid-tempo rockers like 'Helen with the Sun'. 'Course the song's secret weapons came in the form of former Kingdom Come compatriot Andy Dalby's gorgeous lead guitar and Lee Robinson's melodic bass line. Great tune that had some FM radio potential. 3.) Take a Chance (Arthur Brown) - rating: **** stars 'Take a Chance' was another song that showcased how good the eclectic Brown could be. Surrounded by one of his better melodies (including some jittery Kevin Elliott Moog and George Kahn's jazzy sax), the song somehow managed to cram pop moves, '50s rock, "world music" touches, and an elaborate, quasi-progressive structure into something that was more than the sum of it's parts. One of the standout performances on the album. 4.) Crazy (Arthur Brown) - rating: ** stars 'Crazy' caught Brown at his campiest ... kind of a '20s/'30s flapper feel that didn't do a great deal for me. 5.) Hearts and Minds (Arthur Brown) rating: **** stars Based on Lee Robinson's killer bass line and Keith Tippets piano, 'Hearts and Minds' was the album's most outright commercial tune. Geez, the song even had castanets !!! Hard to understand why this one wasn't tapped as the single.
(side
2) The song would have been a lot stronger without the shrill backing singers ... As it was, the title track was a moody, slightly reggae-tinged performance showcasing some nice Drachen Teaker percussion touches and another nice vocal from Brown. But those backing singles ... 2.) Out of Time (Mick Jagger - Keith Richards) - rating: *** stars Wasn't sure what to expect from the Stones cover ... In this case Brown stretched the tune out, giving it an almost country-tinge. Interesting if it wasn't going to make you forget the original. 3.) Quietly with Tact (Andy Dalby - Leslie Adey) - rating: ** stars The album's second real disappointment, 'Quietly with Tact' was a nice enough pop ballad, but the song found Brown employing his most cloying voice which, combined with the over-reaching backing singers, effectively sucked the energy out of the tune. Nice lead guitar from Andy Dalby. 4.) Soul Garden (Arthur Brown) - rating: *** stars Judging by the performance credits and the overall sound - pure reggae, 'Soul Garden' was recorded at different sessions that the rest of the album. Not bad, but not particularly memorable. The genre wasn't something that suited Brown all that well. 5.) The Lord Will Find a Way (Lee Robinson) - rating: *** stars I've never been able to tell whether Brown was playing it straight on 'The Lord Will Find a Way'. Written by bassist Lee Robinson, the song wasn't bad, showcasing an upbeat, Moog-propelled Gospel revival feel. Complete with Gospel chorus and Brown vamping along at the end, you were left to wonder. Hum, Arthur Brown as a born-again Christian ... guess I've heard of stranger things. 6.) Is There Nothing Beyond God (Arthur Brown) - rating: ** stars One of six Brown originals, 'Is There Nothing Beyond God' was built on a nifty little funky riff, but sounded like a demo that hadn't been finished. Lyrically there wasn't anything here - just Brown repeating the title refrain over and over and over ...
Needless to say, the set vanished without a trace, though Motown seems to have printed a ton of copies since I see the set quite a bit in my area.
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Genre: progressive Rating: **** (4 stars) Title: The Lost Ears Company: Gull Catalog: SDGU 2003/4 Country/State: UK Year: 1976 Grade (cover/record): VG+/VG+ Comments: double album; gatefold sleeve Available: 1 Catalog ID: not yet listed Price: $30.00
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Clocking in at an some 90 minutes (at times it
seems endless), 1976's "The Lost Ears"
was a 22 track, double album retrospective. While the album included
material covering the 1968-72 timeframe, the primary focus was on Brown's
previous efforts with Kingdom Come. The results were understandably mixed. Highlights include the sci-fi epic
"Time Captives, "The Hymn" (one of Brown's prettier melodies)
and "Spirit Of Joy". At the other end
of the spectrum, the instrumental "Gypsy Escape", "The
Traffic Light Song" and
"Conception" (Brown apparently trying to howl like a wolf), were
seemingly included to highlight the artist's more
eccentric sides. While the majority of material was pulled from
previously released sources, it worth
noting Brown remixed most of the collection.
Elsewhere the set included three previously
unreleased Puddletown Express efforts ("Space Plucks (including Dem Bones)",
"So High Up Here" and "Through the Planets"). The
liner notes included entertaining excerpts from a 1976 interview Brown
granted Melody Maker's Chris Welch. By the way, the hit ("Fire") isn't here.
(The album was originally released with a gatefold sleeve.)
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Genre: progressive Rating: ** (2 stars) Title: Speaknotech Company: Republic Catalog: -- Country/State: UK Year: 1982 Grade (cover/record): VG+/VG+ Comments: picture disc Available: SOLD Catalog ID: SOLD 7372 Price: SOLD $40.00
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In the early 1980s Arthur Brown moved to Austin, Texas where he ended up starting a house painting business with former Mothers of Invention drummer Jimmy Carl Black. Brown remained active in music initially toying with the idea of recording an album under Peter Gabriel's tutelage, but ultimately decided against the project. In 1981 he started recording with producer Craig Leon (Best known for his work with groups like Blondie, The Ramones, and Suicide), and local musicians Scott Morgan and Ian Ota. Prior to releasing the album Morgan was brought in to remix the tapes. Released by the small Austin-based Republic Records, "Speaknotech" (Speak No Tech), was suitably eclectic. Complete with low tech Atari game console-styled synthesizer burps and gurgles, Kraftwerk-ish tape loops and various oddball sound effects, tracks like 'King of England', 'Conversations' and 'Strange Romance' made it clear Brown had been listening to more than his share of early-1980s American and English new wave and synthesizer bands while adding his own unique lyrical and vocal imprints on the results. Picture David Byrne as a middle aged, oddball Englishman and you wouldn't be that far off the general sound and aural atmosphere on this one. Weirdest of the weird - a truly bizarre cover of Buddy Holly's 'Not Fade Away', the spoken word narrative 'The Morning was Cold' and the oddball title track where Brown recalled something that Roxy Music might have done as a joke. Imagine Holly reincarnated as a Martian new wave act ... While the LP's sound hasn't aged all that well, like much of Brown's catalog there's something fascinating about the resulting low tech meltdown. Ever been driving somewhere and slowed down to check out a bad traffic accident? The carnage is horrible and you pray that nobody involved was seriously hurt, but by the same token you can't take your eyes off the mess. That was actually a surprisingly decent analogy for vast parts of this release ! Yeah this one was way strange, even for the eclectic Brown !!!
"Speaknotech"
track listing:
1.) King of England (Arthur Brown - Craig Leon) - rating: **** stars Admittedly 'King of England' started out sounding like a fire alarm going amuck, but who would have thought Brown would be able to mash-up English history and a decent rock melody ? The video quality wasn't great (filmed by someone in the upper balcony), but YouTube has an impressive 1993 performance of the tune at London's Marquee Club: https://www.youtube.com/watch?v=hqC8N5x7_II 2.) Conversations (Arthur Brown - Craig Leon) - 4:27 rating: ** stars Hum, overlooking the Atari-styled synthesizers, 'Conversations' sounded like Brown had been listening to way too much Devo. Hum, this was a good way to make '80s music pedestrian and boring. 3.) Strange Romance (Arthur Brown - Craig Leon) - rating: *** stars 'Strange Romance' was at least a little more in keeping with Brown's quirky reputation, though the synthesizers had a hideous '80s sound. You had to admit Brown's voice was still in great shape. 4.) Not Fade Away (Hardin - Petty) - rating: ** stars Ever wanted to hear Devo record a Buddy Holly classic ? Well, here's your chance ... Imagine r2d2 singing with a fake Elvis twang and you'll get a general idea of what Brown's performance sounded like. 5.) The Morning was Cold (Arthur Brown - Craig Leon) - rating: ** stars The cold synthesizer pattern was definitely headache inducing (imagine a car running on a a cylinder) ... Hum, why did it remind me of Kraftwerk ? Brown's dour spoken word monologue didn't make this any more enjoyable.
(side
2) The title track was basically Brown caterwauling over a bland and totally forgettable synthesizer melody. Hum, possibly the perfect theme song for Luddites ... 2.) Name As Names (Arthur Brown - Craig Leon) - rating: **** stars Well, 'Name As Names' at least started out with a catchy rhythm pattern and found Brown trotting out what sounded like a Peter Gabriel impression. Wonder if this was something recovered from the aborted project he undertook with Gabriel. 3.) Love Lady (Arthur Brown - Craig Leon) - rating; *** stars The album's most conventional performance, though the arrangement built on jabbering synthesizers didn't make all that much of an impression. 4.) Big Guns Don't Lie (Arthur Brown - Craig Leon) - 5:00 rating; *** stars In contrast to some of the tunes on this set, 'Big Guns Don't Lie' at least had something approaching a recognizable melody. The arrangement was pretty barebones; Brown accompanied by drums and synthesizer washes. Admittedly it was also a bit short in the lyric department - Brown basically repeating the title over and over and over and then changing things up by repeating 'fortresses can fall ... 5.) Take a Picture (Arthur Brown - Craig Leon) - rating; *** stars So I'm going to give this one an extra star for the multi-tracked vocal arrangement. I'm then going to take away a star for the Atari synthesizers. What you get is 3 stars + 1 star (vocal arrangement) - 1 star (synthesizers) = 3 stars.
In 1997 the Voiceprint label reissued the collection in CD format (catalog number VP124CD) along with five bonus tracks:
1.) You Don't Know (1965) 2.) Old Friend My Colleague (1990) 3.) Lost My Soul In London (1990) Joined Forever (1990) 4.) Mandala (1987) 5.) Desert Floor (1987
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Theaker was replaced because of his aviophobia in 1968 by Chris Farlowe & The Thunderbirds drummer Carl Palmer (later of Atomic Rooster, Emerson, Lake & Palmer and Asia) for the band's second American tour in 1969, on which keyboardist Vincent Crane also leftalthough he soon returned.[15] The band recorded a second album, titled Strangelands, intended for release in 1969 but shelved by their label over concerns that it lacked sales potential. The album featured a more experimental and avant-garde sound that shed the pop sensibilities of the Crazy World's debut. Strangelands was not issued until 1988. The new lineup practically dissolved on the band's US tour in June 1969. Crane and Palmer left to form Atomic Rooster, Greenwood, known as Sean Nicholas during his time in the band, went on to Khan[16] where he performed under the name Nick Greenwood. Theaker went to join Love and then Rustic Hinge, and Arthur Brown eventually joined Kingdom Come. The band re-formed in 2000 and released Tantric Lover.[17] In 2013, as the result of a successful pledge campaign on PledgeMusic, the band released the album Zim Zam Zim, recorded in Brown's yurt in Lewes.[18] Musical style [icon] This section needs expansion. You can help by adding to it. (September 2022) The Crazy World of Arthur Brown's music encompasses psychedelic soul,[19][20][21] British rhythm and blues,[20] pop,[20] and psychedelic rock.[22] Mike Knoop, writing for Classic Rock magazine, said that Brown's singing style recalls "Eric Burdon, Bob Calvert, Ian Gillan, Tim Curry, Brian Connolly, and a smidgen of King Diamond all coming out of one person."[20] Brian Carr, another Classic Rock writer, compared the debut album's music to that of Alice Cooper and Frank Zappa.[20] Members Current members Arthur Brown lead vocals (19671970, 2000present) Jim Mortimore bass, backing vocals, guitars, electronics (2000present) Samuel Walker drums, backing vocals, percussion (2000present) Dan Smith - guitar, Hammond MX-1 organ, electronics, vocals (2019present) Additional personnel Andy Clark - content creator and visual show Robin OKeefe - visuals, camera work, musician Angel Fallon - dance and choreography Claire Waller - manager, costumes, makeup and creative direction Former members Sean Nicholas Greenwood bass guitar (19671970) Vincent Crane Hammond organ, piano (19671969; died 1989) Drachen Theaker drums (19671968; died 1992) Carl Palmer drums (19681969) Jeff Cutler drums (19691970) Dick Heninghem organ, piano (1969) Pete Solley organ, piano (19691970) Z-Star guitar, keytar, keybass, percussion, vocals (20002019) Lucie Rejchrtova keyboards, synthesizers (20002019) Malcolm Dick projection (20002019) Timeline Discography Studio albums 1968: The Crazy World of Arthur Brown (#2 UK, #6 Can., #7 US) 1988: Strangelands (rejected second album recorded in 1969) 2000: Tantric Lover (CD, UK, Voiceprint Records)[17] 2003: Vampire Suite (CD, UK, Track Records)[23] 2013: Zim Zam Zim (released as the result of a pledge campaign) 2019: Gypsy Voodoo Live albums 1993: Order From Chaos 2011: The Crazy World of Arthur Brown Live At High Voltage (vinyl only release, limited edition of 1000, recorded at the High Voltage Festival) Singles[24][25][26][27] Year Song Peak chart positions Release UK US BEL SWI GER NETH AUS CAN 1967 "Devil's Grip" b/w "Give Him a Flower" Track 604008 UK 1968 "Fire" b/w "Rest Cure" 1 2 3 3 3 4 7 1 Track 604022 UK Atlantic 2556 US Polydor 541.012 Can "Nightmare" b/w "Music Man" (aka "What's Happening") 56 107 68 [28] Track 604026 UK Polydor 541.022 Can "I Put a Spell on You" b/w "Nightmare" 111 Track 2582 US
Sponsored Links Virginia Residents Get Huge Home Insurance Reduction ExpertsInSavings.co | Home But there was more to Arthur than that one song. The album from whence it came was hit on both sides of The Atlantic, an album so successful Arthur felt in a powerful enough position to turn a £650,000 advance for album number two. It was never to be. The band splintered and the album, Strangelands, didn't see the light of day for nearly 20 years. |
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B (a wild cover of
Screamin' Jay Hawkins' 'I Put a Spell On You'). Brown and company apparently
intended the album to be a concept piece built around the "fire"
concept - admittedly the plotline was lost to me. Track management and
producer Lambert were less than thrilled with the idea and insisted on the
inclusion of more commercial material: hence the Screaming Jay Hawkins cover
and the slightly more conventional side two. Artistically fearless, Brown and company took enthusiastic shots at every genre;
indiscriminately mixing the ingredients on freak-out tracks such as
'Prelude - Nightmare' and 'Fanfare - Fire Poem' (geez, talk about a bad acid trip ... ). While not always successful, there was no denying the set's bizarre appeal. Released as a single Brown's frenzied performance on
'Fire' provided the band with an unexpected world-wide hit. In support of the fluke hit, the band undertook an American
tour, introducing folks to their theatrical presentation - Brown frequently performed with a painted face while wearing psychedelic clothes and a flaming helmet,
It generated a wave of media attention and significant sales, propelled the parent album to
# 7 on the US Billboard album charts. As an interesting side note, Brown's wild stage show and over-the-top image set him at odds with many conservatives; some who even branded him satanic. That was ironic since Brown was an admittedly deeply religious Christian, who worked Christian themes into much of his catalog (check out tracks such as "Time/Confusion" and "Child of My Kingdom").
