Originally a trio of friends from school, John Simms (guitar), Mark Sheather (bass), and Ken White (drums) grew up in the Acton area of London and started as a college circuit blues-rock band called JUG BLUES (later MATUSE and then X).
In 2009, John SIMMS became associated with drummer Thomas TIEFENBACHER and the band rel. Despite that tragedy the band released a new album "Gateway to the Seventh Dimension" that represent a nwe era for the band. In 2005, the band began to write some new material and lost their manager and confident Tony Hamlin. Gateway to the Seventh Dimension, studio album This band worked quietly alongside some of the best heavy rock and heavy prog acts of their day and proved themselves a group of young but very serious musicians, and have continued to make progressive rock despite many setbacks. "Out of the Blue", a collection of live and unreleased material, came out in 2001.Ĭonsidering their partially forgotten status, CLEAR BLUE SKY is a surprisingly tight and accomplished band that probably deserve more attention than they got the first time around. 1996 saw the part-concept album "Cosmic Crusader" and later another theme record "Mirror of the Stars". The second record, "Destiny", released twenty years after the first (and then again in 1999 on Aftermath in CD format), is old material but shows an improvement in form and approach from the first session. The group was occasionally compared to CREAM, LED ZEPPELIN and early JETHRO TULL, though the music had a firm prog sensibility unlike CREAM or ZEPPELIN and sometimes may even remind of RUSH.ĬLEAR BLUE SKY's 1971 debut (reissued on Repertoire,1991) is considered their most important and the LP is a collector's item.
Still only eighteen, the three musicians mixed hard blues with progressive and psychedelic rock in an unusually mature way, and the LP was released in January 1971 sporting one of Roger Dean's earliest album covers. Impressing manager Ashley Kozak, the band were given a deal with Vertigo, changed their name to CLEAR BLUE SKY and recorded a self-titled record under the production of Patrick Campbell-Lyons.
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