To casual observers only sketchily acquainted with his output, RAY DORSET's claim to fame as a singer-songwriter might appear slender. While it might be difficult to argue with the contention that PAUL KING's lyrical and musical sophistication place him, rather than Ray, more squarely in the AL STEWART/JAMES TAYLOR et al neck of the woods, Ray's skills as a writer and lyricist certainly go well beyond the good-time limitations of MUNGO's greatest hits, and likewise KELLY MARIE's 1980 chart-topping dance floor smash.

If CHUCK BERRY was the archetypal rock'n roll lyricist with what has been called his 'defiant' teen outlook on life, RAY DORSET's first, best known hit drew its parallels with songs like 'NO PARTICULAR PLACE TO GO', 'SCHOOL DAYS' and others. 'IN THE SUMMERTIME', he told Record Collector recently, ""came about because of that old American image of cruising round in an open-top car, with a girl in the passenger seat and a bottle of Coke or something in your hand". The drink-drive lack of PC has been gone into time and time again, so enough said on that.

But look further, and the lyrics which sound like they were written in the studio with one eye on the clock, and you will find the odd little gem on the first two MUNGO albums. On the eponymous debut, take 'PEACE IN THE COUNTRY'. To quote the scrapbook of former MJ fan club secretary, DEREK WADESON, it's "Mungo's CND song - I wonder if they know about this one at Greenham Common".

On the second album, 'ELECTRONICALLY TESTED', sitting alongside the three chord kazoo and harp stompers are such varied DORSET compositions as the poignant let's-make-it-up, 'COMING BACK TO YOU WHEN THE TIME COMES', the black humour of 'MEMOIRS OF A STOCKBROKER', comparable to countless RAY DAVIES story songs of the period and - as suggested more recently - BLUR's, 'COUNTRY HOUSE'. And don't forget 'FOLLOW ME DOWN', a song about getting away from it all - ""I'll take the fast train, far from pollution." - Perhaps less environmentally-slanted than subsequent hits by LINDISFARNE, 'ALL FALL DOWN' (1972), and HUDSON FORD, 'BURN BABY BURN' (1974), both of which were ahead of their time in helping to hammer home the eco-friendly philosophy - but a positive nod in the right direction. In an interview with NME (27 October 1970) conducted from New York, Ray suggested that 'FOLLOW ME DOWN' was tipped as the follow-up to 'IN THE SUMMERTIME'. It was certainly strong enough, musically as well as lyrically, and Ray's comments in the same interview about the overpowering pollution they experienced in the US spoke for themselves.

What do you make of a song like 'YOU DON'T HAVE TO BE IN THE ARMY TO FIGHT IN THE WAR'? According to Andrew Means (Melody Maker, 16 October 1971), "in expressing himself quite simply, (Ray) has said quite a bit more than those songwriters who tackle abstract concepts inadequately...(the song) informs you that anything from being ejected from your girlfriends house for having long hair to being kicked by Her Majesty's Constabulary is part of your own little back door war." In the words of MUNGO bassist, JOHN GODFREY (NME, 23 September 1971), ""Ray's tried a BOB DYLAN thing for a laugh, that's okay as long as it's not taken too seriously." Only the Australians fell into the trap of taking it too seriously - and banned it. (Why didn't we ban their appalling soap operas a few years later?)

But underneath the rock'n skiffle, a more sophisticated songwriter was trying to get out. And so he did - on 'COLD BLUE EXCURSION' (1972). The gatefold sleeve included a few paragraphs from WOODY GUTHRIE's, 'BORN TO WIN', the thrust of which was the message that "A song was just a song to me", plus contrasting photos of an introspective acoustic guitar-wielding Ray sitting thoughtfully against a tree, and of him clutching an electric six-string and a microphone, looking like screaming blue murder. The album was rightly seen as an attempt to diversify his style beyond the group's limitations, and good reviews from non-MUNGO believers suggested he had the balance just right. One moment he was, OTIS REDDING, the next he was ART GARFUNKEL with balls. Standouts, lyrically, were 'HELP YOUR FRIENDS', about a woman who "had a family that made her tow the line" and her message of "let's live and love together for freedom peace and love"; 'HAVE PITY ON ME', a KENNY BALL-like trad jazz stomper which is almost Ray's 'WHEN I'M SIXTY FOUR', and 'GOT TO BE FREE', with its gospel and Christian overtones. Are we sure Cliff has never been tempted to cover this one?

Did 'COLD BLUE EXCURSION' help Ray to get the singer-songwriter aspirations out of his system? Was the dissension between him, Colin and Paul and subsequent business problems, plus the urgency of keeping a band on the road, which perhaps prevented him from developing further his, full potential as a wordsmith? Don't get me wrong, I've loved 95% of his music since then as well, but that seems to have marked the end of a phase. All the same, let's not forget one song from the end of 1972 and the 'BOOT POWER' album, which Ray admitted was written in rather a hurry. Lyrically, though it provided a nugget in the closing track, '46 & ON', a light-hearted autobiographical look at growing up in the post-war world of sweets on ration and 'HOUND DOG' on the radio.

But there are several songs from the later period which stand up in their own right. From the non-UK album, 'VIVA ENGLAND', or 'TOGETHER AGAIN', depending on the country of release, are one of Ray's own personnel favourites, the wistful 'HOW CAN I LIVE A LIE', and the superb 'MARGUERITA', a bittersweet tale of an old flame, with deft lyrical touches - " a 17th century farmhouse, with real lace curtains silhouetted by the moon". Compare BOB SEGER's classic 'NIGHT MOVES', and it comes off just as well.

Best of all is the still to be released 'WHERE ARE YOU'? To quote HAL CARTER, who co-produced a demo version in the late 80's, "when that song gets issued, it's gonna surprise one hell of a lot of people, it's his 'COLD BLUE EXCURSION' 20 years on." It is written from the standpoint of one who wants to believe in Christianity but has to be fully convinced: ""I wanna walk the streets in peace/Relax so I can sleep at night/I wanna raise a family/Not shelter from the world/It's says here in the book/It says it is the gospel truth about you/You know I do believe/But I don't like what I see." Such words must be echoed by millions the world over.

Perhaps the song is not merely his 'Excursion' 20 years on, but instead his 'IMAGINE'. To make extravagant claims for Ray as a writer is perhaps overstating the case. But to judge him thus by, say 'ALRIGHT,ALRIGHT,ALRIGHT' is surely doing him just as much a disservice as judging JOHN LENNON by 'SHE LOVES YOU' (Yeah Yeah Yeah). As Ray himself wrote in 'BEYOND THE SUMMERTIME', "Songs can have their own life and that is why I like folk or campfire songs, songs that know no time span, and melodies that can be played and sung in any style and with any instrumental line-up."

JOHN VAN DER KISTE.

The gig was held at a big house called the Montpelier Rooms, and the band were actually playing in a large room. The house was packed with people standing in the doorways, and on the stairs - the atmosphere was VERY electric!

As you can imagine, it was very hot in there and they were selling small glasses of Coke for 20p a time, which was a lot of money in 1971. The band sang a lot of songs from their album, 'ELECTRONICALLY TESTED' plus 'LADY ROSE' and 'HAVE A WHIFF ON ME'. Banned by the B.B.C because of the cocaine references, Ray told us that the song was written about the cowboys who used to snort cocaine up their noses, and by the time they reached their late twenties, early thirties, their guts would have fallen through their arses.

During 'IN THE SUMMERTIME', PAUL KING had a jug with four rubber tubes stuck to the inside, and he blew across the top of it to mimic the sound of the car engine revving up.

It was a memorable concert, one I shall remember for the rest of my life!

GRAHAM KNIGHT, PORTSLADE.

Sauntering out of my local Virgin store clutching a MUNGO CD in my palms, my mind drifts back to those days of yesteryear when the re-issued item was brand spanking new and on vinyl. I first bought the 'YOU DON'T HAVE TO BE IN THE ARMY' LP from Nems in Whitechapel, Liverpool. It was the shop BRIAN EPSTEIN ran his BEATLES empire from, by the time 'BOOT POWER' was released, I worked there myself. During the many conversations I have held with RAY DORSET over the years, he has always been at pains to make the point that the jug band '70-72 MUNGO era was only a period - a change of direction in his musical career. He loves to go back from time to time and recreate - but he feels his music is about now.

A valid point and one I generally agree with, but as Ray still makes a healthy living from gigging and 80% of the stage show centres around product issued during the success years, you can hardly forget it. MUNGO re-issues on CD are important and not only to replace those long worn out vinyl issues. Of the many issued during the last few years, none can be more important that those that have been released during 1995/96. 'COLD BLUE EXCURSION' saw the light of day and reminded everyone what a work of art it was - Ray was writing hits right, left and centre at the time, and the songs on this album, while maybe not his most commercial, knocked spots of anything else he had put his pen to. A really well crafted LP to say the least!

The aforementioned 'Army' album was re-issued as a double pack with 'BOOT POWER'. There are two ways of looking at this - from viewpoint one, the 'Army'album would have gone better coupled with 'Tested' or the 1st LP. Viewpoint two leads you to believe it is a mixing of before and after, putting together the new electric band. 'Army' always sounded to me like it was put together in a hurry, maybe that's its strength and what makes it stand out as a jug band LP. 'BOOT POWER' has always been a favourite, more rockin' and raunchy, with some surprisingly powerful, strong songs. Finally, the pleasing thing about both re-issues, is the strong packaging and sleeve notes, full marks to BGO (Beat Goes On) and ALAN CLAYSON. In fact, so well written are the sleeve notes, it leaves you scratching your head and wondering why they can't all be done like this, which starts me off on...no, perhaps to leave this one on a positive note for a change.

DEREK WADESON.