Like many New Wave of British ROCK contenders, Birmingham’s Jameson Raid hardly ever did achieve true commercial success, however they still were able to survive as well as thrive for quite some time on the effectiveness of local gigging and fan word-of-mouth, before joining the rates of countless fellow also-rans in the halls of cult steel Valhalla. Notre Dame, as the music group was initially known as, was produced in Birmingham, circa 1975, and followed the Jameson Raid moniker (extracted from a past due 19th hundred years South African uprising) some 2 yrs afterwards, when ex-Hoi Polloi vocalist Terry Dark was persuaded to become listed on the prevailing lineup of guitarist Ian Smith, bassist John Ace, and drummer Phil Kimberley. With punk rock and roll dominating nationwide headlines, Jameson Raid’s hard/prog/glam rock and roll influences (covering from Mott the Hoople to Thin Lizzy) and gimmicky on-stage wardrobe (just a little artificial blood right here, a stocking over the top there, and classic military jackets, on top of that) were obviously not in fashion. However the quartet still produced strides playing the North Britain pub circuit, persisting longer more than enough for the U.K.’s music tide to start out turning their method again. Therefore in Feb of 1979, having pointed out that the initial seeds of the brand new Wave of English Heavy Metal had been starting to consider main, Jameson Raid required pains to financing and launch their personal debut EP, which showcased their eclectic skills via three songs covering elegant but infectious weighty rock (“A WEEK of Splendor”), anthemic, radio-oriented simpleness (“It’s a Criminal offense”), as well as highbrow literary fodder (“Catcher in the Rye”). In March, they backed Def Leppard and Magnum at London’s Hammersmith Odeon and officially came into the N.W.O.B.H.M. awareness, culminating in the addition of 1 of their tunes, “Hard Lines,” in the Metallic for Muthas, Vol. 2 compilation, released in-may 1980. Unfortunately, throughout a momentary identification crisis because of the imminent departure of guitarist Smith (later on changed by Mike Darby) and bassist Ace (changed by one Peter Green; simply no, not really that one!), the music group requested that they become billed as just “the Raid” (presumably, Jameson Raid also sounded much too South African?), therefore dissociating all their efforts up to now from what became the largest break of their profession. Not it eventually mattered, because dropping its two founding users evidently derailed Jameson Raid’s momentum once and for all, and after issuing the finish of Component One EP to connect up the initial lineup’s recordings, the group proceeded to stumble through several additional music artists and ineffectual demonstration classes until crumbling in 1983. Years later on, some of these latter-day demos seems (combined with the better-known early materials) over the Darkness Kingdom label’s Just like the Dust Acquired Resolved compilation (2010), and, incredibly, the “traditional” Jameson Raid quartet acquired only lately reunited after a lot more than 25 years aside to perform go for schedules in the U.K. and Germany.