McGuiness Flint, front

McGuinness Flint and the Hörzu Electrola Special Edition – When British Folk Rock Found Its Way into German Living Rooms

Last Updated: 15 May 2025By Tags: , , , ,

McGuinness Flint – Rediscovering a Forgotten Gem

To be honest, McGuinness Flint had completely escaped my attention for most of my life. I had never sought them out, never heard them on the radio, and their name didn’t ring any bells. That changed the day I came across their self-titled debut album in a random box of used records. I’d bought the lot from a guy who clearly had more vinyl than shelf space, and this LP was just one among many anonymous covers.

Visually, the sleeve gave nothing away. A vaguely theatrical setup, some period costumes—maybe ironic, maybe not. No obvious clues as to whether I was about to hear pub rock, folk, or something entirely different. But curiosity has its rituals. I ran the record through my Humminguru ultrasonic cleaner—ten minutes later it was dry, static-free, and ready to go. I dropped the needle expecting very little.

McGuiness Flint, front
McGuiness Flint, rear

What I got was a genuine surprise.

From the opening chords of Lazy Afternoon, it was clear that this wasn’t just another forgotten pub band. The arrangements are tight but unpretentious. There’s a strong melodic sensibility, carried by warm, slightly nasal vocals that suit the lyrical tone perfectly. When I’m Dead and Gone, the big hit, still works—it’s catchy, but grounded, with a working-class optimism that doesn’t try too hard. Malt and Barley Blues, meanwhile, has a rougher charm, with a touch of wry humour and real swing in the rhythm section.

What stood out most, though, was the consistency across the album. Each track is carefully crafted—nothing overstays its welcome, nothing feels rushed. You can hear the professionalism of players like Tom McGuinness and Hughie Flint, who came with serious credentials from Manfred Mann and John Mayall’s Bluesbreakers respectively. And Benny Gallagher and Graham Lyle, who would go on to chart success on their own, already show their songwriting finesse here.

By the end of Side B, I’d stayed put, start to finish. No skipping, no fast-forwarding — just the pleasure of discovering a record that had been hiding in plain sight for over 50 years.

I’m glad to have this album in my collection now. It’s one I’ll come back to — not because it’s rare or because it makes a statement, but because it’s solid, satisfying music. The kind of record you put on late on a Sunday when you want something that feels both relaxed and alive. Sometimes those are the ones that end up meaning the most.

Who were McGuiness Flint

In the early 1970s, the UK’s music scene was bursting with bands that effortlessly blended folk, blues, and rock. One such group was McGuinness Flint, founded in 1970 by Tom McGuinness (ex-Manfred Mann) and Hughie Flint (formerly of John Mayall’s Bluesbreakers). The line-up also included vocalist Dennis Coulson and the Scottish songwriting duo Benny Gallagher and Graham Lyle—both strong writers in their own right.

Their debut single, When I’m Dead and Gone, quickly became a commercial success, reaching No. 2 in the UK and breaking into the Billboard Hot 100 in the US.
The follow-up, Malt and Barley Blues, reaffirmed their knack for combining traditional British themes with catchy, radio-friendly songwriting. However, the chemistry didn’t last long. Gallagher and Lyle left in 1971 to pursue a duo career, which would bring them notable hits in the mid-70s. The rest of the band carried on with new members but never regained the same traction. By 1975, McGuinness Flint had effectively disbanded.

McGuiness Flint find their audience in (Western-) Germany

Their short-lived prominence, however, was enough to secure them a slot on the German market via a collaboration with Hörzu, a popular TV guide magazine that also released vinyl LPs as part of a long-standing partnership with Electrola—a key German record label and part of the EMI group.

Hörzu began releasing records in 1963, licensing content from major labels and distributing it under its own brand. By 1971, they were issuing popular samplers that often included international acts. McGuinness Flint’s track When I’m Dead and Gone appeared on Schlager Schlagen Ein ’71, a Hörzu compilation that curated current hits for a German-speaking audience.

Electrola itself has a deeper history, founded in 1925 by The Gramophone Company as its German branch. Based in Berlin, it became one of the key players in German music production throughout the 20th century. By partnering with Hörzu, Electrola helped bridge the gap between UK and German pop culture at a time when such connections were less automatic than they are today.

For collectors, that Hörzu edition isn’t just another compilation—it reflects how British rock infiltrated West German homes not only via radio or TV but also through affordable, widely distributed vinyl. McGuinness Flint’s inclusion is also a small but telling reminder of how record companies in different markets curated their own versions of “what matters.”

Discography Highlights:

  • McGuinness Flint (1970): Includes When I’m Dead and Gone – UK No. 2
  • Happy Birthday, Ruthy Baby (1971): Features Malt and Barley Blues – UK Top 5
  • Lo and Behold (1972): A Bob Dylan covers album, released as Coulson, Dean, McGuinness, Flint
  • Rainbow (1973) and C’est la Vie (1974): Later albums with a more eclectic approach

What Became of Them:

After the breakup, Gallagher and Lyle found chart success as a duo with I Wanna Stay with You and Heart on My Sleeve in 1976. Tom McGuinness and Hughie Flint went on to co-found The Blues Band in 1979 with Paul Jones and others. Flint left that group by 1981 and later stepped away from music altogether, retiring in 2007.
McGuinness stayed musically active and remains a respected figure in British blues circles.

Estimated Value in VG+ Condition

The value of this album in Very Good Plus (VG+) condition can vary based on factors such as pressing, rarity, and demand. For the German Electrola/Hörzu pressing, recent sales data suggests the following price range:

  • Low: €5
  • Median: €15
  • High: €30

These prices reflect the album’s condition, with VG+ indicating that the record has been well-maintained with minimal signs of wear.

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