October 2025 marks a remarkable milestone in South African music history – the 50th anniversary of McCully Workshop’s groundbreaking album “Ages.” Released in October 1975, this extraordinary record continues to resonate with listeners five decades later, proving that truly innovative music transcends the boundaries of time.
A Musical Journey Through the Ages
“Ages” arrived at a pivotal moment in rock history. The early 1970s had seen the promise of improvisational bands like Cream, Iron Butterfly, and The Jimi Hendrix Experience bloom into full progressive rock maturity. Medieval themes, Tolkien-inspired fantasy, and the emergence of keyboard wizards like Rick Wakeman were defining the era. McCully Workshop, led by the McCullagh brothers Tully and Mike, embraced this zeitgeist while crafting something uniquely their own.
As Mike McCully recalled, “Ages is a sort-of concept album.” The band’s live performances during this period exemplified their eclectic vision – seamlessly weaving together Bach’s “Toccata in D Minor,” Grieg’s “Hall of the Mountain King,” and Strauss’ “Also Sprach Zarathustra” alongside Beatles covers and contemporary folk-rock. This ambitious musical palette would define the “Ages” recording sessions.
From Garage Rehearsals to Progressive Masterpiece
The journey to “Ages” began a decade earlier when the McCullagh brothers started as the Blue Three in 1965. After various line-up changes, they settled on McCully Workshop – named after their rehearsal space in Mrs. McCullagh’s garage. Their 1970 debut “Inc.” had established them as masters of psychedelic pop, while 1971’s “Genesis” saw them exploring brass-rock territory in the vein of Chicago and Blood, Sweat & Tears.
By 1975, the band had evolved once again. Gone was the brass section, replaced by a keyboard-dominated line-up that would prove perfect for their progressive rock ambitions. The core group consisted of Tully McCully (vocals, bass, guitar), Mike McCully (drums, vocals), Richard Black (lead guitar, vocals), Richard Wilson (electric violin, mellotron, electric piano), and Leon Morton (organ, synthesizer).
Recording Magic in Long Street
The album was recorded at Advision Studios in Cape Town’s Long Street, with Tully McCully serving as both engineer and producer. Using a Studer 1-inch 4-track recorder, they crafted a sound that was both technically ambitious and emotionally resonant. The band’s innovative approach extended to their effects processing – they famously used an 18-by-12-foot corrugated iron water tank on the studio roof as an echo chamber, complete with speakers and microphones positioned for maximum reverb effect.
The musical influences were wearing their hearts on their sleeves: Emerson, Lake and Palmer loomed large, with Leon Morton channelling Keith Emerson on keyboards while Mike McCully brought Carl Palmer’s percussive complexity to his drum work. Tully, like Greg Lake, combined bass playing with lead vocals, creating the band’s signature sound.
Standout Tracks and Musical Highlights
Each track on “Ages” tells its own story while contributing to the album’s overarching theme. The opening “Avenue” delivers a bass-driven rock assault reminiscent of Uriah Heep’s “Salisbury” era, while “1623” – an instrumental showcase for Richard Wilson’s violin work – captures the medieval atmosphere that defined much of 1970s progressive rock. The title’s origin is charmingly random: when Mike McCully asked Wilson what to call the piece, Wilson replied “no idea,” prompting McCully to suggest “What about 1623 or something like that?”
“Guinevere” became the album’s commercial breakthrough, reaching number 10 on the LM Radio / Radio 5 charts and earning the band a performance slot on early South African television. The song showcases the band’s mastery of vocal harmonies, enhanced by contributions from Crocodile Harris, and features Mike McCully’s spectacular double-tracked triplet drumming – performed live with four sticks in the style of Led Zeppelin‘s John Bonham.
The album’s diversity shines through tracks like “Carbon Canyon,” a Steve Miller Band-influenced blues boogie, and “Step On Easy,” which wouldn’t have sounded out of place on a Stealers Wheel record. “Blues in C Minor,” recorded live at the University of Cape Town, captures the band’s playful side with Tully’s tongue-in-cheek Louis Armstrong impersonation over an improvisational blues jam.
Technical Innovation and Creative Effects
Beyond the unconventional echo chamber, the band employed cutting-edge technology for the era. Leon Morton’s extensive use of the Elka Rhapsody string synthesizer – the same instrument used by Jean-Michel Jarre and Tangerine Dream – gave tracks like “The Plague” their epic, atmospheric quality. Richard Black’s guitar work was complemented by his flute playing, adding another dimension to instrumentals like the Focus-inspired “Shingles.”
The band’s commitment to sonic experimentation extended to vocal processing, with Tully putting his voice through a guitar phase pedal on “Forgot How To Smile” to create unique textures that complemented Richard Black’s composition.
Legacy and Influence
Fifty years later, “Ages” stands as a testament to the creative ambition that defined the 1970s progressive rock movement. The album’s blend of classical influences, folk melodies, hard rock energy, and psychedelic experimentation created something that was both of its time and timeless.
The 2010 CD reissue by Fresh Music added seven bonus tracks that had only previously been released on singles, offering insight into the band’s broader creative output during this period. These additions – including songs like “Carnival”, “Rainbow Illusion”, and “Shamrock” – demonstrate the consistency of vision that drove McCully Workshop during one of their most creative periods.
A Living Legacy
What makes “Ages” particularly special is its demonstration that progressive rock wasn’t merely a British or American phenomenon. McCully Workshop proved that South African musicians could match the ambition and technical prowess of their international contemporaries while maintaining their own distinct identity. The album’s success helped establish a template for South African progressive rock that would influence generations of local musicians.
As we celebrate the 50th anniversary of “Ages,” we’re reminded that the best art doesn’t merely reflect its era – it transcends it. McCully Workshop’s third album remains as compelling today as it was in 1975, a testament to the power of musical vision, technical skill, and creative courage.
The workshop may have started in Mrs. McCullagh’s garage, but “Ages” proved that South African rock could compete on any stage, in any era. Here’s to 50 years of a true progressive rock masterpiece – may it continue inspiring musicians and delighting listeners for generations to come.
McCully Workshop’s “Ages” was originally released in October 1975 on EMI-Brigadiers and reissued on CD in February 2010 by Fresh Music with extensive liner notes and bonus material.