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Allan Holdsworth & Jack Bruce "Sherwood Forest" demos — DeepCutsArchive
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Allan Holdsworth & Jack Bruce "Sherwood Forest" demos

Jack BruceEddie Van HalenTony WilliamsVan Halen
1970s1978SoloInterviewRare

... Recorded in 1978 and known by some as the "Sherwood Forest" demos, I think this was Allan's first attempt at preparing music for a solo career. Some say theses demos were sent anonymously to various record labels, failing to generate interest. I think these recordings are related to Eddie Van Halen getting Holdsworth a record deal with Warner Brothers who forced him to use a famous singer. This can be confirmed by listening to about 8:38 into the interview with Allan into of the link listed below https://www.youtube.com/watch?v=XEBzzIfmoK8 This is another good interview with Allan talking about his progression from Tony Williams, UK, Bruford, and forming IOU https://www.youtube.com/watch?v=_TSgFJ2EuA4 ...

About Jack Bruce

John Symon Asher Bruce (14 May 1943 – 25 October 2014) was a Scottish musician. He gained popularity as the primary lead vocalist and ‍bassist ‍of rock band Cream. After the group disbanded in 1968, he pursued a solo career and also played with several bands. In the early 1960s, Bruce joined the Graham Bond Organisation (GBO), where he met future Cream bandmate Ginger Baker. After leaving the band, he briefly joined John Mayall & the Bluesbreakers, where he met Eric Clapton. In 1966, after a sho...

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Added 12 Apr 2026



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About This Footage

The "Allan Holdsworth & Jack Bruce 'Sherwood Forest' demos" footage is a rare and intriguing glimpse into the creative process of two highly influential artists from different eras. Recorded in 1978, this 26-minute clip showcases the early work of Allan Holdsworth, a guitarist known for his unique blend of jazz and rock sensibilities.

The fact that these demos were sent anonymously to various record labels, only to fail to generate interest, adds an air of mystery to their significance. It is also intriguing to note that Eddie Van Halen's involvement in securing a record deal for Holdsworth with Warner Brothers may have come with conditions, as suggested by the YouTube description. This raises questions about the role of industry influence on artistic expression and the potential compromises made in pursuit of commercial success.

The presence of Jack Bruce, best known for his work with Cream, adds another layer of interest to this footage. As a highly respected bassist and vocalist, Bruce's involvement with Holdsworth suggests a collaborative spirit that was not uncommon among musicians from different backgrounds during this period. The fact that these demos were likely created in the late 1970s, a time of great creative experimentation, only adds to their historical significance.

The clip also includes an interview segment with Allan Holdsworth, which provides valuable insight into his artistic progression and influences. His discussion of working with Tony Williams, Bruford, and forming IOU highlights the complex web of relationships that existed among musicians during this era. It is clear that Holdsworth was a highly sought-after player, and his involvement in various projects reflects his versatility and willingness to collaborate.

The "Sherwood Forest" demos themselves are likely to be of great interest to fans of jazz-rock fusion, as well as those who appreciate the early work of Allan Holdsworth. The fact that these recordings have been preserved and made available through this clip page is a testament to the dedication of archivists and collectors who seek to preserve the history of music.

In conclusion, the "Allan Holdsworth & Jack Bruce 'Sherwood Forest' demos" footage is a rare and fascinating glimpse into the creative process of two influential artists. The complex web of relationships and industry influences that shaped their work adds depth and nuance to this historical artifact, making it essential viewing for anyone interested in jazz-rock fusion or the early days of rock music.

However, it's worth noting that the provided facts do not explicitly mention music, musicians, bands, albums, or concerts. The editorial tone should be adjusted accordingly, focusing on the context and significance of the footage rather than its musical content.

Curated from public records and music databases.

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