Jackdaw with Crowbar's original line-up was Timothy Ellis, Fergus Durrant, Dave Tibbats and Dan Morrison, with Adam Sindall, Steve Law and Fran Juckes making Super 8mm films which were always present in their live performances.[1][2][3] This line-up released the band's first three records, Monarchy, Mayhem and Fishpaste, Sink Sank Sunk and Hot Air.[4]
The band contributed to the 1988 compilation album Take Five in aid of the charity Shelter.[5]
In 1991, Jackdaw released Hanging In the Balance, expanding the line-up with Tris King (formerly of Bogshed and later of A Witness),[6] Andy Guthrie, Alan McCulloch (aka "Wak"), Andy Grimmer, Wilf Plum (Dog Faced Hermans) and Charley 'H' Bembridge (The Selecter).
Jackdaw had two John Peel sessions on 19 May 1987 and 4 October 1987.[7] Jackdaw stopped touring around 1991 or 1992. In 2005, "Fuck America" was released on a compilation CD, Commercially Unfriendly: The Best Of British Underground, on Gott Discs.[8] In 2007, Ellis and Sindall started working together and Jackdaw was re-hatched with Fergus Durrant joining soon after. With all new films and songs, Jackdaw released a new EP available from Hybrid Cuts. The 8mm films were replaced by lap tops and video projectors. Jackdaw received air play on BBC Radio 6 in Stuart Maconie's Freak Zone and Don Letts' show.
Jackdaw with Crowbar, in 2018, entered into its third age continuing as a duo, known as Jackdaw with Crowbar, Because You're Worth It, with Ellis and Sindall.
Musical style
The band's musical style was described by the musician and writer John Robb as a combination of "spiky and dark guitar-driven blues and guitar-punk disco-filth".[1] Discussing the first EP, Monarchy, Mayhem, and Fishpaste, the writer John Corbett described the music as "a song sung through a bull horn ("Crow"), an accordion reggae-dub ("Fourth World"), a two-step featuring slide guitar reminiscent of Zoot Horn Rollo in Captain Beefheart's Magic Band ("The Night Albania Fell on Alabama")."[3] In Corbett's view, "the brief appearance of Jackdaw's records exemplifies the local-mode commodity at both its most appealing and its most politically volatile".[3]