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GRAHAM BOND

Essential listening for anyone who is seriously interested in either British blues, the Rolling Stones' early sound, or the history of popular music, in England or America, during the late '50s and early '60s. In England during the years 1957-1962, jazz and blues used to intermix freely, especially among younger blues enthusiasts and more open-minded jazzmen -- by 1963, most of the former had gone off to form bands like the Rolling Stones, the Yardbirds, the Pretty Things, etc., with guitars a the forefront of their sound, while the latter (most notably British blues godfather Alexis Korner) kept some jazz elements in their work. The Graham Bond Organization (along with Zoot Money's Big Roll Band and other, similar outfits) represented the jazzier side of the British blues boom, less charismatic and sexually provocative than blues-rock bands like the Stones or the Yardbirds, but no less potent a product of the same inspiration, sax and organ being much more prominent in their sound.

"THE SOUND OF '65 / THERE'S A BOND BETWEEN US"

[reissue, originally issued as Columbia 33SX 17 11 and Columbia 33SX 17 50]

1988      EDSEL RECORDS      DED 254      MONO

MADE IN ENGLAND       REPRESSING

GATEFOLD COVER

Barcode and Other Identifiers

Barcode: 5 014757 102547

LABEL: EDSEL - WHITE/LILAC LABEL - BLACK TEXT

Catalog on cover: DED 254

 Catalog on labels: 

DISC ONE: DED 254  DED 254-A / DED 254  DED 254-B

DISC TWO: DED 254  DED 254-C / DED 254  DED 254-D

Matrix / Runout (Side A, Etched): DED-254-A. ✳ MAX.  A PORKY PRIME CUT.

Matrix / Runout (Side B, Etched): DED-254-B. ✳ MAX.

Matrix / Runout (Side C, Etched): DED-254-C. ✳ MAX.

Matrix / Runout (Side D, Etched): DED-254-D. ✳ MAX.  A PORKY PRIME CUT.

rim text "All Rights...............Manufactured in the UK"

A Robert Stigwood Production

Issued under license from Polygram Records Ltd

Master tapes courtesy of The National Sound Archive

℗ 1965 Robert Stigwood Productions Ltd

© 1988 Demon Records Ltd

On Inside Panels: Notes + Tracklist + Credits

Edsel Records A Division Of Demon Records Ltd.

Manufactured in England

THE SOUND OF '65 Side A: HOOCHIE COOCHIE - BABY MAKE LOVE TO ME

NEIGHBOUR, NEIGHBOUR - EARLY IN THE MORNING - SPANISH BLUES - OH BABY - LITTLE GIRL

Side B: I WANT YOU - WADE IN THE WATER - GOT MY MOJO WORKIN - TRAIN TIME

BABY BE GOOD TO ME - HALF A MAN - TAMMY

THERE'S A BOND BETWEEN US Side A:WHO'S AFRAID OF VIRGINIA WOLF - HEAR ME CALLING YOUR NAME

THE NIGHT TIME IS THE RIGHT TIME - WALKIN' IN THE PARK - LAST NIGHT - BABY CAN IT BE TRUE

Side B: WHAT'D I SAY - DISCK'S INSTRUMENTAL - DON'T LET GO - KEEP A-DRIVIN'

HAVE YOU EVER LOVED A WOMAN - CAMELS AND ELEPHANTS

grading

RECORDS EX but (please, read above description)

SLEEVE VG+ but (please, see pictures and read above description)

This two-LPs package is essential listening for anyone who is seriously interested in either British blues, the Rolling Stones' early sound, or the history of popular music, in England or America, during the late '50s and early '60s. In England during the years 1957-1962, jazz and blues used to intermix freely, especially among younger blues enthusiasts and more open-minded jazzmen -- by 1963, most of the former had gone off to form bands like the Rolling Stones, the Yardbirds, the Pretty Things, etc., with guitars a the forefront of their sound, while the latter (most notably British blues godfather Alexis Korner) kept some jazz elements in their work. The Graham Bond Organization (along with Zoot Money's Big Roll Band and other, similar outfits) represented the jazzier side of the British blues boom, less charismatic and sexually provocative than blues-rock bands like the Stones or the Yardbirds, but no less potent a product of the same inspiration, sax and organ being much more prominent in their sound. Indeed, Bond's playing on the organ as represented on these LPs is the distant antecedent to Keith Emerson's more ambitious keyboard excursions of 3-4 years later, without the incessant copping of classical riffs. The playing and singing (by Graham Bond and a young Jack Bruce) are curiously soulful, and when Ginger Baker takes a solo on "Oh Baby," it's a beautiful, powerful, even lyrical experience (as drum solos go), and one of those bold, transcendant, virtuoso moments, akin to Brian Jones' harmonica solo on the Stones' version of "Hi Heel Sneakers." The band was more exciting on stage, as the evidence of their one surviving early live performance indicates, but they were worth hearing on record as well. In a universe that was fair and idealized, the two albums contained on this comp would rank right up there in sales with anything (including the Bluesbreakers with Eric Clapton album) that John Mayall ever released, and Bond also proves himself a more fervent and exciting figure here than Mayall ever seemed on his records...(AllMusic)