Sean Trane Behind this bizarre and basic name (for a jazz act) stands one of the largest amalgam of British jazzers, but if anyone remembers it, it’s probably because of Alex Harvey’s (of SAHB fame) stance behind the microphone. But in reality, this was guitarist Ray Russell’s vehicle for some high-energy brass-rock that can be often likened to Chicago Transit Authority or its British equivalent If. Indeed the group’s five-man horn section (including Beckett, Roberts, Downes and Wadsworth) gives it a very windy and horny sound, while the usual Russell sidekick of Runswick and Rushton are caring for the rhythm section. If you always liked CTA’s Kath guitar prowess, no doubt you’ll enjoy Russell’s answer. This might be a bit surprising to some that know his later works, but Ray had an RnB start with Georgie Fame in the mid-60’s.

Well, if RW’s main claim to fame is their singer, the least we can say is that his raunchy voice is not exactly suited for a large horn-rock band. Actually, I’m not far from thinking that the band is better off when Alex shuts up, because when he growls, they sound like Patto or Humble Pie, like the opening Ice old. Their second singer, Alan Greed’s voice is much nicer and Wade In The Water is much faster, energetic, featuring sizzling Russell guitar and solid brass answers. There are also a few bluesy numbers like Hole In The Stocking, breaking dissonant past the half-length, before returning to normal. Weird electronic noises open Mooncross Grove, but the pleasant bluesy groove is enthralling, with Russell’s guitar going mental and dissonant for a few minutes, before the band reprises the original riff. Another steamy instrumental is spine Cop, where the horns offer a Chicago-highway to Russell’s wailing guitar. Enthralling and exciting stuff. Theme For freedom is another example of this kind of track, but this time breaking for a drum soloSome more weird bruitage are opening the brassy and bluesy Born In The City, where (almost-unfortunately, I might add) AH’s vocals return, but it is thankfully short. The closing You To Lose is an awesome track, changing rhythm and climates and ending in weird electronic noises.

The Angel Air label feature a bunch of bonus track of varying interest, most of them being alternate takes, while the last two are a non-album single that I would’ve appreciated them directly after the original album’s end, despite an obviously different (thiner) sound production, rather than after the expandable bonuses. If Primrose Hill is forgettable, Return To The Goddess is well in line with the bloodier and juicier instrumentals on the album. In some ways, horn-rock fans will like this energetic brassy affair that is much reminiscent of CTA, If, Lighthouse, but it is thankfully not too close to the bloated and pretentious BS&T. all yours, really!!