Bob Downes
Band members Related acts
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line up 1 (1970) - Robert Cockburn -- poetry texts, vocals - Bob Downes -- sax, flute
supporting musicians: (1970) - Laurie Allan -- drums, percussion - Peter Billam -- guitar - Derek Hoggs -- drums, percussion - Harry Millar -- bass - Allan Rushton -- drums, percussion - Roy Russell -- guitar - Chris Spedding -- guitar
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- Dave Antony's Moods - The John Barry Seven - Julien Covey and the Machine - Bob Downes Open Music - London Jazz Composers Orchestra - Rock Workshop
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Genre: jazz-rock Rating: *** (3 stars) Title: Deep Down Heavy Company: MFP Catalog: MFP
5130 Country/State: Plymouth, UK Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: -- Price: $45.00
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Yes, I occasionally buy an album based on the cover, or even the label that issued it. Typically I come to regret that decision. Still, that ray of hope is always there. "Could this one be an overlooked treasure?"
Initially formed by publisher Paul Hamlyn and EMI Records in the mid-'60s, The Music for Pleasure label (aka MFP) was one of those corporate entities having the foresight to view music strictly from a business perspective, rather than as an artistic venture. The company sold budget priced albums in non-traditional locals such as bookstores, department stores; pretty much anywhere there was a chance for a sale. Imagine an international version of an American bargain bin music operation like Alshire, Coronet, Crown, or Pickwick. Much of what these outfits shoveled into the marketplace was classical and popular dross, but amidst the sea of crap was an occasional slice of original material. Not to say that original equated to good by any stretch of the definition.
Produced by John Boyden, you had to wonder why any label would give the go ahead to an album that included at least a couple of seemingly live-in-the-street performances. I guess MFP thought it was cheaper than renting studio time, or perhaps the time had come to document the thoughts of a pair of stoned musicians as they wandered throughout the London transport system. Didn't Simon and Garfunkel spend some of Columbia's money on a similar concept? Of course there have certainly be worse album concepts ... And so, let me introduced you to 1970's "Deep Down Heavy". By the time Downes recorded this, his third studio album, he'd become a staple on the sessions player scene, having supported acts as diverse as Elkie Brooks, Julie Driscoll and Manfred Mann's Earth Band. Featuring twelve original tunes, though the album was released under Bob Downes' name, the liner notes credited Robert Cockburn with vocals, words and "poetry". Remember this was 1970. Downes was credited with the music. A young Chris Spedding and sessions guitarist Roy Russell were among the listed sessions players.
So I've got to admit this wasn't nearly as bad as I was expecting. A couple of reviews had painted Downes as having avant-garde jazzy leanings. Red alert. Red alert. Yeah the concept of including several live London-based field recording was odd ("The Wrong Bus", "Poplar Cheam" and "Jasmine"). There were plenty of pretentious arty jazz touches throughout the collection. Exemplified by the spoken word "Hollow Moment" Cockburn's lyrics (and poetry) weren't going to change your world and his dry, strangled voice was an acquired taste. And in spite of all of those qualifiers, with the exception of "Hollow Moment" this was an album I could sit through without any of the fear of deadening technical pretense a lot of jazz-rock albums spin off. The twelve songs were certainly musically diverse ranging from pastoral ("Day Dream"), standard English blues-rock shuffle ("Walking On") not bad blue-rock ("Got No Home") and the album's most mainstream and rock oriented performance; the closer "Circus Rising". Was it an album I'd play on a regular basis? No way. But it was certainly an interesting, if flawed time piece.
"Deep Down
Heavy" track listing: 1.) Too Late (Robert Cockburn - Bob Downes) - 4:36 rating: **** stars The opener "Too Late" started out sounding like a bunch of Irish minstrels caught in an unexpected summer storm. And just I was thinking "crap what a waste of $10", it abruptly it shifted into a surprisingly strong jazz-rock number. Yeah, the sound was raw and under-produced and as a singer Robert Cockburn's brittle voice wasn't the best thing you've ever encountered. Still, the track was built on a great guitar riff and generated quite a bit of energy; more than enough to compensate for the occasionally atonal sax fills. 2.) Day Dream (instrumental) (Bob Downes) - 3:50 rating: *** stars Well pardon my surprise, but powered by Downes flute, strumming acoustic guitars and some medieval martial percussion, "Day Dream" started out with a pleasant pastoral melody. With a slightly ominous vibe, it would not have sounded out of place on a slasher film soundtrack. 3.) Walking On (Bob Downes) - 3:17 rating: *** stars Another surprise, "Walking On" found the band trotting out an English blues shuffle. Cockburn's dry, crusty voice didn't do much for me, nor did Downe's blaring sax fills. Just when it sounded like they were starting to wrap their arms around the tune, it faded out. 4.) The Wrong Bus (Robert Cockburn - Bob Downes) - 1:50 rating: ** stars Opening up with a vaguely oriental flute melody over the sound of someone (Downes) apparently boarding a bus, "The Wrong Bus" was just odd and worthless. At least you didn't have to listen in to the full trip to Vickersteam (?) ... The basic track was apparently recorded live with Downes playing a bamboo flute on a London bus and other parts of the city with poor producer John Boyden lugging around a small audio recorded to capture the sounds. 5.) Poplar Cheam (Robert Cockburn - Bob Downes) - 3:20 rating: *** stars "Poplar Cheam" was apparently inspired by a day riding the London transportation system with the lyrics calling out various stops. Built on a swinging jazzy number, Harry Millar's bass line provided the song's highlight.
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2) "Don't Let Tomorrow Get You Down" found the band trotting out a funky beat. The problem on this one is Cockburn sounded like he was choking on his own phlegm and you had to serious wonder if he was going to make it through the tune. Downes extended atonal sax solo didn't help. 2.) Jasmine (instrumental) (Bob Downes) - 0:48 rating: ** stars Ever even downtown and there's a street busker that simply won't leave the pedestrians alone? Get ready for a short burst of that type of irritation. Downes blowing away on his bamboo flute ensuring nobody is going to leave a tip. 3.) Got No Home (Robert Cockburn - Bob Downes) - 2:40 rating: *** stars Featuring a full rock arrangement, "Got No Home" again showcased Cockburn's lyrics and anguished voice. Not sure who the guitarist was, but their extended solo provided the highlight. The track sounded like it was recorded live. 4,) We All Enter In (Robert Cockburn - Bob Downes) - 2:27 rating: *** stars The slinky jazzy ballad "We All Enter In" would not have sounded out of place in one of Bill Murray's Nick the Lounge Singer Saturday Night Live skits. Admittedly it had kind of a smirky charm 5.) Thertes Blues (instrumental) (Bob Downes) - 3:31 rating: ** stars Powered by multiple saxes (Downes apparently overdubbing himself), "Thertes Blues" was the most outright jazzy number. The squealing lead guitar somehow saved this one from driving me crazy. 6.) Hollow Moment (Robert Cockburn - Bob Downes) - 1:14 rating: * star "Hollow Moment" was spoken word effort showcasing Cockburn's lyrics. I guess it was deep, but if someone submitted it as a high school assignment I suggest you'd flunk them. 7.) Circus Rising (Robert Cockburn - Bob Downes) - 6:28 rating: **** stars At first "Circus Rising" sounded like a live effort, but the audience applause sounded canned. In spite of that this was easily the album's standout performance - catchy, commercial and the track that demonstrated Cockburn could actually turn in a decent soul-tinged performance. Even Downes extended sax solo was okay; if ultimately unnecessary. Note sure if Laurie Allan, Derek Hoggs or Allan Rushto handled drums on the track, but they kicked the crap out of the song. The tune also ended with a abbreviated Downes' flute solo that sounded like it had been recorded in a subway tube
© Scott R. Blackerby August 2025
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