Terry Reid
Band members Related acts
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line up 1 (1968-2025) - Terry Reid (RIP 2025) -- vocals, guitar
supporting musicians (1968) - Bill Bonham -- keyboards - Keith Webb -- drums, percussion
supporting musicians (1969-70) - Peter Solley -- keyboards - Keith Webb -- drums, percussion
supporting musicians (1973) - Willie Bobo -- percussion - Conrad Isidore -- drums, percussion - David Lindley -- slide guitar, steel guitar - Lee Miles -- bass
supporting musicians (1976) - Joel Bernstein -- acoustic guitar - Jesse Erlich -- cello - James Gadson -- drums, percussion - Plas Johnson -- sax - Ben Keith -- pedal steel guitar - David Lindley -- guitar, violin - Lee Miles -- bass - Blue Mitchell -- trumpet - Graham Nash -- backing vocals - Al Perkins -- pedal steel guitar - Soko Richardson -- drums, percussion - Clifford Solomon -- horns - Al Viola - balalaika - Fred Wesley -- horns - Tim Wiesberg -- flute supporting musicians (1978) - James E. Johnson -- keyboards - Lee Miles -- bass - Doug Rodrigues -- lead guitar - Doug Siomos -- drums, percussion
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- Peter Jay and the Jay Walkers
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Genre: rock Rating: **** (4 stars) Title: Bang, Bang You're Terry Reid Company: Epic Catalog: BN-26427 Year: 1968 Country/State: Huntingdon, Cambridgeshire, UK Grade (cover/record): VG/VG+ Comments: neatly taped edges Available: 1 Catalog ID: -- Price: $20.00
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This is one of those albums that's sat in my to-listen-to-pile for a couple of years. It wasn't that I didn't like Reid (see my comments on other Reid albums), rather the reviews I'd seen for the debut album were mixed and more interesting stuff kept landing on my desk. Unfortunately it took Reid's August 2025 death for me to finally get around to pulling out "Bang, Bang, You're Terry Reid". Shame on me.
Reid's recording career started in 1966 when Jay and the Jaywalkers drummer Peter Jay spotted him playing with the local band The Redbeats, The Jaywalkers has been recording singles since 1962, but attracted national attention when they were hired as a support act for the Rolling Stones' 1966 British Tour. With help from The Hollies' Graham Nash whom Reid befriended on the Stones tour, the 18 year old was signed by Columbia Records, resulting in the release of a single credited to "Terry Reid with Peter Jay's Jaywalkers". A bouncy, horn powered soul influenced effort, the 45 had considerable potential, but wasn't helped by the fact The Jaywalkers had folded just as the single was being released. Credited as a Reid solo effort, that was followed by a pretty ballad "Better By Far" that again did little commercially.
released as Terry Reid with Peter Jay's Jaywalkers - 1967's "The Hand Don't Fit the Glove" b/w "This Time" (Columbia catalog number DB 8166)
released credited to Terry Reid - 1967's "Better By Far" b/w "Fires Alive" (Columbia catalog number DB 8409)
While
the second single did little commercially, manager/producer Mickie Most took
notice of Reid, convincing Epic Records to come knocking with a
recording contract for the US market. Produced by Most, 1968's "Bang,
Bang You're Terry Reid" offered up a mixture of popular covers
and Reid originals. Backed by keyboardist Bill Bonham and drummer
Keith Webb, the sound was surprisingly full for a trio; the material quite
diverse. The album's creative centerpiece came in the form of a pair of
extended cov
1968 American tours opening for Cream and The Rolling Stones introduced to Reid to a domestic audience, the album eventually hitting # 153 on Billboard Top LP charts. Curiously the album didn't see a UK release..
1,) Bang, Bang (My Baby Shot Me Down) (Sonny Bono) - 4:12 rating: *** stars Sonny Bono wrote it and wife Cher enjoyed her biggest hit when it was released as a single in 1966 (# 3 Billboard Top 100 charts). To be honest, I was never a big fan finding the song over-dramatic and dull. Plus I've never been a big fan of Cher's voice. Needless to say, my expectations for a cover weren't high. Against that backdrop, I was initially dumbfounded by Reid's falsetto which momentarily reminded me of Cher's performance. While the basic melody remained intact, I'll admit Reid's "heavied up" remake wasn't nearly as bad as it could have been. Bill Bonham's keyboard fills, Keith Webb's pounding drums and the abrupt timing changes certainly helped. It made for an interesting remake; probably the best of the album's four cover tunes. Surprised Epic didn't tap it as a single. 2.) Tinker Tailor (Terry Reid) - 2:53 rating: **** stars "Tinker Tailor" demonstrated a young Reid was capable of easily handling a full-tilt rocker. Always loved the guitar tone and infectious riff that kicked this one along. Epic should have released this one as a single. 3.) Erica (Terry Reid) - 3:48 rating: ** stars A jazzy-tinged ballad, "Erica" served as a nice platform for Reid's tender falsetto. The song was certainly pretty, but the lyrics were a bit hypersensitive and the arrangement, with Bonham's nod to Ervin Drake's "It was a Very Good Year" gave it a distinctive supper club vibe. Always wondered what keyboardist Bonham was playing to get the high, whispery sounds. 4.) Without Expression (Terry Reid) - 4:47 rating: **** stars With an awesome bass line, "Without Expression" sported a smooth, beguiling "summer-ready" melody and one of Reid's sweetest vocals. Once again I have to ask how does a then-eighteen year old sound this good? Even more stunning is the fact Reid apparently wrote the song when he was fourteen.
The song's been covered by some high powered acts. The Hollies recorded the track under the title "A Man with No Expression". Intended for inclusion on 1969's "Deja Vu" album Crosby, Stills, Nash & Young recorded a version under the title "Horses Through a Rainstorm". At the last moment the song was replaced by Still's "Carry On". In 1973 REO Speedwagon did a cover under the title "Without Expression (Don't Be the Man)". YouTube has a performance of the song recorded during an appearance on BBC's Old Grey Whistle Test. Featuring Lee Miles on bass and Soko Richardson on drums, the stripped down, slightly slower performance was amazing. https://www.youtube.com/watch?v=Jwa7KgVuypk&list=RDJwa7KgVuypk&start_radio=1 5.) Sweater (Terry Reid) - 2:03 rating: **** stars The jazzy, breezy percussion and flute opening was totally unexpected. Combined with Reid's rapid-fire lyrics and another melodic bass line, "Sweater" was unexpectedly catchy and commercial. Only complaint on this one was it faded out way too soon. 6.) Something's Gotten Hold Of My Heart (Roger Greenaway - Roger Cooke) - 4:56 rating: ** stars Gene Pitney enjoyed the original hit with a super sappy, radio-friendly arrangement of the ballad "Something's Gotten Hold Of My Heart". Opening up with some stabbing Bonham organ, Reid's arrangement wasn't as weepy, but was still pretty touchy-feely.
(side 2) 1.) Season Of The Witch (Donovan Leitch) - 10:09 rating: ** stars Reid's arrangement of the Donovan hit stretched it out to epic length giving it a slower, bluesier vibe Initially it was kid of interesting, but it seemingly went on forever and ever (you started to wonder if Bonham's keyboard solo was ever going to concluded). Elsewhere Reid's normally interesting vocals veered towards screechy and irritating as the song went on and on and on ... 2.) Writing On The Wall (Terry Reid) rating: **** stars / Summertime Blues (Eddie Cochran - Jerry Capehart) - rating: *** stars 10:14 The Reid original "Writing On The Wall" opened up with a nice mixture of fuzz guitar, Webb's blazing drums and a nifty lysergic-tinged melody. It was also a great example of Reid's ability to quickly shift from gravely voice to higher registers. The abrupt transition into an extended cover of Eddie Cochran's "Summertime Blues" didn't do as much for me. The classic melody remained intact with the mixture of Webb's martial drumming, Bonham organ fills and Reid's skitterish guitar making for a mildly entertaining update. Ultimately it was just an okay cover. 3.) When You Get Home (Terry Reid) - 3:38 rating: **** stars The punchy horns gave "When You Get Home" a soul tinge that recalled some of his earlier work with Jay and the Jaywalkers. Not everyone is going to like it, but I thought it was one of the album's stronger performances. 4.) Loving Time (Earl Lease - Terry Reid) - 3:40 rating: *** stars Co-written by Mike Cotton Sound guitarist Earl Lease, "Loving Time" served to showcase Bonham organ fills. A decent slice of blues-rock, this was another one where it was hard to believe Reid was only nineteen.
® Scott R. Blackerby September 2025
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Genre: rock Rating: **** (4 stars) Title: Terry Reid Company: Epic Catalog: BN-26477 Year: 1969 Country/State: Huntingdon, Cambridgeshire, UK Grade (cover/record): VG+/VG+ Comments: still in shrink wrap (opened) Available: 1 Catalog ID: -- Price: $30.00
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For
better or worse,1969's "Terry Reid" continued his
partnership with producer Mickie Most. Showcasing
a mixture of Reid originals and a couple of popular covers, the
album again featured backing from keyboardist Peter Shelley and drummer
Keith Webb. It's an album t
1.) Superlungs (Supergirl) (Donovan Leitch) - 2:39 rating: **** stars Yeah, Donovan's longing for a fourteen year old girl was a creepy concept, but I always liked the lysergic-tinged original. As a result I'll admit to being skeptical about Reid doing a remake. My mistake. Kicked along by a great uncredited bass line, Reid sang the hell out of the tune (including the banned "getting high" lyrics). Yeah, his strained voice was an acquired taste, but it was near perfect on this blazing rocker. Epic released it as a single in the US:
- 1969's "Super Lung" b/w "May Fly" (Epic catalog number 5-10498) YouTube has a black and white performance clip of the song from a January 1970 appearance at Paris' Olympia: https://www.youtube.com/watch?v=IZtFiMa0n2Q 2.) Silver White Light (Terry Reid) - 2:51 rating: **** stars Listing to "Silver White Light" on a good pair of headphones and the fuzz sound Reid got out of his guitar was stunning. 3.)
July (Terry Reid) - 3:30
rating: **** stars 4.) Marking Time (Terry Reid)- 3:45 rating: **** stars The rocker "Marking Time" finally gave keyboardist Peter Solley and drummer Keith Webb a little spotlight time. One of the stronger tunes on the album. 5.) Stay With Me Baby (Chris Youlden - Dave Peverett - Kim Simmonds) - 4:10 rating: *** stars In spite of the songwriting credits which indicated this was a Savoy Brown cover, "Stay with Me Baby" was actually a remake of a song written by George Weiss and Jerry Ragovoy and originally recorded by soul singer Lorraine Ellison. (Later copies of the album fixed the mistake.) Reid's "rock-up" cover of the ballad wasn't bad, but it was one of those tracks where he tried to "power" his way through the song. Imagine a performance somewhere between Janis Joplin and Steve Marriott; the results being harsh and screechy Others will disagree, but to my ears the Ellison original was classier. Odd choice for Epic to release as a promotional single in the States.
- 1969's "Stay with Me" b/w "Speak Now Or Forever Hold Your Peace" (Epic catalog number DJ 28)
(side 2) 1.) Highway 61 Revisited / Friends (Bob Dylan) - 8:58 rating: *** stars / **** stars Early-'70s albums seemingly required at least one Dylan cover. Showcasing his prowess on slide guitar, Reid's cover of "Highway 61" sounded like something The Allman Brothers might have recorded. Not bad, but if you wanted to hear the Allmans you would have bought one of their albums n'est pas? Abruptly fading out and shifting the focus to Shelly's Hammond B-3, the Reid penned 'Friends' was the album's most tuneful and commercial offering. YouTube has a 1969 performance of the two song suite on the German Beat Club television program. Ignore the YouTube label as it incorrectly shows this as 'Superlungs, My Supergirl': Terry Reid - Superlungs, My Supergirl (1969) - YouTube There's also a black and white 1969 Top of the Pops performance of 'Friends': https://www.youtube.com/watch?v=mgrWHjmys9A 2.) May Fly (Terry Reid) - 3:41 rating: **** stars With Reid employing interesting sing/spoke vocals, the pastoral ballad "May Fly" showcased his vocal range and another sterling melody. I can easily imagine the late Sandy Denny taking a shot at this pretty keyboard powered number. The song was tapped as the "B" side on his "Super Lung" US single. 3.) Speak Now Or Forever Hold Your Peace (Terry Reid) - 4:24 rating: **** stars Powered by Webb's "big" drums Shelley's organ fills, "Speak Now Or Forever Hold Your Peace" sported a mid-'60s British pop vibe. It's one of the bounciest, most pop oriented things Reid ever wrote. It's one of the songs I would have tapped as a single. You know it's a great song when Cheap Trick chose to cover it on their self-titled 1976 debut LP. The song also appeared as the "B" side to Reid's "Stay with Me". 4.) Rich Kid Blues (Terry Reid) - 4:15 rating: **** stars Starting out as a blues-flavored ballad, about a minute in"Rich Kid Blues" exploded into a full tilt blues-rocker. Shelley and Webb never sounded better. The only downside was the sections where Reid tried to power his way through the song. With the addition of bassist Lee Miles to the line-up, YouTube has a 1969 Top of the Pops performance of the song: https://www.youtube.com/watch?v=uyf9j7ntBt0
Featuring the same catalog number, cover art and track listing, Epic reissued the album in 1973. For some reason it was re-titled "Move Over For ... Terry Reid".
© Scott R. Blackerby February, 2025
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Genre: rock Rating: **** (4 stars) Title: River Company: Atlantic Catalog: SD-7259 Year: 1974 Country/State: Huntingdon, Cambridgeshire, UK Grade (cover/record): VG+/VG+ Comments: gatefold sleeve; original Atlantic inner sleeve; small cut out notch in spine Available: 1 Catalog ID: 1026 Price: $30.00
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Scattered throughout rock history are folks with immense talent who came close to, but ultimately missed the cherished ring of commercial success and popularity. Singer/guitarist Terry Reid's a perfect example. By the time he was 15, Reid was fronting Terry Reid and the Jaywalkers. Discovered in 1967 by producer/manager Mickie Most, 17 year old Reid was quickly tapped by the media as an up-and-coming star. Signed by Columbia, he recorded a pair of critically acclaimed singles ("The Hands Don't Fit the Glove" b/w "This Time" (Columbia catalog number DB 8166) and "Better By Far" b/w "Fire's Alive" (Columbia catalog number DB 8409). Adding to his stock, Reid was Jimmy Page's first choice for vocalist/second guitar in the New Yardbirds. Interested in pursuing his solo career, Reid turned the job down, instead recommending buddy Robert Plant for the job.
I'll be the first
to admit that a lot of the hype surrounding singer/guitarist Terry Reid
simply doesn't register with me. He's certainly a gifted writer and
performer (and I'll admit to owning most of his catalog), but Reid has a
number of limitations that make it pretty clear to me why he's never been
more than a cult favorite. Those
comments may sound kind of harsh, but let me make it up by telling you
1974's "River" may be
Reid's best album . If you can find a copy it's worth every penn 1.) Dean (Terry Reid) - 4:45
rating: **** stars 2.) Avenue (Terry Reid) - 5:08 rating: *** stars A more conventional blues number, "Avenue" showcased Lindley's slide playing. Nice, but not as commercial as the opening. 3.) Things To Try (Terry Reid) - 4:25 rating: **** stars Interesting that a laidback tune like this would have such a funky groove ... mind you, you're not going to mistake this for a George Clinton, but who would have ever expected a skinny, white English guy to play with this much energy. 4.) Live Life (Terry Reid) - 5:11 rating: **** stars Easily
one of the best things he's ever recorded, "Live Life" had everything going
for it including a tasty, slightly Latin-esque melody (thanks to Willie
Bobo's percussion), some first-rate guitar, and one of Reid's most energetic
performances. The video and sound quality aren't great, but
YouTube has a 1973 performance of the tune on British television. The
live version was way funkier than the studio version. https://www.youtube.com/watch?v=jqKBdOiIC8k (side 2) 1.) River (Terry Reid) - 5:45 rating: **** stars Maybe its just my old ears, but the instrumental opening section has always reminded me a bit of Carole King's "It's Too Late" and then the song went off in a totally unexpected Bossa Nova/jazzy direction with absolutely fantastic results. 2.) Dream (Terry Reid) - 5:20 rating: **** stars Just Reid on acoustic guitar, the result was one of the prettiest melodies he ever wrote ... Always thought it would have been a great track for the late Sandy Denny. 3.) Milestones (Terry Reid) - 5:52 rating: *** stars A bit unfocused for my tastes, "Milestones" sounded a lot like a David Crosby tune. Not really discordant, but kind of loose and free flowing with multi-tracked "cathedral" vocals. Yeah, it got a little better as it went along, but the first minutes and a half sounded like an extended tune-up.
© Scott R. Blackerby February, 2025
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Genre: rock Rating: **** (4 stars) Title: Seed of Memory Company: ABC Catalog: ABCD-935 Year: 1976 Country/State: Huntingdon, Cambridgeshire, UK Grade (cover/record): VG/VG+ Comments: cover wear; cut lower right corner Available: SOLD Catalog ID: SOLD 852 Price: SOLD $40.00
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Having finally gotten out of his recording contract with Atlantic Records (it only took two years), 1976's "Seed of Memory" found Terry Reid signed to ABC and still casting about for a musical genre that would lead him to commercial success. With significant help from producer Graham Nash, this time out Reid seemed to have his eyes set on CSN-styled pop and country-rock moves. And that might have posed a problem for fans of his more rock-oriented catalog. With a couple of exceptions; notably the funky 'Ooh Baby (Make Me Feel So Young)' (I'll say it again - FUNKY), and the fuzz guitar powered rocker 'Way To Walk', this was pretty laidback. Anyone looking for Reid the snazzy guitar player was going to be disappointed. The good news was that Reid brought some of his best material to his ABC debut and producer Nash had a nice feel for Reid's strengths and weaknesses, though the occasional attempts to dress him up in CSN&Y arrangements were a mixed bag ('Seed of Memory' was good; 'Brave Awakening' less so). It wasn't the consummate Reid release, but there were plenty of treasures on the set including the opener 'Fait the Arise', the rockin' 'No Way To Walk', and the soulful 'The Frame'. One of the Reid album's I play on a regular basis and well worth checking out. In spite of Nash's active participation in the project, ABC seemingly had no interest in promoting the album. As far as I know, the company didn't even bother releasing a stock single in the States. In fact the cynic in me says ABC signed Reid simply to ensure Nash stayed signed to the label for his Crosby-Nash outings.
"Seed of Memory" track listing: 1.) Faith To Arise (Terry Reid) - 4:39 rating: **** stars With Nash producing and surrounded by all those L.A. sessions players, I guess it shouldn't have come as a surprise 'Fair To Arise' had that unique mid-'70s Southern California country-rock vibe ... kind of a CSN-meets-Poco sound. Not particularly original, but was still a wonderful song with a catchy country-rock melody and one of the all time-great "welcome back home" lyrics. Lots of folks discovered the song when it was featured in the 2003 film Wonderland. the As of 2012, Reid was still performing live. Yeah, he's lost much of his vocals flexibility, sounding a bit like Keith Richards, but I'd still pay to see the man. YouTube has a June 2012 performance of the song from a date at London's Jazz Cafe: http://www.youtube.com/watch?v=Vjt7z6PTRVw 2.) Seed of Memory (Terry Reid) - 5:26 rating: **** stars Tim Wiesberg twittering flute has always irritated me (though David Lindley's guitar makes up for it), but otherwise the smoldering 'Seed of Memory' has always reminded me of a first-rate CSN&Y song. That comparison was underscored by the song's dark, haunting, melody and the nice harmony vocals (Nash can clearly be heard). The other thing that's way cool about this song is the way Reid simply sends the track off in a completely different direction. Around the 2:30 mark he switched from brooding ballad to a lighter, jazzy vibe. Neat trick. 3.) Brave Awakening (Terry Reid) - 6:32 rating: *** stars 'Brave Awakening' was a straight-head country-flavored ballad with plenty of pedal steel guitar and Graham Nash backing vocals. Pretty tune and what you'd term a grower. It's also one of those songs that got rediscovered via a film soundtrack - in this case it was one of two Reid tracks featured in Rob Zombies' 2005 film The Devil's Rejects. Ultimately it was too country for my tastes. 4.) To Be Treated Rite (Terry Reid) - 5:57 rating: *** stars One of Reid's prettiest ballads. This was also featured in The Devil's Rejects soundtrack.
(side 2) 1.) Ooh Baby (Make Me Feel So Young) (Terry Reid) - 3:57 rating: **** stars Perhaps the album's strangest tune, it was interesting to hear Reid taking a stab at being funky. Not sure, but he actually came off way better than most pale, English white guys should have the right to ... Love the punchy horn arrangement (Blue Mitchell, Clifford Solomon, and Fred Wesley). The song was tapped as a single in a couple of countries, though only as a promotional single in the States:
- 1976's 'Ooh Baby (Make Me Feel So Young)' stereo b/w 'Ooh Baby (Make Me Feel So Young)' mono (ABC catalog number ABC 12209) 2.) No Way To Walk (Terry Reid) - 4:43 rating: **** stars So folks who are skeptical when it comes to the Reid-should-have-been-in-Led-Zeppelin story, I'd suggest they give a quick listen to 'No Way To Walk'. Robert Plant was clearly a wonderful choice for Zeppelin, but after hearing this track you can't help but think Zeppelin might have been equally interesting with Terry Reid in the line-up. As for this song, to my ears it was one of his all time best rockers ... Reid still plays the song in his live sets: http://www.youtube.com/watch?v=AhcfRhv2Ihg 3.) The Frame (Terry Reid) - 4:37 rating: **** stars I've always loved Reid's slinky voice. Yeah, he didn't have the greatest range in music, but there was something totally unique about the way the guy sang and it was seldom as apparent as on the soulful 'The Frame'. Backed by some Hi-styled horns, this one had an engaging Southern soul feel. No idea when this London date was recorded (guess the early-'80s), but here's a nice YouTube clip of the song - love the bowler: http://www.youtube.com/watch?v=5T0wHW6Or20 4.) Fooling You (Terry Reid) - 7:20 rating: ** stars I guess I'm in the minority on this one, but 'Fooling You' was a disappointing way to close out the album. A long, plodding ballad that never kicked into gear, even Nash's backing vocals and Al Viola's balalaika couldn't save it from being tedious.
© Scott R. Blackerby February, 2025
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Genre: rock Rating: *** (3 stars) Title: Rogue Waves Company: Capitol Catalog: SW-11857 Year: 1978 Country/State: UK Grade (cover/record): VG+/VG+ Comments: original inner sleeve Available: SOLD Catalog ID: SOLD 5477 Price: SOLD $30.00
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Continuing his corporate wanderings, 1978's "Rogue Waves" found Terry Reid signed to Capitol. If you were counting, this was his fourth label as a solo act. Co-produced by Reid and Chris Kimsey the set's always struck me as a frustrating mixture of Reid originals and poorly chosen covers (including two boneheaded remakes of Phil Spector - Ellie Greenwich - Jeff Barry penned chestnuts). As mentioned earlier, Reid certainly had some performance limitations, but to my ears he was one of rock's unsung performers. His voice may not have been the most striking, or original instrument out there, but he had a unique skill in hitting a tone that combined pain and a raw 'pay-you-back-with-interest' edge. The album certainly got off to a killer start with the scorching Reid-penned rocker 'Ain't No Shadow'. Equally attractive were 'Stop and Think It Over', the soulful ballad 'Believe In Magic' and 'Bowangi'. Less impressive were the bland title track, the previously mentioned covers, and a plodding cover of The Left Banke's 'Walk Away Rene' (note the song title was actually 'Walk Away Renee' - the extra 'e' is missing). Elsewhere anyone know why an accomplished guitarist like Reid bothered to hire a new lead guitarist in the form of Doug Rodrigues? Needless to say, with audiences flocking to punk, new wave, and disco, Reid found himself hopelessly out of tune with the buying public. The album sold next to nothing (perhaps explaining why most remaining copies are marred by cut out holes, or notches.)
"Rogue Waves" track listing: 1.) Ain't No Shadow (Terry Reid) - 3:57 rating; **** stars Opening with some ringing guitars 'Ain't No Shadow' sounded like a good Rolling Stones rocker. Yeah, Riley's scratchy voice wasn't great, but given how good this tune was, who cared? One of the best rockers he ever wrote. In the UK the song was released as a single:
- 1976's 'Ain't No Shadow' b/w 'Bowangi' (Capitol catalog number CL-16071)
2.) Baby I Love You (Phil Spector - Ellie Greenwich - Jeff Barry) - 4:04 rating:: ** stars Slowing it down and giving it a heavy, molten feel may have seemed like a good idea, but in terms of execution ... well this was one of those efforts that should never have left the initial planning stages. 3,) Stop and Think It Over (Terry Reid) - 3:45 rating; **** stars Always loved the combination of Reid's strumming acoustic guitar and Doug Siomos's big drum sound. The best blue-eyed soul tune Reid ever wrote ? Wonderful song. 4.) Rogue Waves (Terry Reid) - 5:58 rating: *** stars Pretty, but somewhat meandering ballad ... The big problem with this one came in the form of Reid's strained voice. Like many singers, when he tried to power his way through a tune, he had a tendency to become shrill and irritating. The song (or a version of it), still remains in Reid's concert repertoire. YouTube has a clip of a solo 2014 performance at The Cluny, Newcastle-upon-Tyne: https://www.youtube.com/watch?v=Wxe1dUUwoSs 5.) Walk Away Rene (Sansone - Calilli - Ian Brown) - 4:24 rating:: ** stars Another
questionable decision - I grew up with the Left Banke original and Reid's
slowed down, molten arrangement managed to strip away most of the original's
Baroque charm. He also sounded extremely sharp and shrill on
this one. (side 2) 1.) Believe In Magic (Terry Reid) - 6:49 rating; **** stars I've always loved the way Reid managed to strum funky little riffs out of the air, but the real winner on 'Believe In Magic' came in the form of Lee Miles stunning bass work. In contrast to some of the other tunes on the album, this track showcased what a good singer he could be. 2.) Then I Kissed Her (Phil Spector - Ellie Greenwich - Jeff Barry) - 4:59 rating:: ** stars The opening martial drumming was unexpected, making me wonder if I'd stumbled into a Scottish wedding by mistake ... Another miscalculation, Reid's hyper-aggressive arrangement sounded like Slade on speed. 3.) Bowangi (Terry Reid) - 4:29 rating; **** stars Reid and company at the bar band best ... Anyone who doubted Reid's credential as a first-rate guitarist needed to check this one out. Yeah, the tune sounded a bit like warmed over Rod Stewart and the Faces, but when Reid added the bell-like solos, the song rose to a totally different level. rating: **** stars 4.) All I Have To Do Is Dream (Boudlleaux Bryant) - 5:39 rating: *** stars Nice acoustic cover of the old Boudlleaux Bryant classic. Thankfully Reid didn't subject the song to his molten rock-styled remake.
In the early 1990s the BGO label reissued most of Reid's catalog including this collection on CD format (BGO catalog number BGOCD140).
For anyone interested, Reid has a nice website at: http://www.terryreid.com/
© Scott R. Blackerby February, 2025
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ers
- Donovan's "Season Of The Witch" and Eddie Cochran's
"Summertime Blues".
Note I said creative centerpiece. That wasn't meant to imply those
were the album's standout songs. They weren't. Mind
you, the covers weren't bad. The title track was actually better than
the Cher sung original (and it was
short). His cover of Donovan's "Season Of The Witch" was
slower and bluesier than the original, but stretched to over ten minutes,
was just too friggin' long. Same for his cover of Eddie Cochran's
classic "Summertime Blues".
At least to my ears Reid
originals like the rocker "Tinker Tailor", the melodic
"Without Expression" and "Writing
On The Wall"
were far stronger than his covers. Elsewhere, the jazzy ballads
"Erica" and "Sweater" served as nice platform for Reid's
unique voice. I'll readily admit it took a little time to acclimate to
that voice. His "Season of the Witch" arrangement initially
reminded me of Cher's version,, but then Reid put his stamp on it. His
ability to rapidly shift vocal range and style was certainly
impressive. Even more so when you remember he was eighteen.
Check out his performance on "Writing On The Wall". The set
certainly wasn't perfect. The jazz-tinged ballad "Erica" and
a needless cover of Gene Pitney's hit "Something's Gotten Hold Of My
Heart" were both mediocre, but there was enough promise here to make
the initial investment and check out some of his later releases.
hat
initially didn't make much of an impression on me, though it's an LP
I've now owned for several decades - one I've come to appreciate more and
more over the years. Looking back I think part of my initial
indifference was based on the fact Reid's raspy voice was an acquired
taste. I liked his vocals enough, but that was a qualified vote of
confidence. When the then nineteen year old Reid tried to power his way
through a song like the remake of "Stay
With Me Baby" or "Rich Kids Blues" the came off shrill and screechy.
Imagine an unpleasant cross between Janis
Joplin and Steve Marriott. I also remember none of the nine songs
really jumped out at me. Admittedly the quality of those songs has
vastly improved to my ears over the years. The acoustic ballads
"July"
and "May Fly" stand as two of his prettiest compositions. The Reid originals
"Friends" and
"Speak Now Or Forever Hold Your Peace" have revealed themselves to be
unexpectedly catchy and commercial. "Marking Time",
"Silver White Line" and his
cover of Donovan's "Superlungs (Supergirl)" were
first rate slices of conventional rock. And while I've grown to
appreciate the range and versatility of Reid's voice, I've never had
any doubts about his guitar skills. Be it an acoustic number like
"May Fly" or the fuzz guitar powered "Silver White
Light", Reid's always been an impressive guitarist. You can certainly argue over whether this is his
best album, but it's certainly a good place to start exploring his catalog.
y it'll cost
(yes, there's a recent CD reissue). With Reid responsible for all
seven tracks, the album was recorded right before and right after his
decision to move from England to Southern California. To some extent
that division gives the set kind of a schizophrenic feel. Judging by
the liner notes,"Dream" and "Milestones" were
recorded in London with Yes producer Eddie
Offord handling the boards. The rest of the set was recorded in
California with producer Tom Dowd. While the earlier acoustic numbers
(found on side two) were interesting in that they recalled some of Van
Morrison's late-1960s efforts, the change of scene seems to have had a
beneficial influence on Reid. Backed by long time friend David
Lindley, Reid turned in what was his loosest and most charming
collection. At least to my ears Reid's squeaky voice has never been
one of his selling points, but in this setting it fit perfectly on
blues-rockers such as "Dean", "Avenue" and the funky (yes)
"Things To Try". Personal favorite - the laidback bossa nova flavored title
track. Shame
Atlantic Records didn't have a clue what to do with Reid. They didn't
even release a single off the album.
