Aktion	Zweigstelle	Standorte	Status	Frist	Vorbestellungen
Vorbestellen	Zweigstelle: 17., Hormayrg. 2	Standorte: CD.09 Savoy / 70er	Status: Verfügbar	Frist:	Vorbestellungen: 0

Listening to these predominantly 1968 recordings, it's clear they took their blues seriously. For its time, its a remarkably modern album, though British blues was a competitive genre at the time. It's ironic that SB were a lot more successful in the US than in the UK, given that they were taking music away and selling it back. Like most blues bands of this period, they sound more authentic than the earlier proponents such as the Stones and Yardbirds. The can-white-men-sing-the-blues question is a pointed one here, though, particularly given Chris Youlden's self-conscious aping of American negro singers. This is almost embarrassing at times, such as on 'Grits Ain't Groceries' and 'Vicksburg Blues' (a self-penned song namechecking a place I'd guess they'd never been anywhere near).

Gripes over, there's some innovatory music here. SB's use of brass is inspired, especially on 'Train To Nowhere,' which also features some atmospheric interplay between guitarists Kim Simmonds and Dave Peverett. Their playing isn't on the same level as the likes of Clapton, Taylor or Green, but their trade-offs work a treat. The slow, deathly 'Tolling Bells' is also a superb track.

Most of the meat is in the three live epics that close the album and span 23 minutes. Peverett takes centre stage on the turmoil of 'May Be Wrong' with Bob Hall's piano work an impressive foil. On 'Louisiana Blues' the band get heavier and Roger Earle's drumming drives them along before the soloists get to work. 'It Hurts Me Too' ends the album with a slow blues that consists of a beautifully anguished performance. Interestingly, Chris Youlden doesn't feature on the live material.

'Blue Matter' is great value at 50 minutes and a reminder that modern recording techniques kill the soul of music. Almost a stone classic. D. J. H. Thorn