A bunch of vibes

pointing Jimmy Page towards Robert Plant. But despite his talent, great connections and chances, Reid never found fame. Which presupposes that’s what he wanted. Reid was being groomed by manager Mickie Most along the lines of contemporary R&B stars Steve Marriott and Rod Stewart, but temperamentally Reid seems more like their elemental sidemen, Ronnie Lane and Ronnie Wood, his music more about the groove and flexuous, free-associating vocal lines, that stuff The Black Crowes would perfect in the future. When Reid’s contract with Most expired he was picked up by Ahmet Ertegun for Atlantic and given the opportunity to make the music he wanted. River, which came out in 1973, felt like it fell out, but was actually the result of many sessions, some in England with Eddie Offord producing and some in the US with Tom Dowd, resulting in substantial outtakes and alternative takes, many gathered here. Several of the songs on River are, aptly, long and meandering, passing the ears in a liquid, ungraspable way. You can drift away on it. Though plenty of jammy, “just blow ’til it feels good” records were doing well at that time, Terry’s loosey goosey brand of soul-rock is particularly opaque. You can hear why it failed commercially. But you can also hear why people who dig it – like the compilers of this selection – might treasure it and want more. Avenue, a curious song on the final album, is, initially, more exciting on the version here, with The Ikettes on backing vocals. But the tempo is up for grabs and even the great Alan White on drums runs out of gas towards the end. Things To Try is more relaxed and prettier than its released cousin, River itself a shade paler. Of the unknown material, Let’s Go Down is whacked-out Southern soul with a scratchy violin part. Country Brazilian Funk (sounding not much like any of those) features crazy, breakneck drumming under a protean melody and some soulful scatting. The title Late Night Idea tells you all you need to know, as Reid feels his way through something on piano and extemporises vocals. These are sketches on the way to what is a pretty nebulous affair anyhow. To be enjoyed on its own, this album would have benefitted from an editor’s blade. But it’s a cool companion piece, super-serving the niche that loves the original record. Check out River and graduate to this if so moved, but avoid The Other Side… as a point of entry into Reid’s charms.

What treasure lies beneath the cool, meandering River? Jim Irvin dives in.