Sweet Thursday (1998)

This group and their one and only album were once considered so hot, what with Nicky Hopkins, Alun Davies, and Jon Mark in the lineup, that a reissue in 1971 rated a full-page ad from the source label in Rolling Stone. In fact, it's a pleasant, well-played midtempo piece of late-'60s rock, with elements of British blues ("Side of the Road"), psychedelic harpsichords and flute ("Cobwebs"), and R&B, mid-'60s U.K. style. Alun Davies and Jon Mark are more than good enough guitar players and singers, but there's nothing terribly ... Read More

This group and their one and only album were once considered so hot, what with Nicky Hopkins, Alun Davies, and Jon Mark in the lineup, that a reissue in 1971 rated a full-page ad from the source label in Rolling Stone. In fact, it's a pleasant, well-played midtempo piece of late-'60s rock, with elements of British blues ("Side of the Road"), psychedelic harpsichords and flute ("Cobwebs"), and R&B, mid-'60s U.K. style. Alun Davies and Jon Mark are more than good enough guitar players and singers, but there's nothing terribly special here in the way of songwriting. "Cobwebs" is the kind of amorphous, spacy brand of psychedelia that Donovan used to fill out his albums with, but with a bit more drive; "Dealer" is vaguely blues-ish rock driven by pseudo-profound lyrics. Jon Mark's "Rescue Me" is one of the better numbers here, dominated by Hopkins' organ playing and driven by a great beat, and carried by his attempts at a white soul vocal performance; it's no surprise for the neophyte to learn that all of these guys played with outfits like Zoot Money's Big Roll Band and the Cyril Davies All-Stars. And then there's "Gilbert Street," which shows some finesse and a robust vocal performance, and sustains interest for five minutes plus; this number must have been something to hear in concert, and a whole album like it would have lived up to a reputation stretching across the decades. It's also easy to see why this record never caught on at the time -- there isn't a real single here, or any memorable tunes, except for "Gilbert Street" -- and why it became a kind of FM standard among deejays seeking to annoy the hell out of listeners who couldn't get the record. [The Sony Music CD appears to be the first wholly legitimate compact disc reissue of this album, which was heavily bootlegged on vinyl at one point and has also shown up on CDs of questionable origin. The sound is clean and clear, but otherwise not notable. There are no notes of any kind.] ~ Bruce Eder, Rovi Read Less