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OldEnglandsEyes69 writes:

5of 5 Stars

Over two years in the making and originally released on the Atlantic label on vinyl in 1973, this is Terry Reid’s best album and the starting point if you’re getting into the vocalist/guitarist who turned down an invitation to join the fledgling Led Zeppelin as lead vocalist (recommending Robert Plant) and who also wrote Arrival’s 1969 hit “Friends”. In support Reid has David Lindley (ex-Kaleidoscope (USA)) on guitar, Conrad Isidore on drums and Lee Miles on bass.

All tunes are self-penned (thank goodness) and not one rates less than 5/5*. The best version is the beautifully-packaged special edition in the replica gatefold album sleeve with two extra tracks and a very informative, excellent quality 25 page booklet. It has to be considered the only way to buy this album on CD (while it lasts as it stated to be a limited edition).

It’s one of my favourite five albums of all time, perhaps even the number one. I bought the original vinyl after seeing Reid in May 1973 at Newcastle Upon Tyne Polytechnic, then the original Japan-only CD issue, the eventual GB CD issue and now this Rhino one. This was all money very well-spent.

Though it’s difficult to choose, I consider the star numbers here to be the opening two “Dean” and “Avenue” and the title track “River”. “Dean” and “Avenue” are more rock-orientated, though slow and mid-paced respectively. Things lighten and speed up a bit with “Things to Try”, with some nice guitar, then comes what I think was side two of the vinyl LP (mine’s in the loft), a trio of slower, acoustic songs beginning with the magnificent “River” (on which Willie Bobo provides all the magical percussion that makes the track what it is). As the title might imply it rolls along slowly and gently in a most hypnotic, soporific manner, with a touch of jazz thrown in. “Dream” and “Milestones” are two more acoustic numbers, the latter the slowest and quietest on the album. Reid’s distinctive, sandpapered vocals preside throughout which, together with much of his best ever material, makes this a monumental album.

The two extra tracks are both Dowd productions. “Anyway”, sans Lindley, starts as a beautiful slow acoustic ballad, in every way the equal of any of the original album's quieter tracks, building a little in the middle. The quiet, more “normal”, vocal does, however, make it sound like it doesn’t quite belong here with the Reid signature, rougher vocals of the other tracks. The second extra, “Funny”, with Lindley, clocks in at over seven minutes and is another slow, acoustic number, this time with vocals that build, getting louder and stronger, even threatening to break into rock territory at one point, before fading again in typical Reid style. Whilst both sound as if they’re from the same time as the original album tracks, the vocals of “Funny” make it sound indistinguishable from them and like it belongs here with them. They must be two of the best quality “extra tracks” ever.

The beautiful green-brown gatefold artwork, the river itself with reflected skeletal dead branches evoking not only the title but also the mood of the album, is also one of my all-time favourites.

This is a totally under-rated little-known gem. It’s one of those rare long-forgotten cult albums that are actually brilliant. I’ll even endorse it with my real name – Dave Horn. There’s absolutely nothing to criticize about it except that it took nearly 30 years to gain a CD release. Now all that is needed for completeness is a 5.1 surround mix on DVD-Audio (or failing that SACD).

Apr 20, 2008 09:44:00