Bare Wires [Rebound]

Performer: John Mayall & the Bluesbreakers
Engineer: Derek Varnals
Producer: John Mayall; Mike Vernon
Distributor: Bayside Record Dist.

Notes: John Mayall & The Bluesbreakers: John Mayall (vocals, harmonica, piano, harpsichord, organ, harmonium, guitar); Mick Taylor (guitar, Hawaiian guitar); Henry Lowther (violin, cornet); Dick Heckstall-Smith (soprano & tenor saxophones); Chris Mercer (tenor & baritone saxophones); Tony Reeves (acoustic & electric basses); Jon Hiseman (drums, percussion). Recorded at Decca Studios, London, England in April 1968. Includes liner notes by John Tracy. Personnel: John Mayall (vocals, guitar, harmonica, piano, harpsichord, harmonium, organ); Mick Taylor (guitar); Henry Lowther (violin, cornet); Dick Heckstall-Smith (soprano saxophone, tenor saxophone); Chris Mercer (tenor saxophone, baritone saxophone); Tony Reeves (bass guitar); Jon Hiseman (drums, percussion). Liner Note Author: John Tracy. Recording information: Decca Studios, West Hampstead, London, England (04/03/1968-04/30/1968). Photographers: Peter Smith ; Jan Persson. One of Mayall's bravest and best changes of style and line-ups. He enlisted some of the cream of the British jazz movement (Henry Lowther, Dick Heckstall Smith, Chris Mercer) who, together with drummer Jon Hiseman, made a formidable, brassy album. Mayall's lyrics, although often obscured by the great musicianship, were also notable, as this was a highly reflective time in his life. The album is best enjoyed complete, as the links between songs are vital to its enjoyment, especially the Bare Wires suite containing the sad but beautiful "I Know Now." Guitarist Mick Taylor added the obligatory but indispensible lead breaks. Very probably his finest album. Bare Wires was the first Bluesbreakers album of new studio material since A Hard Road, released 16 months before. In that time, the band had turned over entirely, expanding to become a septet. Mayall's musical conception had also expanded -- the album began with a 23-minute "Bare Wires Suite," which included more jazz influences than usual and featured introspective lyrics. In retrospect, all of this is a bit indulgent, but at the time it helped Mayall out of what had come to seem a blues straitjacket (although he would eventually return to a strict blues approach). It isn't surprising that he dropped the "Bluesbreakers" name after this release. The album was Mayall's most successful ever in the U.K., hitting number three. [Rebound reissued the LP on CD in 1994.] ~ William Ruhlmann

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