I have owned this album for a few months now and it still is in very high rotation. It starts off really good and maintains it's quality. The songs that are alright at first definetley grow onto you, very nice and mellow, ends perfectly with the instrumental close to "boneyard dogs.
It's safe to say that most people who become cognizant of this very obscure album's existence will do so through a Mike Oldfield discography. David Bedford conducted the choir and strings on Oldfield's Hergest Ridge album, and Oldfield returns the favor by guesting as the soloist on this 45-minute Bedford orchestral work, recorded the same year (1974). That being said, the potential purchaser is warned that this is not a guitar concerto, nor a "in-all-but-name" Oldfield album in spite of his significant contribution…
Guitarist, vocalist and songwriter Chris Mayfield began to play at the beginning of the Sixties in local Kent band The Moral Set, then went on to the usual plethora of bands and sessions, playing with the earliest Nirvana, John Gustafson, Gene Latter and Ian Hunter among the others. In 1968 after a few disappointing musical adventures, Chris joined Amen Corner as a roadie/driver, but his girlfriend passed some of his demos to Amen's sax player, Mike Smith, who immediately got them to various labels, EMI approved and immediately signed Chris to a recording deal.
Pete Saunders (keyboards), Steve Bradley (bass) and ex-Elastic Band Sean Jenkins (drums) soon joined and Mayfield's Mule was born. Three Parlophone singles were recorded in a few months and the band also began to work on an album at Abbey Road studios…
Roy Roberts is the bridge between Memphis Soul and Contemporary Blues.He exemplifies this music form, a healthy amalgam of Memphis Soul & Modern Electric Blues replete with real horns and stinging guitar licks. In today's market he's a hero to me being that today's "Southern Soul" is mostly machined-programmed and heavy on double entendre while Contemporary Blues is dominated by Blues/Rock bluster…..