October 8, 2016 Two Heads Are Better Than One set to be reissued on vinyl

The one and only Bond and Brown album "Two Heads Are Better Than One" is set to be reissued by Spanish.

Munster Records on their Vinilísssimo label on November 18th...

October 4, 2016 New Reviews

Here’s finally some reviews regarding the Live At The BBC & Other Stories set – even more is to be found on and!

SHINDIG! no. 53, January 2016 Blues At The Beeb

Covering a 10-year period beginning in 1962, Live At The BBC is another four-CD set of Graham Bond material from Repertoire, following their acclaimed Wade In The Water in 2012, and digs deeper to uncover all of Bond's BBC output - under his own name and featured with other artists - plus bonus material sourced from private home recordings, early jam sessions and rare EPs.

There's a strong focus on the less celebrated chapters of Bond's career, namely pre and post the classic Organization line-up. His first recordings, as a member of The Don Rendell Quintet, were as an alto saxophonist and a September '62 session gives evidence why he'd claim runner up in Melody Maker's "New Star" jazz poll that year. Weeks later, foreseeing the changeing club landscape, he left Rendell and would from thereon be found behind a Hammond organ - with his name center-stage - creating a tough, uncompromising amalgamation of R&B, soul, jazz and blues. Introductions by BBC presenters Steve Race, George Melly, Pete Drummond and John Peel have been retained and provide valuable background context to the fractious jazz scene as well as many droll moments. "Ginger Baker looking like a Francis Bacon portrait in 3D" suggests, not unreasonabbly, Melly.

Bond's final years saw deepening drug addiction, deteriorating mental health and a preoccupation with the occult, but his fiery rhythmic '72 set with Pete Brown demonstrates that despite his personal distractions he could still conjure musical magic. Even more spectacular are two '70 sessions by the Graham Bond Initiation. Fifteen minute versions of "Wade In The Water" aren't for the faint hearted, but Bond's flamboyance and relentless, driving power make them a spectacular tour de force.

Three stars may look stingy but some of the audio quality of the non-BBC material falls into the collectors-only category and there's another star deducted for the disappointing packaging two Jewel-cases wrapped in a thin card cover with information spread awkwardly across two booklets. However, thes quibbles don't negate this as a treasure trove from a tremendously talented and magnetic performer.

Mark Raison

Record Collector no. 449, January 2016 Premium Bond nuggets on second Pete Brown-curated time capsule

Hammond organ behemoth Graham Bond is a key but often overlooked figure in the evolution of UK R&B, nurturing future luminaries such as Ginger Baker, Jack Bruce and John McLaughlin in his band, while his mid-60s albums were vital. He was also a troubled junkie, who embraced the occult and threw himself under a tube train in May 1974.

Former band-mate Pete Brown's 2013 Wade In The Water collection was the first major project to acknowledge Bond's huge importance, showcasing seminal albums and curious. This fascinating companion set charts Bond's career through recordings he made for the BBC (featuring a moonlighting George Melly), starting in the early 60s playing alto sax with Don Rendell's Quintet, traversing his Quartet and Organisation to the woefully under-documented Initiation.

Bond's searing organ excursions provide templates later adopted by Keith Emerson and Jon Lord, as displayed on his epic signature song, Wade In The Water, which appears in several tumultuous incarnations. There are also home recordings, previously unreleased obscurities and a riotous Peel outing by the short-lived Bond & Brown. The latter has done another beautiful job in presenting his former colleague as one of the true titans of British music, from an insider's perspective.

Kris Needs

PROG no. 63, February, 2016 Overlooked pioneer gets second Pete Brown-curated time capsule

Late Hammond organ behemoth Graham Bond was a key figure in the evolution of British R&B and jazz-infused rock. He nurtured future titans as John McLaughlin, Ginger Baker, Jon Hiseman, Dick Heckstall-Smith and Jack Bruce in his bands, recorded seminal albums, pioneered the use of classical influences and was one of Britain's earliest exponents of the Mellotron. When this reviewer was Lucky enough to catch Bond live in 1970, he flamboyantly unleashed the organ templates that had already been picked up by the likes of Emerson and Lord with a charismatic power that was ragingly elemental and almost supernatural. Bond was also a mentally unstable heroin addict who threw himself under a Tube Train in May 1974, leaving a towering legacy but often overlooked legend, which was tainted by his interest in infamous occultist Aleister Crowley. Former bandmate (and Cream lyricist) Pete Brown tried to set record straight With 2013's Wade in The Water Collection of seminal tracks and albums. He's now folowed it With this stellar set charting Bond's career through his BBC recordings, starting in the early 60's With Don Rendell's Quintet, moving through his Quartet and Organisation to the might Initiation. There are also home recordings, previously unreleased obscurities and a beautifully bonkers Peel session by the short-lived Bond and Brown. While the early outings are fascinating, it's the wild 1970 Peel sessions with Initiation that frequently astonish, the uproarious incantations including Walking In The Park, Love Is The Law and several incarnations of Bond's epic signature song, Wade In The Water. While his jazz and R&B roots are stil visible, Bond was now stretching into areas presaging and reatching beyound prog, as his Hammond became a roaring, ceremonial altar crackling with energy. Enchanced by memorabilia and Brown's warm notes, this lovely artefact makes an essential companion to the previous set and will hopefully help reposition Bond as one of the British music's true idiosyncratic giants.


Jazzwise no. 204, February 2016 Premium Bond nuggets on second Pete Brown-curated time capsule

Jack Bruce once revealed that in reality Cream was Ornette Coleman Trio, but neither he or Ginger Baker ever thought to inform Eric Clapton that he was Ornette. Along with Alexis Korner's Blues Incorporated - from whose every changing ranks he press-ganged Baker and Bruce as the full-on rhythm team for his Organization - Graham Bond helped to craft the sound of jazz based Brit R&B. Though Bond had first made his presence heard playing passionate Cannonball Adderley-inspired alto sax in Don Rendell's Quintet, it's when he quit and switched to a growling Hammond organ (plus Leslie speaker) as his main instrument that his own band began to attract some degree of attention on the London club scene. But before the arrival of another Korner alumni, tenor sax man Dick Heckstall-Smith, the Organization's temporary fourth man was a Young John McLaughlin. From the start the Organization performed a very eclectic mix of originals such as "Spanish Blues", with Graham simultaneously playing sax and organ, plus countless covers that ranged from Ramsey Lewis's "Wade In The Water", an arsenal of Cannonball Adderley hits that include "Things Are Getting Better" , a fist full of Ray Charles' showstoppers like "What'd I Say" to The Fabs "I Saw Her Standing There". These weren't note-for-note copies but highly personalised interpretations played at full blast. Much of the Organization's non-stop tension was generated by way of the constant love/hate relationship that existed between Baker and Bruce spurring on Bond to torture his Hammond in a muchmore lethal manner than say Brother Jack McDuff, while his sandpaper vocals may have lacked finesse but his commitment was beyound question. Meanwhile, tenor man Dick Heckstall-Smith greatly added to the foursome's overall potency. If the London-based Music industry was willing to give Bond a hearing and precious studio time, live audiences could be divided: around the London area they were duly impressed while out there in the provinces they could be sparse and indifferent. Drawn predominantly from BBC air shots (some introduced by George Melly), plus odds and sods including a pairing of Bond with Pete Brown make this a worthy companion to repertoire's earlier 4CD collection Wade In The Water in that it repositions Graham Bond's stature as a prime mover in the development of jazz based R&B.

Roy Carr

MOJO no. 267, February 2016 Live At The BBC...

Subtitle...And Other Stories Points to organ/sax/singer Bond's wide Reach: Quartet; Organization; Initiation; guests. Beeb sound is variable across 4-CDs, 1962-72; a '66 Wade In The Water is top. Bond called "a Balzac in dark glasses".


MOJO no. 268, March 2016 The better magician

With the release of the diamond mine that is the new Graham Bond Live At The BBC And Other Stories box set, I was rather hoping to see a full review and possibly even an accompanying feature piece in this most under-recognised genious. What did I get? Despite the four stars awarded (I'd bestowed an easy five myself) a mer 40 words in the Reissues Extras section. It's high time you rectified the omission of Mr. Bond from your pages and gave us something in depth.

And while I'm here... I've read the Punk Anniversary Special from cover to cover and am still looking for the word "Ruts", Peace, love and outrage.

Mark Sanders, Rushden, Northamptonshire

Classic Rock no. 220, March 2016 Four-disc set from pioneering bandleader

On this Collection of radio sessions and one-off studio liaisons, Graham Bond's inspirational presence is clear from his first touch on the Hammond organ. Introduced by George Melly, recorded live in a cinema in London's West End and broadcast on the BBC's Jazz Club in April 1963, the opening cover of The Modern Jazz Quartet's Bluesology packs swagger and ferocity aplenty.

Jack Bruce and Ginger Baker, rejected by Johnny Dankworth's old-school jazz troupe for beeing to loud, essay one of the great rhythm sections in rock history as Bond forges the sound of the new. As the session gains momentum, Bond's gleeful distorition and edgy, Grand Guignol Dynamics suggest the auto-destructive impulses of The Who and the floor shaking heaviness of prog bands to come.

Bond's alto sax-blowing invention had already had an airing, storming through his Coronation Street tribute Elsie And Ena, the previous year with Don Rendell Quintet on Jazz Session.

A sequel to Repertoire's 2012 Wade In The Water compilation, Live At The BBC And Other Stories gains from including the wry introductions by hepcat BBC announcers and the expertise of collabrators Dick Heckstall-Smith and sleeve notes written by Pete Brown. Bond's scintillating progress is tracked right up to recordings made With Brown for Sounds Of The 70s in 1972, two years before his premature death under a Tube train.

The grisly nature of his demise, shrouded in hard drug use and occult ritual, has meant Bond's protean talent is sometimes sidelined.

The thrilling music and energy gathered here puts Bond's tumultuous creativity and diversity centre-stage. The Brown/Bond epic, Beak Street mines fervent Afro-rock, sessions with proto Brit rocker Duffy Power, and I Saw Her Standing There (from the July 1963 Pop Goes The Beatles show) recast pop in a jazz furnace.

Signature tune Wade In The Water is presented in five separate performances, culiminating in the mighty 13-minute-plus version introduced by John Peel in 1970. The wildly varied renditions make it a vehicle for Bond's galloping, improvisational growth. His time may have been brief but, as Peel notes, he didn't hang about. A truly compelling force.

Gavin Martin

Ugly Things #42 summer 2016 GRAHAM BOND – Live at the BBC and Other Stories (Repertoire) 4-CD

Back in the dark ages of the 1980s, it was hard to find almost anything by Graham Bond, especially in the US. The situation began to change with the double-LP reissue of his two most important albums (from the mid-1960s, with the Graham Bond Organization’s Ginger Baker-Jack Bruce lineup) in the late 1980s; gathered steam with CD reissues of his other, if lesser, subsequent LPs over the next couple decades; and seemed to reach a climax with 2012’s stupendous four-CD Wade in the Water box set, which had most of the Graham Bond Organization’s 1963-67 studio recordings plus some extras. Toss in the live 1963 recordings and 1966 demos on Solid Bond, as well as the kinda disappointing live October 1964 set that has been issued under several titles, and what else could remain?

Lots, as the four-CD Live at the BBC and Other Stories proves. While the majority of it’s devoted to BBC sessions from 1963, 1966, 1970, and 1972, there’s also a September 1962 session when Bond was playing jazz on alto sax as part of the Don Rendell Quintet; a 1962 home-taped improvisation between Bond and Dick Heckstall-Smith; a long, live, and lo-fi “What’d I Say” by the Organization in 1966 or 1967; and a Manchester club rehearsal/jam session from 1962 at which Bond (still a jazz alto saxophonist) played with Ken Wray & the Joe Palin Trio. There’s even a Philamore Lincoln track on which Bond guested, as well as a 1962 Brian Dee Trio EP cut with Bond on sax. It’s more surplus Bond than anyone knew existed, save perhaps his longtime friend and sometime collaborator Pete Brown. Most famous as a frequent lyricist for Cream, Brown also wrote the liner notes for the booklets, which are jammed with rare photos and memorabilia.

Top marks for packaging, then, though note this comes in the standard jewel box size, not a larger one. Rarities in quantity, of course, do not necessarily (or usually) equate to quality on the order of an artist’s best recordings, and this collection’s no exception. On the three 1963 BBC sessions, Bond (and for that matter Baker and Bruce) were just starting to make the transition from jazz to jazzy R&B. Although these cuts include some songs that they’d later record for studio releases (such as “Spanish Blues” and “Wade in the Water”), the execution is somehow more polite and restrained than it would be just a bit later on his finest (and, uncoincidentally, far more demonic) 1964-1966 sides.

Of the tunes unavailable in other versions, the highlight is “I’m Gonna Move to the Outskirts of Town,” one of seven tracks from an April 25, 1963 radio session with John McLaughlin on rather unassertive guitar. Unfortunately, on some cuts from that session, Bond cedes his customary lead vocal position to the undistinguished Bobby Breen. The two other ’63 BBC sessions are more Duffy Power performances than they are Bond’s (though the second of these sessions mixes in a couple instrumentals), as Power takes the vocals (including for two versions of “I Saw Her Standing There”). That’s not such a bad thing, as Power like Bond was one of the great overlooked figures of early British R&B. But he, like Bond, had yet to reach his peak on these early efforts, where they had yet to fully shake off the more refined British jazz-blues approach of the pre-Beatles era.

By the time of the three songs on their January 22, 1966 BBC session, Bond seemed to have met his own devil at the crossroads, as both his singing and organ were invested with a far more sinister flavor. Done with the short-lived lineup with Baker, Heckstall-Smith, and trumpeter Mike Falana (Bruce had recently departed), these tracks don’t feature a guitar of any kind. “Wade in the Water” and “Only Sixteen” are more satisfying than “When Johnny Comes Marching Home”—not a great song to mutate into British R&B, to put it mildly.

It’s disc three, however, that really broadens this box’s appeal beyond hardcore Bond fans, and contains most of the material on this collection that truly lives up to his legend. Recorded by his short-lived Graham Bond Initiation outfit at two separate BBC sessions on January 31 and March 22 of 1970, it’s highlighted by a ferocious medley of two of his best compositions, “Walkin’ in the Park”/“I Want You,” and two equally galvanizing 13-minute interpretations of “Wade in the Water.” He never gave up hopes for “Wade in the Water” making a splash, it seems, as more than a dozen live, radio, and studio versions have now appeared on Bond releases.

The ‘70 sessions also have two takes of one of his best post-Organization songs, “Love Is the Law,” as well as a couple others from his obscure, uneven late-‘60s US-recorded albums. In the March 1970 performance, Bond goes at some length to insist to John Peel that he’s dedicated to “holy magick” rather than “black magick,” “which I know to be an extremely dangerous thing to dabble in.” “Love Is the Law,” he claims, “is more or less like a hymn to Aquarius...we’re trying to do something about making the world a bit better, not worse.” The loose yet forceful “The World Soon Be Free” totally eclipses the comparatively anemic one on his Love Is the Law LP, and overall the ’70 sessions have a nearly mesmerizing blend of rock, blues, and hip jazz, with an aura that’s grim yet compelling. It’s Bond near his very best, playing and singing at a level he’d never again come close to in the four years remaining in his life.

To be blunt, the pre-1963 jazz cuts won’t be of much interest to most Bond fans, or indeed most rock fans. They’re pretty straight early-‘60s jazz, and had Bond not moved to organ-based R&B, I’d wager the tracks (and Bond himself) would be virtually forgotten today. The March 23, 1972 BBC session with the duo of Bond and Pete Brown isn’t nearly as exciting or distinctive as the Initiation material from just a couple years earlier, and the live, free form-ish Initiation version of “Wade in the Water” from an unspecified source (from 1969/1970) doesn’t match the 1970 BBC rendition.

But the Initiation performances on disc three alone make this a vital addition to the Bond catalogue. Disc three, indeed, would make a good standalone release. It makes one mourn the failure of the Graham Bond Initiation (who changed personnel even in the two months between these sessions) to release any studio product, though the group featured no musicians of renown save Bond himself.

Repertoire also has a 2-LP Live at the BBC set scheduled for release soon.

Richie Unterberger

July 15, 2016 "Live At The BBC" 2LP

I suppose vinyl freaks will find it quite interesting that a selection of BeeB tracks from "Live At The BBC & Other Stories" soon will be released as "Live At The BBC" (Repertoire V191). And though the 2LP / 180g / 1 000 copies set is a slimmed collection compared with the 4CD set, it gives a great overview regarding Graham's BBC output. That said - it's a pity that no tracks featuring either Don Rendell or Pete Brown are included.

March 10, 2016 Keith Bailey interview
A lot of nice reviews regarding "Live At The BBC And Other Stories" are soon to be posted so stay tuned!

In the meantime enjoy a brand new interview with Graham Bond Initiation drummer Keith Bailey. His contribution to the Initiation made a lasting impression and as info regarding the band is quite sparse, am proud to add this in depth interview with him.

October 2, 2015 Graham Bond - "Live At The BBC And Other Stories" update
Pop Goes The Beatles

The box set went to press early this week. A late addition were the four tracks Duffy Power and the GB4 recorded for the 5th edition of BBC's "Pop Goes The Beatles" - "I Got A Woman", "Cabbage Greens", "I Saw Her Standing There" and "Spanish Blues". BUT - as the sleevenote states - "Please allow for sonic imperfections!"

September 20, 2015 Graham Bond - Live At The BBC And Other Stories
Repertoire REP 1279

Christmas starts early this year in form of Repertoire's stunning 4CD collection "Graham Bond - Live At The BBC And Other Stories". If "Wade in the Water' - Classics, Origins & Oddities" was THE introduction to the mighty Graham Bond - this is THE best of the rest.

The set kicks off with a 1963 BBC "Jazz Club" broadcast featuring the Graham Bond Quartet with singer Bobby Breen guesting. Apart from great guitar from John McLaughlin throughout, highlights are Graham singing "Every Day I Have The Blues" and Bobby Breen taking the spot on "Hello Little Girl".

Another 1963 session with the Graham Bond Quartet follows - this time with Duffy Power added. Apart from "I Saw Her Standing There" and "I Got A Woman" - which they recorded for EMI - this session includes "Summertime" and "Hallelujah I Love Her So".

The first CD close with a BBC broadcast the Don Rendell Quintet recorded in the autumn of 1962, just before Graham left for Alexis Korner's Blues Incorporated. Added guest on a couple of tunes is Dick Heckstall-Smith and it works out really well - on "Richmond Festival" we find the sax players trading solos - Dick on tenor, Don on soprano and Graham on alto.

It's a pity we couldn't find and include a BBC session with the classic GBO, but this one featuring the Bond/Baker/Heckstall-Smith/Falana line-up is a really good substitute: "Wade In The Water", "Only Sxteen" and best of them all - "When Johnny Comes Marching Home" - a much better and looser version than the studio one found on "Wade in the Water' - Classics, Origins & Oddities".

The second CD continues with Bond & Brown and a solid session recorded for the BeeB in 1972 - "Macumbe", "Milk Is Turning Sour In My Shoes" and "Beak Suite".

Sometime during 1962 Dick Heckstall-Smith augmented with Graham recorded some free improvisations for Dick's wife to use as ballet music - to be found here!

Graham otherwise took part in demo sessions for Dick's solo album "A Story Ended" – composer Pete Brown sings as well on "Moses In The Bullrushhoures".

Though the sound is rough the music is good - "What'd I Say?" is lifted from a rare GBO live tape documenting the Bond/Heckstall-Smith/Hiseman line-up. Sorry to say this is the only complete track - the other ones are unfortunately marred with drop outs and distortion.

The GBO ran out of steam and Graham left for America. Returning he put together the Graham Bond Initiation - in my opinion his best outfit post America. Last track on the second CD is a rare live take of "Wade In The Water" - yes, they played that tune as well!

The third CD is fully dedicated to the Initiation in form of two 1970 BBC sessions - Top Gear and a John Peel live show - the new band sounds fresh mixing old favorites and new tunes - extraordinary indeed!

The last CD opens with a track from a rarer than rare 1962 Vaux EP called "Jazz and Twist". Courtesy of Terry Biddle, I had never heard about the record before he turned up with his copy! Credited to Brian Dee's Trio featuring Graham Bond - Milt Jackson's "Things Are Getting Better".

"Things Are Getting Better" turns up again at another 1962 session - this time Graham with a combo led by pianist Joe Palin recorded during rehearsals(?) at Club 43 in Manchester. A much surprising find indeed, which apart from the mentioned track also includes tunes of the day/standards to become: "Sack O' Woe", "Mack The Knife", "Work Song" and "Oleo".

Honestly - "Wade in the Water' - Classics, Origins & Oddities" turned out pretty well and this new collection is really THE best of the rest – soundwise as well. It's great to see so much BBC material collected together. The early sixties stuff hasn't been around since it was aired first time around and we're all grateful to Paul Wilson for helping out regarding these sessions. No less interesting are the Initiation sessions – nice to finally see them commercially available. Icing of the cake is Graham as featured sax player playing modern jazz. Everyday I have the blues, but things are getting better and better and better..........

February 15, 2015 Another Graham Bond compilation?
Follow up compilation?

The "Wade In The Water" box set has sold well and there's some serious interest in doing a follow up compilation. Some good sounding tapes with great music has turned up recently, but more is needed to make a solid compilation. In that case please get in touch with me at if YOU have interesting material - e.g. BBC sessions - which could fit well into this project :-)

October 27, 2014 Jack Bruce RIP
At the age of 71 great musician and composer John Symon Asher "Jack" Bruce passed away on October 25.

Jack was original member of the Graham Bond Trio, which later expanded to a quartet and in 1964 became the mighty Graham Bond Organization. A highly respected combo which travelled up and down the English countryside for a solid two years before Jack left for a short spell with John Mayall's Bluesbreakers. Jack shared the stage with Eric Clapton for a few gigs and a year or so later they teamed up with GBO drummer Ginger Baker and found fame as Cream . However, inbetween Mayall and the formation of Cream, Jack got his first No. 1 with Manfred Mann - "Pretty Flamingo". The rest of the bands output featuring Jack was otherwise quite a different story. With Henry Lowther and Lyn Dobson on board as well, the band now sounded quite jazz and nothing at all what the old lineup had produced. But late summer 1966 Jack left the Manfreds and for about two years Cream were THE group, delivering four solid albums. As a writer Jack came to his force in the band. Apart from a 1965 solo single and a few odd tunes on the GBO albums he now contributed 1/3 of the material to Fresh Cream and about half of Disraeli Gears and Wheels Of Fire. The material - in collaboration with beat poet Pete Brown - showed strong craftmanship in composing and after the break up of Cream the duo sucessfully continued with masterpieces as Jack's debut solo album "Songs For A Tailor", "Harmony Row" and the slightly later "Out Of The Storm". Rest in peace Jack.

June 9, 2013 Ugly Things review - issue 30 spring/summer 2013 - by John Hagelston

I did a double take when I spotted Repertoire's new Graham Bond Organization boxed set on the wall of Freakbeat Records. Its five-and-a-half x eight-inch size seemed more appropriate to a DVD set, and I'd be astonished to learn there was an hour footage extant on the seminal British blues quartet. Can there even be much audio on a group that only released two LPs and seven singles? Thankfully there is: these four CDs include 37 previously unreleased tracks.

For the most part, the set is sequenced chronologically, and Disc One digs up some fascinating early curios, beginning with a trio of January/February 1963 recordings with British blues kingpin Alexis korner sitting in on guitar. Though saxophonist Dick Heckstall-Smith appears on these cuts, he's absent from much of this disc, which features Graham Bond (keyboards), Jack Bruce (bass) and Ginger Baker (drums) backing R&B vocalist Duffy Power on several cuts, auditioning for EMI with guitarist John McLaughlin and backing jazz guitarist Ernest Ranglin (as "The GBs") on a couple of rare 7-inchers. Regardless of who else is in the line-up, Bond's distinctive Hammond work takes center stage.

Heckstall-Smith is back in the fold for an April 1964 Decca tryout, by which time the foursome were officially known as the Graham Bond Organization. Though Bond's voice was in terrible shape, they passed the audition, resulting in a fine single ("Long Tall Shorty" b/w "Long Legged Baby") and a handful of recordings doled out on compilations and the Gonks Go Beat soundtrack. Then the GBO departed for Columbia, which would release their debut album, Sounds of 65, included in its entirety on Disc Two.

The Organization's second and final album , There's a Bond Between Us, takes up much of Disc Three, along with some non-LP single sides, a 45 where Bond and Baker back singer Winston G, and half a dozen unreleased sides, some of which feature trumpeter Mike Falana in place of Jack Bruce. While the consensus is that There's a Bond is the lesser of the two GBO albums (if only for the presence of the execrable ballad "Baby Can It Be True"), it nonetheless includes several fine R&B cuts as well as some of the first recordings to employ a Mellotron.

Disc Four rounds up more stray singles (including "Waltz For a Pig", which was released as a Who B-side!), but most of this disc is given over to live recordings. Sound quality is marginal at best (the vocals in particular are muddy and distorted), but the playing is solid, and the material sticks to the blues/R&B they did best - you won't hear a version of "Tammy" here. This is not the Klook's Kleek performance that was issued on Charly Records in the late 1970's (some Organization studio recordings are also absent from this box, much of the material on the Solid Bond double album proved impossible to licence).

The accompanying booklet is atractively designed and feature notes from Pete Brown, who cut the Two Heads Are Better Than One album With Bond in 1972. My one quibble with the package is that, because of its small size, all discs are partially stacked on top of each other and wind up either falling out or being stuck like glue to the inlay card.

Certainly some of this material remained in the vaults for good reason (you won't know whether to laugh or cry at the laryngitis beset Decca audition). And some of the multible versions will try the patience of those who see this group as a mere footnote to the history of Bruce and Baker's Next band, Cream. But for those of us that consider the Graham Bond Organization to have been the grittiest, grooving-est British blues band of them all, this set is manna from heaven.

June 6, 2013 Morning Star review - June 3. 2013 - by Chris Searle

The rebellion of sound

Strange it is sometimes, being a reviewer. When Comrade Ivan Beavis, musical pundit as well as Star Fund organiser, sent on to me the new box set of Graham Bond Organization classics from the early 1960s, Wade In The Water, I knew I would be grooving to an early British blues legend as well as a homeboy of mine from Romford, who went to the rival school, The Royal Liberty Grammar, and mastered the Hammond organ and alto sax - unlike his more typical schoolmates I knew who played classical violin and cello.

Yet hearing him growling through his laryngitis on his 1964 recording of Muddy Waters's monica, Ginger Baker's rattling drums and Dick Heckstall-Smith's hooting tenor sax, I thought: "Did this sound really come from the same Essex suburbs where I grew up?"

Uncannily, it did, and as I got further into the four CDs, I felt that more than ever I could understand the rebellion of his sound, so different from that made by the thousands of City commuters stepping to Romford and Gidea Park stations to catch the early morning trains to Liverpool Street.

Perhaps, in the context of all this, Bond felt, as the lyrics of the song he recorded in 1964 proclaimed, that he was only "half a man."

Among these 96 tracks, many of them aimed primarily at the '60s pop market, there are bound to be some mishaps, like the mawkish effort at Tammy or the lifelessly maudlin What Am I Living For? But other tracks are full of energy and verve.

Hear Bond's filigreeing organ chorus of Version 1 of Green Onions or the guttural Heckstall-Smith blowing a storm on High-Heeled Sneakers.

On some of the early tracks Bond is playing with two renowned guitarists.

He's a part of Ernest Ranglin And The GBs on an April 1964 session and the Jamaican ace and guitar mentor of Bob Marley stacks up many a groove on one of his performing visits to Ronnie Scott's.

Hear him solo beside Bond's stinging organ riffs of SO-HO. And on Untitled Abbey Road Blues Instrumental, it's John McLaughlin's guitar licks that follow another rasping chorus from Bond's organ.

Disc three includes 18 tracks from the Bond/Baker/Bruce/Heckstall-Smith quartet.

The performances remixed from the Organization's 1965 album There's A Bond Between Us stand out, in particular Ray Charles's What'd I Say? where Heckstall-Smith lets himself loose, and Have You Ever Loved A Woman? where Bond's soulful vocal is the prelude to more blues-baked Heckstall-Smith and another earthy organ chorus.

Two sides of the tenorist emerge on these tracks - a tender, love-toned solo on Bond's ballad Baby, Can It Be True? and his horn raucous and plangent on his own feature, Dick's Instrumental.

Baker stokes up a fire on his own feature - the enigmatically titled Camels And Elephants, with more than an intimation of what was to come half a decade later with Bruce and Eric Clapton in Cream.

He sings a desperate vocal of the pains of addiction and incarceration on Cold Rain, enduring "90 days in jail with my backside to the wall," and Bruce wails on his harmonica on the two versions of Positive aka HHCK Blues.

The final disc brings a little of Bond the alto saxophonist to the fore, but not before a springing trio performance of Wade In The Water, with organ, drums and Bruce plucking acoustic bass.

The last nine tracks are live, from autumn 1964.

Heckstall-Smith and Bond go head to head on their horns on Queen Of Hearts, with Baker's drums crashing, and despite the low-grade recording quality, the performance is full of skill and spirit.

Bruce's voice and harmonica are featured on The First Time I Met The Blues and Bond pulls out a specially gravelly vocal and some powerful Hammond patterns on Little Girl.

When Graham Bond died in 1974 after years of the primal opposites of innovation and addiction, he left almost a mythopoeic story. A story of an insurgent boy living in the superficial calm of the Essex suburbs who strove to play and sing the blues and live the damaged life of the wandering bluesman across the cities of post-war England.

Some of those whom he played with survived and others like Bruce, Baker and McLaughlin found world renown - migrating to the US, recording with jazz eminences like Miles Davis and creating amalgams of genres which astonished millions.

As for the Romford boy, we have his records like these to tell a different but still potent story.

May 31, 2013 Classic Rock feature - July 2013

Surprising 4 1/2 page feature on our man in the recent Classic Rock Magazine!

May 8, 2013 Jazzwise review - April 2013 - by Andy Robson

"This is what people have been waiting for!" exclaims Pete Brown, producer, and, vitally, longtime associate of so many of the musicians featured on this fine collection. You can understand Brown's enthusiasm: this is easily the most comprehensive collection of Graham Bond's work with the Organisation.

With four CD's, excellent graphics and wise, witty and intimately informed notes from Brown, this is a must buy not only for Bond fans, but for anyone interested in the roots of prog and jazz-rock. Brown's production has revived some tracks, removing extraneous claps et al while bringing Bruce's bass to the fore. Previously unreleased tracks that astonish include Baker's first foray into writing and vocals, "Cold Rain", and alternative takes to classic material like "HHCK Blues". Pre-Organisation cuts featuring Alexis Korner are also on board, plus previously unreleased material with McLaughlin. Brown has also bravely included eight live tracks, again previously unreleased, which may not have the sound quality contemporary ears appreciate, but for sheer energy give a sense of how explosive the band were. Brown's notes rightly point up that Bond didn't just underwrite Cream and Bruce and Baker's experiments With jazz-rock, but also suggest that Bond's organ antics were influential on the likes of Keith Emerson et al. But the real gold dust here, is a previously unreleased seven-track set with Ernest Ranglin, still hot from the Ronnie Scott's house band. Priceless.

April 30, 2013 Shindig! review / Jack Bruce interview
Apart from a great review the recent Shindig! issue sports a rare interview with Jack Bruce discussing the GBO years. - April 2013 - by Hugh Dellar

Get organized
Hugh Dellar is blown away by this exaustive, though not definitive, anthology of the groundbreaking London jazz 'n' blues combo

Many is the morning I've found myself at Finsbury Park underground station waiting for my tube into work, pondering the fact that while the lives of many lesser lights are commemorated in a whole raft of different ways, the platform from which the mighty Graham Bond exited this realm remains blankly devoid of any form of monument or recognition. no blue plaque, no mosaic, no nothing.

The fact that he is perhaps best remembered by your average music fan (when he is thought of at all, of course) for the manner of his departure and for his preceding long slow slide through the darkness of heroin addiction, an unhealthy obsession with the occult and, if Harry Shapiro's biography is to believed, child abuse, is also a tragedy of sorts, for it obscures one single vital fact: when in full flight, The Graham Bond Organization produced some of the most life-affirming, gutsy, exuberant music ever made anywhere.

Hopefully this new anthology may go some way towards reiterating this and will help to cement his stature as one of the truly great musikal figures of the '60s. In terms of influence on the musical scene of the era, few can come close to the impact that the GBO managed. Bond pioneered the slamming funky Hammond-through-Leslie-speakers sound later adopted by all and sundry; he was perhaps the very first Brithish musician to work the Mellotron into his sound, with 1965's There's A Bond Between Us coming soaked in the thing: he somehow managed to fuse jazz, R&B, soul and blues into a steaming, dirty, fiery furnace of sound absolutely devoid of any of the indulgences that came to later be associated with jazz-rock.

Whilst sadly not completely definitive (for copyright reasons, the compilers were unable to access most of the work of the third line-up featuring Dick Heckstall-Smith and Jon Hiseman), this 96-song set is nevertheless the most complete GBO compilation ever, and comes complete with enough unissued gems, alternative takes and obscurities to merit Investment from even the most dyed-in-the wool obsessive.

Organised in a broadly chronological manner across four CD's, the set kicks off with the scorching previously unreleased "Roll 'Em Pete" from very early '63, a 1:40 blast that shows all the crucial elements of the sound already in place: a gutsy groove, staccato punctuation from the Hammond, parallel sax lines, and the kind of raw vocal stylings only a very select clique of white boys could ever hope to hit!

There then follow seven cuts with Duffy Power handling the lead vocals, including a truly joyous, swinging romp through "I Got A Woman", and a further seven with the GBO backing legendary Jamaican guitarist Ernest Ranglin. Loose, frentic mod jazz of the highest order.

Alongside the obligatory wellknown heavy hitters from the band's repertoire ("Harmonica", "Spanish Blues", "Neighbour, Neighbour" and the like), there are lesser heralded gems such as the '67 B-side "I Love You", which has the Hammond hitting relentless distorted overdrive amidst free skronking intrusions, along with such lost wonders as '65's "Cold Rain", Ginger Baker's singing and songwriter debut. Ginger's fragile, nasal south London twang relates a tale of addiction over a chilling use of Mellotron vibes sampling! Jaw-dropping, chilling stuff.

The package comes complete with a 44-page booklet crammed with archive material and great liners by Pete Brown. One small gripe to wind up with, though surely there must be some way of ensuring all four compact discs remain in the box on opening! All in all, a must-have purchase, but one you'll need to be on your toes to keep in pristine nick.

April 19, 2013 Making Time review

This 4-CD collection documents the career of one of the decade's most important but under-rated groups

The Graham Bond ORGANisation were one of the key bands of the 1960s British Blues explosion although they did not gain the commercial credit they deserved. However, listening to this collection the listener can get a genuine feel for the energy of the time with a band that is now correctly recognised as being at the heart of this movement. In fact, The Graham Bond ORGANisation could be considered one of the first supergroups, or even pre-supergroup, as it counted future Cream members Ginger Baker and Jack Bruce among its members we well as guitar virtuoso John McLaughlin and Dick Heckstall-Smith who was later in Colosseum.

This 4-CD set is an excellent overview of the band's career including unreleased tracks, alternative versions, demos and live tracks. Several tracks are present in many forms. The title track Wade in the Water shows how it progressed and developed over the course of the band's life. Train Time even became a feature of Cream's live set. The set shows how the band evolved from the Graham Bond Quartet to the Graham Band ORGANisation in which only Bond and Dick Hestall-Smith were the only constant members.

Compiled by Pete Brown and Dick Heckstall-Smith the tracks have been "improved" in quality, bringing out elements that were not so audible in the originals. However, the power of the band is something that is ever-present. The live tracks reinforce the feeling on the earlier released Live at Klooks Kleek that the Graham Bond ORGANisation must have been an exceptional live act for those who were fortunate enough to see them.

Many of the tracks are covers of well-known standards such as High-Heel Sneakers and What I'd Say. There are also originals written by band members including Bond and even Ginger Baker whose song Cold Rain about heroin addiction was previously unreleased. The collection is broad although the third line-up with Jon Hiseman is not represented for contractual reasons. A cover of I Saw Her Standing There with Duffy Power is one of several tracks recorded as Duffy Power with the Graham Bond Quartet.

Those who have not previously listened to John McLaughlin will marvel at the jazzy guitar parts of those earlier GBO tracks where McLaughlin was building his reputation as a jazz guitar player. Wade in the Water sounds quite different to the later versions where Heckstall-Smith's saxophone is to the fore. After this the classic line-up of Bond, Baker, Bruce and Heckstall-Smith evolve their tight blues sound into something quite special. Particularly interesting are the previously unreleased versions of Booker T's Green Onions and the classic High-Heeled Sneakers. Later tracks include Waltz for a Pig, credited to The Who Orchestra. This has been issued as the b-side of The Who single Substitute in the US even though the track was solely the Graham Bond ORGANisation.

Many of the tracks have previously appeared on The Sound of '65 and There's a Bond Between Us but a large proportion of the tracks are appearing for the first time. Despite the Jon Hiseman era omissions, this is a superb collection of jazzy blues tracks by one of the most under-rated but most important bands of the 1960s.

April 14, 2013 Mojo review - May 2013 - by Kieron Tyler

Mostly complete collection of British jazz-soul giant leaves a few mysteries intact

Bond was more than a bandleader who brought the pre-Cream Ginger Baker and Jack Bruce together. He was more than the man who gave John McLaughlin a leg up. He was also a complex, troubled, difficult man with esoteric fixations who died in peculiar circumstances in 1974. This 4CD set reveals and revels in Bond the innovator, reconfiguring Roland Kirk and Jimmy Smith for 60's Britain. His music was powerful, as attested by a wild live show included here. Although it doesen't say so, this is the complete released recordings 1963 - 1967 and more (with every psedonymous session), bar the second single with Duffy Power. Nowhere is it explained where the tapes used as sources had lurked unused, at the rationale for remixing them isn't given in Pete Brown's text. Such opacities are probably fundamental with anything to do with Bond.

April 9, 2013 Record Collector review review - April 2013 - by Terry Staunton

An enlightening salute to a true innovator

Subtitled Classics, Origins & Oddities, this impressive and lovingly compiled box set offers the most complete portrait imaginable of a hugely influential figure, for many the founding father of the British R&B movement. Bond, who died aged 36 in 1974, was ultimately denied the wider acclaim afforded those he mentored and inspired, such as Jack Bruce, Stevie Winwood and Jon Lord.

He was a pioneer of the combination of Hammond organ and Leslie speaker cabinets to add rich textures to jazz and blues material, providing a gateway for the harder rock and even prog musicians who followed. Check the record shelves of just about every British musician who started out in the mid-60s and you'll find a copy of the Organization's game-changing album The Sound Of '65.

That album is well represented here but, across 96 tracks, you'll find a jaw-droppingly broad canvas of musical intuition and intellect; a lavish cornucopia of sound which borrows from the past but twists and tweaks its origins before letting them loose on future generations. Live cuts, demos, alternate mixes and the like can often be little more than filler in many multi-disc compendiums, but here they're just about all integral building blocks of a bigger plan that continues to demand reverence.

April 6, 2013 Classic Rock review review - May 2013 - by Kris Needs

Monster tribute to overlooked UK R&B pioneer

Graham Bond should be up there with the likes of Alexis Korner as a founding father of the UK R&B boom, but the roaring, Hammond organ-toting titan's legend faltered when he got into drugs and Crowley magick, practically evaporating after his suicide under a London tube Train in 1974.

Influenced by Ray Charles, Mose Allison, Booker T, Roland Kirk, Jimmy Smith, Coltrane, Mingus and Chess blues, GBO gigs were an explosion of telepathic musicians creating new alchemy through cross-breeding musical styles, anchored by Bond's larger-than-life personification of the blues' wild original spirit. He was the early 60's foremost exponent of the Hammond organ-Leslie speaker combination, influencing the likes of Jon Lord, Rick Wakeman and Keith Emerson.

Born in Romford in 1937, Bond initially played alto saxophone with jazz groups before joining Korner's Blues Incorporated, taking drummer Ginger Baker and bassist Jack Bruce to form his Organisation in 1963 with young guitarist John McLaughlin. While the latter was replaced by sax virtuoso Dick Heckstall-Smith, Bruce and Baker defected in 1966 to form Cream With Clapton (replaced by drummer Jon Hiseman, who went on to form Colosseum with the sax-man). Lack of commercial success and Bond's escalating drug habit split the group in 1967. He went on to form Initiation, reflecting his interest in magick, later joining Ginger Baker's Air Force.

UK underground poet Pete Brown has done a spectacular job of positioning his old collaborator (they made an album together in 1972) as a crucial and charismatic jazz-blues pioneer. His four-CD, memorabilia-stacked labour of love collates singles, classic albums The Sound Of '65 and There's A Bond Between Us (remixed to further greatness), compilation appearances, live recordings, curious such as a collaboration with Jamaican guitar legend Ernest Ranglin, and unreleased gems including Baker's heroin addiction lament Cold Rain.

Contrasting with rough-cut gems such as the demonic Wade In The Water, amped-up prison moan Early In The Morning and several stellar tear-ups, tour de force ballads like My Heart In Little Pieces display one of the finest blues voices this country ever produced. At last, this overlooked giant is blessed With a suitably colossal memorial.

March 2013 Great review at AllMusic! review - by Thom Jurek

Repertoire has established a fine reputation for quality reissues of classic recordings from the 1960s and '70s. That said, this box set by the Graham Bond Organisation sets a new standard even for them. Containing four discs and 96 tracks from early 1963 through 1967, this collection includes previously unreleased material -- a great example is disc one's first cut, "Roll 'Em Pete," recorded for EMI in early February of 1963 by the Graham Bond Trio with Ginger Baker and Jack Bruce, as well as the first version of their standard "Cabbage Greens," with the Velvettes as the female backing chorus.

What's notable about these sides is how assured they are: the group had just recently left Alexis Korner's Blues Incorporated less than a month before and had played exactly one gig. Disc one moves forward with the band savagely backing R&B vocalist Duffy Power and later, guitarist Ernest Ranglin as the G.B.'s. in early 1964.

None of this material is filler; it is all quality. John McLaughlin joined the band briefly, making it the Graham Bond Quartet, and after being fired by Baker, the great saxophonist Dick Heckstall-Smith entered the fold, making the legendary "Organisation" complete. Bruce and Baker, and even Heckstall-Smith, would leave eventually as well, but the excellent meld of blues, R&B, rock, and jazz (check the amazing hard rock, free jazz freakout in the blues jam, "I Love You," from 1967 -- and it all takes place in under three minutes) would roll on for another year-and-a-half or so.

These four discs are loaded with live tracks, alternate takes, unreleased demos, live sides, and even an entire gig from 1964 to close out the last disc. Wade in the Water: Classics, Origins & Oddities is not a mere odds and sods collection, but a deep, well-rounded portrait of the band from its beginnings at EMI to its glory years at Decca to Columbia and its eventual dissolution in 1967. The influence of these sides on British music cannot be overstated. It would inform not only the British blues scene, but its R&B and rock scenes, both at the time and in the future. One can hear Bond's influence on everyone from the Who and Georgie Fame, to the latter-era Jam and Paul Weller's solo material, the James Taylor Quartet, and the acid jazz scene in general. The notes are beautifully annotated, with a solid intro by producer Pete Brown, who, along with Heckstall-Smith, did a fine job remixing and remastering the material.

March 2013 Uncut review review - April 2013 - by Mick Houghton
A wizard, a true star

Graham Bond is usually remembered for his magickal interests and his untimely death, an apparent suicide in 1974. The band he founded, the formidable Graham Bond Organisation - whose output between 1963 and 1967 is celebrated here - is better known for Bond's more illustrious sidemen, notably Ginger Baker and Jack Bruce. A year after the pair left to form Cream in summer 1966, replacement drummer Jon Hiseman and trusty tenor saxman Dick Heckstall-Smith also quit, joining rival bandleader John Mayall before themselves founding Colosseum.

Yet it's the GBO's electrifying recordings that should be remembered, a thrilling, unique brand of British R'n'B, driven by Bond's supercharged Hammond organ. In 1961 Bond was well etablished as an alto sax player (with Don Rendell), before he switched allegiance from Charlie Parker to Ray Charles. Briefly joining Alexis Korner, Bond poached Bruce and Baker from Blues Incorporated to create the first GBO in 1963, adding budding guitarist John McLaughlin. McLaughlin's rapid departure and Heckstall-Smith's arrival established the definitive GBO lineup adopting a daring jazz rock aproach that was truly liberating.

Bond's intense, wholehearted playing influenced Brian Auger, Zoot Money, Jon Lord and Keith Emerson, among many. Bond was an innovator, playing the Hammond through a Leslie cabinet (pre-Mike Ratledge/Soft Machine) and pioneering the Mellotron on record, road testing the cumbersome instrument long before it became a fashionable prog accessory. An intimidating, unruly looking bunch, the GBO had no obvious frontman or focal guitarist. Commercial success eluded them, to the point of bafflingly covering Debbie Reynolds' "Tammy", but the GBO did record the two exceptional albums The Sound Of '65 and There's A Bond Between Us.

These underpin this collection, elevated by such delights as Duffy Power's rousing Parlophone singles (with the GBO) and unheard sessions with Jamaican guitarist Ernest Ranglin. There's little from the final trio with Heckstall-Smith and Hiseman but that's a contractual quibble (interested parties should check out Solid Bond). Deserted again by musicians he had nurtured, suffering depression and battling drug abuse, Bond uprooted to America for a couple of years, returning to oversee various ungainly bands (Holy Magick, Incantation, Magus) that drew on a preoppupation with the occult.

Bond re-united with Ginger Baker in the unwieldy Air Force, worked with Pete Brown (who provides this boxset's affectionate notes) and recorded two LPs that clumsily tried to marry chants and incantations with free jazz. At his best, though, powering the original GBO, Bond was a true catalyst for future ideas, still sounding dazzlingly fresh and modern today.

February 15, 2013 Even more reviews - 14 January 2013 - by Ivan Beavis
The Graham Bond Organisation - Wade In The Water (Repertoire)

This four-CD box set charts the musical history of the original '60s British blues supergroup the Graham Bond Organisation, which evolved out of the legendary Alexis Korner Blues Incorporated and in the future would provide two members of Cream - Jack Bruce on bass and Ginger Baker on drums.

The seminal line-up also had Dick Heckstall Smith on tenor and soprano saxes. But the driving force was multi-instrumentalist Graham Bond, who powered the group on Hammond organ and synthesiser.

Compiler Pete Brown has unearthed a fine collection of unissued recordings of this hard-working band along with tracks from the various line-ups fronted by Bond in the early '60s with the excellent but unappreciated vocalist Duffy Power, John McLaughlin and guitarists Ernest Ranglin and Winston G. That alone makes the set a must as the original vinyl is as rare as hen's teeth.

Wonderful musicians playing with exuberance and talent. - 4 February 2013 - by Wilthomer
The Graham Bond Organization Box Set

For well over a decade there has been talk of the plethora of unreleased Graham Bond Organization material existing in the vaults. At the of 2012 it was announced that Germany's Repertoire Records would be issuing a 4 CD G.B.O. box set "Wade In The Water: Classics, Origins & Oddities" which I duly advanced ordered (and you can order it here). No stone has been left unturned (though the oft reissued spotty sounding "Live At Klook's Kleek" set is conspicuously absent from the package). Rather than give you a track by track review I thought I'd go through some of the highlights.

Some of the more interesting aspects of Disc One are records The Graham Bond Quartet/Organization made with other artists. Seven tracks recorded in a session backing Duffy Power (for what would be the band's debut vinyl appearance backing him, which we profiled here) are included. The band (as The G.B.'s) next backed Jamaican guitarist Ernest Ranglin on a rare as hell jazzy 45 on the Black Swan label and seven tracks with Ranglin are also included. I'd long expected them to be ska flavored as Ranglin made some ska records and Black Swan was predominantly a ska label but they are far from, coming across as Wes Montgomery jamming with Jimmy Smith. Also included are several songs recorded under the moniker of The Graham Bond Quartet (including their EMI audition session including "Wade in The Water" which first saw the light of day on the CD "R&B At Abbey Road").

Disc two is predominantly composed of stereo mixes of tracks from the band's 1965 debut LP "The Sound of '65" (Columbia records) and tunes from their brief period on Decca records which came prior to singing on with EMI's Columbia outlet. Among them are their sole Decca 45 "Long Tall Shorty/ b/w "Long Legged Baby", "Hoochie Coochie Man", "Little Girl" and "Strut Around" from a 1964 Decca LP compilation called "Rhythm And Blues" (which also featured the tracks on the Decca 45) and the powerful "Harmonica" from the film "Gonks Go Beat". A previously unreleased track called "What Am I Living For" from the first LP session is included along with other previous unissued tracks from '64 like "Green Onions", "Honey Bee" and a different recording of "Hi Heeled Sneakers".

Disc three contains Stereo mixes of all the tracks from their 2nd LP, 1965's "There's A Bond Between Us" as well as two songs cut backing singer Winston G. ("Please Don't Say" and "Like A Baby", Winston's debut 45). Unlike other Winston G. tracks I've heard these are dead boring. Disc three also houses my all time favorite G.B.O. single, April 1965's "Tell Me (I'm Gonna Love Again") b/w "Love Comes Shining Through". There are a slew of unreleased tracks on disc three (six actually) including Ginger Baker's first recorded original, the brilliant "Cold Rain" (featuring Graham Bond on Mellotron, an instrument the G.B.O. used frequently) which sounds like an autobiography of a junkie. The disc concludes with their powerful dirge "St. James Infirmary" (you can read about the U.S. pressing here).

Disc four starts out with the last G.B.O. Columbia 45 ("Soul Tango" b/w "Wade In The Water", a different take than the U.S. 45 version that also previously graced the "Sound of '65" LP). It also contains their amazing B-side recorded as "The Who Orchestra" for The Who's "Substitute" single. There's the band's final 45 for Page One in '67 ("You Gotta Have Love Babe" b/w "I Love You", with an alternate mix of the former as well). The disc is rounded out by a slew of live cuts of varying degrees of quality, most are interesting only for the sake of historical posterity and in my book don't warrant too many repeated listenings. - 5 February 2013 - by Modculture
Out now: The Graham Bond Organization: Wade In The Water box set: Classics, Origins & Oddities (Repertoire)

It came out around the Christmas period, meaning a lot of people missed it. Not @MonkeyPicks, who has just mentioned that The Graham Bond Organization Wade In The Water box set is out right now.

An impressive thing it is too. Released by Repertoire, it is described as the essential collectors set, as well as the biggest and most comprehensive collection of work ever. 96 tracks over four CDs, including tracks from the classic albums, some remixed for the first time by Pete Brown and Dick Heckstall-Smith from the original 4-track masters.

On top of that, rare are several unreleased performances, a wild live gig by the original line-up (never heard before), rare demo sessions and some material of GBO backing other artists. There's also a 48-page booklet, featuring rare archive memorabilia and an introduction by Pete Brown. - 29 January - 2013 - by Jazz Chill

An amazing collection of work from the legendary Graham Bond, a 60s Hammond player who was incredibly important to the London scene during the best mod years of the decade! Bond was way more than just a jazz musician and like George Fame, Zoot Money, and a few of his other contemporaries he had a way of mixing together jazz and soul with a strong touch of blues almost a new British version of soul jazz, similar to the way that some of the bigger English rock groups were drawing from American R&B!

Graham sings on most tracks with these raspy vocals that are incredibly charming, and downright soulful and in addition to his own work on organ, instrumentation features lots of pre-Cream work from Ginger Baker on drums and Jack Bruce on bass plus plenty of tenor from Dick Heckstall-Smith too. If you dig the mod work of Georgie Fame, you'll find plenty to love here too but Bond also really helps point the way towards more progressive jazz-rock experiments of the future although this set features mostly tracks from 1966 and before, without any of Graham's later trippier music.

The 4CD package is the best collection we've ever seen of Bond's music from these years and includes rare singles, unreleased cuts, and even some side projects with Ernest Ranglin and Duffy Power too. 98 tracks in all, with a great booklet as well and titles that include "Cabbage Greens", "Harmonica", "Tammy", "Early In The Morning", "Honey Bee", "Long Tall Shorty", "Soul Tango", "Down In The Valley", "Waltz For A Pig", "Like A Baby", "Please Don't Say", "Walking In The Park", "Who's Afraid Of Virginia Woolf", "Dick's Instrumental", and lots lots more.

January 30, 2013 Dusty Groove
Great praise from Chicago based Dusty Groove!

An amazing collection of work from the legendary Graham Bond! A 60s Hammond player who was incredibly important to the London scene during the best mod years of the decade! Bond was way more than just a jazz musician and like George Fame, Zoot Money, and a few of his other contemporaries he had a way of mixing together jazz and soul with a strong touch of blues almost a new British version of soul jazz, similar to the way that some of the bigger English rock groups were drawing from American R&B! Graham sings on most tracks with these raspy vocals that are incredibly charming, and downright soulful and in addition to his own work on organ, instrumentation features lots of pre-Cream work from Ginger Baker on drums and Jack Bruce on bass plus plenty of tenor from Dick Heckstall-Smith too. If you dig the mod work of Georgie Fame, you'll find plenty to love here too but Bond also really helps point the way towards more progressive jazz-rock experiments of the future although this set features mostly tracks from 1966 and before, without any of Graham's later trippier music. The 4CD package is the best collection we've ever seen of Bond's music from these years and includes rare singles, unreleased cuts, and even some side projects with Ernest Ranglin and Duffy Power too. 98 tracks in all, with a great booklet as well and titles that include "Cabbage Greens", "Harmonica", "Early In The Morning", "Tammy", "Honey Bee", "Long Tall Shorty", "Soul Tango", "Down In The Valley", "Waltz For A Pig", "Like A Baby", "Please Don't Say", "Walking In The Park", "Who's Afraid Of Virginia Woolf", "Dick's Instrumental", and lots lots more.

January 05, 2013 Rave reviews!!!
Though no surprise "Wade In The Water" get rave reviews at Amazon:

By *****

A superb long awaited release. Due mainly to the efforts of Pete Brown this long long overdue compilation of tracks by one of the greatest innovators of jazz/rock. What a tragedy was Graham Bond's loss. He really was years ahead of his time, and one wonders what a musician of his quality would have been producing now. This release is a fitting epitaph to one our greatest and lamented musicians. Many many thanks to Pete Brown and the others who made this release possible.Thank You.

Great package marred by design problem, 28 Dec 2012
By K. Molony (France)

Fantastic collection that will be prized by Graham Bond collectors or anyone with an interest in the 60's R&B Club scene. However on opening the impressive looking packaging I was dismayed to find that the 'figure of 8' style clip in disc holders are woefully inadequate as well as fiddly. This has resulted in discs sliding around loose inside causing multiple scuffs and scratches. A real shame to what is otherwise great release.

By Stuart Jefferson (San Diego,Ca)

"The GBO was one of the three or four greatest British bands ever. In terms of influence, the GBO was to musicians what the Beatles were to the public." Pete Brown.

"...I also enjoyed Graham Bond, although at the time I didn't realize how profound Bond's music was. But looking back now, I can see it was just as important as the Stones or The Beatles." Ian Anderson (JETHRO TULL), 1970.

I don't think, this far removed from that era, that any of us can truly appreciate the musical power of THE GRAHAM BOND ORGANISATION (sic). This band was a powerhouse on stage-capable of playing jazz or blues/soul, and then exploding into some exciting jazz-rock sounds. But their two proper albums went nowhere commercially. If you're reading this, chances are you've already heard the GBO albums, know of ALEXIS KORNER'S BLUES INCORPORATED, and COLOSSEUM. This set is aimed more for the fan who's already familiar with the band's albums, and wants to go a bit deeper into their sound. Fans will recognize many tunes (included are 7 versions of "Wade In The Water") from the band's two proper albums. But this set isn't full of castoffs-far from it. Many of these sides are as good as anything the group released way back when. The last incarnation of the group, with both Dick Heckstall-Smith and Jon Hiseman, couldn't be included in this set-which is too bad. Hopefully at a later date, all that music will become available too.

First, the packaging. The discs are snapped inside the front and back covers of the hard cover "book". The 43 page booklet is attached inside, and has a nice essay by Pete Brown-poet, lyricist (notably for CREAM), and a recording artist in his own right (PETE BROWN'S BATTERED ORNAMENTS). The booklet is filled with great period photos, news articles, and other items from the period. There's a track by track listing of each tune with pertinent information for each. Many songs are in mono, and some are remastered for stereo. And speaking of sound-overall it's very good. There's no compression to ruin the sound, and there seems to be a bit of warmth to the sound that only helps the music. The only downside is how the discs are packaged, two in the inside front cover, two in the back, using those plastic clips that seem to break if you look at them too long. This seems to be the new way of packaging discs-it's now used by many labels. Too bad. The hardcover "book" slips inside an equally thick slipcase, which has all the tracks listed on the back. All in all, a very classy package.

This collection begins in 1963, with three tracks with Bond, Baker, Bruce, Alexis Korner-guitar, and THE VELVETTES-backing vocals. Also included are several familiar tunes (check the list on the Amazon page), some are Singles, some are from the album "Leapers and Sleepers", with a few tracks previously unreleased. A number of these tunes feature guitarists John McLaughlin and (the late) Big Jim Sullivan. Jamaican guitarist Ernest Ranglin is also here (playing some great jazz guitar that will surprise many fans) on a few tunes, along with the first appearance of Dick Heckstall-Smith.

Disc Two features the best known incarnation of the band-Bond, Bruce, Baker, and Heckstall-Smith. These tracks continue from 1964 into 1965. These tunes, from auditions, Singles, compilation albums ("Rhythm and Blues" and "Blues Now"), a number of previously unreleased tracks, a soundtrack tune from the LP ("Gonks Go Beat"), and many from "The Sound of '65" album. All have been remixed in stereo for this set or are in mono sound.

Disc Three features, from 1965-66, the quartet on the first two tracks, with the next two tunes utilizing vocalist Winston G. (who used to appear at the same gigs as the GBO), with Bond, Baker, and an unidentified band. The rest of the tracks are the quartet, and the songs came from "There's a Bond Between Us", and a Single B-side. This also includes Bond's use of the mellotron-one of the first bands to use this cumbersome, hard to play instrument. The last three tracks feature Bond, Heckststall-Smith, Baker, and Mike Falana on trumpet.

Disc Four continues into 1966, with this same group for the first four tracks. The band then changes to Bond, Heckstall-Smith, Falana, and Jon Hiseman on drums on track five, "Wade In The Water". Tracks 6-8 are a trio of Bond, Heckstall-Smith, and Hiseman. Track 9 is another version of "Wade In The Water", with Bond, Bruce, and Baker as a trio, before switching back to the usual quartet for the remaining tunes (10-18) which are live tracks from 1964. These recordings aren't the best quality, but they do give a good indication of how good the band was live.

Many people forget (or don't know) that the GBO was one of the first bands to play music that would eventually be labeled jazz-rock. Their "popularity" was based on musical talent-not good looks. They had no real "star", no Eric Clapton, no Jimmy Page, no Steve Winwood, no (name someone) to draw people in. Bond's influence by Charlie Parker on his alto sax playing is telling, and his organ sound was out of the Ray Charles/Jimmy Smith/Booker T. sound. Baker's drumming was from Max Roach, Art Blakey, and African influences. Bruce's style on the bass was out of the jazz area and his own uniqueness, with his harp playing from the blues. McLaughlin was just beginning to formulate his own guitar sound (he was let go for "erratic timekeeping" through Baker's complaints), but he fits the blues/jazz/rock thing pretty well. Heckstall-Smith was a died in the wool jazzer, who also strayed into the blues/soul arena, and combined them when he felt it right.

The GBO never really rose above a hard working club band in the U.K. In America, they were virtually unknown. They combined jazz with the blues and some soul and rock'n'roll music, and mixed everything into their own sound. And now, with this great collection of music, more people will have the chance to go even deeper into the band's sound. Checkout Ginger Baker, singing a song he wrote ("Cold Rain"), or McLaughlin playing some good blues guitar on "Untitled Abbey Road Blues Instrumental". Or Bruce's early, slightly rough sounding harmonica on several tunes. And of course, Bond-playing the organ and his alto sax at the same time, often with Heckstall-Smith's tenor sax.

In stopping this long-but (I think) well deserved-review, I still wonder what it was like to walk into a club and hear this band wailing away. If you consider yourself a fan of British music from the 60's, and you don't know about Graham Bond, you have a gaping hole in your musical library from that era. It's a mystery to me why the band's reissued albums aren't more well known by fans of today. Judging by the number of album reviews, and comments, many people are unfamiliar with the band. Why? Hopefully this collection will become more available, and more fans of that era will check it out.

If you want to learn more about Bond, try and find a copy of Harry Shapiro's book "Graham Bond: The Mighty Shadow", which goes into some detail about Bond and his life, or more about Dick Heckstall-Smith, his book (plus a CD of unreleased tracks) "Blowing The Blues". Both give a look into that whole era of music in Britain.

Fantastic box set, 29 Dec 2012
By Stephen Johnson "stevie boy" (united kingdom)

Ordered this way back in August on the pre release price of £19. Then with all the delays thought about cancelling but am i glad i stuck with it. Fantastic 4 cd set covering Graham Bonds career.I must admit to not owning anything of the GBO but knew of him via Ginger Bakers Airforce. So was over the moon to see so many tracks with Ginger Baker and Jack Bruce. The packaging is excellant with tons of really informative reading.Ok it takes a little getting used to the cd holders but even i got the hang of it in the end. In a nut shell this is what a box set should be all about.4 cds full to the brim,great packaging and value for money.

Dreams come true - rolled them well Pete, 30 Dec 2012
By Grzegorz Szymczak "gregg" (poland)

One thing you get pissed off at the start is opening and user unfriendly box. Hoped not made in China though relase date delay might have resulted from it. I got first crushed contra Cream then Jack Bruce mania and Ginger Baker. I tried to investigate in the mid 90s Graham stuff with no result. First was great cd release LIVE at klooks kleek. Then I got a copy of copied LP Sound 65 and There is bond. Then bootleg with copied singles (great one). I got a chance later to acquire LP Mighty bond and Crossroads with extra compilation Bond in America. Recently on dustygroove encountered great 33 single with Bond and british jazzmen as well as their LP with Bond on sax. In between all Ginger Baker Airforce and Jack Bruce live releases from 1971 plus Pete Brown 2 heads better then 1 and Dick Heckstall-Smith story ended. Well I thought I was in it but the release of 4 cd box wade in the water is a shock therapy. Just great. Beware no way to copy in itunes as no track names so fighting with a package is a must. I bougt 2 copies just in case I break one. Logical with chinease quality. Bond is great - imagine Jack and Ginger listening to it now. Thank you. Thank you. Thank you.

Love Comes Shining Through, 4 Jan 2013
By Fletch-a-sketch "Fletch" (Wiltshire, UK)

98 tracks most of which is new to CD or newly remixed and to CD, this set is pretty much the complete Graham Bond Organisation with Jack Bruce and Ginger Baker (you will need `A Solid Bond' for 6 Missing GBO tracks and the Jack Bruce Box set for his missing singles both available on Amazon), and while being a fan of Cream, I think this music is much better than anything Cream ever did, Graham Bond playing Sax and Organ rather than EC's guitar. The music is in the early Blues Jazz vein, as always very well played; if anything Ginger Bakers drumming is quite restrained. On one of the sessions at the end of disc one it sounds Jack Bruce had either a cold or a heavy night as the vocals are a bit strained, but all the more fascinating for it. As are the 7 different versions of the title song `Wade in the water' all differing version 3 would not sound out of place on a Halloween collection. The packaging is excellent with the discs clipped into place overlapping as is the norm for this kind of set nowadays. The booklet is well written and the songs properly annotated down to sessions and musicians and dates. The book and discs are then held in a substantial cardboard slipcase. This is pretty much how a 4 disc set should be made and for the price excellent value. Highly recommended

December 22, 2012 "Wade in the Water' - Classics, Origins & Oddities" final update
Christmas gift of the year processing for dispatch from

November 17, 2012 "Wade in the Water' - Classics, Origins & Oddities" update
After late adjustments "Wade in the Water' - Classics, Origins & Oddities" finally went into production yesterday. The DVD sized box looks great indeed with a 42 page booklet including sleevenotes courtesy of Pete Brown and a well of pictures and memorabilia. Couldn't hoped for more - release of the year!

October 24, 2012 "Wade in the Water' - Classics, Origins & Oddities" postponed
Release date for "Wade in the Water' - Classics, Origins & Oddities" is postponed to 17th December 2012...

September 26, 2012 "Wade in the Water' - Classics, Origins & Oddities" Repertoire REP 5250
Sorry to say, but the activity on the site has been rather substandard recently. That said - the site is now back in business with a new cool adress as well :-)

The site's otherwise been given an overhaul - courtesy of Tom Jørgensen - hope you'll like the new navigation! Apart from that the discography section is also been updated with a chapter dealing with compilations, a chapter regarding unreleased sessions, tapes and records and finally a chapter dealing with Bond as a sessionman.

Since the last update biographies by Jack Bruce, Ginger Baker, Jon Hiseman AND Pete Brown have otherwise seen the light of day!!! I won't dwell more than to say that if you haven't got copies yet, they're available from Same goes for biographies by Dick Heckstall-Smith, Alexis Korner and our man Bond. Unfortunately "Between the Lines and Spaces" by Pete Bailey is now out of print - eBay might be the place.

A rarer than rare live tape with Bond & Brown has otherwise surfaced! A great find as documentation on the band is sparse:


However - The REAL news is that the loooooong promised GBO box set - now entitled "Wade in the Water' - Classics, Origins & Oddities" - will be released by Repertoire on November 5!!! Originally planned as an Universal release in the late 90's, the set has over the years grown to include nearly 100 tracks - about 1/3 of them unreleased! For complete tracking list please have a view at the Repertoire site:


Dealing with the years 1963 - 1967, the 4CD set kicks off with an EMI test recording session from early 1963. Backed by the Blues Incorporated, a youthful Graham raves through three tunes. Highlight: "Roll ´Em Pete".

By late March the Graham Bond Quartet had backed singer Duffy Power on several sessions, but it resulted only in the "I Saw Her Standing There" single. However - decades later other tunes from the sessions turned up on the RPM label. Apart from alternative versions of the single, two Ray Charles tunes and "Shake, Rattle and Roll" finally saw a release. All of them included here - watch out for a killer version of "Shake, Rattle and Roll"!

About two months later the Quartet made a strong audition for EMI, but no contract were in sight though. Apart from one track, the session has been unreleased until now. Graham's own "It´s Happening" is of special praise and you'll also find "Spanish" (Blues) in a much more relaxed mood compared to the "The Sound of '65" version.

Strangely enough, it took a full year before the group recorded again - and then as sidemen. As the GBs' Graham, Jack and Ginger backed guitarist Ernest Ranglin on a single + an EP. Both releases rarer than rare these days so it's good to see them included here. A nice bonus is the addition of an unreleased single from the same session.

Shortly after the Ranglin session the Graham Bond Organisation auditioned for Decca. A good live-in-the-studio session only marred by Graham's voice which was totally shot on that particular day! The tunes would soon become a stable part of the live repertoire for years to come - Muddy Waters' «Honey Bee» the only one not seeing a commercial release. The complete session is of course included on "Wade In The Water"!

By early May 1964 the Organisation had returned to Decca Studios in West Hampstead and nailed their debut single. Seven more tunes would follow and though available on CD for years, this is first time around the complete Decca recordings are collected together digitally. Well, nearly - "I Want You" went unreleased in the 60's and it's still missing after all these years. Tape probably lost forever am afraid.....

The GBO finally secured a long term contract with EMI and just before christmas the band entered Olympic Studios in the process of recording an album. Sessions followed in January and February before the album was completed. Later in the spring they recorded the glorious "Tell Me"/"Love Come Shining Through" single before a second album was boxed in late June/early July. Inbetween part of the band also found time to back singer Winston G. on a session.

Anyway, recorded only in mono the session tapes were remixed to stereo by Dick Heckstall-Smith and Pete Brown in the late 90's, but left abandoned when the Universal project fell through. An original 60's stereo mix would probably have been more extreme left/right panned than these remixes, but the benefit here is that they sounds fresh and otherwise adds some count ins, longer endings etc. to the various songs. That said, though same take - the "feel" is quite different on some tracks, e.g. "Tammy" where the vocal is more upfront and naked.

Although the albums were recorded over few days, there's still some outtakes. From the "Sound of '65" sessions a second Chuck Willis tune is included - a respectable version of "What Am I Living For". Even more interesting is two outtakes from the better produced second album "There's A Bond Between Us": Ginger's "Cold Rain" and Jack's "Positive". Apart from Ginger's first attempt in songwriting, it's his first try as a lead vocalist as well. An enjoyable tune, the vocal is, well..... Ginger! Jack's tune, later to be known as "HHCK Blues", has a wild harp/Mellotron driven arrangement. Apart from the master you otherwise find a slightly looser take included. Same goes for "Spanish Blues" where a next-to-best take were found in the archives. A final comment to these sessions is that "Lease On Love" is the GBO hit single that never was!

What follow next is a great unreleased session recorded just after Jack's departure. With trumpeter Mike Fallana on board the GBO now sounded like a small big band - "Good Good Loving" would have been a groovy single in the autumn of '65.

Early in the new year the band was back in studio, quite more productive as three out of four tracks saw a release. "St. James Infirmary" and "Soul Tango" would be their new single, the best ever version that was of "Wade In The Water" would become the B-side of their one and only US single and "Down In the Valley" went unreleased. A good decision indeed as the band didn't manage to add anything creative to the tune.

As the Who Orchestra the band made some fast cash and recorded "Waltz For A Pig" to be featured on a Who single B-side. A cool tune and it's great to see it finally released digitally.

The 6th(!) studio version of "Wade In The Water" is a good one as well. With great interplay and welcoming new drummer Jon Hiseman, this version is a bit more jazzy and relaxed compared to previous ones - a pity it went unreleased. "Only Sixteen" was also recorded during this session, but unfortunately nowhere to be found when compiling this box set.

The "You've Gotta Have Love Babe" / "I Love You" single with an added bonus of a demo follow. Not single of the year, but part of the GBO legacy. First time digitally for these songs as well.

Ten rare live tracks concludes the set. "Wade In The Water" from a March 1963 gig is so far the only surviving recording of the Graham Bond Trio, the other nine stems from the autumn of 1964. Soundwise similar to the "Klooks Kleek" recording, but slightly looser it includes two tunes not recorded commercially: "Queen Of Hearts" and "Alcoholic Blues".

Though many years in planning, "Wade In The Water" has definitely been worth the await. This is the first GBO compilation ever and what a collection!!! Everything you wanted is included - and much, much more. The inclusion of the Klooks Kleek set and the "Solid Bond" album would ofcourse have been much appreciated and made the set even more complete, but at about £20 the set is a bargain indeed!!!

September 24, 2009 The Sound Of '65 & There's A Bond Between Us
The wait is over - Repertoire is set to release The Sound Of '65 & There's A Bond Between Us in a months time! Added is 14 bonus tracks - Decca stuff, the EMI 45's and the one off Page One single. Good news is otherwise that all the recordings are taken from the original mastertapes! Stay tuned for updates

June 2, 2009 New Bond Book Coming!!!
Former Bond roadie Pete Bailey had always promised Graham Bond that he would write it all down one day, and at last, here it is. His book, Between the Lines and Spaces - Reminiscences by Pete Bailey promises "hilarious and hair-raising tales" on not only Bond but other luminaries of the British Blues scene such as Ginger Baker, Jack Bruce, Jimi Hendrix, Eric Clapton, Ronnie Scott, John McLaughlin and many others. Bailey first met Bond at Ronnie Scott’s new club and agreed to become the roadie for The Graham Bond Organisation. He later worked with other acts including The Battered Ornaments (Pete became a founder member); Arthur Brown’s Kingdom Come and Holy Magick.

The book contains many previously unpublished photos of the music scene and is available from Pete's website.

February 14 2009 Latest CD Updates
Last year there were some nice surprises on the Graham Bond CD front. Straight out of the blue came Solid Bond on UK Rhino. Solid Bond features Ginger Baker, Jack Bruce, John McLaughlin, Dick Heckstall-Smith and Jon Hiseman and has only been available as a pirated version on the Sunrise label. While it was nice to finally see it get a belated release, Rhino issued it as a "budget" release which means reasonably priced but nonexistent liners. However, given the fact that it has finally seen the light of day, a most welcome release nonetheless.

Surprisingly, US label Collector's Choice will also issue their own version of Solid Bond on February 17 with sleevenotes including quotes from Jon Hiseman! As if that's not enough, Repertoire is scheduled to release Solid Bond on March 2!!!

Speaking of Hiseman, we’re still waiting for his Colosseum book written in collaboration with author Martyn Hanson, to be titled The Time Machine. No word yet on who will publish the book or when can we expect to see it relased.

Last year, we reported that Repertoire would be releasing The Sound Of '65 and There's A Bond Between Us with bonus tracks. What happened?

Esoteric plans to issue Two Heads Are Better Than One in April. One also should mention their six CD Jack Bruce anthology, Can You Follow, which came out last year. While quite a comprehensive survey of Jack's career, it did lack the "usual" outtakes and unreleased live stuff for hardcore fans. In addition to the eleven Organisation tracks, the boxset also includes both sides of Bruce's rarer than rare 1965 Polydor single "I'm Getting Tired (of Drinking and Gambling)"/"Rootin' Tootin.'"

Another 2008 Bruce release, the 3 CD Spirit BBC box set (Polydor) includes a BBC Radio One "In Concert" performance from 1971 with Graham in the lineup - plus the "In Concert" show from 1977 and the 1975 "Old Grey Whistle Test" appearance. A nice package indeed - especially when you adds two unreleased sessions from 1971 & 1978 with Jack, Jon Surman and Jon Hiseman!

Angel Air came up with another surprise release, an unreleased album recorded by the John Dummer Blues Band for Vertigo during 1973 featuring Graham blowing nice saxlines on a few tunes - the last ever session he did.

In other news, RPM is pairing the OST for Gonks Go Beat with the OST for I’ve Got A Horse, as a 2-on-1 which will see the light of day on February 23. Gonks includes a camero by the Organisation performing "Harmonica" plus a drum battle with Ginger Baker.

March 24 2008 3 x CD re-release
Graham's classic 60's albums The Sound Of '65 and There's A Bond Between Us now sees a welcome re-release by Repertoire records on April 28. Apart from new sleevenotes, courtesy of Chris Welch, bonus tracks have been added

On The Sound Of '65 the original LP is supplemented by "Hi-Heel Sneakers," "Hoochie Coochie Man," "Little Girl," "Strut Around," "Long Tall Shorty," "Long Legged Baby," "Tell Me (I'm Gonna Love Again)," and "Love Come Shining Through."   There's A Bond Between Us contains the following bonus tracks: "Lease On Love," "My Heart's In Little Pieces," "St. James Infirmary," "Soul Tango," "You've Gotta Have Love Babe," and "I Love You."

Sounds like a real bargain with the inclusion of the singles. As far as we know, it's also first time around on CD for the EMI and Page One singles.

Otherwise the hard to come by Bond & Brown album Two Heads Are Better Than One is coming out again this time on Esoteric. Bonus tracks are the the Lost Tribe EP and Maltamour soundtrack.

August 2 2007 Springtime In The City
Believe or not, but Graham's very own "Springtime In The City" has been re-recorded by UK organist Gerry Richardson, Sting featured on vocals!!!

Have a look at Gerry's site - and Sting's as well.

On Sting's site you can view Gerry launch the album 'This Is What We Do in Newcastle, UK with Sting and The Police on link from Vancouver, Canada playing the intro to 'Springtime In The City' before Gerry and his band takes over.....

April 11, 2007 "Gonks Go Beat" and more Bond on DVD!
Though the Gonks Go Beat movie has been bootlegged on DVD's during the past few years, it will be officially released on May 28 by Optimum Classic.

Gonks Go Beat is a charming sixties re-imagining of the classic tale of Romeo and Juliet, with a groovy sixties twist!, according to the product description. Planet Earth is in great turmoil - there's trouble brewing between the rock and roll loving residents of Beatland and their ballad singing neighbours on Balladisle. Concerned that their musical Battle Royale may result in war, an alien race send an emissary, Wilco Roger, to sort things out. While a race of glove puppets on the planet Gonk dance wildly and Wilco teams up with Mr. A&R, salvation may be at hand when two young people, one from Beatland and one from Balladisle, fall in love. A way-out fantasy musical with hot music from Lulu And The Luvvers, The Nashville Teens, The Graham Bond Organisation and more.

Also, the widely distributed Classic Artists: Cream DVD includes brief (soundless) footage of the GBO performing live at Lewisham Odeon, London on January 8 1965.

That'll Be The Day which includes Graham playing sax as a band member was re-released (with Stardust) in February. Here is the link to UK Amazon.

Another movie featuring Bond, The Breaking Of Bumbo is still available down under, but you'll have to hurry up if you want a copy.

March 4 2007 Chris Welch
Check out this link and you'll find Chris Welch remembering the mighty Graham Bond.
November 18, 2006 Holy Magick
The "Holy Magick" album is set to be re-released in a limited edtion of 3000 by the German Repertoire label on December 1. As an added bonus you'll find the first commercial re-issue of the "12 Gates To The City"/"Water Water" single.

Don't know if "We Put Our Magick On You" will follow though. . . . .
October 14, 2006 Video Footage Added
Added a clip from Gonks Go Beat and The 1965 National Jazz and Blues Festival.
September 17, 2006 1965 Interviews Added
Added six interviews from 1965.
July 31 2006 Roarin' reviews
A bit late but here's a couple of Roarin' reviews...
Monday, January 3, 2005 Dick Heckstall-Smith Tribute
Please check our articles page for two tributes contributed by Stephanie Thorburn.

Other tributes are posted on Jon Hiseman's website.
Sunday, December 19 2004 Dick Heckstall-Smith 26.12.34 - 17.12.04
It is with sadness we reports that Dick has passed away. He lost his long battle with cancer and died last Friday.
Hope to write some kind words later on but for the moment this is all I can do.

October 4 2004 The New Don Rendell Quintet - ROARIN'
Christmas starts one month earlier this year as BGO will release the Roarin' album on November 29 !!!
September 17 2004 Dick Heckstall-Smith & Pete Grant -
Dick's autobiography The Safest Place In The World (1989) now sees a return in form of a revisited edition.

The new issue brings you about 85 pages added by Dick's manager Pete Grant, but sorry to say, instead of continue in the style of Dick's own writing, he uses individual stories to describe the latest years; e.g. a reunion concert with the Dick Heckstall-Smith Sextet, comments from Pete Brown, a lost project between Dick and Duffy Power. (No chapter regarding the Colosseum reunion!) An overview of Dick's recent record output is included, but the otherwise excellent discography found in the original book is gone missing...

As a bonus you'll get a 7-track CD (65.15) and though most of the tracks are from the 90's, Graham Bond Organisation and "Only Sixteen" dates from a 1966 session for auntie BeeB.
August 9 2004 Gonks Go Beat
Believe it or not; the Gonks Go Beat soundtrack has now been given a CD release by the Japanese company Bridge. I bought a copy through eBay, but it's possible to go through their site as well.

The DVD can also be found on

May 11 2004 Graham Bond - CD's x 3
"Love Is The Law", "Mighty Grahame Bond" and "Solid Bond" have now been given a digital release by German(?) company Sunrise Records. Although classified as "undergrounds", the sound is excellent throughout. Coverdesign pro as well. All the CD's contains bonus tracks, but soundwise I suspect they've been lifted from the "Jazz, Blues, Rock & Alchemy" bootleg...
May 4, 2004 Dick Heckstall-Smith - Blowing the Blues
Dick Heckstall-Smith's autobiography "The Safest Place in the World" is now to be re-released by Clear Press Ltd. With a new section added by Pete Grant, "Blowing the Blues" brings the story up to date. You'll otherwise find new photos and a CD with unreleased tracks in the new edition. Get it directly from at a special price: £13.50 (list price is £16.95)
February 15, 2003 Ernest Ranglin & the GBs'
The Ernest Ranglin EP (with Graham, Jack & Ginger on board) was recently sold on eBay for staggering $315.....
November 1, 2002 Duffy Power - Leapers and Sleepers
Record Collector Review
Duffy Power - Leapers And Sleepers - RPM D 240 (54:11) (38:13)

Record Collector review November 2002

Like a one-man Yardbirds, Duffy Power traversed the 60s with a musical vision miles ahead of the game and accompanied by the very best players of the day - Big Jim Sullivan, the Paramounts (pre-Procol Harum), John McLaughlin and the future rhythm sections from both Cream and the Pentangle among others. An also-ran Larry Parnes artist, Duffy became one of Britain's most powerful R&B singers and songwriters, effortlessly incorporating New York soul, Latin rhythms, Al Jolson material, Delta blues and stunning pre-emptive moves toward jazz-fusion. While his incredible mid-60s Marquis Music publishing demos have been represented on CD before (on repackages of the 1971 Innovations compilation and on the 1995 RPM set, Just Stay Blue) this is the first time that his 12 all-but-unattainable Parlophone singles sides have been reissued. RPM have also painstakingly unearthed a dozen previously-unreleased EMI and Marquis Music cuts - including several steaming work-outs with the Graham Bond Quartet - and have re-sequenced in the relevant material from Just Stay Blue. With unbelievable sound quality, hearing lost tracks like Billy Fury-esque "Cupid's Bow" (1962) and exquisitely sung, sumptuously-arranged singles like Ben E. King-esque "Hey Girl" (1963), the blisteringly taut "Parchman Farm" (1964) and the fabulous 1967 baroque pop double-sider, "Davy O'Brian"/"July Tree", the listener comes out the other side simply astonished that Power didn't manage a single chart placing in his career.

Listening to his proto-Cream recordings on Disc Two - never issued at the time - it's also incredible that Power wasn't offered an album deal until the 70s. Complete with a colour fold-out with detailed sleevenotes and unseen pictures, this 34-track labour of love has to be a contender for issue of the year. Sublime.

Colin Harper
October 1, 2002 Duffy Power - Leapers and Sleepers
Mojo Review
Comprehensive overview of the British blues legend's '60s work, including a ton of unreleased material.

There have been odder career moves, but Duffy Power's switch from Larry Parnes protege to deeply respected Brit blues artiste is unique - apparently it all turned on hearing The Best Of Muddy Waters round at Billy Fury's. The six Parnes-era 45s are skipped, starting instead with atmospheric Cupid's Bow from '62, a close cousin of Fury's "Wondrous Place". Duffy's first Parlophone 45, though, was a bizarre take on "I Saw Her Standing There", recorded with the Graham Bond Quartet but deemed "too jazzy" by The Beatles. Things would turn jazzier still later in '63 with Bond. The straight blues/jazz recordings are undeniable strong, but Duffy's rich voice works best when stretched by unfamiliar material: "Where Am I", a New York-style beat ballad is good enough to rival Tommy Hunt or Chuck Jackson; or "Love's Gonna Go" (a US only single) with its deep-well production and funereal piano. His sidekicks alone - Bond, John McLaughlin, Ginger Baker, Alexis Korner - would make this set indispenible to British blues fanatics, But Power's great voice and tough guitar style hog all the stand-out moments.

Bob Stanley
September 1, 2002 Duffy Power - Leapers and Sleepers
RPM D 240 released
The Leapers and Sleepers 2CD compilation was released on Monday August 26. Although containing less Power & Bond Quartet outtakes than expected, the package does include six tracks with the Quartert with only one track issued before..... Not bad.

Included is both versions of "I Saw Her Standing There"; the first (unissued) one which the Beatles rejected + the far more common which was released on single. In my opinion the original is as good as the released one. The "feel" is however completely different on the two takes. While the single take is straight uptempo R&R, the rejected one is in a more groovy mode with more prominent organ. (A combination of Alexis Korner and Georgie Fame possibly?) But there's more gold to be found..... By mistake they've included a wrong take of "Farewell Baby", the flip side of "I Saw Her Standing There"!!! This is not mentioned in the sleevenotes and to my ears it sounds like an earlier take. Three tracks from later session is included as well. Here we find Duffy & the Quartet running through long, spirited versions of "Shake, Rattle And Roll", "What'd I Say" and "I Got A Woman". Great organ as usual otherwise nice, but too brief guitar work from McLaughlin.

Stay tuned as a review of the whole 2CD will appear.

Børge Skilbrigt
August 8, 2002 Unreleased Bond Tapes Discovered
From Record Collector magazine July 2002 issue:

"REDDING FESTIVAL - A blues aficoinado has uncovered unreleased albums by Jimi Hendrix sideman Noel Redding and 70s guitarist John Dummer, and is seeking record company interest to release them . Jeff ward found the box of unreleased tapes in Noel's airing cupboard, which include a master of an unreleased album, Nervous Breakdown, recorded in 1970 and featuring Roger Chapman one one track. The unissued Dummer project dates to 1974 and features Thump Thompson, Colin Earl, Pete Emery, Pick Withers and the final recordings of Graham Bond, as well as an original take on the Blues Band's Goin' Home, by Dave Kelly. The country-blues album was shelved but retained by Colin Earl".   Email Jeff Ward for details.

I heard this unreleased 11 track album earlier this year and yes, I can indeed confirm that Graham is to be found here. He blows more relaxed than usual and adds nice alto lines to three tunes. He's possibly on organ as well, but it's hard to say as the organ has no central place in the mix.

And by the way, The Blues Band's version of "Goin' Home" is a blue print of the "original" one.....

Børge Skilbrigt
July 28, 2002 Duffy Power - Leapers & Sleepers
Duffy Power's 2CD retrospective Leapers & Sleepers (RPMD 240) is now set for a August 19 release.....
July 28, 2002 Graham Bond Biography Posted
We posted a detailed biography of Bond taken from the book, Blues-Rock Explosion..
June 21, 2002 Cancellation of Book Project
After going forth and back for sometime, Børge Skilbrigt has decided to put his Graham Bond book project on ice. However, the good thing is that ALL valuable information from his files will be posted to this site during the months to come.
June 19, 2002 Addition of Extract from The Loop
Paul Olsen was the last drummer to play with Bond has kindly provided us an extract from his unpublished manuscript called The Loop. The extract discusses his experience with Bond. We thank Paul for making it available to us.
June 9, 2002 Duffy Power and the Graham Bond Quartet
RPM Records has announced plans to release a 2CD set with Duffy Power. Among the tracks included will be Duffy's Parlophone singles plus EIGHT unreleased tracks he did with the Graham Bond Quartet!!!!! Apart from the inclusion of the "I Saw Her Standing There"/"Farewell Baby" single, I suspect we'll also see the release of the "legendary" 1st version of "I Saw Her Standing There". On February 20 1963 Duffy and the Quartet (or infact the Graham Bond Trio + John McLaughlin as John hadn't yet joined Bond's combo at this point) recorded "I Saw Her Standing There" and "Farewell Baby". Although the taping of "Farewell Baby" went well, several takes of "I Saw Her Standing There" was needed. Still the song had to be redone a month later; on March 20. And with McLaughlin ill Big Jim Sullivan substituted at the session. Another tune, "Shake, Rattle And Roll", might also originate from this particular session as the guitarist, according to Pete Brown, is not McLaughlin. I know for sure that Duffy Power and the Graham Bond Quartet otherwise recorded two Ray Charles' songs; "I Got A Woman" and "What'd I Say", and hopefully there´s also a chance to see these found on the 2CD as well. It will be interesting to see what other tracks we'll find included.
According to Duffy release is set to late July..... .
April 5, 2001 Three Dick Heckstall-Smith Interviews
Added three interviews with Dick Heckstall Smith to the articles section.
March 10, 2001 New Dick Heckstall-Smith Album
Added track information on Blues and Beyond, the new Dick Heckstall-Smith album.
February 12, 2001 Request for Assistance on Book
Børge Skilbrigt, former editor of the Bond fanzine GRAMBO and co-runner of this site, has been working on a book dedicated to Graham Bond for awhile. The book with working title "Solid Bond - Graham Bond Organized", is set to be published in late 2001 and will be a guide to his music. Apart from dealing with Bond´s record output as leader and sideman, facts concerning BBC radio sessions and film & TV appearances will also be found included. Otherwise a long gig list and lots of clippings. However, to make the book as complete as possible, he needs YOUR assistance. Please mail Borge Skilbrigt if you can contribute anything to his project. Tapes and ads/reviews from local papers are of great interest.....
August 24, 2000 Review of Two Heads Are Better Than One
Added review of Review of Two Heads Are Better Than One courtesy of Chris Blackford of Rubberneck magazine.   Rubberneck is the longest-running experimental music magazine in Britain specialising in improvised musics (improv to its friends). Other genres covered include free jazz, experimental rock, electroacoustic, contemporary composition, plus a section concerned with film music.
April 15, 2000 Mojo Review
Review of "The Sound Of ´65/There´s A Bond Between Us" and "Holy Magick/We Put Our Magick On You"

The Graham Bond Organisation´s passionately uncompromising, expressive, Hammond-led R&B was perfectly suited to the sweaty Marquee and Flamingo. Somewhere between the cutting room and the shop shelves however, The Sound Of ´65 and There´s A Bond Between Us lost that raw, unrelenting, powerful drive in the pursuit of studio professionalism and polish. Choice covers like Hoochie Coochie Man, Wade In The Water, Got My Mojo Working and Last Night are all wild, hard-to-beat rendentions but the overall feeling is of a group best left in the 60´s. By 1971 Graham Bond had come over all Kula Shaker. Rehearsals were execuses for spellmaking magic and Hindu philosophy. During one ritual he held out a chalice, and pianist and Tibetan dhong player Victor Brox drank. Filled with perfume, he fell sick. With a man down no amount of hocus-pocus could stop the dreary, unspired New Age warblings of Holy Magick and follow-up We Put Our Magick On You from being just plain awful. Avoid! (Lois Wilson)
March 31 2000 Record Collector Review
Review of "The Sound Of ´65/There´s A Bond Between Us" BGO BGOCD 500 (75:50)

The real sound of ´65 was one glorious, amorpheus stew of Dylan and the Byrds, Spector and the Beach Boys, the Beatles and the Stones. Nevertheless, his nes band´s debut album gave former Alexis Korner sideman Graham Bond every reason for optimism. With rhythm section of Jack Bruce and Ginger Baker, Bond on trademark Hammond organ and Dick Heckstall -Smith on sax, "The Sound Of ´65" married the jazzy R&B stylings of Georgie Fame or Zoot Money with a slightly more abrasive approach.

This was partly due to Bond´s uncompromising vocals, which led the band through magnificent interpretations of hoary old chestnuts like "Neighbour Neighbour" and "Got My Mojo Working" that made rival UK versions sounds positively anaemic. Throw in some useful originals, add Jack Bruce´s earliest vocal performances, and "The Sound Of ´65" more than justifies its reputation among collectors.

By the time of "There´s A Bond Between Us", released in late 1965, Bond had become probably the first musician to make regular use of the recently-manufactured Mellotron. Traditionally associated with the psych and progressive genres, there´s almost a frisson of exitement in hearing the instrument used in a jazz/R&B context, whether amplifying the gorgeous Bruce song "Hear Me Calling Your Name", shaping Bond´s own smoky ballad "Baby Can It Be True" or underpinning a peerless version of Roy Hamilton´s (and, much later, the Pointer Sisters´) "Don´t Let Go".

Success was not forthcoming, however, and the Organisation split a few months later when Bruce and Baker formed Cream. While Bond may´ve been a largely peripheral figure by the time of his death in the mid-70´s, these two albums - repacked by BGO onto one CD, with notes by Bond´s bigrapher Harry Shapiro - represent a considerable talent at the peak of his creativity. Lovely stuff.   (John Sturdy)
March 25, 2000 Box Set A Possibility???
Rumor has it that the previously aborted Graham Bond box set is back on track. Universal cancelled a planned release last year, but the material is remixed/remastered and said to be ready for release. Let's hope so.
February 26, 2000 WSUM's Jack Bruce SuperShow 2000
Coming Soon, the Jack Bruce SuperShow 2000, a live netcast show broadcasting Jack's music from through out his career including tracks recorded with the Graham Bond Organisation. The show will be pre-recorded on March 14th, and netcast from WSUM in Madison, Wisconsin on March 16th from 10:00 to 12:00 CDT (17:00 to 19:00 GMT) and 18:00 to 20:00 CST (01:00 to 03:00 GMT on March 17). Details at the Jack Bruce SuperShow 2000 website!.
January 25, 2000 Graham Bond Reissues
The Graham Bond Organisation`s two legendary studio albums The Sound Of `65 and There`s A Bond Between Us now sees a digital release by British company BGO. Long awaited, the Columbia albums are to be found as a "2 on 1" CD with catalogue no. BGOCD 500. Although warmly welcomed it`s a pity that BGO has not gone for the original masters concerning the release. Instead of remixed/remastered tapes they have used the same source as Edsel for their 1988 release on DED 254; a dub taken from vinyl copies. BGO doesn`t deny this (as the CD rear clearly states), but in a way they spoil the whole thing with a sticker on the front claiming "Remastered From The Original Master Tapes".....

Compared with the Edsel vinyl release the CD suffers a bit from tape hiss, but that said it`s great to have the music available again. From the debut album we`ll find Organisation tunes like "Spanish Blues", "Little Girl" and "Baby Be Good To Me" working out fine opposite standards as e.g. "Got My Mojo Working". However, superb versions of "Who`s Afraid Of Virginia Woolf", "Last Night" and "What`d I Say?" combinated with strong self produced material as "Walking In The Park", "Baby Can It Be True", "Dick`s Instrumental" and "Camels And Elephants" makes the second album a real killer.

BGO has also simultaneously made Graham`s two Vertigo LP`s Holy Magick and We Put Our Magick On You available again. With German Repertoire issues now long gone it`s nice to have them back in stock. Though these albums might not present Bond at his absolutely peak, they`re interesting concerning how few he made during his lifetime. As the Organisation CD this one is also a "2 on 1" issue (BGOCD 483) However, to be honest this issue isn`t 100% perfect either. To fit both albums onto one CD BGO has simply chosen to drop some of the music from "We Put Our Magick On You"..... As the tracks "Forbidden Fruit pt. 1" and "Pt. 2" originally contains fades on their outtros/intros, BGO has now reduced the lenght further with editing out some extra bars and cleverly crammed the whole thing onto one CD. It`s a pity they haven`t gone for a 2CD set including the one and only Magick single "Twelve Gates To The City"/"Water Water" This Vertigo single is one of the few things from Graham`s later years not commercially available these days so it would have been good to find it here, but there you go.
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