Hey you prog/pomp/AOR/fusionoid maximalists, did you think the name Dave Edmunds would never register a modicum of interest to your lavish listening appetite? Well here’s a bit of history to consider, as recently discussed in a thread concerning his early blues rock outfit Love Sculpture, in which Endmunds played some firey fretwork in advance of John McLaughlin, Bill Nelson, Tommy Bolin, Bill Connors and a host of other lightning virtuosos. As one progressiveears inquirer wrote: “I like both the Love Sculpture albums-but think Forms and Feelings has the edge and yes I think its all as good as The Land of the Few with just 1 track I dont like much.” My response:
Well, I just gave Forms and Feelings another twice-over.. could the fellow above have been referring to the rockabilly thrash of “You Can’t Catch Me”, or to the Mersey-style balladry of “People People” as the track he didn’t like?
In any case, the first side of the album – including the heavy psych waltz of “Nobody’s Talking”, the rupturous syncopation of “Why (How Now)” and the lightning-fingered frenzy of “Farandole” – are as equally compelling as the two well-known tracks. I’d sum up Love Sculpture‘s sound on Forms and Feelings as a cross betwixt the ominous psych of early Spooky Tooth and the proto-speed metal of the Gurvitz brother’s Gun.
Progressivewits of yore wrote: “Supposedly, Edmunds has disowned his Love Sculpture work…
If I was him I’d disown the later rockabilly stuff.”