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TRACKLIST

1. Stumble [Instrumental] (King/Thompson) . . . .3:08
2. 3 O'Clock Blues (King/Taub). . . . . . . . . .5:10
3. I Believe to My Soul (Charles/Learner) . . . .3:48
4. So Unkind (Sehorn) . . . . . . . . . . . . . .2:57
5. Summertime (Gershwin/G/H). . . . . . . . . . .4:06
6. On the Road Again (Jones/Wilson) . . . . . . .3:35
7. Don't Answer the Door (Johnson). . . . . . . .6:03
8. Wang Dang Doodle (Dixon) . . . . . . . . . . .3:32
9. Come Back Baby (Charles) . . . . . . . . . . .2:46
10. Shake Your Hips (Moore). . . . . . . . . . . .3:23
11. Blues Helping [Instrumental] (Edmunds/J/W) . .3:44

SPOILER (LOG)

Biography by John Dougan
A British blues-rock band of the late '60s that, despite being very good, would normally be relegated to footnote status if it were not for the fact that the lead guitarist of this trio was the soon-to-be-famous Dave Edmunds. Like many similar bands of the times, Love Sculpture was really a showpiece for Edmunds' guitar-playing talents (which on the first LP are considerable), and little else. The covers are well-chosen, slightly revved-up, but mostly reverent versions of blues classics. They had a fluke hit in 1968 with a cover of the classical piece "Sabre Dance," rearranged for guitar. After two LPs, Love Sculpture split up in 1970. Edmunds went on to solo success ("I Hear You Knockin'") and a long, sometimes contentious relationship with ex-Brinsley Schwarz bassist Nick Lowe, which culminated in the great band Rockpile. Still, Love Sculpture, though slightly dated, is a hoot to listen. And Edmunds, full of youthful bravado and dazzling technique, certainly knows his way up and down a fret board.

Review by John Dougan
As hyperkinetic blues albums by white English kids go, this is a good one. Dave Edmunds, armed only with a 1959 Gibson 335 and a 100-watt Marshall stack, cranks through these recognizable blues covers (with one original instrumental) with reckless abandon and gobs of technique. Backup support is handled by bassist John Williams and drummer Bob "Congo" Jones, who do their best to keep up and provide a rhythmic foundation for Edmunds to wail over. Edmunds also handled nearly all the vocals, and as blues singers go, he's merely serviceable, but what makes this album worthwhile is the revved-up guitar playing, especially when Edmunds shreds both Freddy King's "The Stumble" and Willie Dixon's "Wang Dang Doodle."