Right, this is bit of a new experience for me, reviewing an album originally released in 1974 but finding it’s way into my inbox as a reissue from Light in the Attic. Bond himself cuts a kind of troubadour figure, playing acoustic guitar and singing soulful songs that comment on the society of his day. However, this is a Stax imprint, a label built on the success of Otis Redding and Isaac Hayes, and much of the same lush orchestration that characterises Haye’s work and that is all present here. A couple of reviews have already, favourably and otherwise, likened Lou Bond to Isaac Hayes but for my money his sound comes across as more similar to Arthur Lee and Love, both in their use of orchestral instruments and the singing voice of Lee and Bond, respectively, but also the political subject matter and willingness to take risks in the composition of the songs that sometimes pay off and sometimes don’t.

Whether they work or not I always admire artists who take the plunge into something different and I think Bond has been given too rough a ride over this - including, amusingly, by his own record label website that describes the songs as “sometimes unintentionally humorous” (suck on that modern-day PR hypemen). It’s certainly not for everyone but if there’s a place in your collection for a soulful and atmospheric record with a philosophical attitude to the problems inherent in 1970’s society, you’d do well to give Lou Bond’s first and only LP a try.


‘Lucky me’ really demonstrates the great qualities in Bond’s voice, the warmth and soul with a bit of a Countryish twang, and how well it combines with an orchestra. Edited with some mild reverb, they contrast well with a shimmering string section and it provides a fitting background for this song about the freedom after cutting ties with a previous girlfriend, lending it a bittersweet, romantic tone. Bond isn’t scared of the high notes and he does indulge in some extended falsetto at the end of the track, this being one of the moments referred to in the first paragraph.

Next track ‘Why must our eyes always been turned’ is absolutely irresistible. A fantastically uplifting romp with a real soul influence in the Curtis Mayfield mode, even as I write this I’m bopping along in my seat to the funky strings and horns sections. It’s also the first track to engage with politics and pins it absolutely within the time period it was written. The Vietnam war and Indian-Pakistani conflict are both mentioned alongside unemployment rates and even the Northern Irish religious tensions in what becomes (for me, anyway) a quick rundown of 1970’s political issues, enough that it starts to feel like a cultural artefact which makes it all the more odd that it’s set alongside the funkiest song on the album. It gets weirder though, as Bond interrupts the song with a version of the American national anthem that makes it clear he’s got his political hat on.

‘Come on Snob’ is another highlight, one that starts as very light, strings based tune with a flute augmenting the gently plucked guitar as Bond adopts a more fragile tone but the pace changes halfway into a more folky rhythm and a critique of 70’s fashionistas (which I can’t imagine being much different from today). It’s nice to hear as it works really well and doesn’t get repeated elsewhere in the album, it reminded me of Love backed by Gill Scott Heron and anyone who’s aware of those two artists will testify as to how good that would sound, and it’s proved here. There are lots of little touches like the plucking of violins which add to this effect, and it was here that I noticed how often Bond’s voice takes on the role of an instrument, in this case repeating “Please, please, please” in a breathy falsetto, sounding very similar to the violins and providing an extra melody even among the multitude of instruments.

‘Let Me Into Your Life’ is another slow paced song about longing for a girl. Frank lyrics such as ‘I wasn't there when he hurt you girl, so why should I pay?' are set against a beautiful horns and string section. It’s more of a melancholy tone from Bond but it’s still a pleasure to listen to, the orchestra yet again providing a beautiful soundscape for Bond’s soulful voice.

It’s clearly a flawed album, experimental in nature but with an equal ratio of hit and miss. What redeems it however is the quality and care taken towards the orchestral backing that makes even the weirdest bits not only listenable but really enjoyable. Even when the songwriting or singing is as light and airy as a Space Raider, there’s always the excellent strings, horns and flutes to lend some gravitas to the song. While this album definitely won’t appeal to everyone, if you find yourself outside in the sun with a drink in hand and no music to play, play this album, you won’t regret it.