“Progressive jazz rock” is the term most often used to describe Satisfaction, a UK-based septet that dropped its self-titled debut album in 1971 on Decca Records. That scares me. So does the strange choice of band name and even stranger choice of cover art. Ultimately it’s the album’s status as an ultra-rare slice of early ‘70s horn-rock that warrants its inclusion here at The “I-Own-Every-Record-You’d-Never-Buy” CD Consumer’s Guide. Assembled and directed by trumpet player Mike Cotton, Satisfaction delivers a fairly effective blend of horn-infused jazz and guitar-oriented hard rock. “Cold Summer,” “Call You Liar, Liar” and “Love It Is” (included here as a non-lp single) reflect the group’s rock leanings, for example, while “Just Lay Back and Enjoy It,” “You Upset the Grace of Living When You Lie” and “Go Through Changes” reveal the band’s jazz roots. There are a couple of duds, including the overly long and ponderous “Sharing,” but overall the playing is tight and the songwriting impressive. Not quite, er, satisfied, the group splintered shortly after this release, another one-and-done entry into the decade’s jazz-rock sweepstakes. Final verdict: Not scary.
Monday, August 25, 2008
Satisfaction
“Progressive jazz rock” is the term most often used to describe Satisfaction, a UK-based septet that dropped its self-titled debut album in 1971 on Decca Records. That scares me. So does the strange choice of band name and even stranger choice of cover art. Ultimately it’s the album’s status as an ultra-rare slice of early ‘70s horn-rock that warrants its inclusion here at The “I-Own-Every-Record-You’d-Never-Buy” CD Consumer’s Guide. Assembled and directed by trumpet player Mike Cotton, Satisfaction delivers a fairly effective blend of horn-infused jazz and guitar-oriented hard rock. “Cold Summer,” “Call You Liar, Liar” and “Love It Is” (included here as a non-lp single) reflect the group’s rock leanings, for example, while “Just Lay Back and Enjoy It,” “You Upset the Grace of Living When You Lie” and “Go Through Changes” reveal the band’s jazz roots. There are a couple of duds, including the overly long and ponderous “Sharing,” but overall the playing is tight and the songwriting impressive. Not quite, er, satisfied, the group splintered shortly after this release, another one-and-done entry into the decade’s jazz-rock sweepstakes. Final verdict: Not scary.
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