Aynsley Dunbar Retaliation - To Mum, From Aynsley and The Boys 1969

Aynsley Dunbar Retaliation - To Mum, From Aynsley and The Boys 1969

Blues

I never have had the ear to tell the good drummers from the great drummers, but one thing for sure it seems every recording line up that included Aynsley Dunbar always shined. In this case we are treated to a good set of blues driven by the edition of Tommy Eyre on keyboards. The progressions as expected are easy to follow, but the heavy vocals of Victor Brox on top of accented organ and piano riffs entertain the listener to no end. My favorite is the soulful "Don't Take the Power Away". I don't know if this is the first Retaliation album to try, but if you like John Mayall British Blues type music this would be a good addition.
**
Aynsley Dunbar- (Drums);
Victor Brox- (Vocals, Guitar, Keyboards);
Annette Brox- (Vocals);
Tommy Eyre- (Keyboards);
Alex Dmochowski- (Bass Guitar).
Jon Morshead- (Vocals, Guitar).
**
A1. Don't Take the Power Away   4:00
A2. Run You Off The Hill 5:42
A3. Let It Ride 4:56
A4. Journey's End   5:45
B1. Down, Down and Down   5:55
B2. Unheard   2:20
B3. Sugar on the Line   4:25
B4. Leaving Right Away   7:55
**
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The Aynsley Dunbar Retaliation - Remains To Be Heard 1970

The Aynsley Dunbar Retaliation - Remains To Be Heard 1970

Blues

Although the Aynsley Dunbar Retaliation broke up in late 1969 after To Mum, from Aynsley and the Boys, Brox was convinced by manager Bryan Morrison to assemble a posthumous fourth LP. Unfortunately, Remains to Be Heard came close to being the Aynsley Dunbar Retaliation in name only. For drummer/founder Dunbar is only on four of the ten tracks, and the rest include contributions by various musicians who weren't in the group, among them Brox's wife (singer Annette Brox), drummer Keith Bailey (who played with Graham Bond for a while), and some African drummers. The material isn't up to the group's usual standards, either, with three of the tracks being leftovers from their third LP, 1969's To Mum, from Aynsley and the Boys; recorded by the quartet of Dunbar, Brox, guitarist Jon Morshead, and bassist Alex Dmochowski, these recordings had been left off that record since they were cut prior to Tommy Eyre (who appears on all of that LP's tracks) joining the band. Sadly, even some of the tracks with Dunbar aboard aren't up to snuff; you know an outtake should remain an outtake when it begins with the lyric "be my monkey woman, I'm gonna be your monkey man" (as "Invitation to a Lady" does), though "Downhearted" is a worthy effort in the downer-blues-with-organ style that was perhaps the group's strongest suit. Many if not all of the post-Dunbar recordings sound kind of like demos and/or unfinished songs in progress, and none sound especially worthy of future attention, except maybe for the brooding, jazzy "Toga" (with violin, wordless hummed vocals and African-tinged percussion) -- though even this seems like a sketch with lyrics that have yet to be filled in. It all adds up to a sad and unrepresentative end for a worthy group, desirable only for completist collectors.
By Richie Unterberger. AMG.
**
Aynsley Dunbar- (Drums)
Victor Brox- (Vocals, Guitar, Keyboards)
Annette Brox- (Vocals)
Tommy Eyre- (Keyboards)
Alex Dmochowski- (Bass Guitar)
Jon Morshead- (Vocals, Guitar)
**
01. Invitation To A Lady 4:06
02. Blood On Your Wheels 5:20
03. Downhearted 6:14
04. Whistlin' Blues 2:56
05. Keep Your Hands Out 4:04
06. Sleepy Town Sisters 4:17
07. Fortune City 4:07
08. Put Some Love On You 3:40
09. Bloody Souvenir 4:26
10. Toga 5:06
11. Warning (Bonus - Covered By Black Sabbath) 3:24
12. Cobwebs 5:35
**
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The Aynsley DUNBAR Retaliation - Doctor Dunbar's Prescription 1969

The Aynsley DUNBAR Retaliation - Doctor Dunbar's Prescription 1969

Blues

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This album is incredible. Traditional blues rock n' roll, with the incredible back-beat of it's leader the famed Aynsley Dunbar, who when on to work with David Bowie, Whitesnake, Lou Reed, Journey, UFO, and hundreds of others. He has the magic touch when it comes to putting music out, and this early recording in his career clearly shows why he went on to become the giant in the business he is today. Victor Brox on Vocals, Alex Dmochowski on bass, and John Moorshead on guitar are some of the best players of their time.
If you like traditional rock n' roll blues, you will not be disappointed with this album.
By  Alan R. Arnold.
**
Don’t ask me why so many artist today hit the music scene virtually unheard of ... and then disappear almost as quickly.  My guess, regarding their ability to stay around, is that they have not had, or taken the time to learn and hone their craft, as artists did in the 60’s, hence the longevity of the earlier artists.

Aynsley Dunbar is one of those who did pay his dues, learned at the feet of the greats, and performed with nearly everyone of any stature, and because of his talent and ability Aynsley was able to slip in and out of most any musical genre because of those well learned skills.  Aynsley Dunbar began his musical career playing with Jack Dupree and then Eddie Boyd [but you will have to wait for my reviews of these greats].  He then moved on as the drummer with John Mayall’s Bluesbreakers [and we all know how they turned the world on its axis], laid down some amazing work with Jeff Beck and hit the big time working for Frank Zappa as a guitarist, not as the drummer [where his best efforts are featured], and he can be heard on no less then four of Franks albums.  After Zappa, he joined company with Flow and Eddie, both of whom had been with Zappa, then with David Bowie for two releases, became the drummer for Journey [probably his low point for me] and then on to Jefferson Starship, and finally Whitesanke [probably an even lower point then Journey as far as I’m concerned].

The point is, he was always working, always exploring new sounds, new adventures, new genres ... and behind all of this was his personal take on the Blues, with his own band, The Aynsley Dunbar Retaliation ... which is nothing short of over the top, stellar, and some of the best progressive blues you are ever going to hear in your entire life.

Aynsley Dunbar Retaliation is deep into the night music, these tracks are serious blues from a man who assembled a group as rich and musically diverse as he was.  This is no nonsense music, it is not from the heart, this is blues from the soul.  Blues like this was made to move you, but Aynsley succeeds in barely giving you enough space between the notes to breath.  The music is played low an deep, with a strength that does not require high volumes of power to blast you into compliance ... they simply pick up their instruments and strike chords that completely engulf your every sense.

This is some of the best of the best ... a perfect prescription for any late night when you just want to be totally awed ... when you drop the needle on these grooves, they will own you for all time.
By (streetmouse)
**
Aynsley Dunbar (Drums);
Victor Brox- (Organ, Guitar, Cornet, Horn, Keyboards, Vocals, Guitar (12 String) ;
Jon Morshead (Vocals, Guitar);
Alex Dmochowski (Bass Guitar).
**
A1 Change Your Low Down Ways   2:23
A2 The Fugitive   4:36
A3 Till Your Lovin' Makes Me Blue   4:52
A4 Now That You've Lost Me   3:30
A5 I Tried   2:48

B1 Call My Woman   3:10
B2 The Devil Drives   2:42
B3 Low Gear Man   2:55
B4 Tuesday's Blues   3:35
B5 Mean Old World   3:05
**
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The Aynsley DUNBAR - Retaliation 1968

The Aynsley DUNBAR Retaliation - The Aynsley DUNBAR Retaliation1968

Blues

I bought this vinyl album on a lark when I was in high school. It had just come out and I was intrigued by the name. I had no idea what to expect. Once I put it on the turntable, I was quite disappointed. It didn't rock at all! I wasn't really into the blues that much at the time. However, my friend Dennis was, and he borrowed the album. I eventually got it back, without the original cover, and kept it in my album collection in just a sleeve with the title hand-written on it.

Jump 40 years later and I burned it to a CD and have been listening to it on my long commute to work.

The one song I remember is Watch And Chain and hearing it again after so many years, brings back a rush of memories from high school. Though I never played it much, Dennis did, and it took plenty of abuse and is scratchy and poppy. All that noise actually adds to the charm of it now. An old scratchy blues album sounds better than one that is pristine, in my opinion.

For some reason, this band really nails the blues. They make it sound so authentic, especially for a bunch of Blokes. They somehow tapped into the genuine vibe and pulled off a great group of songs. All the songs are good, but I especially favor Watch and Chain, and the more extended cuts on side two.

This is British blues at its best and I highly recommend it for blues fans.
By Fred Rayworth.
**
A1. Watch 'n Chain  
A2. My Whisky Head Woman  
A3. Trouble No More  
A4. Double Lovin'  
A5. See See Baby  
A6. Roamin' & Ramblin'  

B1. Sage of Sydney Street  
B2. Memory of Pain  
B3. Mutiny
**
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