Delay 68 Rec. 
Wool (US,rec.1968,pub.1969,reiss.2006)****'
Ed Wool (coming from Ed Wool and The Nomads, -with some single previously re-released on Mind Blowers Vol. 1-, and from The Sure Cure) formed in 1967 in New York ‘The Pineapple Heard’ first with Claudia Wool, Pete Lulis with Dick Kisell (guitar) and Bob Youngs (bass), who were replaced a year later by Tom Haskell and Eddie Barrella. They released one single. Pineapple Heard’s producer Michael Joyce introduced the band in 1968 to co-producer Margo Guryan and to David Rosner, who had just formed a publishing company with Neil Diamond and Tom Catalano, and who were looking for talent. ‘Pineapple Heard’ who were primarily a cover band, after the contract, changed their name to Wool.
In the late ‘60s there was an upcoming strength in expression from “black” music, not only in jazz, but also in funk, soul and more heavy rock. Simultaneously, some “white” voices showed comparable expressions, which were found interesting and worked as an equal proof of strength for the “white” audience (with tendencies that made heroes of Janis Joplin or Eric Clapton..), that were mostly simply expressed by building up simultaneous musical interests. The group “Wool” surely dug that energy, and they might have been chosen to show a great version of this style, because they might have proven already that they gave a new injection to some covers in this field.
The group is especially strong in style because they show a heavy energy, but also a compactness, and they added also some hit sensitivity to it, in the choices of their songs, mostly refrains, besides all the individual contributors, all had talent to show expressiveness.
The heavy funky opener “love, love, love, love, love” shows already well how this group is strong in that already mentioned energy that was catered at the time. “Combination of the two” (originally by Big Brother and The Holding Company with Janis Joplin) shows that part of proving themselves with a hit sensitivity, with an almost over the top aggressive directness and compactness and with a really wild heavy bass solo (by Eddie Barrella). “If they left us alone now” with bongos, bass and acoustic guitar is a more quiet pause in folkier psych style. I’m not sure of what I’m reminded here (Jefferson Airplane perhaps). On “To Kingdom Come” Claudia puts more power to this song, with a heavy rocking voice influenced by funk, soul and blues at the same time. “I don’t like you anymore” has catchy hit-sensitive rock lyrics. “Anyway that you want me” (Chip Taylor/Troggs) is another soulful emotionally strongly sung but folkier moment, with a fuller arranged catchy sing-a-long poprock refrain (with overdubbed vocal harmonies and catchy layers of guitars). “It was such a lovely night” is heavy funky bluesrock, with great and wild, very groovy guitars. Also “The Boy with the green eyes”, originally by Neil Diamond, receives a funkier heavy version, once more with its own hit-sensitive catchiness (guitars and speeding up rhythm). Last track, “Funky Walk” is the heaviest funky track. This track was a previous R&B hit by Dyke & The Blazers. We hear an amazing electric guitar solo, first within a compact funk format, with fast, at times slightly jazzy rhythms by Peter Lulis, and later, a repetitive, slightly African-heavy-funk, more hypnotic part, which includes hypnotic communicating interactive rhythmic overlaps between guitars and drums, making a unique ending, tending to make it evolve to that extra mind-expanding energy, and showing off their energetic live talent.
A powerful, and convincing album.
Audio links will be added later
