THE ARTWOODS

KEEF HARTLEY, ART WOOD, DEREK GRIFFITHS, JON LORD, MALCOM POOL

The Artwoods were every bit the rivals of such bands as the Animals and the Spencer Davis Group, but never saw the success as a recording act that either of them enjoyed. Rather, their following was confined to the clubs they played, despite releasing a half-dozen singles and an LP during their four years together. Art Wood, the older brother of Ron Wood, had been involved with the London blues scene almost from the beginning, as an original member of Blues Incorporated, the pioneering blues/R&B outfit founded by Alexis Korner and Cyril Davies. He was the backup rhythm singer in the band's early lineup, before the split between Davies and Korner (and prior to their recording their one and only album); he also had a group of his own that he fronted on the side, called the Art Woods Combo. They later became the Artwoods in 1963 and Jon Lord later joined along with guitarist Derek Griffiths, after their own earlier band, Red Bludd's Bluesicians, split up. The group's decision to turn professional in 1964 required a new drummer and Keef Hartley was recruited by way of an ad in Melody Maker magazine. For their bassist, they raided Malcolm Pool from the Roadrunners lineup. In the booming London music scene, getting a recording contract was relatively easy -- labels were signing everything in sight that could make a noise that sounded like music -- and they joined Decca Records' roster in 1964. The Artwoods' early records are some of the most fondly remembered British R&B singles, rivals to the work of the Rolling Stones, the Yardbirds, or, ironically enough, the Birds, the outfit of which Art Wood's younger brother Ron Wood was a member. Their sound was as steeped in soul and funk as it was in blues, which set them apart from many of their rivals. What's more, they were good at it, with a natural feel for the music and even capable of writing decent originals, which graced the B-sides of their singles. And they had a virtuoso lineup: Jon Lord's piano and organ sound was a great complement to Wood's singing, Derek Griffiths' guitar work was tastefully flashy, and Keef Hartley was animated as well as powerful, with a bigger sound on the drums than, say, Jim McCarty of the Yardbirds. All of these attributes made the Artwoods a top stage attraction. Club audiences always knew they were good for a great show and the band loved playing live.

"100 OXFORD STREET"

<Recorded at Southern Music Recording Studio, Denmark Street, London 1964-1966.>

1983    LP    EDSEL RECORDS   ED 107   MONO

MADE IN ENGLAND    ORIGINAL FIRST PRESSING

SINGLE COVER + INSERT

NOTES: Blue label version.  Later pressing with Lilac label.

The Artwoods story enclosed as a special four-page fold-out.

Tracks A1 & A2 original release on Decca 45 F.12015

Tracks A3 & A7 original release on Decca F.12206

Tracks A4 & A6 original release on Decca F.12091

Tracks A5 & A8 original release on Decca F.12384

Tracks B1, B2, B4-B8 original release on Decca LP "Art Gallery" LK.4830

Track B3 original release on Decca 45 F.12465

Barcode and Other Identifiers

Barcode: none

LABEL: EDSEL - BLUE LABEL w/LOGO on TOP - BLACK TEXT

Catalog on cover: ED 107

 Catalog on labels: ED 107  ED 107-A / ED 107  ED 107-B

Matrix / Runout (Side A, Etched): ED 107 A1 Λ

Matrix / Runout (Side B, Etched): ED-107-B.1 A PORKY PRIME CUT. Λ

On labels: rim text "All Rights........Prohibited"

Produced by........

This Compilation ℗ 1983 Spark Records Ltd........

© 1983 Demon Records Ltd

On Back Cover: Tracklist + Credits + Discography

Certain tracks on this album have been dubbed from record as tapes...........an original mono album.

tracklisting: please, for tracklist see pictures

grading

RECORD EX but (please, read above description)

SLEEVE VG(+) but (please, see pictures and read above description)

A fine 16-track package, including most of their mid-'60s singles and seven songs from their 1966 LP Art Gallery. The material varies from traditional blues numbers ("Sweet Mary") to contemporary Memphis and Motown soul covers. The highlights are "Don't Cry No More," an all-out soul stomper, and the haunting, rocking R&B/pop ballad "Oh My Love," which could have well been a hit if enough people had heard it. Comes with a four-page booklet of photos and liner notes written by guitarist Derek Griffiths...(AllMusic)