Back in 1965, this album seemed like a real mess, which was understandable, because wasn't a "real" album, in the sense that ever assembled an LP of that name or content. Rather, it was the response of their American label, , to the band's achieving a number six single with the title track, with manager selecting the cuts. The quasi-progressive dominated by guest artist 's harpsichord, is juxtaposed with hard-rocking blues-based numbers, almost all of which featured departed lead guitarist (who is mentioned nowhere on the LP), with current lead guitarist on just three tracks. The cuts, although primitive next to the material he was soon to cut with , have an intensity that's still riveting to hear four decades later, and was some of the best blues-based rock & roll of its era. The three sides show where the band was really heading, beyond the immediate success of -- and were hard, loud, blazing showcases for 's concise blues playing, while was the first extended jam to emerge on record from a band on the British blues scene; the source material isn't ideal, but and company make their point in an era where bands were seldom allowed to go more than four minutes on even an album track -- these boys could play and make it count. ~ Bruce Eder