I first head this song on a one hour FM radio station when FM was new in the early 70’s and the Vietnam war was raging.

A review of Fresh Today, the album this song is on:

music_emporium July 25, 2013
Here’s another early-1970s UK obscurity where you just have to shake your head and wonder how it ever saw an American release.

Under the management of Bob Pierce, together with frontman/singer Mike Barfoot, drummer Roger Chantler, singer/bass player Kevin Francis, and singer/guitarist Robert Gorman were members of the mid-1960s band Brother Bung (the name was apparently inspired by a type of pickle). Barfoot was subsequently fired with Pierce stepping into the lead singer role. Personnel issues saw him pushed out leaving Chantler, Francis and Gorman to continue their partnership as Fresh.

The trio caught the attention of managers/producers Ray Singer and Simon Napier-Bell and enjoyed some success on the university circuit, eventually scoring a contract with RCA.

Co-produced by Ray Singer and Simon Napier-Bell, (the pair also wrote about half of the album) 1970’s “Today” was the band’s sophomore release. Musically it wasn’t a major change in direction, bouncing between genres including wannabe Dylan, English blues, and an occasional stab at something more progressive. It was all covered with a broad array of political and social commentary. The latter characteristics was underscored by the Chris Townsen cover art. Showcasing a bunch of politicians and public figures sitting at a banquet table where they were being served up an African, today the cover probably wouldn’t make it give public sensitivities.

• The title’s lost on my American sensibilities, not that it mattered since ‘Tricky Says We’re Helpless’ was a rather bland slice of British blues. Imagine one of the duller efforts John Mayall might have recorded and you’ll know what to expect.
• ‘The Clothes You Wear’ was worth hearing if only to see how much this one sounded like a Dylan outtake. Same slurred vocals and countrified feel as his mid-1960s efforts with Al Kooper. Come to think of it, this even sported the same organ sound.
• ‘Pass the Salt Mother’ was a rocker, but suffered from some of the shrillest vocals you’ve heard in a long time. Kinda' sounded like the guy was seeing while his fingernails were being pulled.
• More Dylan political commentary, though ‘The Peasants Are Revolting’ at least boasted a decent melody and a cool harpsichord and drums solo segment.
• ‘Just a Note’ was a decent blues number, but gets docked for the weird carousel hook and the shrill vocals – anyone know if it Francis or Gorman handled lead vocals?
• Side two started out with the wickedly bitter ‘Stoned in Saigon’. One of the better anti-war tracks I’ve heard, the melody sure didn’t prepare you for the biting lyrics.
• Another Napier-Bell – Singer composition, ‘For You’ was also the only instrumental. Showcasing The London Woodwind Ensemble, it actually rocked out harder than any of the other tracks.
• One of two Marc Bolan covers, ‘Desdermona’ sounded like it had been recorded with the band and a big crowd of stoned hangers-on crammed in a public restroom. The resulting heavy echo and reverb was a major annoyance. Not that it mattered since this cover didn’t come close to the original.
• The title track featured a plodding mixture of country and blues with a highly politicized lyric. Clocking in at almost seven minutes the thing seemed to go on and on and on and on …
• The second Bolan cover, ‘Horrible Breath’ also showcased The London Woodwind Ensemble. Perhaps because it avoided some of the bombast found on the rest of the album, it was a refreshing change of pace. Too bad it faded out so quickly.

Probably not going to appeal to most folks, but it was mildly entertaining in kind of a dated fashion.