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Subtle As a Flying Mallet

4.5 4.5 out of 5 stars 21 ratings

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Audio CD, February 12, 2008
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Editorial Reviews

Dave Edmunds, roots & pub rock legend and producer extraordinaire (Squeeze, Everly Brothers, Stray Cats), basically created this album on his own, playing every instrument (with the exception of a hired bass player and drummer for a pair of tracks) while producing the disc himself. The result is Chuck Berry meets the Everly Brothers meets the Ronnettes with Phil Spector's wall of sound thrown in. This long-out-of-print disc became the blueprint for the Dave Edmunds/Nick Lowe/Rockpile sound that energized rock during the 70's and 80's!

Product details

  • Product Dimensions ‏ : ‎ 5.59 x 0.39 x 4.92 inches; 3.03 ounces
  • Manufacturer ‏ : ‎ American Beat
  • Date First Available ‏ : ‎ January 9, 2008
  • Label ‏ : ‎ American Beat
  • ASIN ‏ : ‎ B0012EBUB6
  • Number of discs ‏ : ‎ 1
  • Customer Reviews:
    4.5 4.5 out of 5 stars 21 ratings

Customer reviews

4.5 out of 5 stars
4.5 out of 5
21 global ratings

Top reviews from the United States

Reviewed in the United States on March 21, 2013
This is one of my favorite Dave Edmunds LP's (as well as my brother's). The LP has a lot of great songs on it and really showcase Dave's passion for classic rock n' roll of the 50's and 60's. The groove is evident from start to finish and gives you different song styles and ends Chuck Berry style. This LP presaged Rockpile and occurred after Dave's big hit I Hear You Knocking. If you love good old rock n' roll, Subtle As A Flying Mallet is for you.
Reviewed in the United States on December 30, 2009
If your a fan of Dave Edmunds, this CD must be part of your collection. This 1975 release is All Killer and No Filler.
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Reviewed in the United States on August 8, 2000
What a great record! Dave Edmunds outdoes himself as a performer/instrumentalist/engineer/producer/etc. This is a one-man tribute (with some borrowed help) to some great and influential songs. He does a fantastic job of honoring these songs, and reproducing them with his natural ability as a producer, while adding what only he can add. Definately well worth a critical listen, and when you do so, please appreciate what it took to produce this record. You'll not only hear great songs, but you will hear 'Beach Boy' harmonies and Spector-esque production qualities... as well as a just plain well produced collection of great songs. My hats off to Dave for this one. Enjoy!!
5 people found this helpful
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Reviewed in the United States on December 22, 2011
When this came out, lots of the songs he covers were difficult to find, so it was nice to have these covers to enjoy. Truth is, it isn't produced that well, for some reason Dave had a penchant for recreating a murky echo heavy sound that nobody was nostalgic for. But remember, this was done in 1974, and the idea of doing a tribute was pretty new to rock audiences. Also, he decided to be a one-man band here and sometimes it works (Let it Rock, No Money Down, Shot of Rhythm and Blues, I Ain't Never) and sometimes it's flat sounding. If you're an Edmunds fan then it's worth it if it's cheap. Because I have fond memories of this, I'm probably not the most impartial judge, but it sure beats the stuff that he did with Jeff Lynne. That's not a dig on Lynne, it was just a bad combination. And for the "fan" who complains that this album is full of covers, you aren't fooling anyone and you're not a fan. All Dave Edmunds albums are full of covers.
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Reviewed in the United States on June 15, 2000
This is Dave Edmunds' one-man-band love-letter to the songs of yesteryear. It's interesting to hear him recreate the songs, instrument-by-instrument and voice-by-voice, but he never really transcends the originals.
For those unfamiliar with the singles he's covering, or for Edmunds fans, this could be a real crowd pleaser. But given how many of these tracks are available in their original form (including The Chantels' "Maybe" and the Crystals "Da Doo Ron Ron"), Edmunds lack of substantial reinterpratation (although this works to his ironic advantage in the gender-specific songs that he sings from the girl's point-of-view) leaves this disc a best buy for Edmundsphiles.
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Reviewed in the United States on March 11, 2009
This import release of the original has two additional cuts which showcase Dave's guitar expertise. The original contained a selection of tunes that were influential to Dave Edmunds. "Baby I Love You" features layered vocals to attempt to reproduce the Ronettes' sound. The version of "Leave My Woman Alone" is faithful to the original. I particularly like Dave's take on "Maybe", by Arlene Smith and the Chantels, which suits his voice and register. "Doo Ron Ron" is well done, but not stellar. "Let It Be Me" is a natural fit, in that the Everly Brothers were such a strong influence. Chuck Berry's "No Money Down" is also a great match for Dave's vocal and guitar style. "Let It Rock" is the perfect closure for a release of rocking covers. I recommend this.
Reviewed in the United States on November 3, 2010
This album features badly conceived remakes of classic pop songs, recorded in what was apparently supposed to be authentic period sound, but gives the impression that poor Dave is wailing from the bottom of a barrel (and off-tune to boot, on more than one track). If you've ever wondered what Phil Spector might produce while suffering from a monstrous hangover, try this one out.

Tops on the "what were they thinking" list are inexplicable covers of "Baby I Love You" and "Da Doo Ron Ron". "Let It Be Me" and "Maybe" provide solid evidence that being a balladeer was not one of Edmunds' strengths. Even decent covers of songs like "Let It Rock" and "No Money Down" are weighed down by the murky sound.

There are a few salvageable numbers like "I Ain't Never", but overall this is one of Edmunds' weakest efforts.
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Reviewed in the United States on September 1, 2008
This is probably one of most regretted cd purchases of the past year. How American Beat Records decides on what to re-release is beyond me.

A rehash of classic pop/rock, country and blues songs. He didn't even change the lyrics on one of the songs, so he ends up singing about going home with "Bill".

I'm a fan of most of his work, but this I just can't bear. Hey, American Beat, who's picking these re-releases, a deaf monkey?

Top reviews from other countries

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Calum
5.0 out of 5 stars Subtle indeed(!)
Reviewed in the United Kingdom on May 25, 2010
I first bought this album on vinyl some 35 years ago. It is still as fresh today as it was when it was newly released. Probably alongside "Get It," Dave Edmunds finest work.

For anyone un-familiar with work of Dave Edmunds this is an ideal place to start. There is not a "filler" on the whole album, so I won't recommend any particular tracks. One of the all time classics. Buy it. Play it. Enjoy it. Play it again.
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Stammkunde
5.0 out of 5 stars Remastered und 2 rare Bonus Tracks
Reviewed in Germany on September 28, 2006
Ein Festtag für Dave-Edmunds-Freunde: Die erste Solo-LP des begnadeten Gitarristen und bekennenden Everly-Brothers-Fan nach seiner Love Sculpture und Rockpile-Zeit. Alles Coverversionen zeitloser Rockperlen im Breitwandsound á la Phil Spector's Wall Of Sound. Da wird "Da Doo Ron Ron" größer als das Original, und "Born To Be With You" gerät zur Hymne, die nicht mehr aus dem Ohr will. Die bei Amazon nicht aufgeführten Bonus Tracks sind das Instrumental "Pick Axe Rag" und die Single B-Seite "Some Other Guy".

Hoffentlich folgen nun die anderen Edmunds-CD's in gleicher überragender Qualität mit bisher unerhältlichen Bonus-Tracks.
8 people found this helpful
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Robert Kelly
5.0 out of 5 stars Extremely impressed.
Reviewed in the United Kingdom on November 2, 2016
100%. Arrived earlier than expected. In perfect condition. I'm very pleased.. impressed. Thank you.
Marky Mark
5.0 out of 5 stars Five Stars
Reviewed in the United Kingdom on August 1, 2018
Love this album
Nik Watt
5.0 out of 5 stars Born Leader
Reviewed in the United Kingdom on March 18, 2008
How Dave Edmunds manages to reach the high notes in Born To Be With You on this is wonderful.

He was terrific when I saw & photographed him (and Nick Lowe)in the 70s - but this recording is timeless.
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