siLLy puPPy More known for its status as having released one of the most expensive collectible records of the rock music era, DARK was a psychedelic rock band that was a bit late to the prog party by the time it delivered its debut ROUND THE EDGES in 1972 but nevertheless garnered praise for its innovative use of fuzz guitar that went beyond the usual one-trick pony wankery of the late 60s and used it in clever ways in its compositional fortitude. Formed in 1968 Northampton, DARK by guitarist Steve Giles who met guitarist Martin Weaver, drummer Clive Thorneycroft and bassist Ronald Johnson at their local school and set off to imitate American West Coast jam bands.

During its initial run from 1968-1973, DARK released only this one LP with a total release number of 64 copies recorded at S.I.S. Studios as a private release, many of which were given to friends and family thus making the album one of the rarest British releases of all time. Original copies have commanded hefty prices upward of £25,000 depending on the version and in 2016 was declared the 17th most valuable record of all time by New Musical Express (NME), a British music, film, gaming, and culture website. Although the original pressing has garnered a huge reputation with collectors of all things original vinyl, the album itself has been re-released several times and recently in 2022 with four distinct album covers (as well as numerous variations) including remastered versions.

Collectibility aside ROUND THE EDGES sounds more like an album that would have emerged in the late 1968, early 1969 timeline and to my ears sounds like that these tracks were written, performed and possibly recorded before 1970 and not released until the band saved enough money to do a proper release. For 1972 this jamming psychedelic rock is hopelessly outdated as it sounds more like Quicksilver Messenger Service than anything the year 1972 offered when progressive rock was at his peak of creative complexity. The original album features six tracks, three on each vinyl record side with the longest, "Live For Today" extending past the 8-minute mark. Compared to bands like Jefferson Airplane and The Grateful Dead, DARK really doesn't sound like any other band i can think of as its a strange mix of jam band, hard acid rock and early proto-prog moments.

Very much the baby of Steve Giles who provides vocals and guitar as well as sitting in as producer, the description as the album being a vehicle to display angsty fuzzy hard rock soloing is fairly accurate. The vocals are fairly awful with a limited range and lower the enjoyability factor for my ears however the musical performances are satisfying with stellar instrumental interplay that finds a very talented drummer tearing it up behind a stellar fuzzed out heavy psych experience offered by the guitars and bass. The album itself offered extensive gatefold sleeves in full color, handwritten notes and an overall ambitious presentation seemingly more fussed over than the music itself. Although the band is primarily known for this one album, it has released numerous archival albums as well as reforming in 2011.

This is no nonsense heavy psych without any true prog bells and whistles. A few time signature deviations from time to time but basically this music takes you back to the late 60s and the band would've been perfect as an opening act for The Jimi Hendrix Experience, Vanilla Fudge, Blue Cheer or Iron Butterfly. This band is surely only still relevant today due to its collectibility status but there is a world of difference between investors in previous goods and those who simply want to hear innovative music. There is no doubt that this is a decent record that is by no means as bad as some make it out to be but likewise there is really nothing on this album that truly stands out as original other than the fact that fuzz guitar was extended in its role which is significant but doesn't change the overall feel of the album. Certainly one for the history book and a decent spin but as a music lover hardly qualifies to shell out massive amounts of cash. A nice anomaly for 1972 but nothing more than a good side note.

Certif1ed An intriguing album to say the least - and Dark Round The Edges is a fairly accurate assessment.

The music has a melancholy almost folksy flavour, with vocals that remind me somewhat of David Sylvian's mournful baritone.

Despite the non-heavy rock feel, the vibe overall in "Darkside" is very much in the original sense of "heavy", and the metal connection is tangible in the dissonant harmonies, many of which avoid conventional diatonic cadential structures.

The music itself is free-flowing and makes a lot of use of riffing that seems a fair distance from standard blues progressions.

Occasionally, a fuzz pedal is kicked in, and a bigger, dirtier sound overtakes.

"Maypole" begins in a much lighter vein - like the lightest side of Wishbone Ash. Around 2:10, the heavier sound is re-introduced over a shuffling, almost reggae-fied drum beat, and things get a bit more exploratory from here - mostly around a simple descending chord pattern, but with moments of craft, guile and heaviness - but it's not too long before the uber-lite song returns.

"Live For Today" opens with an acoustic passage, rather like that famous one stolen by Metallica from Bleak House's "Rainbow Warrior". Again, Ash-lite is the order of the day in the song until the intro, continuing in the formula - there are some fabulous psychedelic touches here, but notalot of metal, and the noodle is notable only in the lack of real invention. Great for stoking a stogie to, but that's not really why we're here!

The crashing chords at the end are worth hanging around for.

"R.C.8." is a welcome return to the heavier sound, and is infused with the unique sound of Dark, passing through a kind of quasi-jazz rock section.

A brief flurry gets us into "The Cat", which is a largely Hendrix-inspired song with the Dark twists. The flurrying psychedelic style bluff is a bit annoying, but the overall effect kinda works. The obligatory long jam section is surprisingly laid back, and has intonation issues, but is more than bearable overall.

Rounding off the album is the heaviest number by far, entitled "Zero Time" - a sample can be heard hear, so no need for me to dig in. It is my favourite song on the album, and gives almost completely the wrong idea - there are many moments that sound like this song, but the album overall is a real mixed bag, so not one for most metal fans.

It's not hard to hear how this album could be massively heavied up and turned into "proper" metal, so if you're out of song ideas, this is a great and, as far as I know, untapped source of unknown material to cover that would "metal up" well.

Collectors only - but I have to say it's a fascinating and enjoyable album, so I'll push it up to Good, but non-essential.