Status Quo’s bass player since 1985, to me John Edwards remains the pogo-hopping young lad who was part of one of the best all-round live bands of the early 80s, the Judie Tzuke Band. It was there he was given his nickname of Rhino, for constantly bumping into things. The guitarist was Mike Paxman, who went onto become a producer of renown for the likes of Quo and Uriah Heep, and pulls the same duty on this Edwards third solo album too.

Edwards, alongside Alan Thomson (who was playing in John Martyn’s band), were my favourite bass players back then, and not being a rabid Quo fan, apart from the odd single I rarely heard what he’d been up to, despite hearing he’s also briefly been involved in Midlands bands like the Climax Blues Band and Dexy’s Midnight Runners. Then, a few years back I caught him fronting his own power trio format, supporting King King, and rather enjoyed their fun-some rocking set.

Thus, onto Just Sayin’, which is pretty much what I expected, though actually better than some reviews would have it. Like Sex Pistol’s bass man Glen Matlock, he can just about hold a hold a tune but actual singing is a gift from God few receive, but let’s not hold against them, at least not completely.

For the most part what we get is mod-styled pub rock that probably drinks from the same well of inspiration as Paul Weller, but unlikely to dent the butt-end of any charts in the same manner. Despite which it features more fun lyrically than The Jam man’s whole back catalogue with some decidedly astute social observations too if you listen carefully enough.

‘Can’t Count Me Out’ leads us in. Practically a power pop revision of The Who’s ‘Can’t Explain’ but whereas they’d later tell us they wished they died before they got too old, Edwards squarely tells us he’s indifferent to the fashions of the times and ever ready to enter the ring and fight for his own believes in old fashioned, happy-as-Larry London-manner. A bit like if Ian Drury had written a tune for The Heavy Metal Kids back in the day.

Later, less political, but musically shuffling round the same pool table is the more nuanced new wave rock banter of ‘Never Too Old To Rock And Roll’ that’s affectionate enough to daddy dance and sing along to after a few sherbets. Status Quo’s Andrew Bown co-wrote that one and he features elsewhere, as does Francis Rossi himself, while soloing on this one, and co-writing another pair. From what I can gather Quo drummer Leon Cave is behind the kit throughout, and Romeo’s Daughter guitarist Craig Joiner plugs in for most of the album.

Quo fans will most likely find appeal in the gentle 12 bar boogie of ‘My Side Of The Road’, but be surprised to discover Muse’s Chris Wolstenholme handles bass duties on that one. Even more laidback, piano-led ‘One Way To Roll’ is a paean to “growing old disgracefully”, while those wanting a heavier delivery should fast forward to ‘Hard Drinking Woman’ that’s Quo-driven with a hard rocking taking-only-the-good-looking-prisoners attack alongside some fiery guitar work. Steady-paced and bass heavy ‘Tried and Tested’ is a Quo-come-Foghat styled rocker, rather somewhat predictable, ‘Wizzie Lizzie LA’ is pretty much old chestnut ‘Dizzy Miss Lizzy’ with different lyrics.

More reflective of the music that he was quite likely listening to as competition in his early career, we get ‘Limbo’ that queries his love life status over an eerie Specials-style ska beat flickering away. Whimsical love song ‘Good Evening Primrose’ is one part The Cure, two parts The Kinks, as if delivered by Kevin Ayers. Then following that obscure Canterbury Scene let’s opt for another with ‘Caravan Man’ – A number that cries out for us to steal Dr Who’s Tardis, dip back to the 70s and offer it to Ealing Studios for cash and no-questions-asked as theme song for obscure comedy movie where Sid James, Norman Wisdom and a bunch of faces only those males with receding hairlines could name with a straight face. This ode to the great outdoors isn’t camp, but sung with sincerity, espousing the virtues of quality time spent with the missus within such home-away-from homes.

‘Spooning’ isn’t too far removed in the oddity stakes. A bit like something Lionel Bart might’ve composed for Adam Faith back in your grandad’s day, while also featuring the best trumpet-mimicking guitar solo you’ve heard since you last spun Steely Dan’s Pretzel Logic album.

The standard of musicianship is high, the songs not quite by-numbers but comfy, his lyrics far less likely to fit the woke world agenda. But then, that way of reasoning may be nearing the end of its populist day, so now’s a good time for this album to have a reappraisal. Tucked away in many of the songs are sentiments espousing the many simple joys to be found in life, an annoyance at change for change’s sake, some ruffling of feathers, and a couple of more profound works that deserve attention.

Play ‘The PC World’ loud. Power chording away like The Motors, keyboard flourishes add melody after a while, and there’s a nice guitar solo quite early on, but more potently, he expresses how “the brand new fashioned way” disarms us profoundly, with great one-liners following one-after-another, all delivered with a weary but somewhat mature and forgiving, self-effacing humour. Even better, as a song, albeit more disturbing is ‘Taking Care Of Mary’ – Another tune with an 80s new wave punchy rocking approach for the most part and the casual listener might presume it a song about looking after a girl after a break-up. Rather it’s about an aged woman, dismissed by family, doctors, social services; abandoned basically (with early termination for the elderly this government’s plan as far as I’m concerned). A plight on modern society, Edwards sings this in a pleasant and polite manner, but with chorus send-offs of like “We’re taking care of Mary, you’re good to go,” they’re double-edged and might even draw a tear. That or a clenched fist in anger. During its last quarter the music aptly becomes a little more epically symphonic, the man himself delivering pithy bass lines during the song’s dying embers.

Despite which, it all concludes with a ‘Happy Ending’. An upbeat ska guitar running through, countered every so often by a more melodic section where Edwards delivers some lovely McCartney-styled bass lines is so right, because this little ditty comes from the same place spiritually as Wings’ ‘Silly Love Songs’. Well meaning, simple, just right to raise a smile.

This is never going to go on your must-play list, but it is worth a listen, and I don’t mean casually, he’s a fine wordsmith, Mr Edwards. Thereafter, it’s suitable for listening along to as you’re decorating, or doing some other work round the house to keep in your better-half’s good books, me thinks. Save the Quo stuff for when you’ve finished and opened a can of something strong.   

• Reviewed by Paul H Birch.
• Just Sayin’ is available now via Molano Music.
• Official Website | Facebook | YouTube Channel

Track List:

1. Can’t Count Me Out
2. Limbo 
3. Taking Care Of Mary
4. Never Too Old To Rock And Roll
5. Wizzie Lizzie LA
6. Good Evening Primrose
7. Caravan Man
8. My Side Of The Road
9. The PC World
10. One Way To Roll
11. Hard Drinking Woman
12. Tried and Tested
13. Spooning
14. Happy Ending