“Peace and love were everywhere, so we figured nobody would forget the name if we called the band WAR. And we were right,” recalled producer Jerry Goldstein in the liner notes for Eric Burdon and WAR: The Complete CD Collection. That quote perfectly captures the raw, contradictory energy that defined the early days of WAR. Recently reissued as a four-disc CD set (originally on vinyl in 2022), this collection brings together the full recorded legacy of Eric Burdon’s brief but groundbreaking collaboration with the band: Eric Burdon Declares “War”, The Black-Man’s Burdon, and the posthumous odds-and-ends compilation Love Is All Around.
While these aren’t the most polished entries in WAR’s catalog, they offer an unfiltered look at the roots of a genre-defying group that would go on to craft iconic hits like “Low Rider” and “Why Can’t We Be Friends?” For anyone interested in how their sound came to be, these albums are well worth revisiting.
Burdon, best known as the gritty voice of The Animals ("House of the Rising Sun," anyone?), had relocated to San Francisco when he crossed paths with a multi-ethnic L.A. band called Nightshift. The group—previously known as The Creators—caught Goldstein’s attention during a 1969 club gig supporting football star-turned-soul singer Deacon Jones. Goldstein sensed their potential and reshaped the lineup, bringing in the likes of Howard Scott (guitar), Lonnie Jordan (keys), Harold Brown (drums), B.B. Dickerson (bass), Charles Miller (sax/flute), Dee Allen (percussion), and Lee Oskar (harmonica). Together with Burdon, they debuted as Eric Burdon and WAR at the Newport ’69 Festival, blowing minds with their Afro-Latin, jazz, funk, rock, and psychedelic fusion.
Their first album, Eric Burdon Declares “War”, kicks off with “Dedication,” part of the sprawling “Vision of Rassan” suite. It’s a bold opener—sonically dense and politically charged, with Lonnie Jordan’s piano driving the track through references to African-American music legends and harrowing imagery. The album leans into an experimental, freewheeling vibe, quite unlike Burdon’s past work. Tracks like the 13-minute take on “Tobacco Road” and the slinky, surreal “Spill the Wine” showcase the group’s improvisational flair and joy in simply playing together. The stereo mix only heightens the album’s trippy atmosphere.
The second LP, The Black-Man’s Burdon, ups the ante. It’s a massive double album, more jam-heavy and meandering than its predecessor—but also more ambitious. The band dives deep into sprawling reworks of rock staples like “Paint It Black” and “Nights in White Satin,” spinning them out with extended solos, spoken-word interludes, and flute-led detours. Some moments, like “Bare Back Ride” and “Home Cookin’,” offer tighter songwriting, while others feel more like sonic explorations than songs. That said, the album still captures a band at the height of their creative fearlessness.
Sadly, by February 1971, Burdon had worn out—both physically and creatively—and exited the band. According to Lonnie Jordan, he gave the rest of the group his blessing, confident they could carry on. And carry on they did—under Goldstein’s guidance, WAR would soon dominate the charts with a refined but still rhythmically adventurous sound.
Before that chapter began, however, one last release captured the end of the Burdon era. Love Is All Around, released in 1976, gathered unreleased material from their time together. The title track, recorded in 1970, could’ve been a hit in its own right. “Magic Mountain,” the B-side to “Spill the Wine,” delivers a classic WAR groove. There’s also an alternate version of “Tobacco Road” from their first session, a repurposed cut from Burdon’s Guilty album, and covers of “Paint It Black” and “A Day in the Life”—the latter reimagined in wonderfully chaotic WAR style.
The new box set, remastered by Bernie Grundman, gives these albums a sonic upgrade. The packaging is minimal but tasteful, with replica sleeves and a small booklet (though the text is a bit of an eyestrain). Still, the real treasure here is the music: raw, genre-bending, and full of purpose.
This collection captures WAR before the fame, still discovering their identity but already sounding like no one else. If you’re a fan of the band, or just curious about a unique moment in music history where psychedelic rock, soul, jazz, funk, and activism all collided, this set is more than worth your time.
Time to pour a glass and spill the wine.
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