Plain and Fancy

1974 Gentle Giant - The Power And The Glory (2014 Steve Wilson remix)

Thursday, November 21, 2024

Gentle Giant - In A Glass House (1972 uk, extraordinary prog rock, 2005 anniversary extra tracks edition)

In 1972, American television viewers were able to watch a new made-for-TV movie called The Glass House. Based on a story by Truman Capote, this film about the horrific conditions inside a maximum security prison starred Alan Alda, Vic Morrow, and Billy Dee Williams. The next year, Gentle Giant released In a Glass House, a concept album about the life and thoughts of a convict. American music fans had to hunt for it, however, since Columbia Records, in all its wisdom, decided it was not commercial enough to release in the US. No matter, hundreds of thousands of Giant fans in the ensuing years were not to be denied. It is now easily available on CD. It is also, in my opinion, the very best album Gentle Giant ever made.

In my reviews, I haven't been mentioning album covers or packaging at all. Suffice to day, In a Glass House thrills even before one listens to it. It's a brilliant cover concept and all CD versions have fortunately sought to reproduce it faithfully. Enough said about that.

The album begins with a bang. And a crash. And several more bangs and crashes, until the random destruction becomes a driving rhythm, and the driving rhythm becomes a dynamic start to an stunning song called "The Runaway." Ray and John are chained together in a tight groove, Gary plays the rapid theme flawlessly, and Derek's vocals are given a hint of echo that adds considerable drama. This song pulls out all the stops: recorders, vibes, acoustic and electric guitars, cool vocal arrangements, multiple keyboards voiced perfectly (as usual) by Kerry, and a long middle section in which Kerry gets to show off both the upper and lower ends of his vocal range, and the band explore successive thematic and solo sections. It's an explosive tour de force, one of the finest single compositions in the Giant canon.

"An Inmates Lullaby" is a monologue of sorts by someone who is criminally insane. The lyrics are perfect for someone in such a condition (and sung by Kerry, whose lead voice is highly processed, while the harmony vocal is kept clear), and the music is absolutely uncanny. Employing just percussion instruments, the music creates almost a claustrophobic feel, as if the walls are moving ever closer. Peter Gabriel did a similar kind of song in 1980 called "Lead a Normal Life" and while it's also very effective, it doesn't come close to "An Inmates Lullaby."

"Way of Life" kicks it up a dozen or so notches. "Go!" someone yells at the start (Gary?). The theme and melody are stated and supported by Kerry, Gary, and Ray in an amazing display of tightness and virtuosity. This is a great headphones song - there is so much going on. John's precision is incredible as well. A quiet section, with organ, violin, recorder, and Kerry's lovely voice, ends emphatically and triumphantly with John and Kerry taking its theme to a whole other dynamic level that will re-emerge near the end. Gary does a short, jazzy solo, which gives way to some nice John fills, then the last verse and the later theme repeated. The end of the song is a bit of a disappointment, just a simple, repeating organ chord going on and on for about two minutes, ending on a single held note.

A song that expertly employs space, silence, and a wide dynamic range, "Experience" opens softly with a brilliant theme played by Kerry. His vocal enters, supported by Gary on acoustic and Ray on bass. John lays down a bouncy snare-less beat and Ray's bass is perfect. The dynamic and sudden shifts from bass and organ to drums and electric guitar, matched by the shift from Kerry's gentle vocal to Derek's wailing, are jarring but exciting. As usual, John is the rock that keeps it all together. Gary hits a hot solo, and the band come together for a final play at the theme.

Six songs total, three on each side, with the middle song being the mellowest. That is the roadmap for the album, and the mellow song on Side 2, "A Reunion," is gorgeous - and too short. Violin and cello, acoustic guitar and bass, and Kerry's vocal applied to a bright though bittersweet melody results in a very affecting performance. Sadly, it doesn't go on longer, but what's there is perfect.

The last cut, "In a Glass House," goes through multiple sections, and just about every instrument in the arsenal gets played at some point. Fleet and fluid acoustic guitar from Gary and Ray open the tune, then John and Ray lay down a rollicking rhythm. Kerry's synth introduces Derek's vocal, and both acoustic and electric guitar extend the theme. It even sounds like there is a mandolin in there. You have to check out John's bass drum foot during the "Standing on the ice believing all I'm searching for" verse - it's intense! Derek blows some sax on top. Then, at the half-way point, everything stops and Gary lays down a heavy riff that introduce a new section, featuring ballsy vocals from Derek. But then the acoustic guitar and Kerry's voice return - but then it's back to electric and Derek again. It's almost like the band is fighting itself - or, more accurately, that the character in the song is at a crossroads and trying to find his way. Gary and John have a short but neat unison section that leads to the end, where John gets to play fills during the fade out. The album ends with a short snippet from each of the six tracks, then the last smash goes back and forth from left to right, like the end of ELP's "Karn Evil 9."

On In a Glass House, Gentle Giant stretched themselves to the limits. Never again were they as dauntingly complex in the studio. And they had plenty to prove, too, for this was the first album without Phil. In my opinion, the compositions, performances, and the execution of the concept were done to such a high level that on the whole In a Glass House stands as their single finest work. Others may disagree, but there is no question that this album is an incredible achievement. Shame on Columbia Records.

by Jason Rubin

Tracks

1. The Runaway - 7:15

2. An Inmate's Lullaby - 4:40

3. Way Of Life - 7:52

4. Experience - 7:50

5. A Reunion - 2:11

6. In A Glass House - 8:26

7. The Runaway/Experience (Live In Dusseldorf, Sept/23/76) - 10:01

8. In A Glass House (Live In Munster April/5/74) - 9:49

All songs by Derek Shulman, Ray Shulman, Kerry Minnear

Gentle Giant

*Gary Green - 6, 12 String Guitars, Mandolin, Percussion, Alto Recorder

*Kerry Minnear - Keyboards, Tuned Percussion, Recorder, Vocals

*Derek Shulman - Vocals, Alto Sax, Soprano Sax, Recorder

*Ray Shulman - Bass Guitar, Violin, Acoustic Guitar, Percussion, Backing Vocals

*John Weathers - Drums, Percussion

Tuesday, November 19, 2024

Mark James - Mark James (1973 us, awesome groovy swamp country rock)

Mark was born Francis Rodney Zambon on November 29, 1940, in Houston, Texas, to Galliano and Mildred Zambon. The son of a hardworking, industrious Italian immigrant and a revered schoolteacher, his musical talents were obvious from an early age. His first instrument was the violin, and his dedication and natural ability soon earned him the first-chair spot with his grade-school orchestra.

That was the beginning of a long and storied career. Before he finished high school, Mark had mastered not only the violin, but also the acoustic and electric guitar as well as the piano. A gifted composer and vocalist, anything with strings or keys came to life in his fingers.

Mark began playing the club circuit in his native Houston prior to high school graduation and gained prominence on the local music scene by the early 1960s. His music career was briefly interrupted in the mid-’60s, when he served his country in Vietnam with the U.S. Army. Upon his return, he worked tirelessly in the recording studio to regain his momentum, and his efforts paid off tenfold.

In 1968, Mark’s lifelong friend and fellow Houstonian, B.J. Thomas, climbed the charts with “The Eyes of a New York Woman” and the megahit “Hooked on a Feeling," both written by Mark. Swedish pop group Blue Swede would go on to reach No. 1 in the U.S. in 1974 with their version of “Hooked on a Feeling,” which is known for its now-famous “ooga-chaka” chant.

Also in 1968, Mark released “Suspicious Minds” as his own single, in collaboration with Memphis producer Chips Moman. Not long after, in 1969, Elvis Presley recorded his version of the song, which became a chart-topper and was later named to “Rolling Stone’s 500 Greatest Songs of All Time” list. In 1986, Britain’s Fine Young Cannibals released their own adaptation of the song, which climbed to No. 8 on the U.K. Singles chart.

Mark’s success grew exponentially as he found his niche writing songs that left both recording artists and fans wanting more. In 1972, he signed a contract with Screen Gems-Columbia Music, and the following year, country singer Brenda Lee scored a top-ten single with her recording of “Sunday Sunrise,” which he penned. Anne Murray later released in 1975 her version of the song, which reached No. 13 on both Canadian and U.S. charts.

Meanwhile, Elvis continued to request and record Mark’s songs, including hits “Raised on Rock,” “It’s Only Love” and “Moody Blue.” Elvis also recorded “Always on My Mind,” which Mark cowrote with Johnny Christopher and Wayne Carson. Ironically, the song that eventually became one of Mark’s most recognized works, when it was released by Willie Nelson in 1982, was previously released as a B-side single by Elvis a decade earlier. It won two Grammy Awards in 1983: one for Song of the Year and another for Best Country Song. Britain’s Pet Shop Boys also reached No. 1 in the U.K. and No. 4 on U.S. charts with their 1987 release of the song.

Other notable songs to Mark’s credit include “Roller Coaster,” “Where Do We Go From Here,” “Alone Too Long” and “Blue Water” from his self-titled album, “Mark James 1973.” One of the songs he was most proud of writing was “Blue Suede Heaven,” which he created to pay tribute to Elvis and performed each year at Graceland during Elvis Week.

With a catalog that boasts more than 300 original songs, Mark was a prolific writer and artist. His hits have been featured in countless blockbuster films, such as the “Guardians of the Galaxy” franchise, “Elvis” (released in 2022 and directed by Baz Luhrmann with lead actor Austin Butler), “Lilo & Stitch,” “Kramer vs. Kramer,” “Blackhawk Down” and “Reservoir Dogs,” just to name a few.

A lifelong learner and an avid movie buff, Mark studied film scoring at the University of California at Los Angeles (UCLA). He was always exploring new ways to hone his craft and expand his skill set as a creator.

In recognition of his vast contributions to the music industry, Mark was inducted into the New York Songwriters Hall of Fame in 2014, as well as the Nashville Songwriters Hall of Fame in 2015 and the Texas Songwriters Hall of Fame in 2022.

Mark received additional honors from Broadcast Music Inc. (BMI) in 2022 for achieving numerous milestones, including 9 million airplays of “Suspicious Minds,” 9 million airplays of “Hooked on a Feeling,” 7 million airplays of “Always on My Mind,” 1 million airplays of “Moody Blue” and 1 million airplays of “The Eyes of a New York Woman.” His collective 27 million airplays (which has increased since 2022) for those five songs equate to 162 years of continuous, back-to-back play on the airwaves.

With great sorrow and a song in their hearts, the family of legendary songwriter and musician Mark James announces his passing at his home in Nashville, Tennessee, on June 8, 2024, at the age of 83.

From the family of Mark James

Tracks

1. Whatever Mood You're In - 3:13

2. Keep The Faith - 3:41

3. Blue Water - 3:32

4. Goodbye's A Long, Long Time (Mark James, Gerry Goffin) - 3:50

5. Roller Coaster - 3:09

6. Flyin' Into Memphis - 3:40

7. Brand New Woman (Mark James, Gerry Goffin) - 2:53

8. I'd Get Enthused - 2:22

9. Where Do We Go From Here - 3:42

10.(Don't You) Bury Me (Mark James, Al Gorgoni) - 3:58

Words and Music by Mark James except where noted

Personnel

*Mark James - Vocals, Electric Piano

*Al Gorgoni - Acoustic Guitar

*Bill Chennock - Acoustic Guitar

*Bob Mann - Acoustic Guitar

*Teddy Irwin - Acoustic Guitar

*Lou Marini - Alto Flute, Baritone Saxophone

*Andy Muson - Bass

*Stu Woods - Bass

*Will Lee - Bass

*Jimmy Maeulen - Congas

*Allan Schwartzberg - Drums

*Bob Mann - Electric Guitar

*Jerry Friedman - Electric Guitar

*Barry Mann - Piano, Electric Piano

*Jon Stroll - Piano, Electric Piano

*Lou Marini - Flute

*Steve Katz - Harmonica (Track 3)

*Jimmy Maeulen - Percussion

*Lou Marini - Piccolo Flute

*Bill Chennock - Slide Guitar (Track 6)

*Michael Brecker - Tenor Saxophone

*Dave Bargeron - Trombone

*Lou Soloff - Trumpet

*Randy Brecker - Trumpet

*Roy Ayers - Vibraphone (Track 3)

*Emanuel Green - Viola (Track 10)

*Aaron Rosand - Violin (Track 10)

*Glen Spreen - Horns Arranger

*Glen Spreen - Strings Arranger

*Jimmy Maeulen - Backing Vocals

*Linda Lolly - Backing Vocals

*Mark James - Backing Vocals

*Rodney Justo - Backing Vocals

*Steve Tyrell - Backing Vocals

*Will Lee - Backing Vocals

Monday, November 18, 2024

Hedge And Donna - Evolution (1971 us, fine rhythm 'n' blues, folk classic rock feat. Joe Walsh)

Hedge and Donna was a 60's, 70's folk duo featuring acoustic guitar and vocal harmonies. The members were Hedges Capers and Donna Marie Carson, a biracial couple who were married during their heyday but later divorced. At some point, the duo's name was changed to Capers and Carson. REvolution" was the duo's fifth album and finds them throwing down a groovier and more contemporary folk vibe. Joe Walsh's presence here maintains a lower profile letting the two do their thing. And it's pretty good for what it is. Certainly an enjoyable album.

Donna was born to U.S. Marine Corps Gunnery Sergeant Harry "Kit" Carson and his wife Dorothy in November of 1946. After the duo split in the early 1970's and she moved on with her degree from Whittier College. Her heart ever open, she eventually went on to work with special needs children at the California State Diagnostic School, and ultimately as a protector working for Los Angeles County Courts as a Child Advocate Supervisor. She found joy in helping kids and believed in supporting them so that no child would fall through the cracks of the court system. She worked tirelessly until she retired in 2004. Donna passed away November 21st, 2019.

Keene Hedge Capers was born February 21, 1945. The duo began singing together in 1967 and only had a few weeks rehearsal before making a big splash at the Troubadour in West Hollywood. Not only did the gig result in meeting their first manager (Doug Weston, who was also the club owner) but a representative for Capitol Records signed the duo that evening. As an interracial couple in the late 60s, they did receive some negative responses but never from the audiences who embraced them and their music. They were even on the cover of Jet Magazine in 1969 and made several television appearances together before divorcing in 1976. Hedges continued to write songs and perform as well as act. He starred as the title character in The Legend of Hillbilly John released in 1972. In more recent years he earned his degree as a psychotherapist as did his wife, actress Nancy Locke. The couple co-wrote the musical The Geeze & Me about growing old, which Nancy directed when it debuted in San Diego in 2017.

Tracks

1. Touch Caste On The Water (Hedge Capers, Donna Capers) - 2:40

2. She Said She Said (John Lennon, Paul McCartney) - 2:25

3. Colorado Exile (Jim Post) - 2:45

4. Free And Easy (Hedge Capers) - 0:20

5. Aragon Ballroom (Michael Fondiler, Tom Snow) - 3:06

6. Heavy Ways Of Moving (Hedge Capers) - 2:50

7. Collage (Joe Walsh) - 2:48

8. May 7th (James Rollenston) - 2:25

9. Sundays Birthday Child (Hedge Capers, Donna Capers) - 2:10

10.Sail A Schooner (Hedge Capers) - 2:40

11.Nickle A Night (Hedge Capers, Donna Capers) - 3:05

12.Blind Man From Arizona (Hedge Capers, Donna Capers) - 3:20

Musicians

*Hedge Capers - Vocals, 12, 6 String Guitars

*Donna Carson - Vocals

*Joe Walsh - Electric, Acoustic Guitars

*Jim Hughart - Bass

*Wolfgang Melz - Bass

*Larry Fallon - Piano

*Mike Melvoin - Piano

*Ron Tutt - Drums

Thursday, November 14, 2024

Harper And Rowe - Harper And Rowe (1968 canada / uk, marvelous sunny baroque folk rock)

Canadian singer songwriter, musician and producer born 1944 in UK. British born Murphy moved to Wallaceburg, Ontario, Canada with his mother when he was six and over time taught himself how to play guitar. He relocated later to Salt Spring Island on the West Coast and at the age of 17 was playing gigs between Los Angeles -- living on Manhattan Beach and playing coffeehouses -- and New York. He formed a duo with Jack Klaeysen back in Wallaceburg (while working a day job dredging the St. Lawrence Seaway). After hearing the Beatles, they knew they had to go to England. The bought one-way tickets on a ship from New York and arrived in Liverpool on February 14, 1965. They were bunked in steerage on board the ship and began playing for the other passengers.

They met the brother of agent Joe Collins (father of actress Joan Collins) and he invited them to meet in London at his talent agency offices. Murphy didn't believe him, and the duo continued on to Liverpool The British Invasion had already blown through the town and so gigs and audiences were sparse. They eventually met Gerry & The Pacemakers who told them to head to London where the music scene was thriving. They began playing at the New Oxford Theatre opening for The Ivy Leagues, The Pretty Things, The Byrds, Martha and the Vandellas, and within four months had a record deal brokered by the agent they'd met on the ship - Joe Collins - on Petula Clark producer Tony Hatch's Pye Records.

Eventually, they renamed themselves the Slade Brothers and released four singles on Pye including the Roger Greenway/Roger Cook song called "What a Crazy Life" which became a hit in early 1966 with airplay on European station Radio Luxembourg. The act would do opening gigs around the UK for The Walker Brothers, The Kinks, The Troggs, The Byrds and others. In 1965 Murphy and Klaeyson signed his first publishing deal with Mills Music (later known as Belwin Mills) in England after which his first hit song was "Call My Name" by James Royal in 1966. The same year Murphy started producing records for Parlophone, Decca, CBS, Fontana, Phillips, and Carnaby where he would also write hit singles for Billy Fury ("Beyond a Shadow of a Doubt"), and The Casuals ("Touched"). Murphy formed Harper and Rowe in 1967 (he was Harper) who put out several singles and a full-length LP in 1968.

At the end of the Israeli War in 1968 a touring Hebrew act called The High Windows had Murphy translate their songs into English to try and find success in the UK and Europe. After the departure of one of the band members, he joined the act under the name Raffi Murphy. Murphy's next move was to head to New York as Director of Production for Belwin/Mills Publishing, where he produced demos for Broadway musicals such as 'Pippin' and 'The Magic Show'. He also started two successful record labels - Double M Records (distributed by London Records), and a dance label - Hard Core Records (distributed by GRT Records).

Among the many dozens of acts he produced during that time were Magnificent Men, Chris Bartley, The Alibis, Sea Dog, Mashmakhan, Rock Garden, Studebaker Hawk, New City Jam Band, Shooter and April Wine who Murphy produced two gold albums for. Under his Double M Records he released a number of solo singles and had a successful run with a country song called "Genevieve" as well as a pop act under the pseudonym Roadhouse - which featured some of New York's finest session players including Tony Levin (bass), Jimmy Young (drums) and Elliott Randall fresh off recording his iconic solo on Steely Dan's "Reeling In The Years". Roadhouse would have a Canadian hit with the song "Good Times (and Loving You)". Having a country hit in 1972 by Jeanie C. Riley "Good Enough To Be Your Wife" under his belt, Ralph went to Nashville to pick up his award and eventually moved there in 1976 after producing Walter Zwol's band Brutus for GRT Records. He often flew back to Canada to continue producing acts including both Shooter albums.

With partner Roger Cook - who he'd met the day the Guardsmen had auditioned for Pye Records back in England - he formed the Picalic Group & Pic-A-Lic Music Publishing and has had more than twenty number one records including hits by Mickey Gilley, Travis Tritt, Shania Twain, Ray Price and the 'Song of The Year' award winning song "Talking In Your Sleep" by Crystal Gayle. Pic-A-Lic became one of the most successful independent publishers in Nashville and was eventually sold to EMI. Murphy started a new company Kersha Music with Richard Perna of Hamstein Music and then in 1994 joined ASCAP as part of Connie Bradley's Nashville staff. He is a past president of NSAI and past president of The Nashville Chapter of NARAS and currently serves on the board for Canadian Country Music Association. He now resides as ASCAP Vice President International & Domestic, Membership Group and works on many committees and teaches seminars held throughout North America. Ralph James Murphy passed away, 29 May 2019 at the age of 75.

Tracks

1. Here Comes Yesterday Again - 2:34

2. The Dweller (Jerry Marcellino, Mel Larson) - 3:10

3. Picture Me High - 2:28

4. Where Is She (Gary Montgomery, Jack Dalton) - 2:28

5. You And Me (Me And You) (Bodie Chandler, Ed McKendry) - 2:49

6. Love Machine (James A. Griffin, Michael Z. Gordon) - 2:27

7. Keep On Dancing - 2:10

8. Good Times, Bad Times - 2:06

9. Strange How People Change - 2:54

10.Hold Me - 3:28

11.Wake Me When It’s Over - 2:32

12.Hello Sleepy Sidewalk - 2:08

13.Here Comes Yesterday Again - 2:33

14.The Dweller (Jerry Marcellino, Mel Larson) - 3:09

15.Picture Me High - 2:27

16.Where Is She (Gary Montgomery, Jack Dalton) - 2:27

17.You And Me (Me And You) (Bodie Chandler, Ed McKendry) - 2:49

18.Love Machine (James A. Griffin, Michael Z. Gordon) - 2:16

19.Keep On Dancing - 2:10

20.Good Times, Bad Times - 2:05

21.Strange How People Change - 2:52

22.Hold Me - 3:27

23.Wake Me When It’s Over - 2:31

24.Hello Sleepy Sidewalk - 2:08

All songs by Ralph Murphy except where indicated

Harper And Rowe

*Jack Klaeysen - Guitar, Vocals

*Ralph James Murphy - Vocals, Guitar

Wednesday, November 13, 2024

Sanford And Townsend - Smoke From A Distant Fire (1976 us, nice soft rock rhythm 'n' blues, 2004 remaster)

It's a song that was born in a moment straight from a Hollywood movie. It was the spring of 1974. Johnny Townsend's songwriting partner, Ed Sanford was living in a Hollywood duplex on a nice advance and stipend from Chappell Music after signing a publishing deal. Sanford was sharing the space with guitar-playing friend, Steven Stewart. One morning, Townsend stopped by after Stewart had been up all night working on music.

"Ed was just waking up and Steven hadn't been to bed yet," Townsend remembered to Songfacts. "Ed was complaining about not getting any sleep and barked at Steven, 'When are you gonna stop wasting your time on that classical crap and write something that will make you some money.' Steven picked up his guitar immediately and started playing what I thought was a really cool R&B type rhythm and replied, 'Anybody can write that crap.' I said, 'Apparently you just did,' and went straight to the piano and embellished on his idea. While going through some old song ideas in my notebook I always carried, I found one that actually was the title of a poem that Ed had written while in college. I extracted the title because it seemed to be a perfect fit for the chorus idea I had and that all sort of amalgamated into 'Smoke From A Distant Fire.' Basically, the song started as a joke and that joke is still making us money to this very day."

Sanford-Townsend Band released the group's self-titled debut in 1976, issuing "Smoke from a Distant Fire" as as single later in 1977. The song became a ubiquitous presence on radio throughout the summer of 1977, from beach parties to backyard barbecues across the country. It peaked at #9 on the Hot 100 for the week of September 17, 1977. The #1 song in America that week: Andy Gibb's "I Just Want to Be Your Everything." "Smoke from a Distant Fire" was the band's only top 10 hit in America.

"I had the pleasure of recording this band and this song. It was without a doubt the best band I have ever worked with in my entire 50 year career as a recording engineer," legendary engineer Jerry Masters told Songfacts. Strong words, considering Masters has worked on countless classic records from the likes of Willie Nelson, Bob Dylan, Joe Cocker, Rod Stewart, Paul Simon, Bob Seger,Wilson Pickett, Bobby Womack and Leon Russell.

"It was also the last album I did before leaving Muscle Shoals Sound in 1976 and it was mixed by my good friend and excellent engineer Greg Hamm," Masters added. "It was the best album I've ever done and I consider it the peak of my career by being associated with these fine musicians and song writers. It was the perfect ending to a great career at Muscle Shoals Sound - not the end of my career, but still the best I ever put my hands to. I salute the Sanford-Townsend Band as the best of the best, even today, it's my favorite of all time."

Rhino, Tuesday, September 14, 2021

Tracks

1. Smoke From A Distant Fire (Ed Sanford, John Townsend, Steven Stewart) - 3.30

2. Moolah Moo Mazuma (Sin City Wahh-00) - 3:57

3. Oriental Gate (No Chance Of Changin' My Mind) (Ed Sanford, John Townsend, Kenny Loggins) - 3:19

4. Shake It To The Right - 4:10

5. Squire James - 4:39

6. Does It Have To Be You - 3:12

7. Lou - 3:27

8. Sunshine In My Heart Again - 2:42

9. In For The Night - 3:50

10.Rainbows Colored In Blue - 4:52

All compositions by Ed Sanford, John Townsend except where noted

Musicians

*Ed Sanford - Keyboards, Vocals

*John Townsend - Lead Vocals, Keyboards

*Billy Townsend - Backing Vocals

*George Hawkins - Backing Vocals

*Jerry RIghtmer - Bass

*Tex Wex - Bass Vocals

*Jim Varley - Drums

*Roger Johnson - Guitar

*Otis Hale - Guitar, Woodwind

*Barry Beckett - Keyboards

*Tom Roady - Percussion

*Kenny Loggins - Vocals

*Jon Clarke - Woodwind

Tuesday, November 12, 2024

The 3rd Avenue Blues Band - Fantastic (1970 us, impressive jazz brass psych rock)

Formed in Oklahoma City when trumpeter Mark Underwood and saxophonist Bob Beasley teamed with guitarist/bassist Hadley Hockensmith, organist Harlan Rogers, and drummer Bill Maxwell. Underwood played in The Serfs, a jazz-rock/psych band that released one album, The Early Bird Cafe, in 1969.

Singer Harold Jones completed the Third Avenue Blues Band, which signed to MCA-subsidiary Revue. In 1968, they released their first single, “It’s Got to Be Love” b/w “If You Don’t Love Me”, both written by Rogers. It was followed in 1969 by the Jones-composed “Don’t Make Me Laugh”b/w Hockensmith’s “Pipedream”, released as 3rd Avenue Blues Band. Their third single, a funky cover of Joe South’s “Rose Garden” b/w Rogers’ “Come On and Get It”, appeared later that year.

Their album, Fantastic, appeared on Revue in 1970. It features 11 songs, including all the aforementioned single sidesexcept “Pipedream”. Other tracks include Rogers’ “I Know About Love,” Hockensmith’s “Hawk’s Blues,” and covers of the Isley Brothers “It’s Your Thing” and Eddie Harris“Mean Greens”. The album was produced by Charlie Carey.

Maxwell became a fixture of Texas faith-based label Light Music and joined its flagship act Andraé Crouch & The Disciples. In 1973, he reunited with Hockensmith and Rogers in the jazz-funk/psych combo Sonlight, which also served as the instrumental nucleus on three albums by Light Rec. gospel singer Danniebelle Hall. During the 1980s, the team recorded four albums as part of the jazz-rock ensemble Koinonia.

Underwood later appeared on albums by the Cate Bros., Van Morrison, Bette Midler, Jules & the Polar Bears, and Michael Vlatkovich.Beasley re-linked with Rogers and Hockensmith on soul-faith albums by the Don DeGrate Delegation and Sherman Andrus.

Tracks

1. Rose Garden (Joe South) - 3:16

2. It's Got To Be Love (Harlan Rogers) - 2:26

3. I Know About Love (Harlan Rogers) - 4:15

4. Put A Little Love (Jackie DeShannon, Jimmy Holiday, Randy Meyers) - 4:00

5. Hawk's Blues (Hadley "Hawk" Hockensmith) - 5:09

6. Don't Make Me Laugh (Harold Jones) - 2:53

7. Come On And Get It (Harlan Rogers) - 3:19

8. It's Your Thing (Marvin Isley, O'Kelly Isley, Ronald Isley, Rudolph Isley) - 5:12

9. If You Don't Want Me (Harlan Rogers) - 3:07

10.Bad Moon Rising (John Fogerty) - 5:06

11.Mean Greens (Eddie Harris) - 5:09

3rd Avenue Blues Band

*Harold Jones - Vocals, Rhythm Instruments

*Harlan Rogers - Vocals, Organ Bass, Piano

*Hadley "Hawk" Hockensmith - Guitar, Bass

*Bob Beasley - Saxophone

*Mark Underwood - Trumpet

*Bill Maxwell – Drums

Monday, November 11, 2024

Kid Gloves - Kid Gloves (1972 us / uk, wonderful melodic soft country folk rock, 2010 remaster)

Kid Gloves was one of my favorite harmony bands, who were as good or better as all the others I recorded. They were a studio group that formed in 1971 and disbanded less than two years later-- they never did any live gigs.

The lead singer, Scottish-born Davey Pattison, was one of the best vocalists I ever worked with. I had first heard him in the blues band Sunday, with whom I produced an album in 1970.

I was fortunate to know Davey early on, so it was easy to get him to front a proposed studio group that also included the excellent Tom Parker, who was my go-to arranger at the time. Tom played keyboards in the new group, who also wrote most of the music and lyrics for their original material.

The other two terrif musicians I booked were Gary Taylor on bass and Andrew Steele on drums. They had both recently been pop stars as members of the very successful Herd with Peter Frampton. After that group came to an end, both become A-list session players and I was using them a lot, along with Tom. It also helped that they too could sing!

Because of the breadth of talent in the group, I decided to start them off with a full album. All the sessions were held at Morgan Studios in north London between September 1971 to January 1972, and engineered by Robin Black. The eventual album was released in June of 1972, in the US only. A kinda curiosity was that the group was originally called “Herrod The Dog”. That name was replaced by “Muscles” (!), and eventually they settled on the name Kid Gloves.

The album is outstanding and should have made the band stars. Unfortunately, as it turned out the US label Buddah Records, after claiming how much they loved Kid Gloves, was apparently hit with multiple cases of simultaneous pandemic Alzheimers, as they forgot they had the record. Zero promotion ensued, and the LP sunk faster than a meteorite landing in a lagoon at full speed!

Davey would later become very much in demand as a lead vocalist, singing with Michael Schenker, Ronnie Montrose and Robin Trower in the 80s and 90s. I also signed his mid-70s group Findo Gask and we cut another great album, with many of his own songs.

by Shel Talmy

Tracks

1. Let Him Sing His Song (John Stewart's Song) - 3:38

2. My Friend John - 4:22

3. A Little More Peace - 3:37

4. She's A Lady (Sunderland Nell) - 3:28

5. Coming Back Too Soon - 3:28

6. Spilt Milk - 5:05

7. Talking In A Field - 3:07

8. Funny - 4:47

9. Love And Not Money - 4:40

10.And - 6:50

Music by Tom Parker, Lyrics by Hugh Murphy

Kid Gloves

*Gary Taylor - Bass, Guitar, Vocals

*Davy Pattison - Vocals

*Tom Parker - Keyboards

*Andy Steele - Percussion, Vocals

1969 The Rugbys - Hot Cargo (Akarma)

Saturday, November 9, 2024

Lazarus - Lazarus (1970 us, excellent brass psych rock)

Released in 1970 in the U.S. by Amazon, a sublabel of Nashville's Shelby Singleton Corp. Formed in Nashville by Louisville, Kentucky bassist Steve McNicol, formerly of Oxfords and just out of the disbanded Rugbys, sometimes mistakenly identified with Billie Hughes' (formerly Shiloh) better-known Lazarus, authors of two Christian rock albums in the early 1970s. These Italian-Americans played rock with R&B influences and prominent horns, very close to that of Blood, Sweat and Tears; their main composer is one Raymond Cichon. The album was recorded at Singleton Sound Studios in Nashville, Tennessee, and produced by Joe Venneri, an experienced producer and musician.

The band's style integrates elements of Iron Butterfly-esque psychedelic rock (excellent guitar in “Stay with me”), beautiful vocal harmonies still steeped in the sixties, marked pop soul inflections (in some cases very exuberant as in “In the beginning”) and in one episode even blues (“Message to the people”), also fueled by the use of brass in several episodes, some very vibrant episodes with slower rhythms and a late-psychedelic pop rock sound such as “Shades of winter,” enriched by a suave flute, all at times very close to the music of Blood, Sweat and Tears. McNicol's voice was attractive and the majority of the Raymond Cichon-penned material was catchy enough to warrant at least a quick spin. That didn't do anything for sales, the set quickly vanishing into cutout bins. Stephen William McNicol, passed away on April 8th, 2018, at the age of 68.

Tracks

1. You've Got To Get Ahead (Raymond Cichon, Tony Bertollotti) - 2:54

2. Faces Of Tomorrow (Raymond Cichon) - 3:12

3. Desire (Raymond Cichon) - 2:18

4. Once Again (Ronald Stablini, Thomas Bombaci) - 3:15

5. Stay With Me (Steve McNicol) - 2:55

6. Back In The City (Raymond Cichon) - 2:05

7. Shades Of Winter (Raymond Cichon) - 2:30

8. I'll Get To You (Raymond Cichon) - 2:40

9. In The Beginning (Raymond Cichon) - 2:55

10.Message To The People (Raymond Cichon) - 3:50

11.Molly (Raymond Cichon) - 2:48

Lazarus

*Steve McNicol - Guitar, Vocals