Although she would eventually become most known as a blues singer, at the outset of her recording career in the mid- to late '60s, Dana Gillespie flirted with pop/rock, folk-rock, and mildly psychedelic baroque pop. All of those styles can be heard on her obscure 1968 debut album, Foolish Seasons, which was oddly issued in the U.S. but not in the U.K., despite the heavily British-European cast to the production and arrangements. The melange of approaches makes for an indecisive direction and uneven quality in certain respects. Yet at the same time, it makes the record an undeniably interesting, at times even exhilarating, slice of eclectic late-'60s Swinging London-tinged pop.
Very roughly speaking, Gillespie echoed the material and vocals of fellow British woman pop/rock singers such as Marianne Faithfull and Dusty Springfield at points, though her voice was at once both huskier and smokier than the young Faithfull's, and gentler and more whispery than Springfield's. The styles tried on for size include the breezy psych-pop of "You Just Gotta Know My Mind," a Donovan composition that Donovan himself never recorded; the very Faithfull-esque (in the good sense) wispy folk-pop of "Tears in My Eyes" and Gillespie's own composition "Foolish Seasons"; the sunshine pop-influenced orchestral arrangements of "Life Is Short" and "London Social Degree," both penned by cult British pop/rocker Billy Nicholls; the gothic Euro-pop of "Souvenirs of Stefan," which vaguely recalls the likes of Françoise Hardy; and the downright catchy, sexy, mod pop of "No! No! No!" Further unexpected turns are taken with the almost pre-goth blues-pop death wish "Dead," and the haunting, eccentric cover of Richard Fariña's "Hard Lovin' Loser."
Sure, there are a couple of icky-sweet pop clunkers along the way (including Gillespie's sole other self-penned number on the album, "He Loves Me, He Loves Me Not"). On the whole, though, it's an extremely likable (if somewhat stylistically confused) album, with nonstop unpredictably luscious and imaginative production. The U.K. 2006 CD reissue on Rev-Ola has thorough historical liner notes, including many quotes from Gillespie herself.
by Richie Unterberger
Tracks
1. You Just Gotta Know My Mind (Donovan Leitch) - 2:09
2. Tears In My Eyes (Tony Waddington, Wayne Bickerton) - 2:28
3. Life Is Short (Billy Nicholls) - 2:32
4. Souvenirs Of Stefan (Les Reed, Les Vandyke) - 3:40
5. Can't You See I'm Dreaming (Tony Waddington, Wayne Bickerton) - 2:58
6. No! No! No! (Michel Polnareff) - 2:49
7. He Loves Me, He Loves Me Not (Dana Gillespie) - 2:01
8. London Social Degree (Billy Nicholls) - 2:08
9. Dead (Joe Huffman, Moses Dillard) - 3:09
10.Foolish Seasons (Dana Gillespie) - 2:12
11.Where Will You Be (Andy Kim, Jeff Barry) - 2:10
12.Hard Lovin' Loser (Richard Farina) - 3:50
On her ’69 sophomore longplayer, Dana takes over the songwriting credits, taking full advantage of it. With Savoy Brown behind her, and Mike Vernon in the producer’s chair, one would guess that the result must’ve been as blue as blues can get, while it’s just as stylistically varied as Foolish Seasons.
With the above personnel made obvious only by the title tune, there’s also at least two tracks (Like I’m A Clown, I Was A Book) worthy of the mod-stompin’ shoulda-been-a-hit tag , already stuck firmly onto previous year’s You Just Gotta Know My Mind.
She revisits the acid folk of the debut LP’s title tune, and gets even moodier with the pair of ballads recalling The Zombies (When Darkness Fell), or The Swinging Blue Jeans’ take on You’re No Good with and additional Eastern touch to it (I Would Cry).
As a bonus, we get four sides of pre-debut singles, of which Page’s freaked-out fuzz solo in ‘65’s Thank You Boy makes the addition worthwhile on it’s own.
by Garwood Pickjon
Tracks
1. Box of Surprises - 4:26
2. Like I'm a Clown - 2:16
3. Taffy - 3:13
4. When Darkness Fell - 4:21
5. For David, The Nest Day - 4:29
6. If You're Dreaming - 2:13
7. Foolish Seasons - 2:30
8. Grecian Ode - 3:34
9. By Chasing Dreams - 3:06
10.I Was a Book - 2:03
11.Describing You - 3:04
12.I Would Cry - 4:41
13.Thank You Boy (Barry Mason, John Carter, Ken Lewis) - 2:05
14.You're a Heartbreak Man - 2:20
15.Pay You Back With Interest (Allan Clarke, Graham Nash, Tony Hicks) - 2:50
16.Adam Can You Beat That - 1:53
All compositions by Dana Gillespie except where stated
This traditional UK hard rock quintet was formed in 1975 by Kenny Driscoll (lead vocals), Tony Smith (guitar), Paul ‘Tonka’ Chapman (b. 9 June 1954, Cardiff, Wales; guitar), Pete Hurley (bass) and Dixie Lee (drums). Specializing in dynamic heavy rock, they attracted considerable attention with their Roy Thomas Baker-produced debut, offering an approach and sound not dissimilar to early Queen’s pomp/hard rock formula. Driscoll was replaced by John Sloman in 1977 before the release of Firing On All Six. This album pushed the dual guitars of Chapman and Smith to the forefront and concentrated on heavier material. Shortly after its release the band disintegrated, with Sloman joining Uriah Heep, Chapman replacing Michael Schenker in UFO and Dixie Lee teaming up with Wild Horses.
The first album was compared to their second album "Firing On All Six" a more progressive hardrock-album with a great touch. This album is even better than their second album that I gave four stars. So this album is worth four strongs stars without any doubts. Roy Thomas Bakers production is really nice and is a mix between the sound of Led Zeepelins rocknroll, the harmonyvocals of Queen and the edge of a young and horny Uriah Heep. It's damn strange that the band didn't break big time cause this album sits on all the ingredients that an album of this era should consist. If you love the boombastic 70's and missed Lone Star... Well buy the album at once. If you loved and still love the band and don't have the Rock Candy-reissues - by them today as they are really nice with a fat bookletand bonustracks. Marvellous album. The song "Lonely Soldier" is one of the best songs in the pompgenre of the 70's.
In1977 the original vocalist Kenny Driscoll was replaced by 20-year old newcomer John Sloman (ex-Trapper). The band's second album, Firing on All Six, produced by Gary Lyons bettered its predecessor and reached No. 36 and the band did high profiles gig on such venues like The Reading Festival. If you havent heard Lone Star before and enjoy the huge "pompesque" arenasound of the 70's this album is a must. The opening track "The Bells Of Berlin" is a killer, "Hypnotic Mover" sounds like a mix between Queen and Uriah Heep and the soft "Seasons In Your Eyes" flirts with the sound of Supertramp.
by Pär Winberg 2012-10-06
Tracks
1. She Said She Said (Joh Lennon, Paul McCartney) - 8:29
2. Lonely Soldier - 5:09
3. Flying In The Reel - 4:54
4. Spaceships - 6:44
5. A New Day - 5:14
6. A Million Stars - 3:50
7. Illusions - 3:12
8. The Bells Of Berlin - 6:55
9. The Ballad Of Crafty Jack - 3:41
10.Time Lays Down - 4:49
11.Hypnotic Mover - 4:27
12.Lovely Lubina - 3:36
13.Seasons In Your Eyes - 4:13
14.Rivers Overflowing - 4:57
15.All Of Us To All Of You - 4:55
Tracks 2-7 written by Kenny Driscoll, Tony Smith
Tracks 8-15 written by Dixie Lee, John Sloman, Paul Chapman, Peter Hurley, Rick Worsnop, Tony Smith
Tracks 1-7 taken from "Lone Star" release 1976
Tracks 8-15 taken from "Firing On All Six" released 1977
"Enigmatic" was the tag oft-times tossed 'round Bill Fay, whose loyal cult following grew significantly over the years. Signed to Decca, the singer/songwriter and pianist released two albums in the late '60s and early '70s; their haunting, darkly shadowed songs were never meant to appeal to the masses, even at the height of the psychedelia-streaked introspection sparked by the soul-searching of the day.
While the Beatles flew off to meet the Maharishi, Fay fell under the spell of a 19th century compendium of commentaries on the Biblical books of Daniel and Revelations, which would inspire his second album, Time of the Last Persecution. But before the born-agains jump on to the Fay bandwagon, they should be warned that the artist was equally influenced by the ravaging events of the day. The title track, "Time of the Last Persecution," was written in an immediate and visceral response to the killings of four students at Kent State.
Even in 1971, the intensity of Fay's lyrics -- reflecting his commentaries in their poetical language, their highly introspective nature, the brooding quality of the music, all exquisitely enhanced by Ray Russell's evocative blues guitar work -- left most reviewers cold and confused. In truth, the album would have slotted much more neatly into the coming firestorm that descended on Britain later in the decade, and would have provided a surprisingly supple bridge between the apocalyptic visions of roots reggae and the political polemics of punk.
The set certainly contains all the fire and fury of the latter movement, as well as the deeply dread atmospheres of the former. By 2005, with the rise of evangelicalism and Christian rock, Persecution no longer sounds so obscure or out of place; it is, however, a personal journey of spirituality, not a platform from which to proselytize. For all its dark vision, it's the possibility of peace and hope that shines through the gloom, and as for all the seeming quietude of the music, it thunders, too, with a power and emotion that speak in volumes as loudly as Fay's striking lyrics.
by Jo-Ann Greene
Tracks
1. Omega Day - 3:14
2. Don't Let My Marigolds Die - 2:26
3. I Hear You Calling - 2:57
4. Dust Filled Room - 2:03
5. 'Til The Christ Come Back - 3:08
6. Release Is In The Eye - 2:41
7. Laughing Man - 3:15
8. Inside The Keepers Pantry - 2:29
9. Tell It Like It Is - 2:32
10.Plan D - 3:12
11.Pictures Of Adolf Again - 2:27
12.Time Of The Last Persecution - 3:54
13.Come A Day - 2:27
14.Let All The Other Teddies Know - 2:31
Lyrics and Music by Bill Fay
The Savoy Brown Blues Band's first Decca long player was recorded in just thirty hours spanning three consecutive days. Shake Down was a gritty collection of blues standards with just one original, Stone's "Doormouse Rides the Rails." Among the tracks were B.B. King's "Rock Me Baby," John Lee Hooker's "It's All My Fault," three Willie Dixon songs and "Black Night" by Fenton Robinson. The standout track was the group-arranged "Shake 'Em on Down," a raucous workout extending to just over six minutes. Shake Down was released in the U.K. in September 1967, but for reasons unknown, the LP didn't appear at all in the U.S.
The Savoy Brown Blues Band continued to gig extensively while Shake Down was in production, doing a punishing 24 gigs in just 21 days as backing band for John Lee Hooker. They also got a summer-long residency in Charlottenlund, north of Copenhagen, Denmark. At around the time of Shake Down's release, in an odd coincidence the band experienced a true drug-related "shake down" in Barnstaple, a town in Devon, England, during a short tour of the West Country. This incident led Harry to actually fire his brother Kim from the band after the dates in Denmark. Other changes ensued as Chappell and Portius left and were replaced by Bob Brunning on bass and Chris Youlden on vocals. Brunning had previously been Fleetwood Mac's bassist for a few weeks in August 1967.
Youlden had been in various outfits, including a band that had alternately called itself the Down Home Blues Band and Shakey Vick's Big City Blues Band, and another called the Cross Ties Blues Band.
Next, Manning quit and was replaced on drums by Hughie Flint, formerly of John Mayall's Bluesbreakers and Alexis Korner's band, Free at Last band. Finally, Stone departed and Kim asked O'Leary to rejoin the band. O'Leary agreed at first, then changed his mind due to "unreasonable conditions." Stone was instead replaced by "Lonesome" Dave Peverett.
Producer Mike Vernon arranged for sessions for the group's next album, Getting to the Point, which took place in March 1968. Alongside Kim, Youlden emerged as co-leader of the group, and jointly or separately the pair composed most of the material. While the U.K. version of the album had cover-art depicting Kim wearing round glasses with the image of a black man in each lens, the U.S. cover art depicted more innocuous and politically correct images of a maze breaking up a collage of artwork. Kim explained what the original cover design was trying to depict to Melody Maker: "Our cover tried to show that although we are white we see things the same ways as a Negro but for some reasons it was changed."
With just two cover songs and seven originals, the album was to have been the Savoy Brown Blue's Band's transition from being a blues covers outfit to a band that had asserted its own identity. Unfortunately, the songs were not as strong as the pieces on the previous album, with the exception of the moody "Mr. Downchild" and the Willie Dixon-penned "You Need Love."
Getting to the Point was released in both the U.S. and the U.K. in July 1968 to positive reviews. Disc Weekly wrote approvingly that the album "showcases their fine instrumental ability (particularly guitarist Kim Simmonds) and clean, tight sound. An exciting LP-it's difficult to sit still while it's on, and that's what the blues is all about, after all." Rolling Stone observed, "Savoy Brown does not come on with complex technical artistry and does not attempt to overplay its music. Its strength lies in its group rapport and dynamics. Vocalist Chris Youlden is one of the better blues singers to emerge from England. His voice has the resonance and inflection so necessary to establish the power and emotion which is the blues."
Tracks Shake Down 1967
1. I Ain't Superstitious (Willie Dixon) - 3:33
2. Let Me Love You Baby (Willie Dixon) - 3:05
3. Black Night (Jessie Mae Robinson) - 4:54
4. High Rise (Beverly Bridge, Sonny Thompson, Freddie King) - 2:48
5. Rock Me Baby (B.B. King, Joe Josea) - 3:01
6. I Smell Trouble (Deadric Malone) - 4:36
7. Oh, Pretty Woman (Albert King) - 2:33
8. Little Girl (Willie Dixon) - 1:42
9. The Doormouse Rides the Rails (Albert Stone) - 3:37
10. It's My Own Fault (John Lee Hooker) - 5:01
11. Shake 'Em on Down (Traditional) - 6:07
Getting To The Point 1968
1. Flood in Houston (Kim Simmonds, Chris Youlden) - 3:54
2. Stay With Me Baby (Dave Peverett, Kim Simmonds, Chris Youlden) - 2:40
3. Honey Bee (Muddy Waters) - 6:32
4. The Incredible Gnome Meets Jaxman (Kim Simmonds) - 3:31
5. Give Me a Penny (Traditional) - 4:21
6. Mr. Downchild (Kim Simmonds, Chris Youlden) - 5:30
7. Getting to the Point (Kim Simmonds) - 3:59
8. Big City Lights (Bob Hall, Chris Youlden) - 3:19
9. You Need Love (Willie Dixon) - 7:39
Savoy Brown 1967 Shake Down
*Brice Portius - Vocals
*Kim Simmonds - Lead And Rhythm Guitar
*Martin Stone - Lead And Rhythm Guitar
*Ray Chappell - Bass
*Leo Mannings - Drums, Percussion
*Bob Hall - Piano
1968 Getting To The Point
*Chris Youlden - Vocal
*Bob Hall - Piano
*Kim Simmonds - Lead Guitar
*Dave Peverett - Rhythm Guitar
*Rivers Jobe - Bass Guitar
*Roger Earl - Drums
Original Eagles member Bernie Leadon was perhaps the group's most underrated and valuable player from 1972 through 1975, as he alternated between vocals, guitar (acoustic, electric, and pedal steel), banjo, and mandolin, in addition to lending a hand with songwriting. Prior to the Eagles, Leadon was a country-rock pioneer, playing in the pivotal outfits Hearts and Flowers and Dillard & Clark before joining the Flying Burrito Brothers. Once he left the Eagles, he settled in Nashville, working as a session musician, producer, and songwriter.
Born on July 19, 1947 in Minneapolis, Minnesota, Leadon appreciated rock & roll, but his true love lay in country music, as he began playing in a California bluegrass outfit in 1962, the Scottsville Squirrel Barkers. After relocating to Florida by the mid-'60s, Leadon joined the short-lived country-folk band Hearts and Flowers, appearing on their second and final recording, 1968's Of Horses, Kids and Forgotten Women, before forming a new group, Dillard & Clark. But once more, Leadon's tenure with the group would be fleeting, as he played on all of their 1968 debut, The Fantastic Expedition of Dillard & Clark, and only a few select tracks on their sophomore effort, 1969's Through the Morning, Through the Night.
Up next for Leadon was a brief stretch with Linda Ronstadt's backing band, the Corvettes, before joining up with one of the first-ever country-rock outfits, the Flying Burrito Brothers, in the fall of 1969. Leadon remained a member of the Burritos for a few years -- appearing on such albums as 1970's Burrito Deluxe, 1971's self-titled release, and 1972's live set, Last of the Red Hot Burritos. Upon leaving the Burritos, Leadon signed on once more as a member of Linda Ronstadt's backing band, which included guitarist/singer Glenn Frey and drummer/singer Don Henley. Shortly thereafter, the trio decided to form their own group, the Eagles, which was rounded out with the addition of ex-Poco bassist Randy Meisner. The band perfected and popularized the Flying Burrito Brothers' country-rock style, as both Frey and Henley proved to be superb songwriters.
The Leadon era of the group lasted for a total of four albums (which many longtime Eagles fans consider the group's best) -- 1972's self-titled debut, 1973's Desperado, 1974's On the Border, and 1975's One of These Nights -- on which Leadon penned such underrated gems as "My Man" and "Bitter Creek," among others. But the band's never-ending and grueling touring/recording schedule began to wear Leadon out, to the point that the guitarist decided to leave the group (as a self-described "act of survival"). The Eagles carried on with Joe Walsh replacing Leadon, and issued one of the biggest-selling releases in the history of pop music, Hotel California.
It didn't take long, however, for Leadon to land back on his feet and resuscitate his music career. In 1977, the guitarist formed the Bernie Leadon/Michael Georgiades Band, who issued a lone album the same year, Natural Progressions, before splitting up.
by Greg Prato
Michael Georgiades tends to drink up the spotlight here, as the retiring Leadon eases into a decidedly sporadic solo career. Still, country-rocking Leadon showcases like "How Can You Live Without Love?" and, in particular, his Eagles kiss-off "The Sparrow" provide stirring reminders of his early role as canny instrumentalist and old-pro traditionalist. This is the path left untraveled for his ex-band.
New York's songwriter Chip Taylor began recording melodic rock tunes under his real name, Wes Voight, brother of actor Jon Voight, uncle of Angelina Jolie and composer of the 1960s Troggs classic “ Wild Thing”. Adopting his new name, Chip Taylor turned to ballads such as Here I Am - 1961. He then recorded an album with Al Gorgoni, credited to Just Us, I Can't Grow Peaches On A Cheery Tree - 1965, and two albums with Al Gorgoni and Trade Martin, Gorgoni, Martin & Taylor - 1971 and Gotta Get Back to Cisco - 1972.
The debut LP by Chip Taylor, is an album with pop, folk rock and country influences, was originally released on Buddah Records and featured collaborations with guitarist John Platania - a collaborator with Van Morrison ), bassist John "Skinny" Regan and drummer Billy Carruthers. It opens with the single “Londonderry Company”, an acoustic American -style ballad with strings and flute sounds set in a city - Londonderry) in Northern Ireland.
Tracks
1. Londonderry Company - 3:30
2. Angel Of The Morning - 4:14
3. Home Again (Carole King) - 2:55
4. Lady Lisa - 3:05
5. Oh My Marie - 4:02
6. Gasoline - 2:15
7. Lightning (Don't Stay Mad With Me) - 3:39
8. Dirty Matthew - 3:09
9. You Didn't Get Here Last Night - 3:35
10.Swear To God, Your Honor (Chip Taylor, Al Gorgoni) - 4:32
Barnabus’ Beginning To Unwind is finally seeing a release nearly 50 years after it was first recorded, and we have Lee Dorrian (Napalm Death/Cathedral) to thank for this. The album is being released on Rise Above Relics which is an imprint of Lee’s Rise Above Records label dedicated to repressing relatively obscure late 60s to mid-70s hard rock and folk music.
Barnabus hailed from the West Midlands/Warwickshire, and unlike Black Sabbath, were from the (by comparison) picturesque town of Royal Lemington Spa. The line-up consisted of Keith Hancock (Bass/Vocals), John Storer (Guitar/Vocals) and Tony Cox (drums), there was also an unofficial fourth member by the name of Les Bates, a poet whose work would provide the group with some lyrical input. Hancock came across the band’s name when studying for an exam in a law book referencing a guy called Barnabus Legge from Coventry who murdered a woman and was hung at Coventry assizes. The group existed between 1970-73, and supported the likes of Hawkwind, Edgar Broughton Band and Trapeze. They also won the Midlands heat of the Melody Maker Rock & Folk contest, in 1972, where the judges were Ozzy Osbourne and Tony Iommi. Sadly, frustration with the music industry led to their split and the album remained unreleased, until now.
The original album artwork accompanying this release is a simply drawn landscape with both sun and moon dominating the skyline. The band, and Bates in particular, were passionate about the environment and the cover art reflects this. All this talk of the environment and nature also ties in nicely with the beautiful and mythic folk of Gas Rise which references the pollution in Leamington as a result of the huge Ford factory that would emit sulphur into the atmosphere, the lyrics demonstrating that Barnabus had a social conscience and an unwillingness to stick to standard rock ‘n’ roll clichés. The next track The War Drags On is a fantastic slice of Sabbath style proto-doom and thematically resembles the Sabs War Pigs.
There are a couple of covers on the record, Leonard Bernstein’s America is a reaction to the racism suffered by the Windrush generation and has a Progressive feel. The other is Morning Dew, a post-apocalyptic folk-rock song highlighting the horrors of nuclear war, originally by Canadian singer-songwriter Bonnie Dobson, which has also been covered by many artists including Nazareth and The Grateful Dead. The grim lyrical theme continues with the final track, the rocking and somewhat sadly prophetical Apocalypse.
The album consists of ten tracks and is nicely balanced between heavy rockers and genteel Folk songs. What I gleamed from the accompanying sleeve notes is that the heavier riffs on the album originate from Hancock (as do the gloomier lyrical themes) while the songs that Storer wrote with Bates tended to be more melodic and based on intricate guitar parts. The vocals are also divided between Storer and Hancock, with Hancock unsurprisingly tackling the heavier tracks, pointing out that his voice was ‘more acidic’ than Storer’s and ‘based on a Captain Beefheart sort of thing’. The tracks tend to be quite lengthy for the most part, but never do you feel like they are a chore to listen to.
Also included are demos of 2 newer tracks Mortal Flight and Winter Lady, which are worth checking out, as well as decent live versions of Morning Dew and Resolute. In conclusion, if like me you have a passion for early 70s hard rock then you will get a real kick out of this record.
by Reza Mills, 9 March 2020
Tracks
1. America (Oscar Hammerstein II, Richard Rodgers) - 10:43
2. Gas Rise - 4:52
3. The War Drags On - 4:27
4. Beginning To Unwind - 5:09
5. Clasped Hands - 4:22
6. Morning Dew (Bonnie Dobson) - 7:51
7. Don't Cry For Me My Daddy - 7:31
8. Resolute - 6:16
9. Drifters Lament - 6:56
10.Apocalypse - 6:41
11.Mortal Flight - 4:23
12.Winter Lady - 7:25
All Music by Keith Hancock, Tony Cox, John Storer, all Lyrics by Les Bates except where stated.
Babe Ruth was formed in 1970 and went on to make three impressive albums and several singles, for the Harvest record label. Their musical style was an engaging blend of hard rock, soul, and progressive and jazz rock, marked out by Alan Shacklock’s flammable guitar work, and arranging skills, and Janita ‘Jenny’ Haan’s powerful soaring vocals. They were a remarkable band in many ways, that deserved considerably more recognition, for what was a unique and expansive musical style.
First Base was their stunning 1972 debut album. Opening track Wells Fargo, is a stomping rock song, with some splendid soul aspects, supplied by Brent Carter’s saxes. The rhythm section of Dick Powell on drums and bassist Dave Hewitt adds some thumping propulsion to the song, while Gaspar Lawal adds some subtle rhythmic accents on the congas. Add into the mix, Alan Shacklock’s staccato guitar riff and Janita Haan’s superb soulful vocal, and you have the complete rock classic. The liquid guitar solo is the icing on the cake of this striking album opener.
The following track, The Runaways, begins with Dave Punshon’s gentle piano chords and Harry Mier’s undulating oboe. Janita Haan’s jazz like vocal phrases float over a haunting and elegiac cello quartet. The instrumental section melds the cello’s, with cymbal driven percussion, and Dave Punshon’s quite beautiful piano refrain, which he later punctuates with some sparkling solo playing. This is seven minutes plus of gorgeous music, with the oboe and string arrangements put together by the very talented Alan Shacklock.
Then we move onto Babe Ruth’s dazzling interpretation of the Frank Zappa classic King Kong, originally to be heard in multiple versions on The Mothers of Invention, Uncle Meat album. While respectfully retaining many of the elements in Zappa’s original, it adds in a jazz rock sheen, with the guitar and electric piano to the fore, and a driving blues backbeat. The piano and guitar solos are fast and inventive. It is a very good interpretation indeed. Black Dog is another inventive cover, this time of a Jesse Winchester song, where Janita Haan’s vocal becomes like another solo instrument in the band, spiralling upwards and driving the song forward. Dave Punshon delivers another stunning piano solo, that is full of syncopated lush melodies.
The Mexican, tells the story of The Alamo, from the Mexican soldier’s perspective, and includes an excerpt from Ennio Morricone’s For A Few Dollar’s More. It has a cool dance beat and was re-recorded in 1984 by John “Jellybean’ Benitez, with Janita Haan providing new vocals, and becoming a dancefloor hit in the process. The final track on the album, Joker, has the band returning to the hard rocking style of Wells Fargo, accompanied by Alan Shacklock’s most stinging guitar workout.
Across the tracks on this debut album, Babe Ruth demonstrated a wide range of musical reference points, strong songwriting and interpretive musical skills, aligned with great musicianship, and Janita Haan’s incredible vocal range. It is a rock classic that deserves to be heard and appreciated much more than it was on its release in 1972, and hence the space given to reflecting on its merits in this review.
The sophomore follow-up album, Amar Caballero, is of similar musical range and richness. By this time the line-up had changed a little, with Ed Spevock coming in on drums, and Chris Holmes playing keyboards on part of the album. At the core of the album is the three-part title track. The first section, El Caballero de la Reina Isabella, was written by Janita Haan and Alan Shacklock, and has a very evocative lyric by Janita Haan, which is sung with a wonderfully poetical and storytelling voice. Alan Shacklock’s Hombre de la Guitarra section, includes some very fast-paced classical guitar playing, underpinned by Ed Spevock and Gaspar Lawal’s, inspirational drums and conga shuffle. The final section, El Testament De ‘Amelia, is based on Miguel Llobet’s arrangement of this traditional song. Alan Shacklock’s playing has a gentle rising and falling, creating a meditative and open soundstage.
Other key album highlights include Broken Cloud, cowritten by Alan Shacklock and Janita Haan. It is a quite beautiful ballad, orchestrated with horns and strings by Alan Shacklock. Janita Haan’s voice here is it at its very best, sometimes whispered, and understated, and at other times ascending with incredible power. A raucous cover of the Capitols classic rhythm and blues track, Cool Jerk, is led by Ed Spevock’s meticulous funk-driven drumming. Janita Haan’s delivery of the lead and backing vocals, aligned with the rolling piano accompaniment of Dave Punshon, creates a fantastic soulful performance.
by Gareth Allen, 4th July 2022
Tracks
1. Wells Fargo (Alan Shacklock) - 6:16
2. The Runaways (Alan Shacklock, David Whiting) - 7:28
3. King Kong (Frank Zappa) - 6:46
4. Black Dog (Jesse Winchester) - 8:04
5. The Mexican / For A Few Dollars More - 5:48
.a. The Mexican (Alan Shacklock)
.b. For A Few Dollars More (Ennio Morricone)
6. Joker (Alan Shacklock) - 7:43
7. Lady (Alan Shacklock, Janita Haan) - 3:37
8. Broken Cloud (Alan Shacklock) - 3:57
9. Gimme Some Leg (Alan Shacklock, Janita Haan) - 6:01
10.Baby Pride (Alan Shacklock, Janita Haan) - 3:50
11.Cool Jerk (Donald Storball) - 2:27
12.We Are Holding On (Alan Shacklock) - 3:26
13.Doctor Love (Alan Shacklock) - 3:00
14.Amar Caballero (Sin Ton Ni Son) - 9:19
.a. El Caballero De La Reina Isabella (Alan Shacklock, Janita Haan)
To the outside observer, Looking Glass were one of the luckiest bands to come up during the early '70s -- and doubly so, coming out of New Jersey in 1972 with a number one hit, three years before anyone was thinking about Bruce Springsteen & the E Street Band, and getting radio play on the song that has carried over into the oldies and '70s nostalgia boom over the decades since. Ironically, the bandmembers were never entirely happy with either the hit or the nature of the success that it brought them, mostly because it didn't represent what Looking Glass actually sounded like.
The group was founded by Brooklyn-born guitarist/singer/songwriter Elliot Lurie, bassist Pieter Sweval, and pianist Larry Gonsky, all of whom were students at New Jersey's Rutgers University. In their original late-'60s incarnation, Looking Glass were successful playing frat parties and local clubs before splitting up in the early '70s after graduation. Eventually, Lurie and Gonsky linked up again with Sweval and drummer Jeffrey Grob (who had been playing together in a band called Tracks), and Looking Glass were reborn. A hard rock outfit with a lot of virtuosity, they decided to try turning professional and shooting for a real career; even as they got lots of work at clubs up and down the East Coast, they began writing songs and heavily rehearsing the new material. Their music impressed Columbia Records president Clive Davis, who signed them to the Epic Records label, and a debut recording session for the company was scheduled.
After two failed attempts at recording (including one with guitarist Steve Cropper in Memphis), they struck gold with a producer named Bob Liftin and a Lurie original called "Brandy." They went through a lot of different versions before coming up with one that worked, with unobtrusive strings and horns dubbed on and the group harmonizing more than usual. Initially released as the B-side of "Don't It Make You Feel Good" in early 1972, "Brandy" was overlooked (along with the A-side) until Harv Moore, a disc jockey in the District of Columbia, flipped the single over and took it up as a personal cause. The record broke out in the city of Washington and spread rapidly, peaking six months after its release at the number one position. A self-titled debut album was released in the spring and was more representative of the group's sound. Although it didn't sell nearly the way the single had, it performed well enough, riding the charts for 16 weeks. Unfortunately, Looking Glass were never able to emulate "Brandy's success, and their next few singles failed to chart. It was a year later before another single, "Jimmy Loves Mary-Anne," reached the Top 40 for the group.
These chart successes didn't really do as much as one might have expected for the group, however. Neither hit single sounded very much like the band did on-stage -- much more representative were fast-paced rock & roll songs like "Jenny-Lynne" and "Don't It Make You Feel Good." They were a long way from the horn and string overdubbed singles by which radio listeners knew them, and inevitably many concertgoers were disappointed in their shows, which emphasized the rock & roll songs over the catchy AM pop they'd released so successfully. Lurie, wearied over the contradictions in the group's success, left Looking Glass in 1974 and embarked on a short-lived solo career that yielded a solo album and a series of unsuccessful singles. He also played live locally in the New York-New Jersey area, including a gig with Al Kooper at New York's Bottom Line. When Clive Davis founded Arista Records in the mid-'70s after being forced out of Columbia, Lurie was signed to the new company but failed to find a hit.
The other members of Looking Glass stayed together for another year, playing out their string as "Lookinglass" without a recording contract and a decreasing audience, until they called it quits in the middle of the decade. By the end of the 1970s, Lurie was no longer a performer and had moved into the motion picture business, working in music. He has supervised numerous scores, including The Last of the Mohicans, and wrote or produced the music for Night at the Roxbury, Alien 3, Mary Katherine Gallagher: Superstar, Perfect, Die Hard 2, Dying Young, and a remake of Miracle on 34th Street, among other films. Lurie and Sweval revived Looking Glass as a touring band in 2003 and hit the road with a show that included their hits, album cuts, and cover versions of rock and pop favorites from various decades.
by Bruce Eder
Tracks
1. Jenny-Lynne (Pieter Sweval) - 3:05
2. Brandy (You're a Fine Girl) (Elliot Lurie) - 3:09
3. Catherine Street (Pieter Sweval) - 5:50
4. Don't it Make You Feel Good (Elliot Lurie) - 2:50
5. Golden Rainbow (Elliot Lurie) - 3:07
6. Dealin' With the Devil (Pieter Sweval) - 3:20
7. From Stanton Station (Elliot Lurie) - 3:48
8. One by One (Pieter Sweval) - 6:03
9. Jimmy Loves Mary-Anne (Elliot Lurie) - 3:24
10.City Lady (Elliot Lurie) - 3:26
11.For Skipper (Pieter Sweval) - 3:19
12.Sweet Somethin' (Elliot Lurie) - 2:51
13.Who's Gonna Sing My Rock and Roll Song (Larry Gonsky, Nancy Nalence) - 3:51
