The second (1969's Games People Play) and fourth (1971's Joe South) albums by Joe South were combined onto one CD on this 2006 reissue, which added three non-LP bonus tracks.
To some degree, Games People Play was a rushed album, issued to capitalize on the unexpected hit single title track (which had first been issued as an LP-only cut on South's previous long-player, Introspect).
Three songs that had appeared on Introspect ("Games People Play," "Birds of a Feather," and "These Are Not My People") were placed on Games People Play as well, and some of the other songs (like "Untie Me" and "Concrete Jungle") had been recorded by other artists as early as 1962.
For all that, however, it was a pretty cracking good set of country-soul-rock, and if it was hastily thrown together, it certainly didn't show in the songwriting, production, or performances.
South's sage, humanistic, and somewhat outside-looking-in view of the madding crowd came through forcefully in "Party People," "These Are Not My People," and "Birds of a Feather." Wholehearted romantic lust and confusion laced his energetic recastings of "Untie Me" (first a hit for the Tymes back in 1963) and "Hush" (which had just been a smash for Deep Purple), as well as the respectably Elvis Presley-meets-Neil Diamond-styled "Heart's Desire," which had the catchiness of a hit single.
The dabs of psychedelia throughout the record -- some electric guitar here, some weird echo there (both at once on "Hole in Your Soul," the most avowedly strange track) -- might have been trendy, but were nonetheless effective. Quite a lot of fine music not found on best-of compilations awaits South fans who have yet to discover this record.
As South was working at a white-hot pace in the late '60s, with three fine if slightly erratic albums emerging one after the other, it's perhaps unsurprising that Joe South was both less energetic and less impressive than what had preceded it.
It's still a worthy record with his expected (and perhaps unsurpassed) knack for combining rock, country, and soul, though it marked no less than the third appearance in four albums of "Birds of a Feather." Certainly the most renowned track is "Rose Garden," a number three pop hit in the hands of country singer Lynn Anderson, though South's version is unsurprisingly funkier and more relaxed.
At other points South sounds rather like Elvis Presley might have in the early '70s had Elvis been able to write songs and was less of a showboat. But while the songs are OK (and, in the case of "Rose Garden," quite a bit more than that), there was nothing aside from "Rose Garden" as exciting and striking as the best of what South had done in the late '60s.
The bonus tracks include the Righteous Brothers-styled B-side "It Got Away" and the rare psychedelic instrumental 45 "Soul Raga Simmerin'"/"Soul Raga Cookin'," which was issued under the name of the Believers, and which evolved into "Hole in Your Soul" when lyrics were added. ~ Richie Unterberger
"Games People Play" and "Joe South" are two classic country-soul albums well ahead of their time. Known primarily as a session man (Aretha Franklin, Wilson Picket, Bob Dylan) Joe South had shown his song writing ability since the late 1950's. "Games People Play" made him a bona-fide star.
The LP of the same name was an electrifying blend of southern soul and country with deft dabs of rock and psychedelia. His 4th album, Joe South (1970), was recorded in Atlanta, Georgia with the Atlanta Rhythm Section further demonstrating his skill as both a gifted songwriter and rootsy singer with an exceptional voice.
These two albums showcase a unique talent: Joe South, the man who blazed the path of country rock'n'soul. With three rare bonus tracks including the simmering psychedelic 'Soul Raga' by South's band The Believers, this 24 track, 75 minute '2-for-1' with revealing liner notes is extraordinary value
by Bernie Howitt
Tracks
Games People Play 1969
1. Games People Play - 3:33
2. Party People - 4:25
3. Untie Me - 2:34
4. Concrete Jungle - 2:52
5. Hole In Your Sole - 3:33
6. Hush - 3:45
7. Birds Of A Feather (Long Version) - 4:20
8. Heart's Desire - 2:52
9. Leanin' On You - 2:51
10.I Knew You When - 2:58
11.These Are Not My People - 2:31 Joe South 1971
12.High On A Hilltop - 3:43
13.Birds Of A Feather (Single Version) - 2:45
14.For The Love Of A Woman - 3:00
15.Rose Garden - 2:48
16.Yo Yo - 3:45
17.Fool Me - 2:59
18.How Can I Unlove You - 2:20
19.You Need Me - 3:03
20.She's Almost You - 2:22
21.Devil May Care - 3:05 Bonus Tracks
22.It Got Away - 2:28
23.Soul Raga Simmerin' (with The Believers) - 3:42
24.Soul Raga Cookin' (with The Believers) - 2:32
All songs by Joe South
Musicians
*Joe South - Vocals, Guitar, Sitar Tracks 12-21 with The Atlanta Rhythm Section
*Rodney Justo - Vocals
*Barry Bailey - Lead Guitar
*James B. Cobb - Guitar, Backing Vocals
*Dean Daughtry - Keyboards, Vocals
*Paul Goddard - Bass
*Robert Nix - Drums, Percussion, Backing Vocals
As on so many obscure long-players of the late '60s, there's a salad of styles on Kangaroo's sole, self-titled album, running the gamut from redneck country-rock ("Frog Giggin'," "Happy Man") and sunshine pop-spotted psychedelia ("Such a Long, Long Time") to strident folk-rock ("Daydream Stallion") and avowedly sub-Beatlesque sounds ("Happy Man," "Make Some Room in Your Life"). There are also insertions of backwards guitars, San Francisco-type acid rock riffing, soul vocal posturing, descendants-of-Mamas & the Papas male-female backup harmonies, and a monologue about killing frogs and having sex at the same time.
Still, there are good things about the record, particularly the vibrato folk-rock vocals of Barbara Keith. They're reminiscent to varying degrees of Melanie, Judy Collins, and Buffy Sainte-Marie, though her own personality comes through, as showcased to best effect on the record's highlight, the strident yet haunting folk-rock-psych outing "Daydream Stallion." Fans of Keith should be aware both that this record is not similar to the ones she would subsequently make during her long career, and that her contributions are usually confined to backup harmonies. But when she took the lead vocal -- as she did on "Daydream Stallion," the slightly less impressive "The Only Thing I Had," and her wordless scatting on the opening jazzy section of "I Never Tell Me Twice" -- Kangaroo showed some glimmers of becoming something special.
by Richie Unterberger
Tracks
1. Such A Long, Long Time - 2:13
2. You're Trying To Be A Woman - 2:15
3. Daydream Stallion (Barbara Keith) - 3:53
4. Make Some Room In Your Life - 2:42
5. Frog Giggin' (Norman Don Smart II) - 3:15
6. You Can't Do This To Me - 3:45
7. If You Got Some Love In Mind - 2:40
8. I Never Tell Me Twice - 2:28
9. Tweed's Chicken Inn (Norman Don Smart II) - 3:10
10.Happy Man (Teddy Spelios) - 3:30
11.The Only Thing I Had - 3:30
12.Maybe Tomorrow - 2:10
All songs by John Hall except where stated.
The Kangaroo
*John Hall - Bass, Guitar, Keyboards, Vocals
*Barbara Keith - Vocals
*Norman Don Smart II - Drums, Vocals
*Teddy Spelios - Guitar, Vocals
Perfectly capturing the live connection between the audience and performer, ‘Irish Tour’ is not the only one of Rory Gallagher’s best loved albums but is surely one of his greatest live albums ever released. Recorded in 1973 at Belfast’s Ulster Hall, Dublin’s Carlton Cinema and Cork’s City Hall the album shows Rory putting in performances of awe inspiring power, that after 30 plus years still make you yearn to be there, in the audience.
In 1974 the ‘troubles’, as they were known, were tearing Northern Ireland apart. Most artists refused to play Belfast, concerned about the all too frequent violence that could erupt. Rory was one of the few performers who could bring both sides together, unifying the crowd through his music. A recent article in a Belfast daily newspaper stated “Rory Gallagher never forgot Northern Ireland, he returned throughout the 70’s when few other artists of his caliber dared not come near the place”.
The tour was filmed by Tony Palmer, first envisaged as a TV film, it soon became clear Palmer had a movie with mass appeal. When released in 1974 the film played extensively in the U.K. then spread to Europe, eventually touring along side Rory in America.
The songs featured on ‘Irish Tour’ are mainly chosen from Rory’s previous releases. However the album does feature some cover versions of songs by artists such as J.B. Hutto, Tony Joe White and Muddy Waters, who Rory had worked with previously that year. The band live-up for the tour consisted of Rod De’Ath (drums) Lou Martin (keyboards) and Gerry McAvoy (bass).
Rory was renowned as a live performer, anyone who saw him play or who’d brought the 1972 ‘Live In Europe’ album knew his reputation was justified. He enjoyed success with his previous five releases, constant touring and plaudits from the press. On ‘Irish Tour’ the maturity forged by his musical development and the belief in his own abilities is palpable. Each member of the band shared the passion and understanding for the music they played, anticipating Rory’s mood and flow perfectly.
Throughout ‘Irish Tour’ the guitar tome is outstanding, colourful and hard-hitting, while maintaining a controlled sensitivity. Rory constantly demonstrates his incredible guitar technique. It’s worth mentioning his skilful backing chord work, volume control and his switching of tone, which deepen the musical expression of the album.
by Shu Tomioka
Tracks
1. Cradle Rock (Rory Gallagher) - 7:38
2. I Wonder Who (Morganfield) - 7:52
3. Tattoo'd Lady (Rory Gallagher) - 5:04
4. Too Much Alcohol (J. B. Hutto) - 8:30
5. As The Crow Flies (Tony Joe White) - 6:02
6. Million Miles Away (Rory Gallagher) - 9:29
7. Walk on Hot Coals (Rory Gallagher) - 11:13
8. Who's That Coming? (Rory Gallagher) - 10:05
9. Back on My Stompin' Ground (After Hours) (Rory Gallagher) - 5:18
10.Maritime (Rory Gallagher) - 0:33
If I was to construct one of those music-journo referential polygons, I’d pull together The Band, CSNY, Cream and most anything off Classic Hits FM to hint at the sound of this hairy British outfit calling themselves Coulsen, Dean, McGuinness, Flint. All Music Guide gives this album high praise, calling it the best Dylan cover album ever. What do I think? After playing it a lot over the past few weeks, then yes, I’m close behind, although some qualifications have to be made. Firstly, as a ‘Dylan covers album’ it’s not entirely true—at the time of release none of these songs had been officially made available to the public, so for those who hadn’t heard the Basement Tapes bootlegs where half of this material comes from, these were less ‘covers’ than new songs. Neither ‘Get Your Rocks Off’ nor ‘Sign On The Cross’ were even recorded by Dylan from what I can gather. Secondly, this is only ‘greatest’ in the sense that these songs are played in the rock and roll mode. If anything, this is only the second time a whole album of Dylan covers had been made and sung in English by a male rock band (both British bands, The Hollies being the other one). There was the Byrds Play Dylan of course, but they’d recorded Dylan songs intermittently throughout the sixties, only releasing their collection of Dylan covers as a stand-alone album in 1979.
The upshot is that for anyone who was a fan of Dylan and rock music in 1972, there really wasn’t much competition. All Dennis Coulsen et al had to do was put in a decent effort. Fortunately they went beyond decent and recorded a bona fide rock album that still sounds great in 2011. Yet until I researched Dylan cover albums I’d never heard of this group. Tom McGuinness had been a member of Manfred Mann while Hughie Flint was from John Mayall’s Bluesbreakers. Coulson is the lead singer here, though from what I can tell, the other members add backing vocals too and there’s several other musicians roped in to play sax, clarinet, trombone, euphonium and even flugelhorn.
Eternal Circle… was first heard here, otherwise not released by Dylan until the Bootleg Series 1-3 collection. Dylan’s version is as good as anything off Freewheelin’ but this version turns it into classic rock. Great lyrics too, all about how there’s a young woman in the audience watching the singer very intently but it’s such a long song that by the time he’s finished, he’s taken his eyes away, and she’s gone, like Batman. And now he’s singing a song about that experience, which makes this a meta-song, hence the title “Eternal Circle.” The instrumentation is rich and strong, hefty beat and bass, beautifully clear strummed guitars, piercing electric notes, and the singer is fantastic. “But the song it was long and it was far to the end / So I glanced at my guitar / And played it pretendin’ / That of all the eyes on me / I could see none.” There’s something almost Indian about the instrumentation here, sweeping strums across a Jews harp, a fairly fast tempo offset by those slow electric notes. They stuck this on first because it’s awesome, and it has that perfect pathos about it, a song of unfulfilled desire, grasping for something that’s not really there.
Lo And Behold… has a classic blues rock feel. Singer does a fantastic falsetto on the chorus part that goes “Get me outta here, my dear man!” These Basement Tapes lyrics are sort of brilliantly absurdist: “Going down to Tennessee / Get me a truck or somethin’ / Gonna save my money and rip it up.” The basic riff, beat and bass all sound like something you’ve heard a thousand times before, my idea of what George Thorogood and the Destroyers sound like, even though I’ve probably not heard them since the eighties. But the tune here is pure rock/pop and on one level it’s almost like they blow the Band out of the water, this is so good. But what it lacks I guess is that beautiful ramshackle carefree feel of the Basement Tapes versions.
Let Me Die In My Footsteps… is another only released on Bootleg Series Vol. 1-3. This has a similarly forlorn vocal to Dylan’s version. But it’s a nice dynamic shift from the previous song, with this tabla, and low submerged bass sound, tom tom type drums and mantra-esque quality about the melody. It doesn’t sound a million miles away from the Beatles’ ‘Within You Without You’ or ‘Love You To.’ The chorus: “Let me die in my footsteps / Before I go under the ground.” There’s two or three of them singing in semi-falsetto unison here too which also adds to that Hindi effect. Yet again, they’ve got the sound aesthetic exactly right. The recording is lavish, full, opulent. Crystal clear guitar parts, everything balanced just beautifully. Love that tabla.
Open The Door Homer… is another absurdist Dylanesque tale which plays on rhyming words. “Open the door Richard / I’ve heard it said before,” they sing here. This has a mid-tempo rock beat, a strong baroque-metal rock vocal. “‘Take care of all your memories,’ said my friend Mick / ‘For you cannot relive them / And remember when you’re out there / Trying’ to heal the sick / That you must always / First forgive them.’” Then we get a banjo solo, an electric guitar solo, some drum fills. A good time feel.
Lay Down Your Weary Tune… Dylan’s version wouldn’t see light of day until Biograph in 1985. Again, they really mix it up. Here we get Coulson’s appealing, emotive voice: “Lay down your weary tune, lay down / Lay down the song you strum / And rest yourself ‘neath the strength of strings / No voice can hope to hum.” While he sings this without any instrumentation the other three provide loud ‘aahs’ and ‘oohs’ like a barbershop quartet, then the song kicks in proper. The lyrics here are great too. It’s all about comparing various instruments and the sounds they make to aspects of nature. So for example “the morning breeze like a bugle blew / Against the drums of dawn,” “the ocean wild like an organ played,” “the crashin’ waves like cymbals clashed,” “the cryin’ like a trumpet sang,” “the branches bare like a banjo,” and “the water smooth ran like a hymn / And like a harp did hum.” All the backing musicians join in, the volume rises, everything builds in tune with these ideas spilling out of the lyrics which exhort the musician to take time out. Exhilarating stuff.
Don’t You Tell Henry… has the coolest opening ever on various brass instruments playing all whacky whoopy, bent notes. Then the song kicks in and sounds like some great lost Beatles classic along the lines of ‘Being For The Benefit Of Mr. Kite’ with one of those fairground tubas keeping time. When the chorus comes on each member joins in one by one, “Don’t you tell Henry / Don’t you tell Henry / Don’t you tell Henry / Don’t you tell Henry” until all four of them are singing in unison, “Apple’s got your fly.” It’s over quickly, but it bounces around resonantly. Wonderful.
Get Your Rocks Off… is not even listed as a Dylan song on his quite comprehensive website. It has this slow blues feel, again very much of the George Thorogood or John Mayall camp. Bass and drums playing together slowly, bumping and grinding out that bluesy rhythm, meanwhile, the phrase ‘Get your rocks off’ as it’s used here seems to have little or nothing to do with the usual meaning of the phrase as far as I can tell. Here we have a maid lying on a bed, a man up on Blueberry Hill, another man laying down around Mink Muscle Creek and finally some children in the side road, all of ‘em hollering “Get your rocks off / Get your rocks off-a-me!” The four short verses end, and we get some fiddly solo work, all plucked and skewered guitar notes, as the tempo begins to pick up pace, the electric guitar soloist starts showing off his Thorogood/Satriani chops, and even the drummer joins in with some hot little fills. Good stuff.
The Death Of Emmett Till… another great little number from 1962 which finally saw the light of day on the Witmark Demos boxset in 2010. “It was down in Mississippi / A few short years ago / When a young man from a Chicago town / Stepped through a southern door / Now this young man’s tragedy / I can remember well / For the colour of his skin was black / And his name was Emmett Till.” One of Dylan’s best race protest songs. Coulson takes care of the first verse solo before the drum and bass start up with a rhythmic rock beat. A word about the singer – he has the perfect ‘classic rock’ kind of voice. A little bit Glenn Frey/Don Henley, a little bit John Lennon, a little bit Jack Bruce, a little bit Ozzy Osbourne. His voice practically reeks of the dust you smell in any old second hand vinyl shop. Great protest anthem. Brilliantly performed.
Odds And Ends… sounds the most like The Basement Tapes version. Lead singer here is Hughie Flint who sounds a lot like Dylan, and he certainly gets the affectations exactly right, but it’s totally natural, not like he’s putting it on. What a pity these guys didn’t stay together and record a few more albums. Maybe they couldn’t write tunes as great as these, I don’t know, but this is like some long lost classic right up there with those Big Star records. About the only criticism I could level at this is that it sounds almost too much like the Basement Tapes version. “Odds and ends / Odds and ends / Lost time is not found again.” Indeed.
Sign On The Cross… was never released by Dylan in any official form. It’s a slow piano ballad, “Now I try, oh, for so awfully long / And I just try to be / And now, oh it’s a gold mine / But it’s so fine / Yes but I know in my head / That we’re all so misled, / And it’s that ol’ sign on the cross that worries me.” The pace is laidback, the vocal forlorn, serious, tender, gospel-like. The drum, bass, guitar all join in and pick up the pace, the piano drops out. This is the longest song here clocking in at well over five minutes. When the chorus comes on, Coulson lets loose on his baroque falsetto, what I like to think of as his heavy metal voice, but done in gospel style. He’s a brilliant singer as was Flint on the previous song. Here we get several female gospel singers doing backup on the chorus: “Sign on the cross / Sign on the cross / Sign on the cross.” Coulson actually manages to sound African-American! How are they doing this!? Piano bouncing away, all singers joining in, musicians pick up the pace, everyone hollerin’ and hootin’ in the background as the song does a long slow fade out. Truly inspiring stuff. One almost wonders if this isn’t one of those secret supergroups made of members using aliases. Look at those hairy bastards on the cover! Surely they can’t be the chaps producing this incredible sound? Here’s what so perfect about this album – they have a distinct sound, but they keep the dynamic continually on the move from song to song, so that they never sound like they’re repeating themselves. This should get the reissue treatment big time.
by Alan Bumstead, December 6, 2011
Tracks
1. Eternal Circle - 2:58
2. Lo And Behold - 4:14
3. Let Me Die In My Footsteps - 4:15
4. Open The Door, Homer - 4:25
5. Lay Down Your Weary Tune - 4:05
6. Don't You Tell Henry - 2:00
7. Get Your Rocks Off - 4:50
8. The Death Of Emmett Till - 3:35
9. Odds And Ends - 2:33
10.Tiny Montgomery - 3:37
11.I Wanna Be Your Lover - 3:35
12.Sign On The Cross - 7:25.
13.Eternal Circle (alternate mix) - 2:58
Music and Lyrics by Bob Dylan
Bonus Track 13
Personnel
*Dennis Coulson - Lead Vocals
*Dixie Dean - Bass Guitar, Harmonica, Cornet, Jew's Harp, Vocals
An extremely rare piece of independent folk psych left in Minnesota in 1972. Three St. Paul natives: Richard Greenwood (vocals, sitar, guitar, violin), John Curley (vocals, harmonica, trumpet), Clyde Thompson (vocals, keyboards, guitar) and session members (drums, flute) , percussion, and bass), and features an acoustic sound with a natural live feel that has been compared to the early 70's British band Heron, as well as a laid-back acid feel.
Tracks
1. Changes - 4:45
2. One Time One Place - 3:37
3. Little Willy - 4:18
4. Sitting At The Crossroads - 3:25
5. Wandering - 4:27
6. Kind Woman - 2:33
7. Brother Song - 6:50
8. One Little Man - 7:13
9. Christmas Song - 4:25
10.Together - 6:27
Music and Lyrics by Richard Greenwood, John Curlee, Clyde Thompson
Back in the '60s, most white blues fans trying to play the music took the approach of struggling to sound as serious and authentic as possible, and a big part of the charm of the Insect Trust's debut album is that, by accident or design, they went in an entirely different direction.
While the Insect Trust were clearly and affectionately influenced by classic blues and folk, they were also eager to mess around with it, and Robert Palmer and Trevor Koehler's horns and woodwinds often throw this music into a loopy, atonal, and acid-infused direction while the loose, slightly rickety sound of Bill Barth and Luke Faust's guitars and banjos honors the styles found on vintage 78s just as their rock-oriented chops keep the results from sounding as if they spent much time actually learning the original riffs.
Given the loose but insistent backporch funk of this music -- perhaps held in place by guest musicians Bernard Purdie, Hugh McCracken, and Chuck Rainey -- the sweet tone of Nancy Jeffries' vocals seems a bit out of place, but she never seems less than committed, and she gives "World War I Song" and "Declaration of Independence" a full-bodied reading that fits their meaning, if they don't sound especially "bluesy."
And the final two cuts, "Mountain Song" and "Going Home," take off into a never-never land of pastoral avant-garde whimsy that exists in a world all its own. the Insect Trust refined their worldview on their second, last, and finest album, 1970's Hoboken Saturday Night, but their debut has more than its fair share of lovely moments and is an engaging example of roots music fans letting their freak flag fly with righteous joy.
by Mark Deming
Tracks
1. The Skin Game - 4:07
2. Miss Fun City - 5:04
3. World War 1 Song - 3:18
4. Special Rider Blues - 7:45
5. Foggy River Bridge Fly - 1:07
6. Been Here And Gone So Soon - 3:29
7. Declaration Of Independence - 2:30
8. Walking On Nails - 3:12
9. Brighter Than Day - 2:31
10.Mountain Song - 2:49
11.Going Home - 5:10
As dusk enveloped the spectacular vistas of Yosemite Valley in Yosemite National Park, California, a huge pile of wood lay stacked at the edge of a high cliff. Nature lovers from far corners of the world gathered on the valley floor, waiting till dark when the woodpile was torched and slowly pushed off the cliff, the burning logs forming a blazing cascade down the mountain’s stony face. The image of the primitive light show, staged at Yosemite for tourists, stuck in Florida-born Rick Roberts’ mind for a long time. Then in l973, as he and his new Colorado based band were about to play their first gig but still needed a name, the image flashed back: Firefall. That seems an especially dead-on handle for the country flavored rock’n’roll band that carried the torch of musical forebears such as The Byrds, Buffalo Springfield, and The Flying Burrito Brothers into the mid-’70s and beyond.
In early 1975, FIREFALL recorded a three song demo tape produced by Chris Hillman and began shopping it to several major labels. At the same time, the new group’s members pursued other musical avenues. After CSNY’s mammoth 1974 tour and latest divorce, Stills put a new group together, and signed a solo deal with Columbia. Stills cut his solo album at Caribou Studios near Nederland, Colo., and for the six week supporting tour that summer, Stephen added Roberts to the band on backing vocals and guitar. During the set, Rick sang his song, ‘Colorado,’ a Burrito tune that Linda Rondstat had made famous.
Firefall’s big break came unexpectedly, at around the same time. A few months after splitting up with Richie Furay and J. D. Souther, Chris Hillman hit the road with a backup band that included Firefall’s Bartley, Andes, and Roberts. By the time they were scheduled to play The Other End in NYC, Hillman became ill and could not complete the tour. Firefall flew in it’s other two members from Colorado to finish the engagements. Atlantic A&R reps, who’d been impressed by their demo, caught the show and quickly offered the group a multi-album contract. They signed on and made plans to record their first record in the winter of 1975. Wanting more color and texture to their music, Firefall called upon DAVID MUSE, a high school buddy of Rick’s in Bradenton, Fla., who played sax, flute, harmonica and every imaginable keyboard. It was the final musical piece Firefall would need. With ex-Poco Producer Jim Mason at the helm, the band went into rehearsals in Boulder.
Though Caribou Studios was available and nearby, it was quite pricey and would probably be ‘too close’ to home, families and all the distractions that might take away the needed focus. So Firefall flew to Miami, Florida to record at one of the top studios in the country, Criteria Studios, who had hosted many artists including The Bee Gees, Eric Clapton, The Allman Bros., CSN and Stephen Stills. The band got down to focused work and the magic flowed. The first album, engineered by Karl Richardson (Bee Gees), took one month to record and mix and was made on 16 track tape. It was released by Atlantic Records in the spring of 1976 and became Atlantic’s quickest album to sell gold status (500,000) in it’s storied history. Sparks flew with the album called “FIREFALL” and the group’s sound caught fire on record, radio and on-stage. While the first single, ‘Livin’ Aint Livin,’ climbed into the top 40, songs like ‘Mexico,’ Robert’s original version of ‘It Doesn’t Matter’ and Burnett’s ‘Cinderella’ took off on album oriented rock (AOR) stations.
The group toured with Leon and Mary Russell, The Doobie Brothers and The Band (on their final tour before making their farewell documentary movie, ‘The Last Waltz’). The second single, ‘You Are The Woman,’ raced into the Top 10, becoming an overnight mega-hit with pop and mellow rock audiences. Firefall continued to tour the summer of ’76 with Fleetwood Mac, who’d recently added Stevie Nicks and Lindsey Buckingham to their lineup for their groundbreaking “White Album.” Firefall cemented relationships with Mick and the band that would last a year and a half. A rare (for the era) third single, ‘Cinderella,’ though having received saturation FM airplay, fared less well on AM radio, hindered, as they would later learn, by a few influential woman’s organizations on the east coast who didn’t like the ‘message’ of the (fictional) lyrics. But Firefall blazed very brightly in 1976 and 1977, making a sizable mark during their first year in a crowded industry with their fresh and melodic music.
The group went back to Miami and Criteria Studios with Jim Mason to make their second album. It was to be called “TROPICAL NIGHTS” and included a number of songs that would later be dropped. Instead of a hotel, they rented one of the ‘Home At Last’ mansions that Eric Clapton made famous on his “461 Ocean Blvd.” album. Percussionist JOE LALA, (ex Manassas and CSN percussionist and an occasional touring Firefall member) and the legendary Memphis Horns added punch to the record. But in L.A., Atlantic C.E.O., Ahmet Ertegen, listened to the playback of the final mix and stated, “You boys need to go back in the studio and re-do this record (as Fleetwood Mac had with the White Album). It must be stronger to follow up your great first album. Write more songs, go back on tour, take your time.. no problem.” And so the band hit the road again and prepared to rework a few existing songs and add a number of newly written ones, including the future single, ‘So Long.’ The new album was renamed “LUNA SEA” with a new cover and released in early 1977.
The debut single, ‘Just Remember I Love You,’ re-recorded with ex-Poco and future Eagle, TIMOTHY SCHMIDT singing background vocals, shot up the charts into the Top Ten. The album was certified gold on Oct. 3, after less than two months on the Billboard charts, where it peaked at #27. The song however, reinforced Atlantic’s – and radio’s – perception of Firefall as a soft-rock ballads band. The group on the other hand, saw itself as a smokin’ rock unit who happened to have a few mellower hits that got lots of pop and adult contemporary airplay. As a result, the second single off ‘LUNA SEA,’ the more rock’n’roll ‘So Long,’ didn’t get the major push or airplay the first single had. Non-stop touring, managerial problems, alcohol and drug abuse by some of the band and internal friction began to tear at the group – but it was the ‘big time’ and they were enjoying ’star status.’ All differences were swept under the table. The band toured extensively with Fleetwood Mac during their Rumors Tour (playing sold out stadiums nationwide) and also played with The Doobie Bothers, Chicago, The Marshall Tucker Band, The Beach Boys and Lynard Skynard (frequently playing with them right up to Skynard’s terrible plane crash).
Firefall came back stronger than ever in 1978 with their third album, “ELAN,” recorded first at Criteria and later at L.A.’s Record Plant. The band brought in heavyweight producer Tom Dowd (Aretha Franklin, The Rascals, Cream, The Allman Bros., Eric Clapton) to make the record. But band and producer, though getting along fine, had different musical visions. Atlantic was poised to release Dowd’s effort, when Firefall’s new manager, Mick Fleetwood and Limited Mgmt., demanded the group be allowed to ‘beef up’ the record. And so, for a second time, the band re-worked an album (and greatly increased their on-paper debt with the label). And again, their dark luck with managers continued – Limited Mgmt. and Firefall soon parted ways.
The production team of Ron and Howard Albert (The Allmans, Clapton, Stephen Stills/Mannassas, Crosby, Stills & Nash) were brought in to finish the project. Don Gehman, who engineered the Miami dates and mixed the whole record with the Alberts would go on to produce John Mellencamp in the ’80s. Industry anticipation was so high for “ELAN” that it shipped gold, meaning half a million copies were in stores on release day. Hoping to put any identity issue to rest, the band and Atlantic chose ‘Strange Way’ as the album’s first single. The Roberts tune was a ballad and a rocker rolled into one, alternating mellow, plaintive verses with angry, ballsy choruses and featuring a smokin latin-flavored flute solo at the end. Not surprisingly, it went over big with both Top 40 and AOR radio during the autumn and winter of ’78, and the band embarked on another series of concert dates, this time as the headliners. ‘Strange Way’ and other oft played tracks like ‘Sweet And Sour’ (with future Traveling Willbury’s/Little Village drummer Jim Keltner on drums), helped boost “ELAN” past the million mark in sales as 1978 gave way to ’79. It was certified as Firefall’s first platinum album in mid January, just as ‘Goodbye, I Love You’ was saying hello to the Hot 100. Three months later, ‘Sweet And Sour’ was issued as a single, continuing the long hot run.
by Stephen K. Peeples
Tracks Disc 1 Firefall 1976
1. It Doesn't Matter (Chris Hillman, Rick Roberts, Stephen Stills) - 3:32
2. Love Isn't All (Larry Burnett) - 4:11
3. Livin' Ain't Livin' (Rick Roberts) - 3:48
4. No Way Out (Larry Burnett) - 4:05
5. Dolphin's Lullaby (Rick Roberts) - 4:33
6. Cinderella (Larry Burnett) - 3:53
7. Sad Ol' Love Song (Larry Burnett) - 4:42
8. You Are The Woman (Rick Roberts) - 2:45
9. Mexico (Rick Roberts) - 4:17
10.Do What You Want (Larry Burnett) - 4:02 Luna Sea 1977
11.So Long (Rick Roberts) - 5:28
12.Just Remember I Love You (Rick Roberts) - 3:18
13.Sold on You (Larry Burnett) - 3:34
14.Someday Soon (Rick Roberts) - 4:05
15.Just Think (Rick Roberts, Mark Andes, Michael Clarke, Larry Burnett, Jock Bartley, David Muse) - 4:14
Disc 2 Luna Sea 1977
1. Getaway (Larry Burnett) - 3:46
2. Only a Fool (Rick Roberts) - 4:24
3. Head on Home (Larry Burnett) - 4:04
4. Piece of Paper (Larry Burnett) - 4:06
5. Even Steven (Larry Burnett, Rick Roberts) - 4:24 Elan 1978
6. Strange Way (Rick Roberts) - 4:45
7. Sweet and Sour (Jock Bartley, Rick Roberts) - 3:32
8. Wrong Side of Town (Larry Burnett) - 2:42
9. Count Your Blessings (Rick Roberts) - 3:32
10.Get You Back (Larry Burnett) - 4:16
11.Anymore (Mark Andes, Larry Burnett) - 4:03
12.Baby (Larry Burnett) - 3:48
13.Goodbye, I Love You (Rick Roberts) - 4:22
14.Sweet Ann (Rick Roberts) - 3:25
15.Winds of Change (Rick Roberts) - 3:31
It’s almost impossible to avoid describing Rough Mix as devotional music, but it’s equally difficult to reconcile that description with some of the album’s components. Townshend’s stinging guitar on “My Baby Gives It Away,” the chugging. Faces-like title instrumental and the wailing saxophone coda on Lane’s Fifties-style “Catmelody” are hardly typical of spiritual music. But then matters meditative have never before been fully integrated into the ugly, angry sounds we call rock & roll. Their juxtaposition here, in fact, might be one meaning of Rough Mix; it certainly ain’t smooth.
The Who’s Townshend and former Face Lane come by their rock & roll inclinations honestly, and obviously, but spiritual inclination is their long suit here. Both men are followers of Meher Baba, the Indian spiritual master who died in 1969, and this has given the album a sort of humility — not to say modesty — which is its special virtue.
Not surprisingly, almost everything Townshend does here owes a debt to the Who. “My Baby Gives It Away” is one of his improbable sexual misadventures, like “I’m a Boy” or “Pictures of Lily.” “Misunderstood” is more understated musically — just voice, guitar, harmonica, cowbell and a drum machine — but belongs with his best boasts, in the tradition of “My Generation.” “Just one want to be misunderstood/Want to be feared in my neighborhood.” Ten years ago, this probably would have been called a Dylan parody, but the resolution of the lyric is actually a lot closer to the self-doubt of The Who by Numbers.
“Street in the City” is helped by Townshend’s marvelous acoustic guitar, but it is dominated by an utterly unlikely horn and string arrangement. It is schmaltzy enough to pass for an outtake from Days of Future Passed, and as the album’s longest track, it is simply its most vexing.
“Keep Me Turning” is a spiritual parable that is undoubtedly much clearer to its author than to any other listener. The organ, guitar and drum interplay makes the song exciting, but what draws me back time and again is the yearning and vulnerable quality of Townshend’s vocal. This is spiritual rock & roll in the very best sense: it doesn’t always make sense except in the heart, which won’t ignore it. Its wit and charm strike beyond the confusion of its verses to the heart of the chorus, where the devotional imagery is most complete, and the guitar part at the bridge, which is among the most supple and liquid Townshend has ever done.
Lane’s songs reflect his recent work with Slim Chance; his last album, which has not been released in the U.S., had a hint (“Harvest Home”) of what is fully realized here. Lane has moved past straight rock & roll — although he makes his share of it on “Catmelody” and “Rough Mix” — into a merger of rock with Irish ballads and Scottish and English folk music. There is a kind of wisdom and assurance to these songs, and when he sings, “God bless us all,” or, of “all of my family and all of my friends,” he does so with sincere conviction. More wonderfully, there is no distance, no sense of trying to recapture something lost in a modern age. In addition, as John Prine once said of Jackson Browne. I don’t know where Lane gets his melodies. but I’d sure like to go there.
Lane makes his music with guitars, fiddles, banjos, drums, harmonica, electric bass. Although that sounds like a formula for folk rock, there is nothing of the haunted quality or joyousness of the greatest folk rock. Instead, there is a meditative air to the music, captured eloquently in the opening verse of his best song here, “Annie”.
What Lane does is hardly unprecedented. Dylan’s soundtrack to Pat Garrett and Billy the Kid, Eric Clapton’s 461 Ocean Boulevard, even Led Zeppelin’s “Stairway to Heaven” share a part of its wise and ancient spirit. (Clapton brings a blues guitar to “April Fool” that is its prettiest touch.) Townshend has made his share of songs with a similar feeling — silly as it was, The Who by Numbers’ “Blue, Red and Grey” had it — as has Lane himself: listen to the Faces’ “Debris.” What’s important is that the dedication and beauty of the music is as crucial as the homage it pays to its masters and traditions.
So the final numbers on Rough Mix, among the few true collaborations on the record, have a special flavor. Don Williams’ “‘Til the Rivers All Run Dry” is a country love song, but in this context — and considering Baba’s love for Jim Reeves’ “There’s a Heartache Following Me,” which Townshend did on his first solo album — it is clearly a tribute to the master.
“Heart to Hang Onto,” written by Townshend but on which Lane sings the verses and Townshend the choruses, wears an even thinner veil. There’s a brutal war going on in the song’s midsection between Townshend’s Tommy-like guitar and John Entwistle’s brass arrangement. This is the perfect musical expression of the cosmic quest — this is the real “The Seeker.” The lesson here is stated through a series of metaphorical characters, the most tragic of whom is Danny: “Danny, he wants to save for a new guitar/He’s gonna learn to play but he won’t get far.” Implicitly, Danny’s not going anywhere because he hasn’t made the connection; he has no “heart to hang onto,” which is to say he lacks the spirit to make the music move.
The glory of this album and of the work of Pete Townshend and Ronnie Lane throughout their careers is that art and the deepest spiritual aspiration are completely intertwined. Often, of course, that makes for a rough mix, and a rougher life. But it’s worth the turbulence, for it touches closer to the heart of the rock & roll experience than almost anything I know.
by Dave Marsh, October 6, 1977
Tracks
1. My Baby Gives It Away - 4:03
2. Nowhere to Run - 3:17
3. Rough Mix (Pete Townshend, Ronnie Lane) - 3:12
4. Annie (Eric Clapton, Kate Lambert, Ronnie Lane) - 2:56
5. Keep Me Turning - 3:46
6. Catmelody (Kate Lambert, Ronnie Lane) - 3:12
7. Misunderstood - 3:01
8. April Fool - 3:34
9. Street in the City - 6:07
10.Heart to Hang Onto - 4:28
11.Till the Rivers All Run Dry (Don Williams, Wayland Holyfield) - 3:54
12.Only You - 4:29
13.Good Question - 3:34
14.Silly Little Man - 3:44
Songs 1,5,7,9,10,13 written by Pete Townshend
Songs 2,8,12,14 written by Ronnie Lane
Bonus Tracks 12-14
Musicians
*Ronnie Lane - Vocals, Guitars, Mandolins, Bass Guitars, Banjos, Ukuleles
Little Free Rock was a Heavy Rock Trio from Preston in Lancashire, England. Peter Illingworth, Lead Guitar and Vocals, Paul Varley, Drums and Frank Newbold, Bass Guitar and Vocals.
Their Eponymous Album was released in November 1969, and they were an evolution of Purple Haze whose psychedelic nuances created great interest from their conception in early 1968. Purple Haze were a highly respected three piece outfit formed originally performing covers of songs from bands like The Who, Creation, Tomorrow etc but quickly developing a style and presentation of their own. To avoid association with Jimi Hendrix's Purple Haze, the name was changed to Little Free Rock from the meaning of their names. Paul means 'Little', Frank means 'Free' and Peter the 'Rock'.
Little Free Rock went on to work with Ginger Johnson's African Drummers, whose appearance with the Rolling Stones at the 1969 Hyde Park Concert in Sympathy for the Devil has created much interest. Drummers who appeared from time to to included Gaspar Lawal (Ginger Baker's Airforce), Remi Salaka (Rolling Stones), Speedy Aquay (Georgie Fame and the Blue Flames), Lofty and Mac Tonto (Osibisa), and 'Lord' Eric Carboo. On one occasion at the Chalk Farm Roundhouse there were 26 African Drummers and a Witchdoctor.
The band performed regularly at the Roundhouse Sunday Night 'Implosion' Events and had numerous residencies at the Wardour Street Marquee Club. As well as performing all over Belgium, Continental Trips included the Star Club in Hamburg, Essen Jazz and Blues Festival, and festivals in Frankfurt, San Tropez and Santa Margarita de la Costa in Italy.
CBS and Warner Brothers were becoming exceedingly interested in this new Afro Rock but only six weeks after the release on the LFR Album, Transatlantic started Breach of Contract proceedings. When CBS and Warner Brothers heard this they backed off, however, CBS said that the band was too much like Santana, whom they already represented. Unfortunately, LFR were then unable to record for Transatlantic or anyone else for that matter, which was sad as the original Contract was for 6 Albums over a three year period.
Peter Green (Fleetwood Mac) joined the band for a short period, with gigs arranged at The Marquee and The Lyceum, and invited LFR to perform on sessions for his Solo Album. Sadly, after only one gig at a club called The Night Angel Club in Soho, Peter decided that he was having too much hassle with Ginger Johnson about fees for the recording and he backed out. The tracks were never released.
Tracks
1. Roman Summer Nights - 2:47
2. Lost Lonely - 4:15
3. Blud - 3:55
4. Castles In The Sky (Peter Illingworth, Frank Newbold) - 3:49
5. Dream - 3:46
6. Tingle - 3:59
7. Evil Woman (Peter Illingworth, Frank Newbold) - 2:43
8. Age Of Chivalry - 4:24
9. Making Time (Eddie Phillips, Kenny Pickett) - 10:20
Songs 2,3,6,8 written by Peter Illingworth
Songs 1,5, written by Frank Newbold
Little Free Rock
*Peter Illingworth - Guitar, Vocals
*Frank Newbold - Bass, Vocals, Percussion
*Paul Varley - Drums
The Colwell-Winfield Blues Band. A nice enough, nondescript name for what would seem to be a nice enough nondescript white blues band, a somewhat fashionable commodity these days. But here is where the listener is suddenly surprised, for, as was evidenced at the Supermarket this weekend, the band comes complete with a pair of saxophone players.
Until the group gets warmed up to the prospect of playing as a group they manage to maintain the audience's interest with a succession of very well done sax solos, done in the jazz vein. The combination of an electric rock-blues band and pair of jazz saxophonists' is extremely well-blended, creating a feeling not of a rock group attempting a jazz piece, but the impression that these guys really were jazz musicians disappointed with the undefined ramblings of the 'new Jazz' musicians and searching for a new outlet, in rock. The influence upon them is obviously Coltrane and Coleman, yet there is occasionally soft and gentle (Shorter)? influence for balance. It's very gratifying to know that there is a group associated with the rock legions that uses a saxophone for what it is, not a member of the 'sock-it-to-me' rhythm section, but a solo lead instrument.
As a blues band, Colwell-Winfield is a fine representation of the musicl works of BB. King, Muddy Waters, Skip James et.al. both in presentation and style, but that is not enough. The problem involved with being a good blues band is one of identity. Too many good blues bands exist today, not enough groups have something else. For this reason (their ability to combine horns with a basic heavy blues background) Colwell-Winfield should be heard. Easily the most impressive number of the night was their overwhelming handling of "Dead End Street" a sometimes slow, sometimes rapid creative structure of sounds.
Starting like another of their saxophone based jazz-influenced numbers the song proceeded to catch everyone up in its magnitude. In much the same manner that the Cream has been known to play, i.e. a desire by each individual to outdo the next, the song soared through guitar solos, sax solos, electric piano phrasings, electric bass, horns, and drum breaks in continuing excellence. And amazingly enough they accomplished it all while remaining together as a unified whole, to the delight of the audience, which finished the twenty minute outburst on its feet applauding and cheering, the group seemed unable or, more likely unwilling to quit. This group should make it very big, very soon. If you can't hear them live (by far the best way) get their 'Cold Wind' album. It is a better than average studio production of an often times inspiring group…why couldn't this have been the 'Boston Sound'?
by Randy Hawthorne
Tracks
1. Free Will Fantasy (Mike Winfield) - 4:18
2. Mind To Give Up Living (Got A Mind) (Bill Colwell) - 6:49
3. Dead End Street (Ben Raleigh) - 7:54
4. Cold Wind Blues (Bill Colwell, Bruce Sweeney, Charles "Moose" Sorrento) - 4:45
5. Whole Lot Of Lovin' (Joe Josea, Maxwell Davis) - 3:33
6. Going Down Slow (St. Louis Jimmy) - 4:40
7. Govinda (Collin Tilton) - 6:00
8. Wind Is Singing (Bill Colwell) - 4:10
9. Cold Wind Blues (Version 2) (Bill Colwell, Bruce Sweeney, Charles "Moose" Sorrento) - 4:00
10.Whole Lot Of Lovin' (Version 2) (Joe Josea, Maxwell Davis) - 3:49
