This Trenton New Jersey band was lead by brothers Lon and Derrek Van Eaton, who previousle played with local garage band The Tree, along with drummer Tim Case and are best-known for the subsequent music they made for The Beatles’ Apple label.
They added guitarist Steve Burgh and singer guitarist Bruce Foster to form Elisium in 1968, which morhed into Jacobs Creek. Basing themselves in New York, they played at Andy Warhole's Factory, opened the Doors and soon signed to Columbia, who placed them with producer Al Lawrence (perhaps best known for his work with Santana).
The quintet's resulting album was issued in August 1969 complete with a lyric insert and touched on pop, rock, country, blues, psychedelia and Folk. With arrangements encompassing electric guitars, horns and sitar, unfortunately the label didn't promote it, and (despite encouranging radio play) didn't sell. The band continue to play around New Jersey
finally splitting in March 1971. Brothers Lon and Derrek Van Eaton put together some home recorded demos as a duo, Apple's manager Tony King liked what he heard and recommended the duo to George Harrisson who arranged for them to singed to Apple in September 1971 and went on to produce their album, Brother, released next year.
Tracks
1. Colors - 5:20
2. Anonymous Verdict Suite (Jesus' Return / Christian Man) - 7:18
3. Everything's Gonna Be Alright - 2:26
4. Coming… The River - 5:04
5. Do You Understand? - 3:09
6. What's Around - 3:02
7. A Love Song - 2:08
8. Behind The Door - 4:06
9. What You Hear (Lon Van Eaton, Bruce Foster) - 2:53
10.Lonely Fire - 4:10
11.The Circle - 6:10
12.Katharine - 1:01
All songs written by Lon Van Eaton, except where noted.
Jacob's Creek
*Lon Van Eaton - Keyboards, Guitars, Vocals
*Steve Burgh - Guitars, Organ, Vocals
*Derrek Van Eaton - Vocals
*Tim Case - Drums
*Bruce Foster - Guitar, Banjo, Organ
*Steve Mosley - Drums
Guest Musician
*Denny Storley - Congas
Despite his many affiliations within Los Angeles’ session scene, Warren Zevon was a struggling songwriter who was going nowhere in a hurry when his pal Jackson Browne convinced Asylum Records to take a chance on signing him.
With Browne at the helm, Zevon gave birth to a pair of albums — his self-titled endeavor and its follow-up Excitable Boy. Taken together, they gave him the means, for better or for worse, to live a rock ‘n’ roll lifestyle, at least temporarily. Admittedly, 30 years after the fact, both collections sound a tad dated, forever tethered to the ’70s by the sort of glossy sheen that typically was affixed to singer/songwriter efforts from the era. Still, there’s no denying the potency of Zevon’s formula, which refreshingly injected a twist of biting satire into the more romantic inclinations of his peers.
Although it was, in actuality, Zevon’s third endeavor, Excitable Boy had the look and the feel of a sophomore effort. By Browne’s own admission, the collection was constructed from its predecessor’s spare parts, and although they were exquisite specimens — both Werewolves of London and the title track had been set aside and saved — the fact remains that there was less unity amongst the set’s contents. Nevertheless, it’s hard to quibble with the songs themselves.
Here’s an indication of Excitable Boy’s strength: Six of its nine tracks were redeployed to form the basis of Zevon’s greatest hits retrospective A Quiet Normal Life. Of the remaining cuts, only the deliciously funky, but ultimately lightweight Nighttime in the Switching Yard could be considered filler. The other two selections — Tenderness on the Block’s gently optimistic message from a father to his daughter and Veracruz’s mournful depiction of the casualties of American imperialism — are equally worthy contenders.
That’s quite a testament to Zevon’s capabilities, especially considering that the rest of Excitable Boy was filled with his widely recognized tales of a predatory ladies’ man (Werewolves of London), a vengeance-seeking vigilante (Roland the Headless Thompson Gunner), a self-destructive antihero (Lawyers, Guns and Money), and a battered, bruised, and ultimately doomed relationship (Accidentally Like a Martyr).
Although his later efforts undeniably contained a more cohesive narrative — a product of the maturity that middle age brings as well as the focus that arrived once he overcame his dependence upon alcohol — it arguably is difficult to find a more iconic collection of songs within his canon. Recently reissued with a quartet of bonus tracks — including a haunting rendition of Tule’s Blues (a personal account of the dissolution of his marriage) and the string-draped Frozen Notes (an equally sad reflection upon lost love and loneliness) — Excitable Boy still stands, in spite of its flaws, as strongly, proudly, and defiantly as it ever has
by John Metzger
Tracks
1. Johnny Strikes Up the Band (Warren Zevon) - 2:51
2. Roland the Headless Thompson Gunner (David Lindell, Warren Zevon) - 3:52
3. Excitable Boy (LeRoy Marinell, Warren Zevon) - 2:41
4. Werewolves of London (Waddy Wachtel, LeRoy Marinell, Warren Zevon) - 3:31
5. Accidentally Like a Martyr (Warren Zevon) - 3:44
6. Nighttime in the Switching Yard (Jorge Calderón, David Lindell, Waddy Wachtel, Warren Zevon) - 4:21
7. Veracruz (Jorge Calderón, ZevonWarren Zevon) - 3:31
8. Tenderness on the Block (Jackson Browne, Warren Zevon) - 4:01
9. Lawyers, Guns and Money (Warren Zevon) - 3:30
10.I Need A Truck (Outtake) (Warren Zevon) - 0:56
11.Werewolves Of London (Alternate Version) (Waddy Wachtel, LeRoy Marinell, Warren Zevon) - 3:40
12.Tule's Blues (Solo Piano Version) (Warren Zevon) - 3:13
13.Frozen Notes (Strings Version) (Warren Zevon) - 2:03
