Little Feat - Feats Don't Fail Me Now (1974 us, fastball rock, curveball boogie, knuckleball blues, dangerous forkball funk, 2024 three disc box set remaster)

Inside the twenty-page booklet enclosed within the Feats Don't Fail Me Now (Deluxe Edition), an erudite essay by esteemed author/biographer Dennis McNally gives due recognition to artist Neon Park's outlandish front cover image for Little Feat

's fourth longplayer. As with the other imagery of this artist that adorns the group's various longplayers, it is a thought-provoking yet unsettling combination of humor and cultural commentary that deserves the insightful notation, so, like the period photos of the musicians adorning the triple-fold package, the prose composed by the long-time media maven for the Grateful Dead is directly in line with the best of the wealth of music herein.

In fact, the remaster of the original album is only slightly less tantalizing than the rare and/or unreleased material accompanying it. Like their expertise with the other recordings here, Dan Hersch and Bill Inglot's engineering of the 1974 studio album reveals an almost granular level of detail. Accordingly, the minutiae of the mix highlights, on this title song among others, reveals keyboardist Bill Payne's uncanny ability to fill holes in the sound—and not just on his own composition "Oh Atlanta." Equally nuanced in that regard is the way Paul Barrere's and Lowell George's guitars snake in, out and around the other instruments during, for instance, "Skin It Back."

Eight cuts in the three-to-four minute range formulate a continuity comparable to the live material included in this package. Yet it also enhances how the studio track sequencing so accurately captures the dynamics of the sextet, including the odd imagery in the song lyrics: especially in Lowell George material like "Down The Road," the verbal wordplay piques the curiosity as much as the instrumental interplay. And those virtues coincide with the imagination evident in arrangements such as the earthy horn charts from Tower of Power on "Spanish Moon." The production on such a take, courtesy of titular bandleader George, along with his non-conformist kindred spirit Van Dyke Parks (plus Erik Jacobsen), nevertheless lent itself handily to stage performance.

While Electrif Lycanthrope: Live at Ultra-Sonic Studios, 1974 (Rhino Records, 2021) remains the definitive demonstration of Little Feat's shared instincts at this juncture of its career, the concert content contiguous with this reissue reaffirms the various bonds of the band in the spirit of the moment on stage. Each performance, in fact, is remarkable in its own way and no less so on the complete show from l'Olympia in Paris, France on 2/1/75, despite a sound quality that, in contrast to its corollary, captures as much of the room as the sound of the band.

Beginning with Allen Toussaint's "On Your Way Down," the sextet builds momentum almost imperceptibly over the course of its fifty-four some minutes, picking up the pace through "Rock And Roll Doctor" (a tribute to the author of the aforementioned song). The frenzied finish that is "Teenage Nervous Breakdown" carries all the more impact precisely because it follows the subdued take on "Willin'" (the song that purportedly moved Frank Zappa to ask author George to leave The Mothers of Invention).

Equally edifying in its own way is a limited edition compact disc (available separately through the Rhino label) containing more previously unreleased performances. Recorded at The Rainbow Theatre in London in January of the same year as its companion piece, the sextet's musicianship flows effortlessly after its fade-in. The shared gusto of Little Feat makes room for multiple impromptu jams over the course of its slightly less than half-hour duration before the coy denouement "Bag of Reds" (a play on the Gene Chandler's "Duke of Earl").

Labeled Hotcakes, Outtakes, Rarities, the second compact disc of the set features eight previously unreleased tracks that, combined with some culls from the similarly-titled four compact disc set released in 2000, give a glimpse of future Little Feat albums (it might well have been disc three of the set for that reason). An outtake of "All That You Dream" (from The Last Record Album (Warner Bros., 1975) and an alternate version of "Front Page News" (only ever released on the compilation issued after George's passing Hoy-Hoy (Warner Bros., 1981) suggests how the creative axis of the band was shifting.

Payne composed the former with Barrere and the latter with George. Meanwhile, an unfinished and abbreviated version of "Day At The Dog Races"—eventually issued on Time Loves A Hero (Warner Bros., 1977) is credited to everyone in the band except the latter (who would leave the stage in subsequent years when the finalized arrangement of this fusion-oriented instrumental was played).

Little Feat's preternatural grasp of groove otherwise abides throughout the dozen tracks. It is nothing less than remarkable how, even at the halting tempo Feats apply to Hank Williams' "Lonesome Whistle," Richie Hayward sounds like more than a single drummer. And it is only a little less fascinating to hear how percussionist Sam Clayton and bassist Kenny Gradney Jr. find places for themselves to play in the midst of the late co-founding member's deceptively casual and altogether dense motion around his kit.

As much through the sonic detail as the writing and playing, the uniformity of Feats Don't Fail Me Now renders the original thirty-four minutes-plus, recorded at engineer George Massenburg's Blue Seas studio in Maryland, a virtual template for Little Feat 2.0 (the band was originally a quartet). It was thus poetic justice indeed for the record to excel in the commercial marketplace, even if it is less of an adventurous creative statement than the album from the preceding year Dixie Chicken (Warner Bros., 1973).

Produced by Jason Jones with a team of admirable curators, this third Little Feat Deluxe Edition is a labor of love as affectionate in its own way as the devoted loyalty of the group's longstanding fan base. Like the prior deluxe editions of Sailin' Shoes (Warner Bros., 1972) and the aforementioned third album of the group's (originally issued the next year), this collection serves to further illuminate the attractions of one of the most eccentric bands in rock history. 

by Doug Collette, June 28, 2024

Tracks

Disc 1  Feats Don't Fail Me Now 1974

1. Rock And Roll Doctor (Lowell George, Martin Kibbee) - 2:57

2. Oh Atlanta (Bill Payne) - 3:28

3. Skin It Back (Paul Barrere) - 4:11

4. Down The Road (Lowell George) - 3:45

5. Spanish Moon (Lowell George) - 3:06

6. Feats Don't Fail Me Now (Lowell George, Martin Kibbee, Paul Barrere) - 2:27

7. The Fan (Bill Payne, Lowell George) - 4:28

8. Medley: Cold Cold Cold / Tripe Face Boogie (Bill Payne, Lowell George, Martin Kibbee, Richie Hayward) - 9:57

Disc 2  Hotcakes, Outtakes, Rarities

 1. Brickyard Blues (Allen Toussaint) - 3:00

 2. Feats Don't Fail Me Now (Lowell George, Martin Kibbee, Paul Barrere) - 2:30

 3. Rock And Roll Doctor (Lowell George, Martin Kibbee) - 3:24

 4. Spanish Moon (Lowell George) - 3:44

 5. Skin It Back (Paul Barrere) - 4:34

 6. Oh Atlanta (Bill Payne) - 3:36

 7. All That You Dream (Bill Payne, Paul Barrere) - 3:33

 8. Front Page News (Bill Payne) - 4:57

 9. Long Distance Love (Lowell George) - 2:53

 10. Lonesome Whistle (Hank Williams, Jimmie H. Davis) - 3:47

 11. Day At The Races (Bill Payne, Ken Gradney, Paul Barrere, Richie Hayward, Sam Clayton) - 3:12

 12. Spanish Moon (Lowell George) - 2:41

Disc 3  If You Got It, A Truck Brought It: Live At The L’Olympia, Paris, France, 2/1/75

 1. On Your Way Down (Allen Toussaint) - 6:51

 2. Skin It Back (Paul Barrere) - 5:30

 3. Fat Man In The Bathtub (Lowell George) - 5:55

 4. Rock And Roll Doctor (Lowell George, Martin Kibbee) - 4:05

 5. Oh Atlanta (Bill Payne) - 3:55

 6. Medley: Cold Cold Cold / Dixie Chicken / Tripe Face Boogie (Bill Payne, Lowell George, Martin Kibbee, Richie Hayward) - 19:52

 7. Willin’ (Lowell George) - 4:15

 8. Teenage Nervous Breakdown (Lowell George) - 3:44

Little Feat

*Paul Barrere - Guitar, Vocals

*Sam Clayton - Percussion, Vocals

*Lowell George - Vocals, Guitar

*Kenny Gradney - Bass

*Richie Hayward - Drums, Vocals

*Bill Payne - Keyboards, Vocals

With

*Gordon DeWitty - Clavinet 

*Fred White - Drums 

*Emmylou Harris - Backing Vocals

*Bonnie Raitt - Backing Vocals

*Fran Tate - Backing Vocals

*Tower Of Power - Horns

*Lenny Pickett - Alto Saxophone

*Steve "Doc" Kupka - Baritone Saxophone

*Emilio Castillo - Tenor Saxophone 

*Greg Adams - Trumpet, Horn Arrangement 

*Mic Gillette - Trumpet, Trombone

1971  Little Feat - Little Feat (2007 japan remaster)  

1972  Little Feat - Sailin' Shoes (2007 japan SHM remaster)  

1973  Little Feat - Dixie Chicken (2007 japan remaster)  

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Aztec Two-Step - Aztec Two-Step (1972 us, fabulous folk soft rock, 2008 remaster)

Aztec Two-Step found their name in a poem by Lawrence Ferlinghetti: waltz into this place/and a couple of Papish cats/is doing an Aztec two-step. They found each other in Boston where each was individually working the local coffee-house circuit. They met one fateful hoot night, decided to join forces on the spot and were playing their first combined gig less than a week later. After two months in Boston, they headed for New York to seek fame, fortune and a record contract.

But to re-trace steps:

Aztec Two-Step consists of Rex Fowler and Neal Shulman, and each progressed in his own way before they met. Rex was born in Kansas City, Mo., but moved with his family to Maine at an early enough age to lay claim to the title of "Maine's only rock and roll star." At age 17, Rex started to play guitar and write songs and briefly appear with college friends in a now-defunct rock group called The Second Phlore. By the time he went to Boston to play his music as a career, he had been to college, dropped out, drop- ped back in and written about 80 songs. Rex calls himself an "evolutional writ- er." The songs take time to mature and grow. But when they're done, they're fine.

Neal Shulman is an absolutely indigenous New Yorker. Born and raised in Manhattan, he is the child of folk music devotees who taught him all the trad- itional songs, which became part of his arsenal in clubs. He started to play guitar and sing when he was "13, no 12 years old." Writing songs came later, at age 15. Neal, too, had a brief encounter with college, odd jobs in book and record stores and a trip to Europe. It was on his return from that trip that he went to Boston to study music, play guitar and meet Rex Fowler.

Once the move to New York had been made (in May 1971), the two spent six months playing clubs such as the Gaslights Au Go-Go and II and Folk City and concerts with Don McLean and Seals And Crofts. When they had nowhere else to play, they took themselves to Central Park to do open-air sets. And it was in the park that they met the man who brought them to Elektra where they were audi- tioned and signed. A debut album was made early in 1972 and released in June o that year. Titled, simply, Aztec Two-Step.

No amount of words or background information can adequately explain the quality of their music. Not many chance meetings are likely to produce the song and performance of the Aztec Two-Step, which are truly a joy. Their guitar playing (Neal on lead, Rex on rhythm), their singing (Rex sings lead most of the time and Neal harmony), even their personalities have that magic quality of mesl ing and complementing each other that is a sure sign of talent and professional- ism. And each contributes his share of songs---Neal, the younger of the duo, has two on the album, while Rex wrote the other nine. They all share in common the uncommon trait of being good. Pick a song, any song, and be guaranteed of fine music and lyrics that range from funny to philosophical.

Aztec Two-Step is a funny name that means beautiful music.

Original Liner Notes

Tracks

1. Baking - 2:42

2. Killing Me - 3:58

3. The Persecution & Restoration Of Dean Moriarty (On The Road) - 4:16

4. The Infidel - 4:40

5. So Easy (Neal Shulman) - 1:48

6. Prisoner - 4:32

7. Strangers - 5:13

8. Almost Apocalypse - 3:53

9. Dancers All (Neal Shulman) - 3:23

10.Cockroach Cacophony - 4:40

11 Highway Song - 6:07

All songs by Rex Fowler except where stated

Musicians

*Rex Fowler - Guitar, Vocals

*Neal Shulman  - Guitars, Vocals

*Bobby Torres - Congas

*David Vaught - Bass

*Dennis Witcher - Vocals

*Doug Dillard - Banjo

*Elaine "Spanky" McFarlane - Vocals

*Jerry Yester - Autoharp, Banjo, Celeste, Piano, Producer, Strings, Vocals

*John Sebastian - Harmonica, Horn

*John Seiter - Drums, Vocals

*Peter Klimes - Banjo

*Randy Benson - Vocals

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James Griffin - Just Like Yesterday The Solo Anthology (1974-77 us, remarkable blend of country folk rock with baroque and power pop tinges, 2013 remaster)

David Gates got all the attention but James Griffin stood proudly as his cohort during the early days of Bread. Once Bread crumbled, Gates also had hits but Griffin didn't, despite developing a strong body of work that finally gets anthologized via Hux's 2013 compilation, Just Like Yesterday: The Solo Anthology 1974-77. During these four years, Griffin released just two albums -- 1974's Breakin' Up Is Easy and 1977's eponymous LP -- and both records are here, along with the bonus tracks of "Just Like Yesterday" and "She Knows," the latter coming from a May 1974 performance on the Old Grey Whistle Test. 

Compared to Gates, Griffin isn't quite as buttery: his voice is fine-grain sandpaper and he is sometimes happy enough to skirt the boundaries of soft rock, particularly on his 1974 debut. His 1977 album is softer and sweeter, an exemplary specimen of late-'70s SoCal soft rock, where the professionalism is as alluring as the songcraft. Often, Griffin excelled at the veneer, not the structure; his songs aren't memorably melodic but his albums are welcoming and warm, delivering a distinctly '70s soundscape that captures the era while eluding the specificity of its time. 

Griffin is appealing: as a frontman, he has a casual touch, something that may have kept him from the charts but is nevertheless charming, as there's an ease to his delivery that accentuates the mellowness of the two albums. Perhaps he could've stood to be a little more forceful -- and the 1977 LP does show more muscle than its predecessor -- but what gave Griffin his identity was his slight ragged, ultimately smooth delivery; he wasn't as seamless as Gates but he followed the same path and found equally interesting detours, all of which are collected on this de facto two-fer. 

by Stephen Thomas Erlewine

Tracks

1. Breakin' Up Is Easy (Robb Royer) - 3:52

2. Someday (James Griffin) - 3:54

3. Love You Till The Cows Come Home (James Griffin) - 2:59

4. She Knows - 2:27

5. Father And Son - 4:31

6. You'll Get Along (James Griffin) - 5:12

7. Lifeline - 3:41

8. Goin' Back To Boston - 3:42

9. Only Now - 2:36

10.Love To Light The Way - 2:53

11.Laura Lee (David Paich) - 3:29

12.Hanalei - 4:03

13.Goin' Back To Tennessee (James Griffin) - 3:45

14.Blood From A Stone - 4:20

15.How Do You Say Goodbye (James Griffin) - 2:35

16.Treat Her Right (David Paich) - 3:07

17.That's All I Need (Robb Royer) - 3:44

18.My Love Is Mine (James Griffin) - 3:03

19.I Repent (James Griffin) - 4:57

20.Just Like Yesterday (James Griffin) - 2:28

21.She Knows - 2:57

All songs by James Griffin, Robb Royer except where noted 

Tracks 1-10 from "Breakin' Up Is Easy" 1974

Tracks 11-19 from "James Griffin" 1977

Bonus Tracks 20,21

Musicians

*James Griffin - Vocals, Bass, Drums, Guitar, Piano

*David Gates - Bass, Guitar

*Larry Knechtel - ARP Synthesizer, Bass, Guitar, Piano

*Mike Botts - Drums

*Jim Horn - Woodwind, Horn

With 

 (Tracks 1-10)

*Leland Sklar - Bass

*Robb Royer - Guitar, Piano

*Russ Kunkel - Drums

*Jeff Baxter - Steel Guitar

*Curtis Amy - Horn 

*John Miles - Horn

*Dean Parks - Guitar

 (Tracks 11-19)

*Barry Byrdton - Guitar

*Carol Carmichael - Vocals 

*Dave Bundameyer - Bass

*Andre Love - Horn

*David Patch - Piano

*Denny Lardin - Guitar

*Ed Logan - Horn

*Jack Hale - Horn

*James Mitchell - Horn

*Jim Gordon - Drums

*Joe LeManno - Bass

*Wayne Jackson - Horn

Related Act

1969-77  Bread - The Elektra Years The Complete Albums Box (2017 six discs box set)  

1973  Bread - The Best Of Bread (2015 SACD)   

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Edgar Winter - Jasmine Nightdreams (1975 us, groovy funky blues jazz rock)

With his long mane of white hair, Edgar Winter has long cut one of the most striking profiles in rock.  Like his older brother Johnny, Texas-born Edgar was steeped in the blues.  Emerging onto the scene with the 1970 Epic album Entrance, Winter fused blues with many of the styles with which he would become known, including rock, pop, soul, and jazz. 

"Jasmine Nightdreams" is Edgar's 1975 album "co-created" with his frequent collaborator, Dan Hartman.  In addition to singer-songwriter-musician Hartman, the album also featured Johnny as well as the brothers' Blue Sky Records labelmate Rick Derringer.  The soaring Hartman/Winter title co-write epitomized smooth mid-'70s pop-rock, but strains of danceable funk, gospel, and blues rock weren't far beneath the surface.

by Joe Marchese, March 2, 2018

Tracks

1. One Day Tomorrow (Dan Hartman, Edgar Winter) - 3:13

2. Little Brother - 4:08

3. Hello Mellow Feelin' - 2:47

4. Tell Me A Whisper (Dan Hartman, Edgar Winter) - 3:25

5. Shuffle-Low - 4:19

6. Keep On Burnin' - 4:13

7. How Do Like Your Love - 3:04

8. I Always Wanted You - 3:22

9. Outta Control - 4:09

10.All Out - 5:11

11.Sky Train - 2:16

12.Solar Strut - 5:11

All songs by Edgar Winter except where indicated

Personnel

*Edgar Winter - Vocals, Saxophone, Keyboards, Synthesizer

*Johnny Winter - Slide Guitar, Harmonica

*Rick Derringer - Guitar

*Dan Hartman - Bass Guitar, Vocals

*Chuck Ruff - Drums

*Rick Marotta - Drums

Related Acts

1969-74  Johnny Winter - Original Album Classics (2010 editions)  

1970  Johnny Winter - Johnny Winter And (2018 japan xpanded)  

1968-69  The McCoys - Infinite McCoys / Human Ball (2008 double disc remaster)  

1973-80  Rick Derringer - Joy Ride (2017 four discs set)  

1979  Derringer - Live In Cleveland (2009 edition)  

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First Aid - Nostradamus (1977 uk, fine prog rock, 2013 Flawed Gems remaster)

First Aid were an English symphonic-rock band that released the album Nostradamus on Decca in 1976. The album was based on prophesies of the famed seer, including his prediction that the world would end in 1986, ten years on from the album’s release.

irst Aid featured drummer Dave Freeman, who played in the 1969 jazz-rock one-off ‘Igginbottom with a young Allan Holdsworth. The other members of First Aid — guitarist/singer Alan Wormald, bassist Norrie Tennet, and keyboardist Keith Parkinson — were relative newcomers. Working with conceptualist and producer Jimmy Parsons, Wormald and Parkinson composed an album of material based on 16th century French seer Nostradamus.

Nostradamus was released in 1976 on Decca (UK, Portugal) and the following year on London Records (Japan). Original vinyl copies are housed in a gatefold sleeve with Dada visuals by one Paul Redway. The album was recorded at Decca Studios and engineered by Alan Leeming (Caravan, Spriguns, Wolf, Patrick Moraz) and Martin Haskell, who also worked on the 1977 children’s narration album The Sly Cormorant by Brian Patten.

Jazz-Rock-Soul

Tracks

1. Visions - 3:52

2. Nostradamus - 6:02

3. The Awful Truth - 2:38

4. By Royal Appointment - 1:17

5. Catherine - 3:18

6. Two Brothers - 6:46

7. Visions (Reprise) - 2:56

8. The Shape Of Things To Come - 12:43

Tracks 1,3,7 by Keith Parkinson

Tracks 4,5,6,8 by Alan Wormald

Track 2 by Alan Wormald, Jimmy Parsons

First Aid

*Alan Wormald - Guitar, Vocals

*Keith Parkinson - Keyboards

*Norrie Tennet - Bass

*Dave Freeman - Drums, Percussion

With

*Richard Hewson - Orchestral Arranger, Conductor

*Raymond Hardy - Narration

Related Act

1969  Igginbottom - Igginbottom's Wrench (2009 remaster)

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Richard Torrance - Bareback (1977 us, elegant smooth rock, 2021 korean remaster)

Released in 1977 and recorded at Sunset Sound Studios in Los Angeles, "Bareback" was my first album with Capitol Records after leaving Shelter Records with whom I had three releases. You can't imagine the excitement I was experiencing. Here I was, a small town boy, rubbing elbows with some of the finest studio musicians Los Angeles had to offer.

What could be better than working with Bill Payne at my producer's home in the Hollywood Hills writing out charts and arrangements while discussing who would be a better drummer for this particular song, Jeff Porcaro or Harvey Mason. It was like finally having enough money to buy a top of the line vehicle and now having to decide between a Mercedes or BMW. So, I got both!

The sessions were absolutely mind blowing. How fast and tight these players worked together and how supportive and positive they were will always be a pleasant memory.

by Richard Torrance

Tracks

1. Moonlight Trippin' (Troy Seals, Eddie Setser) - 4:31

2. Stay Young (Benny Gallagher, Graham Lyle) - 2:50

3. Lovin' Good - 4:13

4. Tender Memory (Tom Jans, Will Jennings) - 3:45

5. Circle Of Confusion - 4:08

6. Rio De Janeiro Blue (Richard Torrance, John Haeny) - 4:36

7. So Sad (Randy Bishop) - 2:59

8. Leave My Love Behind - 3:49

9. Under Your Spell - 4:16

10.Alley Cat Jack (Jim Frank) - 3:52

Lyrics and Music by Richard Torrance except where stated

Musicians

*Richard Torrance - Vocals, Guitar

*Fred Tackett - Guitar

*Jeff Porcaro - Drums

*Harvey Mason - Drums 

*Sam Clayton - Percussion 

*David Hungate - Bass

*Wilton Felder - Bass

*Bill Payne - Piano, Grand Piano, Oberheim Synthesizer

*Ernie Watts – Horns, Alto Flute 

*Pete Christlieb - Horns  

*George Bohannon - Horns 

*Buddy Collette - Horns 

*Bob Findley - Horns

*Venette Fields - Backing Vocals 

*Maxine Willard Waters - Backing Vocals

*Julia Tillman Waters - Backing Vocals

*Thomas Righter Snow - Harmony Vocals

1974  Richard Torrance - Eureka   

1975  Richard Torrance And The Eureka - Belle Of The Ball (2020 korean remaster)  

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Shango - Trampin' (1970 us, excellent melange of funk latin west coast folk psych rock)

Shango, known for having Tommy Reynolds, known for Hamilton, Joe Frank & Reynolds, and T-Bones, in their band, released their great second album in 1970. A mighty cool group who mixed in all sorts of hip elements into more straightforward west coast rock modes! There's a bit less of a global impulse here than on the group's debut, but it's still there in the mix – and served up with really cool arrangements from Jimmie Haskell, who ups some slight funky currents in the rhythms – which are then knocked out of the park by the excellent production on the album by Steve Barri! Titles include "Walkin In The Sunshine", "That's My Bag", "Maybe I Can Find A Way", "Brotherhood", "Have You Seen The Morning", "The Time Has Come", and "Some Things A Man's Gotta Do".

Tracks

1. Some Things A Man's Gotta Do (Richie Hernandez, Lynn Lundgren) - 3:19 

2. The Time Has Come (Richie Hernandez, Joe Barile) - 4:30

3. Walkin' In The Sunshine (Joe Barile) - 2:08 

4. Maybe I Can Find A Way (Richie Hernandez, Lynn Lundgren) - 3:30

5. That's My Bag (Tommy Reynolds) - 2:40

6. Have You Seen The Morning (Richie Hernandez, Joe Barile) - 4:08

7. You Got Somethin' (Richie Hernandez, Joe Barile) - 3:46

8. Can't Stay Away From You (Tommy Reynolds) - 3:10

9. Blue One, Blue Two (Richie Hernandez) - 2:44 

10. Brotherhood (Tommy Reynolds, D. Reynolds) - 3:23

Shango

*Joe Barile Drums

*Malcolm Evan Bass

*Richie Hernandez Guitar

*Tommy Reynolds Keyboards, Organ, Percussion, Piano, Flute

With

*Jimmie Haskell - Horns Arranger

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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

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

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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

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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

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