Wackers (the) - Shredder

Name: Wackers
Album: Shredder
Year: 1972
Style: Psych, Folk
Similar Bands: Cecilio & Kapono, Beatles, Dave Edmunds, Kinks, Bonzo Dog Band
One-Word Review: Breezy-Psych-Folk
Based Out Of: Monreal, Quebec
Label: Elektra

 Cover, Back, & Record

Gatefold & Record

Wackers - Shredder (1972)

1. Day & Night 3:06
2. Hey Lawdy Lawdy 3:54
3. I'll Believe in You 3:14
4. Puttin' Myself to Sleep 2:20
5. Eventually, Even You Even Me 3:34
6. Coming Apart 3:57 /
7. It's My Life 3:32
8. Beach Song 2:42
9. Buck Duckdog Memorial Jam 10:10
10. Last Dance 3:04

Album Rating (1-10): 7.5

Members & Other Bands:

• Robert Segarini - Guitar, Vox, Bass, Drums, Percussion (Roxy, Ratz, Family Tree, Dudes, Cats & Dogs, Rosebuds, The Us )
• Randy Bishop - Guitar, Keys, Bass, Cowbell, Percussion, Vox (Roxy, Rosebuds)
• Michael Stull -  (Gods Country, Butts Band)
• Bill 'Kootch' Trochim - Bass, Congas, Guitars, Percussion, Kootch (Dudes, Family Tree)
• Ernie Earnshaw - Drums, Percussion, Vox (Royale Monachs, The Forte' Four, Six the Hard Way, BigFoot, Rolling Bob, 6680 Lexington)
• Mark Abramson - Producer
• JP Lauzon - Guitars, Percussion, Piano
• Jerry Mercer - Drums (Mashmakhan, April Wine)
• Fred Otnes - Shredder Art
• Robert L. Heimall - Photography, Art Direction & Design
• Frankie Hart - Backing Vox, Percussion
• Janet Abramson - BackingVox
• Jack Schaeffer - Clarinet, Sax
• Dan-Yen Mantor - Claves, Congas, Shaker
• Nelson Vipod - Engineer
• Adam Holzman - Low D Assist
• Richard Knowles - Tech

Unknown-ness: I've never heard of this band. From the artwork, it reminds me of Terry Gilliam's Monty Python opening, so I imagine the music will not be serious, and perhaps even comical in nature...or maybe just really drug influenced (psychedelic).

Album Review: The album is a strong mixture of folk, psych, power pop, and spaced out jamming. Lots of Beatles & Kinks inspiration. The band was from California, but moved to Quebec before recording this record. Funny thing, was the record was not meant to be the Wacker's third album, but was supposed to be a side project for the creative force. Once Elektra heard the songs, they pushed for the production as a full Wackers album (not The Incredible Duck Brothers). The recordings were also influenced by Monty Python cast members hanging out with the band while recording in the studio for two of the six weeks (MP was on their first North American tour).

Stand Out Track: Eventually, Even You Even Me

Links:
spotify
wiki
Montreal Gazette
Shredder Liner Notes
Rate your Music
Discogs
Allmusic
Steve Hoffman Music Forum
Canadian Bands

(the) Stylistics - s/t & Round 2

Name: (the) Stylistics
Album: s/t* & Round 2~
Years: 1971*, 1972~
Style: R&B, Soul
Similar Bands: Spinners, Harold Melvin & Blue Notes, Bee Gees, Del-Fonics, Al Green, O'Jays, Four Tops
One Word Review: Delicate Pre-Disco Ballad Scores
Based Out Of: Philadelphia, PA
Label: AVCO

 s/t - Cover & Record

s/t - Back & Record

Round 2 - Cover & Record

Round 2 - Back & Record

s/t (1971)*

1. Stop, Look Listen (to your heart) - 2:54
2. Point of No Return 2:45
3. Betcha By Golly Wow 3:47
4. Country Living 2:57
5. You're A Big Girl Now 3:14 /
6. You Are Everything 2:55
7. People Make the World Go Round 6:26
8. Ebony Eyes 2:21
9. If I Love You 2:05

Round 2 (1972)~

1. I'm Stone In Love With You 3:19
2. If You Don't Watch Out 2:34
3. You & Me 2:43
4. It's Too Late 4:37
5. Children of the Night 7:00 /
6. You'll Never Get to Heaven (If You Break My Heart) 3:38
7. Break Up to Make Up 4:00
8. Peek-A-Boo 2:53
9. You're Right as Rain 3:46
10. Pieces 3:09

Album Rating (1-10):*7.0

~6.0

Members & Other Bands:

Thom Bell - Produced, Conducted, Arranger*

Russell Thompkins Jr - Lead Vox*~ (Monarchs, Russel Thompkins Jr & The New Stylistics)

Airrion Love - Vox*~ (Monarchs)

James Smith - Vox*~ (Monarchs)

Herb Murrell - Vox*~ (The Percussions)

James Dunn - Vox*~ (The Percussions)
Linda Creed - Vox*~ (Spinners, Dusty Springfield, Phyllis Hyman)
Barbara Ingram - Vox*~ (The Sweethearts of Sigma, The Philadelphia Angels, The Sweeties, The Sweethearts, Ingram Kingdom...many more as back up)
Norman Harris - Guitar*~(MFSB, Salsoul Orchestra, and producer to many others)
Roland Chambers - Guitar*~
Ronnie Baker - Bass*~ (The Trammps)
Earl Young - Drums*~(The Trammps, Harold Melvin & Blue Notes, Ten City, MFSB, Salsoul Orchestra and many others in the Gamble & Huff era)
Larry Washington - Congas*~
Vince Montana - Percussion*~ (MFSB, Salsoul Orchestra, many, many more, including the Pet Shop Boys)
Lenny Pakula - Piano, Organ*~
Joe DeAngelis - French Horn*~
Stephanie Fauber - French Horn*~
Robert Martin - French Horn*~
Rocco Bene - Trumpet*~
Bobby Hartzell - Trumpet*~
Jack Faith - Alto Sax, Flute*~
George Shaw - Flute*~
Vincent Forchetti - Trombone*~
Bob Moore - Trombone*~
Richard Genevese - Trombone*~
Don Renaldo - Strings*~
Tony Sinagogo - Strings*~
Albet Berone - Strings*~
Rudy Malzia - Strings*~
Alngelo Pretrella - Strings*~
Romeo Di Stefano - Strings*~
Charles Apollonia - Strings*~
Davis Barnett - Strings*~
Richard Jones - Strings*~
Hershel Wise - Strings*~
Mary Gale - Harp*~
Fredric Cohen - Oboe*~

Umknown-ness: I have heard of them, but never associated anything to them. I'm pretty confident in  assuming that it is going to be Philly-soul/R&B, since there are hints at that all over the back covers. I'm not sure the order or when I got these records, but I like the huge contrast in artistic style between their breezy, psychedelic self titled cover and the socially & politically charged Round 2 only a year later.

Album Reviews: The Stylistics were one of the early 70’s bands that fit in nicely with the Philly sound, and were one of the most productive and charting bands. The band had 12 top-ten US R&B singles in a row, and a bevy of famous backing help made these first two albums sell very well, and offered a distinguished resume of Gamble & Huff contributing and studio artists. There is even a variation of the Stylistics still playing and touring today (2016). They were inducted into the Vocal Group HOF in 2004. And the was more than once where I swear I was about to listen to the Four Tops “Ain’t No Women Like the One I’ve Got.”

“Stop, Look Listen (to Your Heart)” was a single. It is light and airy, similar to early Bee Gees, with lots of vocal harmonies popping up here and there. This melody is slow and crawling. The soaring falsetto vocals offer a tender mood.
“Point of No Return” picks up the bubblegum pop beat a little more, and is a more fun song. It has more of a doo-wop feel than the adult contemporary smooth R&B. The Falsetto vocals lend themselves to early disco sound, but that’s easy to say, knowing what was to come next.

“Betcha By Golly Wow” was a single. It slows the tempo down again, but with confidence. Swirls of strings and woodwinds create a magical soundscape.
“Country Living” starts out sounding like it could be a Belle & Sebastian song. The only difference is the vocals, but I could easily hear Stuart’s twee vocals fill in for the falsetto. It is a steady, jangly tempod song with some punchy vocals punctuated with strings bursting in the background and following in melody. It features a repetitive backing vocal that could also be taken advantage of it were it a B&S song.

“You're A Big Girl Now” was a single and regional hit on Sebring records before they were picked up by AVCO. The song has a little of a Jamaican vibe, and is not immediately led by Thompkin’s vocals, although he does take over for the verses. There is a breakdown that features spoken word, deep vocals talking to the presumptive daughter, echoed by the falsetto vocals, almost like he’s reading a letter in a memory.

“You Are Everything” was a single. I recognize this song. It is a slow and steady ballad, with double layered harmonic vocals that break away from each other to take occasional turns. There are swirling ambient effects, and the term lush is very fitting for the accompanying music.
“People Make the World Go Round” was rerecorded by Mac Dorsey and used in Spike Lee’s Crooklyn. It has a slow, delicate vibe, and is even a little sinister, in a James Bond way. It feels like a slower version of the Four Tops’ “Ain’t No Women Like the One I’ve Got.” The song is unnecessarily lengthy, where it repeats the same vibes hook over and over with slight flute and other percussive effects varying underneath.

“Ebony Eyes” is a nice little basic tune. It features a fun, rolling vocal melody, and simple music accompaniment.

“If I Love You” is much grander, with a whole orchestra of pulsing effects, and pre-disco film scoring. The sentiment is upbeat and fun. The vocals sore over the precise score, supported mostly by strings when they do.

“I'm Stone In Love With You” opens with a quiet, early morning folky Disney cartoon melody with a burgeoning energy. The song progresses methodically, but delicately.

“If You Don't Watch Out” has a nice side to side doo-wop pop melody and tempo. It is polite and non-threatening, but a very catchy beat, maybe a bit like the Sesame Street theme.

“You & Me” is a little darker, but still, nothing threatening. The chorus loops back on itself, supported by strings, is more pre-disco in style, like a less coked-up hustle.

“It's Too Late” is a cover of the Carol King song, but I honestly did not recognize it until the chorus hit. It was also covered in 1972 by Billy Paul & The Isley Brothers. This version begins with a bass hook and vibes, followed by horns, which sounds like it could set up the scene for a gritty 70’s cop drama. The song levels out, and loses the edge as the vocals are added and on display.
“Children of the Night” begins with children’s vocals at play in the distance. The ballad is slow and thoughtful. It is cautious, adding a little darkness into the melody. The song wanders as it hits the instrumental section for the last two minutes, featuring a guitar solo accompanied by some la-la-la-la’s; all done precisely.

“You'll Never Get to Heaven (If You Break My Heart)” picks up with the 70’s love boat vibe of strings and congas. The vocals are light and airy here, and build up to a plateau in the chorus.

“Break Up to Make Up” was a single. It brings us back to the slow ¾ dance ballad. This song is at least famous enough for me to recognize too. It is sentimental and reflective.

“Peek-A-Boo” enters with a drum fill, and has a slightly more upbeat tempo than BU2MU, but it still falls on the side of a reflective slow dance, and a little Four Tops.

“You're Right as Rain” begins with piano only. It feels like a reprise of some of their other songs fit together. Slow, ballady and reflective make up the familiar refrain.

“Pieces” ends the album on a bit of a fun, R&B tone, with more proto-disco, thanks to the vocal melody and string accompaniment. It is steady paced, not rampant and swirling, and ends as a fade out.

Stand Out Track* Country Living
~If You Don't Watch Out

Links:
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website
allmusic
Discogs
Soultracks

Mighty Sparrow - Hotter Than Ever, Knock Dem Down

Name: Mighty Sparrow

Albums: Hotter Than Ever~

Knock Dem Down*

Years: 1972~

1973*

Style: Calypso, Island

Similar Bands: Harry Belafonte, Lord Melody, Lord Kitchener, Tom Jones

"One Word" Review: Non-stop shuffling-gameshow themes.

Based Out Of: Trinidad

Label: RA (Recording Artists)

~Hotter Than Ever - Cover & Record

 ~Hotter Than Ever - Back & Record

*Knock Dem Down - Cover & Record

*Knock Dem Down - Back & Record

~Hotter Than Ever (1972)

1. Rope 3:45
2. Toronto Mas 2:53
3. Winer Girl 3:30
4. Woom Poom 3:45
5. Drunk & Disorderly 4:15 /
6. Miss Ruby 3:54
7. More Cock 3:43
8. Melody 72 3:24
9. No Love 4:03
10. Donkey Can't Wine 3:38

*Knock Dem Down (1973)

1. Priest 4:21
2. Leggo Me Stick 4:22
3. Lion & Donkey 3:04
4. Brenda 4:29
5. Trinidad Woman 4:58/
6. Miss Mary 3:45
7. Carnival Venders 4:56
8. Funky Carnival 4:21
9. No Future 3:34
10. Bad Johns 4:27

Album Rating (1-10):~6.0
*5.5

Members & Other Bands:
Slinger Francisco (Mighty Sparrow) - Vocals, Composition, Musical Director, ~Arrangement
Sparrow's Calypso Troubadours - Musical Accompaniment
~A. Seaton - Vocal Accompaniment
~D. Hector - Vocal Accompaniment, Congas
~Ed Watson - Organ
~R. Bacchus - Drums
~N. Sampson - Trumpet
~M. Jarvis - Trumpet
~C.Lynch - Cowbell
~H. Jackson - Lead Guitar
~J. Bethel - Alto Sax
~H. Prince - Alto Sax
~N. Gill - Trombone
Earl Rodney - Arranger, ~Bass
Henry De Freitas - *Executive Producer, ~Assistant Engineer, Supervision
~Byron Lee - Recording Engineer
*Key Caribbean Productions - Graphics
~Asquith Clarke - Piano

Unknown-ness: I had never heard of this artist before. Furthermore, I picked up both albums on different occasions, forgetting I had the first one. I believe I purchased Knock Dem Down first, and figured it would be some fun steel drum, Caribbean music (obvious by the cover’s ‘superstar’ statement), and the second one, I thought would be some soulful R&B, maybe even a little poppy too, with the psychedelic backdrop to the dancer. So I am hoping it is somewhere between the two, but what do I know (not much, apparently).

Album Review: So apparently, The Mighty Sparrow, or Sparrow as he goes by on these albums, or Dr. Slinger Francisco (a freaking amazing stage name, in its own right), is a majorly well-known Calypso artist spanning a career beginning back in 1949 through to today, even performing in Brooklyn last Jan 2014, despite being in poor health (having been in a 2 week coma 4 months earlier). Known as the Calypso King of the World, his title accurately explains what style of music he produces. He was not popular in the US until the 70’s and while immensely popular in Trinidad, he recorded an average 2 albums a year from 1960-1979.

“Rope” sounds like game show music at the intro, and perhaps that’s just my lack of understanding calypso music in general, and having a fondness for The Price Is Right and Let’s Make A Deal. Loungey dancable strings, a funky bass, and a dense percussive sound of shuffling metal bells. The vocals are smooth, bold and confident, yet playful. My naivety and inexperience with the style only draws a couple of comparisons to the likes of “Jump in the Line,” the Chiquita banana commercials, or the spin-a-round section of the roller rink standard, the Chicken Dance.

“Toronto Mas” continues the lively flair, and features vocals that are a bit more rushed. The sax and horns are more prevalent on this song. In a live setting, I have no doubt that the continuing shuffle tempo keeps limbs moving and the crowd dancing, and is as infectious as tropical drinks.

“Winer Girl” carries the whole wood block, organ/keyboard, rhythm guitar steady skipping organic beat. Further with horns standing out again, and a rising and falling of emotion in the chorus vocals. The vocals balance out in the verse.

“Woom Poom” sounds similar to Rope, with the soaring game show style themes. The vocals have a slight echoing, distant effect employed. The vocal syllables don’t match up perfectly with the music’s tempo, in a Sinatra sort of way. The energy behind the vocals in bursts reminds me of the little I know about Tom Jones.

“Drunk & Disorderly” is a little looser of a melody, although the background percussion does not quit. The chorus is a harmonized group of vocals singing along with the lead, and supporting when they diverge in directions. It has classic lines like: “A Hungry man is an angry man, but a drunk man is a happy man.” “Every weekend I’m in jail” “Drunk and Disorderly / with Friends and Family.” Some low impact words to live by.

“Miss Ruby” is just a continuation of the party on side two. The vocals have some surprise rises and falls in pitch, but despite that, the song is presented in a nice looping, repetitive template. And the lyrics include the solid rhyming derogatory word for a woman, which is not used as much anymore “Wench.”

“More Cock” does not divert from the percussive tempo, but the horns introduce the dancing melody. The song features a chorus of call and response between the lead, and a multi-voice chorus of lines that rhyme with “More Cock.” The following melody mimics the chorus minus the lyrics. I’m not 100% sure what if the title refers to a bird or another man, because one line talks about killing the cock.

“Melody 72” has a rolling vocal melody over the familiar calypso melody and rhythm. It has the same choppy pace of “Jump in the Line,” and at times it feels like it could flow right into the song.

“No Love” is not much different, and again sounds like Love Connection is about to start. The vocals are sung slowly, with emphasis on clarity of syllable. But the sentiment of the song is about the state of argument and fighting with races and society. It is a nice story song that is interesting to follow along with and has a moral in the end: even if that message involves belief in a “lord above.”

“Donkey Can't Wine” not much else can be said here, it kinda feels like a They Might Be Giants song as the exit bridge from the chorus builds. It also sounds like the sax is played to recreate a donkey braying at times too. But the melody, like the rest of the album, always returns back to the starting note of the linear melody. There is mention in the song of a lion, but it is a different song than Lion and Donkey in the next album.

“Priest” starts the album off with a typical calypso shuffling dance melody and it builds to a harmonized chorus. This song tells a story about a girl going into town to dance and misbehave. Her daddy is playing Priest, but she ain’t no nun.  

“Leggo Me Stick” is a horn heavy song, but I’m not sure what stick this Rosy character is supposed to let go of quickly…if it is “adult” in nature, or if it is a drum or limbo stick for Carnival day. Reminds me a little of Chuck Berry’s My Ding-a-Ling. But perhaps I’m reading into it too much, and just don’t know the culture. Such is the nature of these blind reviews.

“Lion & Donkey” features a very fun melody to trace along with the vocals. The chorus is sung in a deep harmonized African tribal style, and it pits a donkey and lion to fight to find the king of the jungle. Obviously the donkey loses, but is it just a set up? I like the line that the lion rips away the donkey’s clothes to reveal a naked ass. Clever song.

“Brenda” builds up and up in pitch right at the beginning of the song. And once the vocals start, they are begging and pleading for forgiveness, ultimately asking for Brenda to not go. There is a slight sentimental tone to the vocals, but they don’t seem too sincere.  

“Trinidad Woman” starts with a gameshow style melody. I know I compare too many songs to this, but again, there is a bit of the Jump in the Line melody in this song’s chorus. This connection goes beyond the line Jump in the Water. In the instrumental breakdown, whistles are used, like it might become a Spanish disco song…even featuring some wah-wah electric guitars. It just seems out of place for the previously set template for songs.

“Miss Mary” is more tribal than Caribbean in the intro drums and percussive cowbell. But then the horns come in, and the song takes off. The song mentions a Miss Mary, big and hairy, which does not seem to be complementary. The composition allows for the different melody making instruments showcase themselves for a few bars before taking a back seat to the next set.
“Carnival Venders” follows the same pattern of a complete circle for the melody. The song starts out rising and falling, and coming back to the starting note, like a perfect rhyme. The instrumental section is a call and response battle between woodwinds and horns. Apparently vendors at carnival in Trinidad sold different forms of weed, per the song’s lyrics.

“Funky Carnival” is a little funkier, as the title states. The tempo is slowed down a little, and the vocals feature some interesting mutterings and sounds. In the background it sounds as if there is a large swooping metal bird, which comes off as a little odd. Also, the lyrics call for old men grabbing young girls at the festival.

“No Future” is a slow loungey song. It lays out the problems and reasons the person whom the song is focusing on might not have a future. It is a light and airy cautionary tale.

“Bad Johns” ends the album with a bit more upbeat melody. This features a guitar heavily in the instrumental section; not usual compared to the rest of the album. The emotion in the vocals is stronger and bolder than the other songs on this side. 

Stand Out Track: ~Rope
*Lion & Donkey

Links:
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Allmusic
Complete Catalogue
BBKing Blues
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Natl Carnival Commision of Trinidad/Tobogo
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Malo - S/T

Name: Malo
Album: s/t
Year: 1972
Style: Latin Rock/Funk/Jazz
Similar Bands: Santana
"One-Word" Review:  RockSalsicJazz
Based Out Of: San Francisco
Label: Warner Bros.

Malo - Cover & Back

Malo - Gatefold Interior

Malo - Record



Malo - s/t (1972)

1. Pana 6:45
2. Just Say Goodbye 8:00
3. Cafe 7:21/
4. Nena 6:28
5. Suavecito 6:36
6. Peace 9:21

Album Rating (1-10): 5.5

Members & Other Bands:

Jorge Santana - Guitar (The Malibus)

Arcelio Garcia Jr. - Vox (The Malibus)

Richard Bean - Timbale, Vox (The Malibus, Sapo)

Pablo Tellez - Bass, Arrangements (The Malibus)

Abel Zarate - Arrangements, Guitar, Vox (Naked Lunch,  Zarate Pollace Project)

Roy Murray - (Naked Lunch)

Richard Spremich - Drums (Naked Lunch)

Richard Kermode - Piano, Organ

Luis Gasca - Trumpet, Flugal Horn, Vox, Arrangements

Ron Murray - Trumpet, Trombone, Flute, Sax

Forrest Buchtel, Jr. (Blood Sweat and Tears)

Leo "Pepe" Rosales

Raul Rekow

David Rubinson - Producer, Recording Engineer, Mixing

Fred Catero - Recording Engineer

Jerry Zatkin - Recording Engineer

Coke Escovedo - Timbales

Victor Pantoja - Congas, Bongos

Christopher R. Wong - Personal Management

Jesus Helguera - Front Cover Credit
Victor Aleman - Photography
John & Barbara Casado - Album Design

Chris Whorf - Art Direction

TM Fisher - Laughs & Good Vibes, Roadie

Unknown-ness:

I’ve never heard of this band. I was very curious with the Native American/Mayan/Aztec artwork and I like the reptilian-infused logo on the back. I figure this is going to be 70’s long-form jazzy-jam band songs, probably south-western / Latin influenced based on the amount of songs and the artwork. Based on the artwork, this is not my typical go-to music genre, but I wanted to see what music was represented by the cover.

Album Review: “Pana” begins with an island cha-cha sound (could be Salsa: I’m not good with dance genres). The music immediately creates a vision of a restaurant/bar full of men and women dripping sweat, dancing in low light, and having a great time. The start stop tempo, reminding me a little of TMBG’s Dr. Worm, enhanced with trumpets offers a great Latin American visual. The rolling percussion never lets the tempo stop. There are sections that feature instrument solos, like a bold electric guitar, that only feels out of place is you really listen out for it. The harmonic vocals are relaxing and urgent at the same time. The song feels like more than just a song, it feels like a defining snapshot of its music style, wile maintaining an alive, fresh and real vibe.
“Just Say Goodbye” starts quietly, and is only audible after the first 30 seconds or so. It sets a somber mood. After a minute thirty, the drums/percussion begins, along with a wah-wah funk guitar. The jazzy set up is added to with a crooning electric guitar. The whole time, the song grows louder and faster, intensifying and moving to a very organic rhythm. Only after the 4 min mark do vocals begin, but they only add “Ah-ah-ah’s” as another instrument rather than lyrically telling a story. 5:30 the fast section ends, and a harp whirls us around and sets us down in a candle lit dinner slow jam dance. Minimal instrumentation and a relaxing bongo beat are layered behind Spanish (I’m guessing) chanting which comes off as very relaxing and soothing.
“Café” is more of a slimy salsa song. The guitar reminds me of the terrible song “Smooth” that was Carlos Santana’s song with Rob Thomas. It is repetitive and simple in the vocals and short constant musical sections. It would be ok for a choreographed dance number, since it has no deviation from the singular rhythm layout. When the vocals come back after the instrumental break, they retread the exact same ground that was established uncreatively the first time around.

“Nena” is heavy on the bass and bongos in a short catchy loop as the song begins. The brass section notes the rise and fall of the rhythm with short bursting notes. Then they change into a loud and in your face catchy brass hook. The song reminds me of a Ween song, but I can’t figure out which one…maybe a slowed down “Stallion part 5.” There is a light fife/flute that ads a little disco quality to the song. The song feels like it should end after about 6 min, as it comes to a bombastic finale, but the song surprises you and comes back for the last 30 sec with some hard prog rock.

“Suavecito” is apparently the big hit of this record, and a very popular song overall for the genre. It is a gentle light and airy song that almost feels like a loungey version the Beatles “Should Have Known Better” or at least something from the softer side of “A Hard Day’s Night.” It feels like a romantic walk on the beach at dusk. It is dull, with a little touch of interesting.

“Peace” starts off with a bit of classic rock guitar hook, then it is suddenly shifted to jazzy psychedelic with an organ, urgent vocals and care free flowing music. The bass still carries with it a little funk. This is a genre bending freak-out song, spiritual in the sense that, when enhanced with drugs, I could see people feeling very free and letting loose when this was played out live. This is the song you’d play after the acid is kicking in. The song freezes and picks up with a dream sequence of cloud psychedelic floating. Like the dusty quiet section of Riders on the Storm. The song evolves a little into an Arabian music style. Then it pulls itself together, using the center of gravity that only classic rock can provide. It regroups and launches back into the initial tripped out free form melody. The dramatic, climactic end finishes abruptly just when you think there is one last note coming, the needle picks up and returns to its resting place.

Stand Out Track: Pana

Links:

Wiki
website
allmusic

serious oldies

Mark Guerrero

songfacts

Fumble - s/t

Name: Fumble
Album: s/t
Year: 1972
Style: Oldies
Similar Bands: Wedding Cover Bands, The Blasters
"One-Word" Review: Dug-Up-Oldie-Recreation-Attempts
Based Out Of: Bristol, England
Label: Sovereign, Capitol,

Fumble - Cover, Record
Fumble - Back, Record

Fumble (1979)

1. It Might As Well Rain Until September - 2:25
2. One Night - 2:20
3. Rave On - 1:53
4. Ebony Eyes - 2:47
5. Oh Carol - 2:04
6. The Girl Can't Help It - 3:01 /
7. Hello Mary Lou - 2:13
8. Take Good Care of My Baby - 2:37
9. Nut Rocket - 2:00
10. (Let Me Be Your) Teddy Bear - 1:57
11. Let It Rock - 3:48
12. Breaking Up Is Hard to Do - 2:32

Album Rating (1-10): 7.0

Members & Other Bands:

John Sherry - Producer

Rod Lynton - Producer

Des Henley - Vox, Guitar (Atomic 5, Strollers, Baloons, Iveys

Sean Mayes - Piano, Vox (Wildie Beasies, Soul Benders, David Bowie, Tom Robinson Band, Baloons)

Mario Ferrari - Bass, Vox (Baloons, DelRays)

Barry Pike - Drums (Wildie Beasies, Soul Benders, Baloons, DelRays)

Mike Weighell - Engineer

Mick Glossop - Engineer

Hipgnosis - Cover Design & Photography

Unknown-ness: I never heard of this band. Really, I had no idea what to expect. The cover is a very very suggestive portrait of a young, attractive couple, with the guy casually proceeding to second base, as the girl looks unsure. Is this a comedy album? Looking at all the familiar titles on the back, it could be funny takes on the classic oldies. Either way, this cover, band name (obviously, he “fumbles” his opportunity with the girl), and the song listing should hold something uniquely interesting.

Album Review: Fumble recorded an all-covers album of oldies and pop songs from years before. Their first cover is “It Might As Well Rain until September” (Carol King). It sounds like the Monkees with a Hawaiian, swaying style. It is smooth and care free, featuring harmonizing chorus vocals. “One Night” (Elvis Presley) is a try-to heard attempt at mimicking Presley’s vocal style. It is flemmy, rolling, and it changes pitch too drastically and too much. It comes off as a drunken karaoke tune, unsure what to stick with while singing. The music consists of a tinkling piano in the background along with typical drum & bass rhythm. “Rave On” (Buddy Holly) sounds pretty good in comparison. The vocal range is more comfortable for Fumble. There is no real style difference from the original, amazing song. “Ebony Eyes” (Everly Bros) begins with the haunting harmony of dual layered vocals, with a waltz-swaying melody. It is gospel, with chanting voices behind the spoken word lyrics. “Oh Carol” (Neil Sedaka) is a rollicking crooning song, with bop-bops in the background, and dual layered vocals. And the spoken lyric section stands out like all good 50’s male pop vocal songs have. “The Girl Can’t Help It” (Little Richard) is the rock-a-billy, rolling piano style famously Little Richard’s. The vocals are strained and are tying to mimic Richard, without sounding too out of place, like with Presley.

“Hello Mary Lou” (Ricky Nelson) captures Nelson’s rock n’’ roll on verge of country style pretty well. The musical interlude emphasizes the electric guitar, emphasizing the country aspect, since country was a full fledged genre by 1972. “Take Good Care of My Baby” (Bobby Vee) is another crooning male vocalist single. The production is very echoy and as in the original, the music picks up after the intro. It is presented as the whiny sad rock ballad that Vee recorded, but mayhap not quite as whiny. “Nut Rocker” (B Bumble & The Stingers) is the rock version of the instrumental Nut Cracker with a quickened pace and near disco drum beat. “(Let me be your) Teddy Bear” (Elvis Presley) sounds more like the Blasters than Presley. The vocals are still trying to find their interpretation, if a little closer here; they still miss the mark, and come off, again, a little inebriated-sounding. But it was not as bad as the first song. “Let It Rock” (Chuck Berry) musically captures the Chuck Berry Rock N’ Roll insanity. The vocals are strained but in control for the most part. The bass and drum groove still illustrate original rn’r. “Breaking up is Hard to Do” (Neil Sedaka) feels like the Manhattan Transfer’s Do-Wha-Diddy. Again there are multiple vocals incorporated together making a complex musical landscape. And the bouncy groove is pretty standard. The song winds down with the repetitive non-sense hook repeating to fade-out.

The hits and standards are not really challenged here. They are not made Fumble’s own, rather they are honest and respected recreations of how the songs sound recorded to the best of their ability. There’s nothing wrong with this, except that it makes for a better wedding band, rather than an original act. The vocals are listenable and true; the music is accurate, and the vibe is energetic. Just go get the originals.

Stand-Out Track: Rave On

Links:
Official On The Web
Allmusic
myspace
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sean min bio on grim reaper

British Rock Festivals in the 70's

John Entwistle - Whistle Rymes

Name: John Entwhistle
Album: Whistle Rymes
Year: 1972
Style: Classic Rock
Similar Bands: The Who, CCR, Journey, Supertramp, J Geils, Genesis
"One-Word" Review: proggy-stoner-rock
Based Out Of: Chiswick, Britain
Label: Track Records, Decca, MCA

Whistle Rymes - Cover & Back
Whistle Rymes - Inside Notes
Whistle Rymes - Record

Whistle Rymes (1972)

1. Ten Little Fingers 3:56
2. Apron Strings 3:42
3. I Feel Better 4:42
4. Thinkin' It Over 3:06
5. Who Cares? 4:30 /
6. I Wonder 2:54
7. I Was Just being Friendly 3:31
8. The Window Shopper 3:23
9. I Found Out 3:45
10. Nightmare (Please Wake Me Up) 6:08

Album Rating (1-10): 6.5

Members & Other Bands:John Entwhistle - Vox, Bass, Piano, Trumpet, French Horn, Producer, Album Cover Idea (The Who, The Confederates, The Detours, High Numbers)
John Alcock -Producer
Brian Humphreys - Engineer
Mike Weighell - Engineer
Alan Ross - Guitar, Vox, Tambourine
Jimmy McCulloch - Guitar
Neil Sheppard - Piano
Rod Coombes - Drums
Gordon Barton - Drums
Peter Frampton - Guitar
Johnny Weider - Violin
John Lethbridge - Design & Artwork
Graham Lethbridge - Design & Artwork
Bryan Williams - Trombone, Organ

Unknown-ness: I am a fan of the Who, but I was unaware that this was a John Entwhistle album when I bought it or that Entwhistle was the bass player in the Who. Yes, I feel somewhat ashamed of that fact, but now I know. I got the record because of the spectacular art work on the fold out album cover. It looks so mysterious, childlike and somehow evil that I could not pass up finding out what the music inside was like.

Album Review: The album starts off with “Ten Little Friends,” a bouncy classic rock piano number, heavy on the lead electric guitar in the second half of the song. “Apron Strings” follows as a quieter, slower piano number, almost feeling like Elton John. But it builds up with progressive elements, especially Entwhistle’s bass. There is a guitar solo toward the end, which stays around for the remainder of the song. “I Feel Better” is a piano & bass heavy prog song with head nodding, cigarette lighter pacing. “Thinkin’ It Over” continues with the same structure and pace, with a bit more of a sway, drinking song, sea shanty style. “Who Cares?” starts off with some great start stop drums, piano and bass. It is the catchiest song so far with a great verse that sets up the catchy chorus. Horns and guitar come in as you think the song is about to end, but they carry us through another minute and a half of instrumental fun.

“I Wonder” is a very theatrical quick paced song. It sounds a bit like CCR’s “Down on the Corner” when it gets to the chorus. The brass in the song sounds like it is perfect for a 70’s cop TV show theme. “I Was Just Being Friendly” feels a bit like Journey meets Supertramp. It builds well as the chord changes tone higher, but there is no great follow thorugh. “The Window Shopper” feels like a Celtic march as it begins. But it has the same Genesis feel as most of the rest of the album: a self-assured, head nodding vibe. “I Found Out” starts with a piano only until; the bass and vocals kick in. There is hesitancy in the vocals, like he is singing in a house where people are still asleep. It follows stories where the singer is the protagonist, and discovers the truth about things in his life. “Nightmares” ends the album and begins as a quiet ballad, assuming the character in the story is falling asleep, about a minute and a half, an evil carnival bass line and electronic effects in the background begin to take the listener along on this changed pace rollercoaster “nightmare” with the main character. The bass rocks hard…one part James Bond, one part Jaws. Off-key “Chopsticks” is played overtop the ever increasing and chaotic sound-scape created by this audio-nightmare to give that childhood innocents lost. The song becomes very carnival-esq at the very end as the record fades out.

Who Cares, I Wonder and Nightmare are the stand out tracks here. They seem the most original and catchy of the lot.

Stand Out Track: I Wonder

Links:
Entwhistle - Wikipedia
Entwhistle - Allmusic
Entwhistle - website
Entwhistle - Memorial Page
Entwhistle - Foundation
Entwhistle - Live in Philly 3/75