RICK GRECH "THE LAST FIVE YEARS"

Artist: Rick Grech
Album: The Last Five Years
Company: RSO
Catalog: SO 876
Year: 1973
Genre: rock
Grade: *** (3 stars)
Condition: VG+ cover / VG+ LP
Comments: --
Quantity available: 3
Price: $10.00

I've seen this one hyped For a guy who played with so many all-star outfits, it is kind of a sad testament Rick Grech's own recording catalog is so slim - basically one odd 1973 compilation - "The Last Five Years".   

 

Part of the reason for that slim catalog has to do with the fact Grech wasn't much of a singer.  It wasn't that he had a bad voice (check out Family's 'Second Generation Woman'), rather he just didn't sing very often.   Grech also had a knack for playing with group's where he was completed overshadowed by the other members - Blind Faith, Family, Traffic ...

 

 

Anyhow, calling 1973's "The Last Five Years" a Grech album was certainly a marketing stretch.  True to the title, the album pulled together nine tracks that spanned the 1968-1973 time frame.  The earliest tune was Family's 'Hey Mr. Policeman'.  The most recent effort was apparently a 1973 collaboration with Gram Parsons ('Kiss the Children').   And that highlighted one of the oddest aspects of the collection.  Pulling together material from Blind Faith, Family, and Traffic, Ginger Baker's Air Force (the instrumental 'Doin' It') Gram Parsons, and Rosetta Hightower ('Just a  Guest') the collection served to showcase Grech's role as a musical journeyman.   A talented sideman, but still a sideman.  He provided bass, or electric violin on all of the songs.  He also wrote, or co-wrote most of the material, though that made the inclusion of the Steve Winwood penned 'Sea of Joy' kind of a mystery.  He even handled the lead vocals on Family's 'Second Generation Woman'.  For all that, you didn't really walk away with much insight into the man.  RSO certainly didn't put a great deal of effort into the project, witness the absence of any kind of biographical information, let alone any attempt to track down some of the shelved material Grech had recorded - tunes like 'Spending All My Days' and 'Exchange And Mart' which had been planned for an aborted solo project.  It made for an interesting, but odd career retrospective.

 

"The Last Five Years" track listing:
(side 1)

1.) Second Generation Woman  (Rick Grech) - 3:06

One of three tunes Grech wrote for Family's second album -  1969 "Family Entertainment".  It was also one of the few times he was featured on lead vocals.  The interesting was Grech actually didn't have a bad voice - certainly more commercial than Roger Chapman.   The tune as even released as a single:

- 1968's 'Second Generation Woman' b/w 'Home Town' (Reprise catalog number 0809)

2.) Kiss the Children  (Rick Grech) - 2:49

Hearing the late gram Parson's voice jump out the speakers made 'Kiss the Children' the album's biggest surprise.  I did not know Grech and Parsons had worked together.  For anyone interested the song was found on Parson's 1973 "GP" album.  rating: **** stars

3.) Face the Cloud  (Rick Grech) - 2:50

Family at their most psychedelic (always loved John Whitney's electric sitar) and one of the few tunes to capture Grech on vocals (albeit backing vocals).  rating: **** stars

4.) Just a Guest  (Rick Grech) - 4:17

The ballad 'Just a Guest' was perhaps the album's most interesting number - Grech wrote it and the late Rosetta Hightower sang the crap out of it (I'm guessing the lyrics were quite personal to her given she'd left the US in the mid-'60s).  Interestingly the song doesn't seem to have ever been released (outside of this album).   rating: **** stars

5.) Doin' It (instrumental)  (Rick Grech - Ginger Baker) - 5:18

A tune lifted from the first Ginger Baker Air Force album - 'Doin' It' was a bland, almost free-form slice of sax-powered jazz-rock improvisation.   And it seemingly went on forever ...   rating: * star

 

(side 2)
1.) Hey Mr. Policeman  (Rick Grech - Charlie Whitney - Roger Chapman) - 3:11

Powered by Roger Chapman's ominous vocal, 'Hey Mr. Policeman' was one of the reasons to buy Family's "Music In a Doll's House".     rating: **** stars

2.) Rock 'n' Roll Stew  (Rick Grech - Jim Gordon) - 3:15

Perhaps the funkiest thing Traffic ever recorded ...   'Rock 'n' Roll Stew' was originally found on Traffic's 1971 "The Low Spark Of High Heeled Boys" collection and was unique as one of the few Traffic tunes to feature the late Dave Capaldi on vocals.   Always loved Grech's bass line on this one.   rating: **** stars

3.) How-Hi-the-Li  (Rick Grech) - 4:55

'How-Hi-the-Li' was another tune from Family's 1969 "Family Entertainment" album.  Grech may have written the tune and turned in the dazzling bass line, but Roger Chapman stole the song.  With a cool jazzy-rock vibe, the song also sported some hysterical lyrics including name dropping Chinese premier Chou En Lai and one of my favorite stabs at politicians: "And the politicians start to speak; Trying to make themselves clear; To the ones who can't diagnose; The symptoms of verbal diarrhea"  rating: **** stars

4.) Sea of Joy   (Stevie Winwood) - 5:18

Interesting choice for inclusion on the album since Grech didn't write it and didn't even play bass on it (that honor apparently went ot the late Jack Bruce).  As far as I can tell Grech's contribution was limited to the electric violin solo - mind you it was a pretty solo, but it was a violin solo.   rating; **** stars

Only 43, but long plagued by alcohol and drug issues, Grech died on renal failure in March 1990.

EYES "STROKE A HORSE"S NAVEL"

Artist: Eyes
Album: Stroke a Horse's Navel
Company: The Eyes Record Company
Catalog: 710206
Year: 1977
Genre: rock
Grade: *** (3 stars)
Condition: VG+ cover / VG+ LP
Comments: SOLD
Quantity available: SOLD
Price: SOLD $100,00

 

I've seen this one hyped on high priced dealer lists as a psych masterpiece; a Beatlesque triumph, and as a slice of mind-warping hard rock.  You probably won't be surprised to learn that it isn't any of the above.  

Recorded at Cincinnati, Ohio's QCA Studios, the band themselves are a mystery since their self-produced and financed 1977 debut "Stroke a Horse's Navel" contains little in the way of performing, producing or writing credits.  Production and writing credits are attributed to The Eyes and there are no performances credits.  Musically this is slightly under-produced power-pop that will probably appeal to folks who like other mid-1970s Cleveland-based outfits like The Choir and Eric Carmen and the Raspberries.  Originals such as 'Mornings' and 'Oh, To Be a Child Again' boasted nice top-40 melodies that with a little bit of clean-up could've been massive radio hits.  That comparison isn't 100% accurate since tracks like 'Probate Me Baby', 'Yesterdays' and 'Such Is Life' were more rock-ish than what you would have found on the formers releases.  I'll also tell you that it took a couple of spins for this to click with me.  The first couple of times I played the album I focused on the set's shortcomings; notably the lead singer's occasionally quivering voice and the less than perfect production, but by the third spin the album's low-tech charms caught my ear making this one of the few albums I've bothered to put on CDR.  

 

Postscript: The Eyes Record Company was incorporate in Independence, Ohio by J L. Forcina and James A. Forcina.  Pure speculation on my part, but I'm guessing they were brothers and the driving forces behind the album.

 

"Stroke a Horse's Naval" track listing:
(side 1)

1.) Charmer   (The Eyes) - 3:00

'Charmer' started the album with a pretty enough ballad - imagine something out of a mid-career Ambrosia album, though the vocals couldn't begin to rival David pack and company.  In fact the slightly flat and colorless vocals were the major downside to this one.  rating: *** stars

2.) Goodbye Finally   (The Eyes) - 2:48

Nice breezy power pop tune that could have been a hit with a bit of additional production work.  rating; *** stars

3.) Mornings   (The Eyes) - 2:47

Another highly melodic tune that had the makings of a great top-40 single but was just a bit too clunky around the edges to make it.   rating: *** stars

4.) Oh, To Be a Child Again   (The Eyes) - 2:24

Hum, the band adds a bit of jangle-rock and Merseybeat to their repertoire with nice results.   rating: **** stars

5.) Probate Me Baby   (The Eyes) - 2:37

'Probate Me Baby' had a nice nervous and jumpy edge that gets better and better after a couple of beers.  Always liked the slightly raw guitars on this one.   rating: **** stars

6.) Yesterdays   (The Eyes) - 3:57

With a slight AOR-feel and some of the cheesy '70s synthesizer washes I love, 'Yesterdays' was probably the album's most radio-ready tune.  It's certainly one of the album highlights for me.   rating: **** stars

 

(side 2)
1.) Such Is Life   (The Eyes) - 2:00

based on the lyrics you would have thought the title was 'I'm a Loner'.  Regardless, it was insidiously catchy.  Too bad it wasn't tagged as a single.  rating: **** stars

2.) 509   (The Eyes) - 3:10

Eric Carmen and the Rapsberries styled big ballad that was simply too sappy and vapid for my tastes. rating; ** stars

3.) So You've Got a Hit   (The Eyes) - 3:34

Hum, do you detect a note of envy one this one ?  Wonder who inspired this three minutes of generosity?   The guitar solo was hysterical.   rating: *** stars

4.) Tax Collector   (The Eyes) - 3:06

The album's funniest tune - image a bit of George Harrison fiscal insight coupled with Roger Daltry anger ....   Great tune, though I seriously doubt these guys had to worry about hitting the alternate minimum tax rates.   rating: **** stars

5.) Stroke a Horse's Navel   (The Eyes) - 2:47

The title track simply didn't make much of impression on me, kind of meandering around without a particularly strong, or memorable melody.  Nice harmonies and the cheesy synthesizers were back.   rating: *** stars

6.) Eyes   (The Eyes) - 3:13

With a Rapsberries-styled flavor, the optometry references were funny ...  Nice tune. rating: **** stars

 

DENNY DOHERTY "WHATCHA GONNA DO"

Artist: Denny Doherty
Album: Whatcha Gonna Do
Company: Dunhill
Catalog: DS 50096
Year: 1971
Genre: pop
Grade: *** (3 stars)
Condition: VG+ cover / VG+ LP
Comments: --
Quantity available: 1
Price: $20,00

 

The quiet one; the cerebral one, the cute one, the George Harrison of The Mamas and the Papas  ...  I guess they're all applicable descriptions for the late Denny Doherty.     

Released two years after The Mamas and the Papas had called it quits, 1971's "Watcha Gonna Do" found Doherty having moved on with his personal and professional lives.   Produced by Bill Szymczyk, the album was interesting for a number of reasons, but for me the biggest surprise was  demonstrating what a great voice Doherty had.  As part of The Mamas and Papas his contributions were frequently overshadowed by the rest of the band.  Shame since he may have had the best overall voice.  The album was also interesting for the shift in musical direction.  With two notable exceptions he all but abandoned Mamas and the Papas top-40 folk-rock and pop.  In its place tracks like 'Neighbors', 'Still Can't Hear the Music' and 'Gathering the Words' found Doherty diving headlong into country-rock that bore at least a passing resemblance to the territory Mike Nesmith was exploring in his post-Monkees releases.  (For anyone interested, the album's most pop-oriented track happened to be a cover of The Mamas and the Papas 'Got a Feelin''.)  I will say that occasionally the material was too country for my tastes ('Neighbors' and the abysmal 'Tuesday Morning'), but with those isolated exceptions the songs were all pretty good, sounding like Doherty and his friends had enjoyed the recording sessions.  That said, this was one of those weird albums that was actually better as a whole package than as singular compositions ...   Hard to explain, but it's one of those albums that you should listen to as a complete package.

"Watcha Gonna Do" track listing: (side 1)
1.) Watcha Gonna Do   (Denny Doherty - Linda Woodward) - 2:21

The title set the pace with a likeable country-rocker that served to showcased Doherty's frequently overlooked vocal talents.  As mentioned above, his dry, clear voice reminded me a bit of Michael Nesmith.   Lyrically it wasn't anything great; basically the title track repeated over and over and over, but the melody was quite pleasant and the harmonies were great.  Dunhill also released it as a single.  

 

 

 

- 1971's 'Watcha Gonna do' b/w 'Gathering the Words' (Dunhill catalog number D 4270)    rating: *** stars
2 ) Neighbors   (G. Lapano - Linda Woodward) - 3:49

One of the few non-originals (then-wife Linda Woodward co-wrote the track), 'Neighbors' found Doherty expounding on the joys of married life.  A bit too country and hokey for my tastes ...  rating: ** stars

3 ) Gathering the Words    (Denny Doherty - Linda Woodward) - 4:09

One of the album's biggest surprises, the country-tinged 'Gathering the Words' was an album highlight. Co-written by Doherty and Woodward (you could also hear her on backing vocals), the song's always reminded me of something a post-Monkees Mike Nesmith might have written and recorded.  When he wasn't scatting, Doherty's dry voice seldom sounded as good.  rating: **** stars

4 ) Don't You Be Fooled    (Denny Doherty) - 2:46

One of the album's more pop oriented tunes, 'Don't You Be Fooled' had a laidback, slinky arrangement and some nice horn charts.   rating: *** stars

5 ) Got a Feelin'     (Denny Doherty - John Phillips) - 3:26

Given the song's connection with old flame Michelle Phillips, I always wondered why Doherty decided to cover the Mamas and the Papas 'Got a Feelin'' (it was on the debut LP and was the 'Monday, Monday' single's 'B' side).   I always thought The Mamas and Papas tune was pretty lame.  Compare to the original Doherty's was pretty good. Starting out as a stark acoustic ballad, the track  picked up speed (and orchestration) as it went along.  The laidback, slinky vocal, coupled  with the slightly lysergic-tinged orchestration (very Beatle-esque) was actually quite cool.   rating: **** stars

 

(side 2)

1.) Tuesday Morning   (Denny Doherty - Eddie Fischer - Laura Woodward) - 4:44

The album's least satisfying track, 'Tuesday Morning' sounded like something that had been written by a committee.  A horrible country-tinged number, Doherty was largely drown out by the stoned sounding backing singers (including Woodward).  Other than the brief nod to The Mamas and the Papas "it's Monday Monday again ..." this one didn't have a great deal going for it.  Geez, this was bad enough to have been mistaken for and early Paul McCartney and Wings song.   rating: ** stars

2.) Still Can't Hear the Music   (Denny Doherty) - 2:53

Possible my favorite track, 'Still Can't Hear the Music' was a glorious slice of country-rock.  Kicked along by Buddy Emmons' pedal steel guitar, this one had a great melody, wonderful vocals, and a nice, reflective lyric.  This was one of the tunes where Doherty's came off as a dead-ringer for Mike Nesmith.    rating: **** stars

3.) Hey Good Looking   (Hank Williams) - 1:45

I have no idea why the brief fragment of 'Hey Good Looking' was included on the album, other than perhaps to show how much fun the crowd was having ?   Musically in was a drunken waste of a minute worth of vinyl.    rating: ** stars

4.) The Drummer's Song   (Eddie Fischer - Laura Woodward) - 3:18

Propelled by Jimmie Haskell's accordion and Barry McGuire's harmonica 'The Drummer's Song' was easily the album's strangest song.  Sounding almost like a French ballad, it was way different and kind of cool.  No idea what the lyrics were about ...   rating: *** stars 

5.) Here Comes the Sun   (George Harrison)  / The Two of Us   (John Lennon - Paul McCartney) - 5:43

I'd love to say something nice about Doherty's Beatles medley, but other than being professional, it really didn't have a great deal going for it.   Linking 'Here Comes the Sun' and 'The Two of Us' was apparently one of those concepts that looked better on paper than the actual end-product.  Of the two segments, I'd give the nod to 'Two of Us' simply due to the fact it was more obscure than George's 'Here Comes the Sun'.  After all, how many times can you cover 'Here Comes the Sun'.   Giving credit where due, Doherty's arrangement was actually a bit more energetic than normal and he managed to work in a sly, unaccredited  nod to John Lennon's 'Give Peace a Chance' at the end of the song.   rating: *** stars / **** stars

- The album ended with a brief a cappela refrain of the title track,  Actually quite sweet.   rating: *** stars

 

 

Easily one of the best Mamas and Papas solo projects, Doherty's timing proved lousy since the subsequent  Mamas and the Papas reunion effectively limited support and publicity for the album.

           

There's a nice Doherty website at:  http://www.dennydoherty.com/

 

 

JERRY RIOPELLE "SAVING GRACE"

Artist: Jerry Riopelle
Album: Saving Grace
Company: ABC
Catalog: ABCX 827
Year: 19704
Genre: rock
Grade: *** (3 stars)
Condition: VG+ cover / VG+ LP
Comments: --
Quantity available: 1
Price: $20,00

 

Talk about a rock and roll old timer ...  

 

Riopelle's career reflects a musical career path that simply no longer exists.   He started his professional musical career in the early 1960s working as a "hired gun" which included stints working as a staff writer, studio musician, and an independent record producer.   The man literally had his fingerprints on dozens and dozens of mid-'60s acts including Bonnie and the Treasures (Charlotte O'Hara), Brewer and Shipley, The Hollywood Argyles, Clydie King, April Stevens and Nino Tempo, We Five, etc.  

 

Through his work for Phil Spector's Philles label, he hooked up with actors Murray MacLeod, and Allen Roberds Riopelle to form the band The Parade who released a string mid-'60s singles on A&M.  

 

Graced by a wonderful cover featuring a Fritz Scholder painting entitled "Indian Power", 1974, "Saving Grace" came close to being an outright collaboration with former The Parade member Stuart Margolin.  In addition to co-producing a couple of tracks, Margolin wrote, or co-wrote about half the album.  Musically the collection was pretty varied including stabs at blues ('Shoulder To the Wheel'), country ('Buyin', Beggin' and Stealing'), and rock ('Blues On My Table').  That probably didn't sound like a very enthusiastic summation, but this was one of those albums where the sum was more than the parts.  Riopelle was gifted with a tremendous voice - one of those then young white guys who managed to sound like a grizzled veteran of the blues wars.  To my ears his gravelly voice has always reminded me a bit of the late Lowell George, or Delbert McClinton (two singers I love).  Backed by a tight band including cameos from a wide list of studio friends, the album sounded good throughout, but Riopelle was at his best on the more conventional rock numbers - 'Livin' the Life' and 'Blues On My Table'.     

 
   

"Saving Grace" track listing:
(side 1)
   

1.) Livin' the Life   (Jerry Riopelle - Stuart Margolin)  - 2:05

Pardon me for thinking I'd mistakenly put on a Redbone album ...  and not just any Redbone album, rather one of their albums with the hits on it.  Powered by some wonderful tribal drumming and that insidiously catchy refrain, this one should have been a massive hit for the man.  (I Believe the female backing singer is Clydie King.)   ABC tapped the song as the leadoff single:

- 1974's 'Livin' the Life' b/w 'Shoulder To the Wheel' (ABC catalog number ABC-12025) rating: **** stars
 

2.) Why Do I Always Leave Home?   (Jerry Riopelle - Stuart Margolin) - 2:10

Bluesy lament that probably sounded better after a couple of beers.  rating: *** stars

3.) Naomi's Song   (Jerry Riopelle) - 3:59

Likable blues tune with a touch of Cajun flavor added in.  This was another tune with a touch of Lowell George/Little Feat/Delbert McClinton funkiness in it.  One of the album highlights.   Needless factoid - Riopelle's wife is named Naomi.   YouTube has a nice clip of Riopelle and band doing the song at   the May 2013 Songwriters' Showcase IX: 
https://www.youtube.com/watch?v=1qLrdeoGxIc    rating; **** stars
 

4.) Buyin', Beggin' and Stealing   (Jerry Riopelle - Stuart Margolin) - 2:15

Pretty, but largely forgettable country ballad.   rating: ** stars
 

5.) Shoulder To the Wheel    (Jerry Riopelle - Stuart Margolin) - 3:50

Standard blues number that sounded a bit like Delbert McClinton.   Other than some nice David Plenn slide guitar it was rather forgettable.  The sound and video quality aren't great, but YouTube has a black and white clip of Riopelle performing the song at a New Year's Eve 1975 concert at Phoenix's Celebrity Theatre in Phoenix: https://www.youtube.com/watch?v=AgNEITFF1fA   rating: ** stars
 

6.) Blues On My Table   (Stuart Margolin) - 4:30

Blues for folks who don't like the blues ...  That sounds like a dumb description, but surrounded by one of those slinky blues melodies (great David Plenn slide guitar), this was a great platform for discovering what a great blues rock the man had.  Imagine a prime slice of Little Feat ...   Shame ABC didn't tap this one as a single.    rating: **** stars

 
   

(side 2)
1.) Like I Used To Do   (Jerry Riopelle) - 2:30
 

Very McClinton sounding blues-rocker.  I like McClinton so didn't have a major problem with it.  rating: *** stars

2.) You and I   (Jerry Riopelle) - 4:55
 

Normally a laidback, slightly Caribbean-tinged tune like 'You and I' wouldn't have made much of an impression on me, but Riopelle's slinky drawl and some first-rate acoustic guitar made this one an unexpected charmer.  It's a strange comparison, but the guy really did sound a bit like a cross between Leon Russell and Van Morrison.   Great tune that I've found myself unexpectedly humming when I go walking, or biking.  ABC floated the track as a promo single:

 

 

- 1974's 'You and I' b/w 'You and I' (ABC catalog number ABC-12042)    rating: **** stars
3.) Doodley Doo   (Jerry Riopelle - Stuart Margolin) - 3:20
Frankly I'm not sure how many folks would be able to take the title and turn it into anything nearly as impressive.   Cute and surprisingly memorable pop-tinged tune.   rating: **** stars
4.) Silly Old Gigolo   (Jerry Riopelle) - 3:05
Kicked along by some tasty bass, 'Silly Old Gigolo' is one of those great rum--and-sunset tunes.  A wonderful tune with one of those drunken chorus lines that you can easily see yourself singing along to.  Yeah, I'll take another Corona please ....   Riopelle's old friend Stuart Margolin recorded the tune for his 1980 album "And The Angel Sings".   rating: **** stars
5.) Fools Together    (Jerry Riopelle) - 3:15
Imagine Leon Russell deciding to record a real rocker ...   The chorus is addictive.   rating: **** stars
6.) Roll with the Feelin'   (Jerry Riopelle) - 2:25

'Roll with the Feelin'' struck me as being a demo that Riopelle simply never got around to finishing (ho many times can you say 'roll with the feeling' and was probably the album's biggest disappointment.   rating: ** stars

 

ABC didn't have a clue as to how to market the album and it disappeared in an instant.

 

For anyone interested, Riopelle has a nice website at: http://www.jerryriopelle.com/index.htm

Design "Design"

Artist: Design
Album: Design
Company: Epic
Catalog: E 30224
Year: 1970
Genre: pop
Grade: *** (3 stars)
Condition: VG+ cover / VG+ LP
Comments: --
Quantity available: 1
Price: $20,00

Liner notes aren't known as the best source of biographical information, but there simply isn't a great deal of information to go on with regard to this London-based group.  In fact,, even their website is a bit vague with the group's history.

 

photos from a 1974 appearance on the Benny Hill Show left to right:

Barry Alexander - Gabrielle Field - Kathy Manuell - Jeff Matthews - John Mulcahy-Morgan -
 

 

 

Geoff Ramseyer

"Together since January 1969, Kathy Manuell, Gabrielle Field, Tony Smith, Barry Johnston, Geoff Ramseyer , and John Morgan have brought into close harmony musical backgrounds which are tremendously varied.  Prior to forming Design, Kathy and Gabrielle were students of operetta and classical music, Geoff and John were members of a rock band [Free Expression] doing the British club circuit; while Tony and John were accomplished songwriters. Through various "acts of fate" they came together, began performing at parties, were asked to perform for Princess Alexandra and Angus Ogilvy at the "Save the Children Fund Ball" and were a sensation.  With this album Design have come to our shores."

 

In spite of what the liner notes said, by the time the group released their US debut, Smith was no longer a performing member of the band, having been replaced by Jeff Matthews.   While Smith may have been gone, his fingerprints were all over the band's 1971 album debut "Design".   Smith's voice remained on several of the songs and he was credited with penning ten of the eleven songs.  The only non-Smith song was Barry Alexander's 'The Minstrels' Song'.   Interestingly the tune was credited to 'Barry Johnston' - Barry apparently wanted to keep some distance from the fact his father was British cricket commentator Brian Johnston.  

 

To be honest, Design was more of a marketing ploy than an attempt to make music that was going to stand the tests of time.  Accordingly the group's main selling points seemed to be their  young, mod good looks and their blended, if somewhat anonymous harmony vocals. They quickly became staples on British television shows, though I suspect few fans could tell which one was Gabrielle versus Kathy, let along the names of the five guys.  As a result, much of the debut album was little more than throwaway pop fodder intended to appeal to top-40 radio stations.  Imagine a British hybrid of The Association, The 5th Dimension, The Free Design, and The Mamas and the Papas..  Add in a touch of Brotherhood of Man and maybe a little ABBA and presto - Design.   And that's what makes the album so strange.  Buried in MOR-ish harmony muck like 'The Lonely', 'Willow Stream',  and 'Matchstick Man' were some unexpected surprises.   The opener 'Coloured Mile' took the group's wall-of-sound harmonies and surrounded them with some lysergic edges.  Imagine a stoned version of the Free Design.   It made for a great tune.  Equally impressive were 'Marguretta' (okay I'll admit that one was a guilty pleasure), Alexander's 'The Minstrel's Theme', and the jazzy, almost acapella closing ballad 'Dawn Chorus'.   It's far from a great LP, but had some nice sunshine pop moments.

 

"Design" track listing:
(side 1)
1.) Coloured Mile  (A.C. Smith)  - 2:58

Geez ...  what the world?   I remember hearing 'Coloured World' for the first time and wondering how The Free Design had acquired British accents ...  As mentioned, the group's harmony rich sound isn't going to appeal to every one, but this was a great example of how good they could be when packaged with a strong, slightly lysergic tune and arrangement (check out the underlying bass work).  The song was also released as a promo US single: 

 

- 1971's 'Coloured Mile' b/w 'The Minstrel’s Theme' (Epic catalog number 5-10713)  rating: **** stars

2.) Willow Stream  (A.C. Smith)  - 2:25

And 'Willow Stream' demonstrated how band they could be when surrounded by twee, throwaway material.  I'm guessing this one was given a slightly tropical feel on purpose, but the results were simply irritating - kind of like a band Boney M tune.   of course that didn't stop Epic from releasing the song as a US single: 

- 1971's 'Willow Stream' b/w 'Coloured Mile' (Epic catalog number 5-10623)  rating: ** stars








3.) Marguretta  (A.C. Smith)  - 3:11

Okay, 'Marguretta' was a song that I should have detested.  It was simply way too cute and way too catchy for anyone's health.  In fact, if you ditched the English lyrics and added some Scandinavian accents, it could have been an ABBA tune.  The ladies' chirpy refrains (sounding like the Vienna Boys Choir), were hysterical.   Great tune.   rating; **** stars

4.) The Lonely  (A.C. Smith)  - 2:59

Bland ballad that showcased the ladies' slightly shrill vocals ...   rating: ** stars

5.) Thinkin'  (A.C. Smith)  2:16

Seriously, with a distinctive MOR-jazzy vibe and some elaborate vocal arrangements 'Thinkin'' could easily have been a Free Design effort.   rating: *** stars

6.) Matchstick Man  (A.C. Smith)  - 4:18

Not sure which guy handled the lead vocals on this one, but this one was simply too sappy and the subject matter too English to make the cut.  Did anyone think this one was going to tug at the heartstrings?   Yech.  (I did like the underlying busy bass line.)    rating: ** stars

(side 2)
1.) The Minstrel's Theme   (Barry Johnston) - 3:13

Imagine The Mamas and the Papas after they'd taken a Masters class in English folk music ...   The group's waves of sweet harmonies remained a danger to diabetics, but the tune had a wonderful melody and a cool toy town psych flavor.  It also served as the 'B' side on their second US single.   rating: **** stars

2.) Speak   (A.C. Smith) - 3:31

Geez this one was a strange tangle of influences; The Fifth Dimension, Gilbert O'Sullivan-styled pop; Simon and Gafunkel harmonies ...   Easily the album's strangest performance.   rating: *** stars

3.) Buttercup Stranger  (A.C. Smith) - 3:21

'Buttercup Stranger' started out with some beautiful acoustic guitar and when the vocals kicked in the tune had a very Simon and Garfunkel feel.   rating: *** stars

4.) Children of the Mist  (A.C. Smith) - 2:45

Yeah it was a bit on the MOR side of the house, but 'Children of the Mist' was probably the album's most radio-friendly tune, 'Children of the Mist' had everything needed for heavy radio rotation; great melody and a nice display of their vocal prowess.   rating: *** stars

5.) Dawn Chorus  (A.C. Smith) - 4:09

It opened up as an almost acapella piece before morphing into an atmospheric ballad that recalled The Fifth Dimension at their jazziest.    rating: **** stars

 

 

 

The group have a nice website at: http://www.designvocalgroup.com/index.htm   

 

 

ANGELINE BUTLER "IMPRESSIONS"

Artist: Angeline Butler
Album: Impressions
Company: CoBurt
Catalog: CO 1000
Year: 1970
Genre: soul
Grade: *** (3 stars)
Condition: VG+ cover / VG+ LP
Comments: --
Quantity available: 2
Price: $15,00

It's rare that you can't find a single review for an album on the internet, but that appears to be the case for this 1970 obscurity.  Other than autobiographical information Angeline Butler has post on her MySpace entry (see below), I know virtually nothing about her - certainly nothing about her early musical career.  Among the little bits I can piece together, she somehow managed to attract the attention of songwriter/producer Tommy Cogbill who signed on to produce her 1970 debut LP "Impressions".   The album was in turn released by the MGM affiliated CoBurt imprint which Mike Curb had established as a vehicle for his personal interests.  In fact, Butler's album was the first release on CoBurt.  Butler certainly had a nice enough voice - on the title track, 'Many Ways To Love a Man' and 'Lady Like' she somehow managed to blend Memphis soul with a more pop and at times almost classical feel that I found unique and very attractive.  The big problem with this one was that producer Cogbill seemingly couldn't decided what he wanted  to do with Butler.  The soul-tinged numbers were simply great, but far too much of the album (particularly side two), were given over to a mixture of bland cocktail jazz and cabaret-ish ballads.  Yes, it may have been intended to showcase Butler's sophisticated image, but ifar too often the results  just weren't all that exciting.    

 

 

"Impressions" track listing:
(side 1)

1.) Let Me Be Yours Until Tomorrow   (Gerry Goffin - Carole King) - 2:45

'Let Me Be Yours Until Tomorrow' served as a showcase for what a great voice Butler had.  A pretty ballad hat just dripped desperation, musically the song was a great example of how she managed to blend soul and a more pop oriented song.  Very catchy and commercial, it would have made a dandy single.  rating: **** stars
 

2.) Keep On Keeping a Man   (Bobby Emmons - Dan Penn) - 3:05
'Keep On Keeping a Man' surrounded Butler with a more mainstream soul feel and may have been an even better performance.  The horn arrangement was first rate and rather than drowning Butler, actually served to highlight her voice.  That may be the reason the song was tapped as an instantly obscure 45.  I think it was also featured on the soundtrack to the flick "The Magic Garden of Stanley Sweetheart".  

 

- 1970's 'Keep On Keeping a Man' b/w 'The Sound of Love' (CoBurt catalog number CB 100) rating: **** stars
 

3.) The Sound of Love   (Barry Gibb - Robin Gibb - Maurice Gibb)  - 2:32
 

Unlike the previous song, parts of 'The Sound of Love' found Butler coming painfully close to MOR schlock.   Swamped in one of those massive arrangements that you'd associated with a Jacque Brel composition, the song was simply way too sleek and sophisticated for soul and R&B audiences, the results sounding like something off of one of those albums Motown packaged for MOR audiences.  Wonder what was up with the abrupt fade out ...  rating: ** stars
 

4.) Many Ways To Love a Man   (Billy Sheriill - Tammy Wynette) - 2:52
 

With a slinky, almost funky rhythm section (fantastic bass line), 'Many Ways To Love a Man' has always reminded me of something the Staples Singers might have recorded.  The song also showcased how dynamic Butler's voice was.  Great performance.   (For some reason the inner label showed the song title as 'The Ways To Love a Man'.)   This one was also tapped as a single.    rating: **** stars 
 

5.) What's a Matter Baby (Is It Hurting You)   (Clydie Otis - Joy Byers) - 2:40
 

Side one's most mainstream soul number, 'What's a Matter Baby' was also my choice for standout side one performance.  This one had everything necessary to have been a chart hit - a great guitar riff that I couldn't shake out of my head for weeks, an  instantly catchy melody, mesmerizing hook, great old school you-had-if-coming--fool  lyrics, and a dazzling vocal performance.   rating: **** stars 

 

(side 2)   
1.) Different Worlds   (R. West - B. Mainegra) - 3:02
 

'Different Worlds' started side two off with a an instantly forgettable slice of cocktail jazz.  Probably the album's least impression number ...  rating: ** stars
 

2.) Reaching for a Rainbow   (Larry Wiess) - 2:54
 

'Reaching for a Rainbow' was another MOR-ish ballad that probably wouldn't have made a lasting impression were it not for the fact it brought out Butler's strange, almost classical voice.   Hard to adequately describe, there was just something very unusual and attractive in her odd delivery.   rating: *** stars
 

3.) Lady Like   (W.C. Thompson) - 2:42
 

The track listing showed it as 'Ladylike' while the inner label had it as 'Lady Like' ...  Pretty ballad with a beautiful arrangement that simply oozed class ...  another one that easy to picture as a chart single.   rating: **** stars
 

4.) When You Wish On a Star   (Ned Washington - Leigh Harline) - 2:19
 

Personally I wouldn't have expected much from a cover of an old chestnut like 'When You Wish On a Star'.  To her credit, Butler turned in a surprisingly impressive cover, injecting the song with a nice, bluesy vibe , though for some odd reason, the song abruptly faded out just as it was starting to really cook.   rating: *** stars
 

5.) Until It's Time for You To Go   (Buffy Sainte Marie)  - 3:18
 

I never liked the Buffy Saint Marie original and can't say I enjoyed Butler's cover of 'Until It's Time for You To Go'  any better.  Another slice of over-emotive pseudo-cabaret.  Yech.   rating: ** stars

 

 

Interesting to imagine what this might have been like had Cogbill and Butler decided to push the set in a more soul-oriented direction.   In spite of the lame second side, this one was still worth checking out (and you can still find it at reasonable prices).