WHEN MY BABY'S BESIDE ME (Bell-Chilton) Big Star Produced by Big Star Ardent 2902 Time: 3: 20 Flip - In The Street
by Martin Robert Cerf, Phonograph Record Magazine, Feb. 1973
Create-tivity. Inspiration. Sure do mean a hell of a lot fellas. Like I know this cat what's spent over a year completing an album that's supposed to stand for the answer to whatever question you might hope to put up. Sure, from December, 1971 up ta now. So, he just completed the mastering, spent months doin' that, blew all conceivable budgets in the first four months, and he held this really informal audition for some close friends. One of his buddies brought along a lady. The record started. She was asleep within twelve minutes flat.
Still another genius in Baton Rouge spent two years working on his first LP, one of them solo efforts where the guy plays, writes, produces, and amazingly engineers the whole shebang. Well, two years on, in mid-1971, the record was done. Just in time for the first Paul McCartney & Emmit Rhodes one-man-band LPs, and also, somethin' else he couldn't predict happened... two years passed, so when he finished the LP, the entire listening audience had caught up and passed where the guy's musical concepts were...The record never came out.
Then, about three months ago we were introduced to Big Star. Their first LP titled, presumptiously, NO.1 RECORD received just gobs of trade ads. Full color. And about six weeks of those advance "teaser" ads...you know the kind I'm talkin' about, the ones that progress in copy and art every week so that after six consecutive ads, if you save all your back issues of Billboard, you know what they're tryin' ta tell ya 'bout...That's called merchandizen'. So, the advance grease was in the skillet and ready for the test. Well, those that got the record must have been redlined-out, 'cause word has it within four days of receipt, DJ copies the nation over were showin' up in bargain bins everywhere...sealed. In fact, only one really bothered to listen, Jon Tiven, and he quacked in Fusion that, "Big Star are the greatest thing since The Count Five, The Yardbirds..." and so on...In short, the majority got a soft-on for Big Star's NO.1 RECORD.
And if matters weren't bad enuf, their record company which is owned and operated by the clever folk at Stax Records (The Dramatics, Carla Thomas) decided to finally hook up with a major record label, Columbia. And it was the age old situation which goes on every day in this hot biz where a group was caught up in the center of a problem beyond their control.
Oh, I forgot the important thing, the group's record is excellent. Not phenomenal, but certainly excellent. I'm speaking of the single of course, can't vouch for the LP though. Well, like in the first two stories I rambled off, there's a dramatic irony to the Big Star situation. So the record company is sold, group isn't workin', and it appears all is lost. Then this Fusion review comes out, and word of Columbia re-releasing the LP and applying a whole new effort there upon comes down. Terrific, a second chance for an act that well deserves a break. But hold on, now they wanna split up...that's not exactly true, only one member of the band is leavin', that's Chris Bell. But he's an essential part. 'Cause along with Alex Chilton he sang lead vocal and back up harmony, played lead guitar and at least co-produced and arranged all of the group's first LP...so tough shit huh. Nope. There's still this here single. And the AM market doesn't care if the band are androids or computers, long as it's in the plastic. Let me assure you people, this is one of those singles...
Like the first ten seconds explode with -this lead that sounds like The Guess Who at their best with some Alice Cooper thrown in for good measure. Then it forms this riff what coul embarrass Albert Hammond and the Troggs. And lyric content...you lookin' for any teenage these days, we always are, And Chris didn't forget it either..."Don't need to talk to my doctor, don't my shrink, don't need to hide behind no locked door, I don't need to think, 'cause when my baby's beside me I don't worry, when my baby's beside me all I know, when my baby's beside me I don't worry, when my baby's beside me I don't worry"* ...And it gets bitchier and bitchier. Then there's Jody Stephens who's working out on snare 'n cymbal better than the cats on Treat Her Right and Shakin' All Over, his stuff is real elementary, no Elvin Jones here, but it doesn't matter, it's great (like the stuff on early Sonny & Cher singles (i.e., Little Man). And the part about droppin' out of school makes it complete.
Now at first glance this might appear like any number of other fine pop singles available, don't be fooled, this is another Bus Stop, Don't Bring Me Down or Have I The Right. Christ, Alex was with the Box Tops and you know how important all those AGP records from the mid-sixties were, now don't you?
Now there's still 3/4ths of Big Star together. They still have this new LP out there. And there's still this single. Oh, it's got a fine B side too, which could be an A side...In the Street is like The Doobies' Listen To The Music; sounds great on a car speaker or burned out Silvertone. And dumb lyrics...you get a whole shit-load here. Big Star sound like the Byrds too. A lot, really. No, this is a group you don't wanna pass up, believe me. And, you may never hear of them again, God forbid, so let's do what we can to make sure they're around for some time...We suggest you write off the the benevolence at Ardent Records for a free copy of this single, they must have hoards of R/A's by now and they promised to cooperate too! Write to Ardent Records, 2000 Madison Avenue, Memphis, Tennessee. (Big Star are as hot as our good buddies - the Raspberries, don't dare miss 'em)...
Peter Noone released a handful of good singles on RAK in the early 70's. After RAK, he made only one single on Phillips before moving on to Casablanca records:
Here's what Alan Betrock had to say about this single:
Peter Noone - "(I Think I'm Over) Getting Over You" (Phillips) By Alan Betrock, Phonograph Record Magazine, January 1974
How could Peter Noone make a comeback if he's never really been away? After Herman's Hermits disappeared from the American charts, they continued to have mild success in their homeland, and Peter, on his own, recorded some wonderful solo singles. One, David Bowie's "Oh You Pretty Things" even dented the British Top 30. Having been a pop star at the tender age of 15, Peter is one up on the Gerry Marsdens, Freddie Garrity's and Billy J. Kramers of the world, who are all at least a third of a century on in years.
Noone's freshness, vitality and appeal stems from this youthfulness. This is his trademark, and his unrestrained versatility makes him a prime choice for guest spots on British variety shows. He can be seen every week on the "telly" - a well rounded vaudevillian much like Davy Jones - who can appeal to the tots, the teens, and the 'mums and dads'.
On this side of the Atlantic, Peter is still quite an unknown entity. His commercial resurgence began with the British Invasion Package Tour which showcased Noone's professionally entertaining and endearing stage act. He took the critics and audiences by storm, gathering raves from most corners. His television appearance on Mike Douglas, Merv Griffin, and Midnight Special have not been so stellar as the nature of the medium tends to cram Peter's one-hour performance into six minutes. But at least these shows help to get Peter's name known again, and his recent Sonny & Cher gig gave him more valuable exposure.
All of this is nice, but Peter will never really be back until he can rid himself of "Mrs. Brown," "A Kind Of Hush" and all the others. If he is pigeon holed as a mere revival act, the novelty will quickly wear off, then it's back yo the pubs again. So Peter has taken a major step in attempting to establish himself as a current performer. He has shelved his old label, hired a new producer, and released a new single.
The result is available on Peter's debut Phillips release. Writer Tony Hazzard (remember "Ha Ha Said The Clown", "Fox On The Run", and "Goodnight Sweet Josephine"?) penned this ditty, and Tony Atkins produced it. It's a good combination of styles, and melodic too, with Peter's double-tracked voice soaring throughout. A steady piano rhythm carries the song which is accented by a nice use of strings. This use of strings is most thankfully tasteful, avoiding the usual pitfall of overdramatic and unneccessary arrangements. "Getting Over You" combines Noone's Bowie phase with middle Bee Gees, and adds a great high falsetto of his own. This is a good start and if Peter keeps putting out strong records, and getting airplay, he just might be back - this time to stay.
DWIGHT TWILLEY BAND -"You Were So Warm - Shelter 40450 The screaming rockers of "I'm On Fire" show a softer side here, recalling shades of the Byrds and the Searchers. The flip, "Sincerely,"' introduces the Zombies as well. I think that what I like most about the Twilleys, apart from the impeccability of their sources, is the cleanness, the bare simplicity of their sound. They never over-produce, and they're not afraid to be tastefully derivative. This will bomb in the discos, but they don't care--the girls they want to reach are too young to do the hustle anyway.
BAY CITY ROLLERS -"Saturday Night" /"Marlina" - Arista 0149 Like everyone else, I'm a little appalled that these dorks should be considered for even a moment, by anybody at all, to have anything in common with the Beatles. But at the same time; I've liked almost all their records, beginning with "Keep On Dancing" in 1971. For a hard pop group (not quite Slade or Sweet, but more than Middle of the Road) they're not bad. "Saturday Night," a 1973 single in England, is currently on its way to becoming their first U.S. hit. The closest thing to a hard rocker they've done, its success here may say something about American tastes, since none of their more characteristic earlier efforts fared as well. In fact, "Saturday Night" started out as the B-side of this disc, backing the more tuneful (somewhere between Rod Stewart and Albert Hammond...) "Marlina:' actually their latest recording. Since their progression over the last four years has been from harder to softer, the question is raised as to what they'll do for a follow-up if "Saturday Night" becomes a hit, short of raiding the back catalog still further--not that anyone in this country would be much the wiser. WARWICK - "Let's Get The Party Going" - RAK 211 UK The one RAK record I'd really like to see out here is "Let's Get the Party Going" by Warwick, which sounds like the Jook attempting to turn the Ronettes' "Be My Baby" into a modern post-glitter classic. Doesn't quite overwhelm, but comes close, and is worth searching out (RAK 211, in England).
Thundermug -Thundermug Strikes Lp Epic Records By MIKE SAUNDERS Phonograph Record Magazine
"Orbit" is the title of the opening cut here, and it's a beaut! What it really reminds me of is "Johnny Thunder" on the Kinks' Village Green LP. Ray Davies once said he wrote that song as a 1967 Who move, and "Orbit" seems to be Thundermug's premier success in the same vein: a poised effete melody backed up by hard rock riffing, made even more effective by the extra bonus riffs that keep popping up. Flawless power pop, it sounds like a perfect 45. And it was. If it wasn't a hit in Canada (Thundermug's homeland), there's no justice across the border.
For the real point of reference here, though, you have to forget about "Orbit" and move to the end of Side one for "Africa." As a 45 on Big Tree last year, this tune won Thundermug a bit of notoriety here in the U.S. No wonder you'd have to be deaf to ignore a record that opens with a half dozen jungle madmen pounding like War playing meth-rock, shifts into a short power pop chorus a la "Orbit," only to shift back to the jungle until the next chorus. Interesting, and compelling as well, but kind of confusing if you know what I mean.
Most of Thundermug Strikes derives strongly from "Africa," with "Orbit's" influence intermittently straining to break through. Although a stylistically confused album, there are many flashes of genuine promise. A few points are in order:
(1) Why give more fat Canadians the time of day? Because Thundermug are from Montreal, a burg boasting groups like the Wackers, Pagliaro, April Wine, Fludd, Mahogany Rush, and Moran. None of 'em great, but all are respectable pop groups on one level or another.
(2) The Kinks are supposedly Thundermug's favorite group and major influence. This doesn't connect at first, because Thundermug's sound is far removed from the Kinks then or now. But there are song titles like "Victoria Muse" and "Garden Green," and if you'll sift through the frequently overbearing instrumental sludge to dig out the melodies, Thundermug's Bill Durst has written some very catchy Kinks-ish effete melodies: Like "Garden Green." Or "We'll Never Forget," which done properly might sound like Sparks filtered through the 1968 Move. Or "Mickey Mouse Club," another fine song that should've sounded a lot better than it does.
(3) Which leads to the next point: this album is full of good to excellent material weakened by ill-fitting arrangements, mediocre vocals, and some serious excess. First, lead singer Joe DeAngelis has a voice that, I dunno, it just doesn't fit this kind of music. He's gruff like David Clayton-Thomas, at his worst sounding like a combination of Ian Gillan and Bob Hite. Too much excess vibrato and too much sweaty screaming. Second, look guys: I love fuzzbox, tasteless wah-wah, arid deluges of metal rain-if it's done right. Done poorly it just sounds like sludge. Except for "Where Am I," it doesn't sound like you'll ever be much of a heavy metal group, and that song's an anomaly anyway because the rhythm section is mixed down with the rhythm guitar way up in a frentic (sic) fuzzbox style not heard elsewhere on the LP. Cool it with the War meets James Gang outbursts and listen to some more Kinks records, OK?
(4) For the time being, Thundermug would seem to be a singles group. This LP was compiled from the best of their two Canadian albums, which I'm told are pretty bad in comparison. Another unfavorable comparison is that of their 45 of "You Really Got Me" (included here) to the Kinks' original. It's great that Thundermug did it with an intended faithfulness to the original, but they blew it anyway, dragging the tempo and adding almost twenty seconds to the song's time! Nice try, but no dice.
Ultimately, there's only so much you can say about a young group with a couple outstanding singles. Thundermug shows a lot of promise, but they also have a lot of rough edges that need ironing out - they've got a lot of work cut out for themselves. They might make a good album given time. They might not. They might achieve one-month stardom just like Edward Bear and then devote their lives to scientology. Or they might be dropped by Epic five weeks from now when this album doesn't sell. Whatever the case, make a point to hear "Orbit" for sure, "Africa" maybe, and decide from there for yourself.
Thundermug AFRICA (B. Durst-J. DeAngelis) Produced by Greg Hambleton Big Tree 154 time: 3:21 Flip -No Information Available By Martin Cerf - Phonograph Record Magazine - 45 revolutions Per Minute Column.
It was a rainy, shitty night -on U.S. 23 drivin' down from Grand Rapids, Michigan. Just finished attendin' this college radio convention, Christ, these kids get it on better than their old men attending those annual Gallencamp Shoes get togethers in San Francisco where side-burned, tweeded out head horn-toads score for the first time in twelve months...So, just out of Lansing it starts to blast over the Budget Rent-A-Car shoddy Impala speaker, the perfect proving ground where singles make it or break it. HOT STUFF.
It's like The Immigrant Song taken to the extreme, none of that pseudo stuff like Crazy Horses. The distortion here is stiffer than the AUDIO FIDELITY STEREO CHECK OUT track which'll take you up to 40,000 decibels...lt's guaranteed to rip the finest of speakers.
I was certain it was either the new Alice Cooper or Roy Wood, couldn't be anything else. Then the slutty sell-out voice didn't even mention who these dudes were, no, he went right into that Johnny Rivers voter registration, public service record...For shame, that's like gettin' a cashier's check tor eight grand drawn on the Bank of Managua, like it was no use. Certainly I'd never hear it again. Then a reprieve, a local Detroit personality, Bo Clifford (no relation to Cliff Richard, Clifford Brown, Boax Gentry, boa-constrictor, Clifford Coulter) got wind of the side again and got word to us, fortunately. Thank goodness.
OK, there is very little known about the group. Most probably a studio act. It's a UK record, and will unquestionably be very hard for you to find. But those who had the opportunity ta catch Do Ya by the Move, Some Sing, Some Dance by Pagliaro, or Little Willy by the Sweet, well you'll not be able to justify your existence till ya hear this. There might be some possibility of locating it in one of the major retail record stores specializing in singles, 'cause it's on Big Tree. This is an incredible label; buy every record you can find on Big Tree. They've had fifty-seven singles so far (I've got 'bout 50) and the first twenty-five are already worth two bucks apiece. The label has (has had) stuff by Lobo, Dave & Ansel Collins, Neighborhood, April Wine, The Magic Lanterns, James Vincent, the Sugar Bears, Brownsville Station, The Happenings...How could you pass up records with titles like the pleading I Need Love or the nostalgic Working My Way Back To You or the intellectual Rock With The Music ...no way...and Africa is the definitive Big Tree record...The fellas at this label know how to pick 'em...Not a bad one in the lot and Big Tree is responsible for bringin' us over 58% of the novelty records produced today, definitely a company to be reckoned with...Thundermug are the greatest since Bull Angus and Sir Lord Baltimore...good gosh...
Marcus Hook Roll Band - NATURAL MAN (Vanda-Young) Produced by Wally Allan Regal Zonophone RZ 3061 Time (very long) Flip -Boogalooing Is For Wooing
By Martin Cerf - Phonograph Record Magazine - Jan. 1973 - 45 revolutions Per Minute Column
I'm not really concerned that this record hasn't been released in the United States any more. Well, mebbe juz a little. You see, I'm in an interesting position. A lucky one for which I'm grateful. If I come across a great single, or group, I get to call it to the attention of this here record company called United Artists who presumably will check it out. There's a couple others around who hold a similar relationship. Like Ralph Gleason at Fantasy, Don Heckman at RCA, Ed Ward (with all good companies) and others. And why not use our good sense? Rockridics like Ed Ward know what they're talking about...He's documented the subject matter for so long, obviously he's able to analyze the demographics of a specific recording and judge its worth against the competition.
(Ward's tastes have brought Asleep At The Wheel, Mott The Hoople and Commander Cody to the surface. And John Mendelsohn was tellin' us consistently about the Kinks, David Bowie, the Move and Christopher Milk so long ago I almost forget I'm teenage.) Which brings me to the matter at hand, the Marcus Hook Roll Band. Where did I first hear Natural Man? Over the phone, from this guy, Ron Eyre, who works out of UA in New York City. He wanted to know what I thought...He's always playin' stuff on the phone and sending tapes and what not...But most of the material he sends is second rate (which is only natural as quality, innovative stuff numbers few)...Ron said "Ya know who these cats are don't cha? It's Vanda and Young, and they made a lot of money for United Artists back in 1968." Sure, Vanda and Young, they were to the Easybeats what Wood and Lynne are to the Move. And in some ways they're a better combination (since they have been able to stick together for so long).
Eyre said Capitol Records had turned down the master, wasn't interested in another foreign act... You see Capitol has first option on all EMI material in the States. Then it comes to VA. Well, I asked Ron to send out the single to Bill Roberts (my partner) or myself and we would listen close up.
It was about fourteen days later when one of the faces from the VA A&R Dept. plodded into my office with the single and expounded lazily, "Ah, say, here's that Marcus record from England you wanted to listen to..." Our A&R wizz-kid wasn't keen on this record, "Take a listen to it and see if it's any good." To say he wasn't motivated is to say little.
So, I call trusty ol' Greg Shaw, anglophile expert that he is, into my domain. With the A&R hopeful still present, I inform Greg who we were. gonna listen to then Dropped the cartridge. Hearing that repetitive fender staccato chording intro, Greg and I were, fifteen seconds in, jumpin' up and down to the music of the Easybeats reincarnated. All the promise Vander and Young implied with Gonna Have A Good Time Tonight in 1969 they live up to here. If you can imagine what the Easybeats would have sounded like four years on should they have stayed together, then you know what Natural Man is all about.
Wazit sound like? It's got a snare that tears speakers. It's got protest lyrics. It demands you dance. It's got Beatle harmonies. It's got a riff the best this side of the Hollies' Long Cool Woman and Heaven Knows by the Grass Roots, and a hook, well, now I know the reason for the group's name…Towards the end of the record the riff slows; then stops, then builds through the use of: (1) a nasal lyric, (2) Cow Bell, (3) Sizzlin' guitar progression and, and, and... Then it leads into the most inherent repetitive verse: "In-it to the rhythm, in it to the top, everybody 's talkin' to ya never gonna stop, well don't cha worry bout me, I'm a Natural Man... in it to the rhythm; in it to the top... " etc.
As is obvious, Greg and I beseeched the A&R people to jump on the side immediately, pick it up for our heroes, United Artists... Well, I'm not about to categorically list all the events that followed, all that matter~ is UA don't have it. And those folks who originally turned the side down, Capitol, they have decided to exercise their option after all...
But something real curious happened the other day though. Capitol's greatest asset, Ken Sasano, told me they reversed their decision once more and they didn't want the record after all. So I put in a call to the head of International A&R at the Tower and lightly queried him as to the company's position on the recording..."Where the hell did you hear we weren't releasing the record. I heard Natural Man in July while in England and decided then to release it on Capitol. So whoever said we weren't puttin' it out, is crazy"...My, my so defensive...The cat seemed really pissed there Was any question at all...Why he was so adamant that I absolutely freaked when .I found out the record still isn't released and it's now three months since they picked up the master. Rumor has it the record is comin' out sometime in January. Such priority.
So, in the meantime, you can only get Natural Man as an import on the EMI sub label Regal Zonophone. And it's worth the 2 bucks you'll have to lay down for it...The B side, Boogalooing Is For Wooing is a whole other subject...It's so great, I might just save it for the next column. (89 points, both sides.)
THE HUDSON BROTHERS -"Lonely School Year"- Rocket 40464 It seems to me that if American kids wanted something like the Bay City Rollers, they would have picked up on the Hudson Brothers by now. They're a little older, but they're cuter, and they make equally appealing pop records. In fact, England could use them too. Particularly this record, their concession to the disco beat and a radical change from their usual wham-bam approach. The subject matter is refreshingly wholesome (I, for one, prefer to hear sex discussed in romantic metaphors rather than in graphic detail--at least in a pop record; that's what I always liked about the Troggs ) and surely there must be a couple million kids out there who would find this record enormously relevant to their condition. By Greg Shaw - Jukebox Jury column, PRM Nov. 1975
The Hudson Brothers - Ba-Fa (Rocket/ MCA 2169) By Martin Cerf - Phonograph Record Magazine, Nov. 1975
Some close friends of mine in FM radio are going to look at the heading above and be real put off. I can hear Ed Sciaky over at WMMR-FM in Philadelphia saying, "The Hudson Brothers? Forget it, Marty." And while I would never punish him for his love affair with Yes and the other cerebral-rock splinter bands which have emerged from that same act over the last couple years, I still can't understand why fine two, and three part harmonies such as the Hudsons serve unfailingly isn't universally accepted in the circles Ed moves in. Vocal greatness when combined with relevant lyric seems to remain a West Coast indulgence, occasionally Anglo.
The Hudson Brothers, originally from Seattle (the city that gave us Paul Revere & The Raiders, Don & The Goodtimes and The Ventures too), have recently teamed up with former Beach Boy Bruce Johnston (co-writer of the Hudson's recent hit "Rendezvous") and his influence on Ba-Fa is clear and essential throughout. Especially on "Oh Gabriel" and "Lonely School Year," both would have fit nicely on The Beach Boys' Friends from 1968.
This is the Hudsons' fourth album, their first since Totally Out Of Control (Rocket/MCA 460) which tracks easily from start to finish. Nothing unpleasant on this release like "The Adventures of Chuckie Margolis," a six minute, incredibly boring narrative from last year's Hollywood Situation (Casablanca 9008). Ba-Fa was produced by Bernie Taupin (he worked on Out Of Control) and marks the band's return to Elton's Rocket Records label. (Rocket is a record manufacturing outlet which with the help of Neil Sedaka, Kiki Dee and Nigel Olsson is developing a reputation among record collectors as the Amy-Mala-Bell of the seventies. All Rocket releases are mandatory pop-library inclusions.) More than just records, Rocket's chief product is fun, and the Hudsons certainly service that market. But, dear reader, there's no need to be afraid of the concept. Even though their Saturday morning CBS-TV show of this summer past was a maze of corny, silly skits you'll find this release neither embarrassing or offensive even to cynical ears. The Hudsons would like nothing more than to blitz the entire media (TV /radio/records/films) simultaneously, but they've been making fine pop records too long to do so at the expense of an individual release. Ba-Fa is a convincing effort on the band's part, and does indeed demonstrate their high pop intelligence quotient.
At times The Hudsons can match the soft-crimson sweetness of Abbey Road period Beatles and then change gears into Good Vibrations era Beach Boys, and back again ("Bernie Was A Friend Of Ours"). The string arrangements by Bob Alcivar are highly crafted and work remarkably well throughout the album, especially on "Bernie." The songs here are brief (averaging 3:30) but the time is allocated with skillful precision. Ba-Fa is obviously the first real Hudson Brothers album (as opposed to a compilation of single sides) for this act that has been recording polished pop since 1967 under a bargain-basement full of names (My Sirs, New Yorkers, Everyday Hudson, Hudson).
The Hudsons have surely mastered the complicated art of simplicity and not since Straight Up by Badfinger and Rundgren's Something/Anything has it been so pleasing.
Badfinger Badfinger (Warner Bros.) Ass (Apple) By Greg Shaw - Phonograph Record Magazine, Jan 1974
Two Badfinger albums in one month! What more could a fan ask for after a two year drought? If only it were so... actually, the fans will be asking plenty, and Badfinger has a lot to answer for, because these two mediocre albums are already one of the biggest disappointments of the new year.
Let's start with the Apple album. Nobody knows why it exists. It was never explained why Badfinger mysteriously stopped recording right after "Baby Blue" and "Day After Day", the two biggest smashes of their career, when Nilsson was hot with their song "Without You" and it seemed they were on the verge of becoming truly huge. The most believable story I heard was that they were just sick of Apple, and waiting for their contract to expire. Maybe somehow they were forced to put out one more album before ending the relationship, but how stupid to have it come out the same time as their first release on Warners!
If the Warners album were any good, it would have nothing to fear from the Apple one. Ass sounds like what it probably is, a collection of out-takes and practice tapes. There is a rough, unfinished aura about the album and a lack of really distinctive touches even in the best songs that goes against everything we've come to expect from this polished band. Once known for their exquisitely crafted singles, the best they could do here was "Apple Of My Eye", easily their worst single ever. My choice would have been "When I Say", but that's no big deal. One thing's sure: there's no three or four hit singles on this album -especially not the eight minute "Timeless"!
There are always excuses to make for a bad last album. Not so when you've taken over a year putting together your debut album for a new label. And actually, 'The Warners album is a bit more encouraging. "I Miss You" is an engaging McCartney-esque ballad, "Shine On" and "Love is Easy" make for tolerable listening, "Why Don't We Talk" almost makes it, and "Island" would be really good if it weren't so aimless. That seems to be their problem throughout the album melodies and song structures .are simply not as strong as could be, so that songs like "Where Do We Go From Here?" and "Lonely You" emerge as pleasant where they might, with some effort, have been as striking as the group's previous work.
Once we've faced the fact that Badfinger has not given us a proper sequel to No Dice and Straight Up, it's possible to derive considerable enjoyment from this album. Most of the songs are very nice; only "Matted Spam", which sounds like Buddy Miles, can actually be called bad. This is a good example of minor Beatlerock, definitely worth having, but nothing Grapefruit didn't do as well four years ago. And that's the shame of it, because I was really counting on Badfinger to bridge the gap between mere Beatle stuff and a new level of pop altogether. I believed that they, of all the groups who were trying, had it in them. And maybe they do. But the proof of that will have to come later - if Badfinger can manage to survive the double blow to their career these albums unfortunately represent. For what it's worth, I'm still hoping.
Blue Ash by Mike Saunders - Phonograph Record Magazine, Jan. 1974
You remember Blue Ash. They put out an album last year that all the critics loved. It was sort of Beatle-Byrdsish, yet quite original in its way, and full of what those who are supposed to know would swear were extraordinarily commercial songs. Yet like other such albums by groups such as Big Star, the Wackers, Stories and the Raspberries, it was totally ignored by radio and the majority of the record-buying public. Stories was lucky enough to score a left-field hit single, but even that didn't draw attention to their other songs, and the rest of the groups have not done so well. In fact with the exception of Blue Ash, they've all broken up or regrouped. How long can Blue Ash survive?
So great bands, bands that might've become the Beatles, Stones, Beach Boys of this decade, are forced to grovel in local bar circuits. Maybe that will turn out to be a good thing, in the long run. At least it makes us all the more thankful when a group like the New York Dolls manages a brief breakthrough. For Blue Ash, the breakthrough may never come, but if it doesn't it won't be for lack of talent. Their story could be taken as one of the classic object lessons of our time.
The big question here: Can Blue Ash sell records? That was the topic of discussion during part of Mercury's recent semi-annual sales meeting, according to A&R man Paul Nelson. "Bearing in mind how few copies Blue Ash's album sold, I was a bit apprehensive that the group might be dropped from the label without further discussion," explained Nelson, the man who discovered Blue Ash in a pile of unsolicited demo tapes. "So I was quite frankly surprised, to say the least, when a full two hours were spent discussing the group's music, their future, their strengths and weaknesses"
The decision reached was that Blue Ash will get one more single... If the 45 shows some action, the group then gets to put out a second album (already recorded). If the single flops, Blue Ash will be dropped - and their recording career quite possibly finished before it's even off the ground. Not even a second LP in the tradition of ex-Phonogram stars Bull Angus and Sir Lord Baltimore. Nothing. Nada.
Actually, seeing as how the first album didn't put Blue Ash over, it's unlikely that the second one would either, unless given a N. Y. Dolls-type push. After hearing the rough tapes a few times, it strikes one as less flashy, less immediately familiar than No More No Less - but still good enough to indicate that this is a good, potentially great, group. Curiously, there's only one loud, flashy Mod-ish rocker, "Start All Over Again." The other stand out songs are much less visceral than the bulk of No More, No Less, rocking moderately while stressing melody rather than raw energy.
After being praised as having the guts their fellow Ohioians the Raspberries lacked; it's really kind of surprising to see Blue Ash switching to a lightweight pop emphasis; while the Raspberries have gotten a new bass guitarist and drummer and claim that their next LP will be "very Who-influenced" (they ought to know - Eric Carmen's late 60's group Cyrus Erie used to regularly perform a 14-song Who medley!). But Blue Ash's new stuff is nice anyway. "Halloween Girl" and "With You On My Mind" would sound super on a jukebox at 45 RPM - remember the naivete of "I'm Happy Just To Dance With You"? Three cuts are pretty weak (especially the Berry-influenced "Rock On, Rock And Roller"), indicating that Blue Ash need someone to whip their ensemble sound into shape, a sound engineer who knows what he's doing, and more variation in shading and arrangement from song to song.
What they don't need is the scenario of being dropped from Mercury, turned down by the remaining majors, and finding that they'll have to remain dependent upon their Midwest bar circuit for a livelihood. On the other hand, maybe the only answer these days is to retrench back to some sort of local scene while waiting for something to change in the record biz and American popular music. It's no easy business, playing rock & roll in 1973. A couple examples come to mind: the Flamin Groovies' disastrous past two years in England, after having been turned down by every record label in the U.S. They're now considering moving to Detroit, just so they can play bars and eat regularly again. And a Bay Area group called Earthquake, dropped by A&M after two albums, who have now taken to releasing 45s on their own label, Beserkely Records. The key issue seems to be one summed up a while back by the true Dean of American Rock Critics, Mark Farner, in one word: survival.
You could blame it on lots of things. A rampant breakdown in the field of A&R for one -if you accused the majority of A&R departments of hating hard rock, you wouldn't be wrong. Paul Nelson, renowned for bringing the N.Y. Dolls and Blue Ash to Mercury, knows a lot about the frustrations of battling the inertia everywhere. He had to put his job on the line to get the Dolls, was vetoed by his higher-ups on Elliott Murphy, and ditto with Christopher Bell (the spark behind Big Star's LP and an excellent songwriter). So I asked Nelson, do you ever get frustrated, feel like you're banging your head against a wall, don't you ever just want to grab one of those balding rock-hating company executives by the collar? No answer. So you can imagine what Blue Ash feel like when they can't even find their album on the racks in their home town.
