More Psychedelic Pop, and Baroque Pop Album reviews
We All Together (1974)
We All Together 2
The Peruvian band We All Together, though unknown beyond a core cluster of cultists, was among the prime exponents of Beatlesque pop/rock in the early '70s. Led by singer and frequent composer Carlos Guerrero, who (along with some other members) had been in the Peruvian rock band Laghonia, they released two albums (singing in English) in the first half of the '70s. These were fashioned after the lighter side of the late-'60s Beatles, particularly in the vocal harmonies, melodic tunes and sophisticated arrangements blending keyboards, acoustic guitars and electric guitars in a graceful manner. Although Lennon, McCartney, and for that matter, Harrison's influence, show up in We All Together's work, they had more of an affinity for McCartney's engaging melodicism than for the other members of the Fab Four, to the point of covering some obscure, early McCartney solo tunes.
Their second and final album strongly echoes late-period Beatles, particularly Paul McCartney; in fact, it often seems pitched about midway between the 1969-70 Beatles and the beginning of McCartney's solo career. Although it's hard to shake the nagging feeling while listening to this CD that it's somehow been created by a cover band who got access to discarded early-'70s McCartney demos, it's a convincing and enjoyable emulation of Lennon & McCartney's pop-rock craftsmanship, if more lightweight, less cogent and personal, and lacking in truly world-class tunes. It's on a much higher plateau than Klaatu, for instance. And the Beatles aren't the sole point of reference; guitar riffs on "Follow Me If You Can," for instance, have been altered just enough from Yes' "Roundabout" to avoid plagiarism, while the full guitars and harmonies on many cuts will appeal to many a Badfinger fan. The CD reissue has five bonus cuts, some quite worthwhile. On "Rock of Ages," they offer a surprisingly convincing raunchy rocker, in contrast to their usual midtempo blends of voice, guitar, piano, and some orchestration; Carlos Guerrero's "Together Forever" and "It's Us Who Say Goodbye" are in the mold of folky White Album ballads like "I Will" and "Julia"; and there's a faithful version of McCartney's "Band on the Run," not exactly a common cover choice for bands of the time. (AMG).
Honeybus Story (1970)
The story of Honeybus is almost a cautionary tale. Considering that most have never heard of them, it's amazing to ponder that they came very close, in the eyes of the critics, to being Decca Records' answer to the Rubber Soul-era Beatles. The harmonies were there, along with some catchy, hook-laden songs and usually tastefully overdubbed brass and violins. The pop sensibilities of Honeybus' main resident composers, Pete Dello and Ray Cane, were astonishingly close in quality and content to those of Paul McCartney and the softer sides of John Lennon of that same era. What's more, the critics loved their records. Yet, somehow, Honeybus never got it right; they never had the right single out at the proper time, and only once in their history did they connect with the public for a major hit, in early 1968. Their best known lineup consisted of Pete Dello (vocals, keyboards, guitar), Ray Cane (vocals, bass, keyboards), Colin Hare (rhythm guitar, vocals), and Pete Kircher (drums, vocals), with Dello and Cane writing most of their songs. Dello and Cane, songwriting partners and ex-members of various minor early-'60s rock bands, most notably Grant Tracy & the Sunsets, were the prime movers behind Honeybus.
In March 1968, "I Can't Let Maggie Go" b/w "Tender Are The Ashes" became the third Honeybus single and the one which would ensure their place in the history books. "Maggie" captures the Honeybus ethos perfectly with it's baroque arrangement and fragile harmonies. Dello wrote both sides with "Tender" continuing the series of harder flip sides.The single hit number 8 in the UK and became a huge hit in dozens of territories but the resulting merry-go-round of gigs, press and TV conflicted with Dello's vision. He saw Honeybus as essentially a studio project and had had enough of life on the road during the early 60's. With a record in the top ten, the record company screaming for a follow-up and album and widespread adulation, Pete Dello quit his own group.Such a blow would have signalled the end for most bands but the remaining members of Honeybus were more resourceful than that. First, they recruited Jim Kelly on vocals and guitar, then set about recording a follow-up to "Maggie". Before Dello's departure, both "I'm A Gambler" and live favourite "Francoise" had been mooted, but his compositions were now unavailable.It was six months until Cane's "Girl Of Independent Means" b/w the group composition "How Long" featuring Kircher on lead vocals was released. A great upbeat single featuring brass and an insistent hook, "Girl" nevertheless failed to sustain the group's success. The song was probably too far removed from it's predecessor and was released too late to register.Next, Cane came up with "She Sold Blackpool Rock" which appeared in May 1969 with Colin Hare's first recorded composition "Would You Believe" on the flip. "Blackpool" is a charming, string-laden piece which possibly tries too hard to emulate "Maggie". The single flopped in the UK but sold well in Europe, prompting the recording of an Italian language version.The band had virtually called it a day by summer 1969 but at Terry Noon's insistence the sessions continued and soon they'd completed an album's worth of new material. Pete Kircher left the group during the sessions to join Englebert Humperdinck's touring band and was replaced by Lloyd Courteney and old friend Bob Henrit, now with Argent.The album was eventually released without promotion in February 1970, by which time Honeybus was no more. Rather confusingly titled Story it remains a classic of the era, twelve shining gems written mostly by Cane with a couple from Hare. Blending Beatlesque pop ("She's Out There"), folk ("He Was Columbus"), country ("Ceilings No 1" and "Ceilings No 2", the same song played at different tempos), baroque pop ("She Said Yes") and gentle psychedelia ("Under The Silent Tree").
Forever Amber
The Love Cycle (1969)
There’s a tangible aura about “lost albums”, something that draws you into their parallel universe. Beyond high-profile items such as the Beach Boys’ Smile and Prince’s Black Album are a wealth of “private pressings” issued in tiny quantities by local bands; almost all are half-baked, classics only to the socially challenged obsessive. Forever Amber’s The Love Cycle, though, resides in a secret garden all of its own, bursting with unfettered melodic glee and the pop experimentation prevalent in the provinces in 1968.
Originally they were an act called the Country Cousins, gigging at Cambridgeshire air bases for homesick Americans. By 1967 they were driving to gigs in a psychedelically painted ambulance – the new moniker was an abbreviation of Forever Ambulance. Meanwhile, the 18-year-old accountancy student John Hudson was spending his lunchtimes writing songs for the group’s sole album in a rehearsal room above a shop in Cambridge.
Hudson had ambition. The Love Cycle’s 16 songs, like Pet Sounds, cover a relationship sequentially from first meeting to grim denouement. He found a studio to fit his £200 budget below a musical instrument shop in Hitchin. The album was recorded in a marathon 19-hour session on a Sunday in September 1968, and the band made great use of the profusion of riches upstairs; glockenspiel, penny whistle, a wah-wah pedal, and plenty of harpsichord.
Years of harmonising had created a group with five strong lead singers, though Mick Richardson’s woody, middle-class delivery stands out. English as tuppence, The Love Cycle has a distinctly Grantchester Baroque atmosphere – the nearest comparisons are the Zombies and neighbours Pink Floyd, though the naive yearning of songs such as Bits of Your Life and Going Away Again are pretty much their own.
Only 99 copies were pressed and flogged off at gigs to the lucky few. The drummer Barry Broad sold his only copy recently and recarpeted his entire house with the proceeds.
John Hudson went on to run his own accountancy firm. Of the band, only Chris Parren turned pro, ending up as the keyboard player on George Michael’s Careless Whisper, which outsold The Love Cycle by roughly three million copies. (Times Online).
