Audience
Band members Related acts
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line up 1 (1969-72) - Tony Connor -- drums, percussion - Keith Gemmell - sax, woodwinds - Howard Werth - vocals, guitar - Trevor Williams -- vocals, bass, keyboards
line up 2 (1972) - Tony Connor -- drums, percussion NEW - Nick Judd -- keyboards NEW - Bobby Keys -- sax - Patrick Neubergh -- sax, woodwinds (replaced Keith Gemmell) NEW - Jim Price -- horns - Howard Werth - vocals, guitar - Trevor Williams -- bass, keyboards, backing vocals
line up 3 (2005-) - John Fisher (RIP 2008)-- drums (replaced Tony Conner) - Keith Gemmell - sax, woodwinds - Howard Werth - vocals, guitar - Trevor Williams -- bass, keyboards, backing vocals
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- Angel Lane (aka Audience) - The Andy Fraser Band (Nick Judd) - Hot Chocolate (Tony Conner) - Jackson Heigths (Tony Connor) - Jonathan Kelly's Outside (Trevor Williams) - The Lloyd Alexander Blues Band - The Nashville Teens (Trevor Williams) - The Pasadena Roof Orchestra (Keith Gemmell) - Sammy (Keith Gemmell) - Sharks (Nick Judd) - Stackridge (Keith Gemmell) - Howard Werth and the Moonbeams - The Roy Young Band (Keith Gemmell)
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Genre: rock Rating: 4 stars **** Title: The House On the Hill Company: Elektra Catalog: EKS-74100 Country/State: London, UK Grade (cover/record): VG+/VG+ Comments: gatefold sleeve; includes the insert Available: 1 Catalog ID: 5527 Price: $20.00
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I remember buying a copy of this album about twenty years ago and being thoroughly under whelmed by it. I recall playing it multiple times and simply not getting what all the excitement was about. It went into the "for sale" pile and quickly got picked up by someone who went on to tell me what a great album it was. I bought another copy about ten years ago and still didn't get it. Fast forward another decade and a found a copy at a yard sale and with an asking price of $1 decided I could afford to give it another shot ... tastes change, so why not. Well in this case the old adage the third time is the charm seems to have been apt. True enough, the third time around I got it ...
Produced
by Gus Dudgeon, there are actually two versions of 1971's "The
House On the Hill". Released by Charisma, the
original UK issue featured ten tracks, including the song 'Eye To
Eye'. Released by Elektra, the US version dropped 'Eye To Eye',
replacing it with 'It Brings a Tear' and a slightly different running
order. As I said, the third time around, this album clicked with
me. That got me thinking about what had changed. Looking back I
think there were t
In an effort to generate some attention for the band Elektra tapped the album for a pair of singles and put them on the road opening for The Faces on an American tour. While the first 45 hit the US top-100 charts, ultimately either action resulted in much attention for Audience.
For anyone interested, Werth has an interesting website at: http://www.luminousrecords.co.uk/
"The
House On the Hill" track listing: 1.) Indian Summer (Howard Werth - Trevor Williams) - 3:14 rating: **** stars Showcasing Werth's gritty voice, one of their most appealing melodies and an intriguing lyric ("one wife will make you happy; two will make you dead ...", 'Indian Summer' should have provided the band with a major hit. Very few songs managed to transport me to a specific time and place; this is one of them. Terrific song made even better by Gemmell's sax riff (and I'm not a big saxophone fan). Curiously, the song was not found on the original UK album release. Elektra opted to drop 'Eye To Eye' in favor or 'Indian Summer' subsequently tapping it as the second US single.
- 1971's 'Indian Summer' b/w 'It Brings a Tear' (Elektra catalog number EKS-45732 A/B) # 74 US Billboard charts 2.) You're Not Smilin' (Howard Werth - Keith Gemmell) - 5:22 rating: **** stars Propelled by a wonderful refrain and Trevor Williams' bass line, 'You're Not Smilin'' was just as commercial as the opener, but featured a taunter melody that allowed Werth to kick up the vocal ampage. 'Nother great Gemmell performance on sax. 3.) Jackdaw (Howard Werth - Keith Gemmell) - 7:20 rating: **** stars Anyone doubting the band's rock credentials need only check out the blistering 'Jackdaw'. With the exception of Gemmell's pastoral flute solo (which injected a minute of Traffic-styled calmness into the storm), this was even minutes of sheer intensity with a blazing Werth fuzz guitar thrown in for good measure. Every time I listen to it I'm left to wonder how Werth avoided destroying his voice on this one ... Come to think of it, he may have done major damaged to those vocal chords. 4.) It Brings a Tear (Howard Werth - Trevor Williams) - 2:53 rating: **** stars Opening up with acoustic guitar and flute, the first minute of 'It Brings a Tear' sounded like a slice of English folk music, perhaps off a Fairport Convention album. And then the rock arrangement exploded revealing a beautiful mid-tempo ballad with one of Werth's best vocals ... Another track not found on the original UK album since if had previously appeared on their 1970 collection "Friend's Friend's Friend." 5.) Raviole (instrumental) (Howard Werth) - 3:43 rating: **** stars Shoot did I put on a Jan Akkerman album by mistake? 'Raviole' closed side one with a beautiful Spanish flamenco influenced instrumental. Kicked along by Werth's stunning acoustic guitar the song would be a perfect addition to some chick-flick soundtrack. Around the 1:50 mark the melody abruptly shifts into an upbeat, sprightly tune. I can't help but smile every time I hear it.
(side
2) Hum, the bouncy 'Nancy' was about as close to a pop song as they got this time out. Awesome and a shame they didn't tap it as a single. 2.) I Had a Dream (Howard Werth - Trevor Williams) - 4:20 rating: **** stars Not sure why, but every time I hear 'I Had a Dream' it reminds me of John Fogerty and CCR. Heartfelt blue collar rock? Straightforward and mesmerizing melody? Hell if I know what it is, but it's one of the most touching ballads I've ever heard. 3.) I Put a Spell On You (Jay Hawkins) - 4:12 rating: *** stars The album's one non-original, critics rave about their cover of Screaming Jay Hawkins' 'I Put a Spell On You'. Maybe because I love the original, I'm in the minority on this one. Werth's vocals were certainly entertaining, but their version always reminded me of a stoned Bryan Ferry outtake ... and why would Elektra have tapped it as the leadoff single when there were so many better originals to have picked from?
- 1971's 'I Put a Spell On You' b/w 'Stand By the Door' (Elektra catalog number EKS-45756 A/B)
4.) The House on the Hill (Howard Werth - Trevor Williams) - 7:31 rating: **** stars One of the album's standout performances, the title track had everything going for it. A near perfect mixture of rock, folk and progressive moves, imagine Ian Anderson and company without the pretense. Okay, maybe just imagine them with less pretense. 'The House on the Hill' was originally recorded for their debut LP, though this version featured a more elaborate production job, complete with a wild mid-song freak out segment that showcased Gemmell's sax. Yeah, it was a little out there, but Gemmell I didn't even mind the fact the seven minute running time gave drummer Tony Connor a shot at the spotlight.
© Scott R. Blackerby October, 2024
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Genre: rock Rating: 3 stars *** Title: Lunch Company: Elektra Catalog: EKS-75026 Country/State: London, UK Grade (cover/record): VG+/VG+ Comments: gatefold sleeve; small tear on front cover (looks like someone tried to peel off a promo sticker) Available: 1 Catalog ID: 6358 Price: $15.00
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Hard to imagine any American label other than Jac Holtzman's Elektra having the artistic courage to release an album like 1972's Gus Dudgeon produced "Lunch". Their fourth studio set in three years, the album was recorded in the wake of an extensive American tour opening for Rod Stewart and the Faces. Phyiscally and artistically tired and increasingly at odds with one another (particular sax player Keith Gemmell and the rest of the band), the fact they were able to squeeze out a fourth studio set before calling it quits actually spoke highly of the band's stamina. Perhaps to compensate for the core members exhaustion, the album introduced an expanded line up in the form of keyboard player Nick Judd and American horn men Bobby Keys and Jim Price. Musically the band's sound remained largely unchanged - uniquely British, if somewhat subdued this time around. Anyone looking to hear lots of blazing guitar from Howard Werth was going to be in for a major disappointment since electric guitar was all but absent from the collection. That said, even without electric guitars, these guys could rock out - doubt it then check out the likes of Seven Sore Bruises', 'Barracuda Dan' or 'Thunder And Lightnin''.
Not a particularly commercial collection (certainly not to my American ears), but an album that I've repeated enjoyed, if only because it is so quirky. Again, hard to imagine any American label outside of Elektra even daring to release something like this in the States. To be honest, figuring out how to market this to an American audience was simply a no-win situation for Elektra so the fact the album managed to hit # 175 on the US charts was quite an accomplishment. Unfortunately that spelled the end of the band. Personal frustrations saw the band fracture with members going off to other enterprises.
And for Audience completists, yes, the original Charisma cover (Charisma catalog number CAS 1054) was slightly different, sporting a different font and title placement. Made you wonder how much time, effort, and money Elektra marketing spent coming up with their variant for the US marketplace ...
"The
House On the Hill" track listing: 1.) Stand By The Door (Howard Werth) - 3:56 rating: **** stars Funny, but in spite of Howard Werth's gravel;-in-his-mouth voice and Keith Gemmell's shrill sax, 'Stand By the Door' could have been a radio hit. Sporting one of Audience's strongest melodies and a hook you simply couldn't get out of your head, this was one of the album highlights. The song was actually released as a single in the US and the UK:
UK pressing - 1972's 'Stand By The Door' b/w 'Thunder And Lightnin'' (Charisma catalog number CB 185) US pressing - 1972's 'Stand By The Door' b/w 'Seven Sore Bruises'' (Elektra catalog number E 45788)
2.) Seven Sore Bruises (Howard Werth - Trevor Williams) - 2:37 rating: *** stars I'm usually not a big fan of horn-propelled blues-rockers, but 'Seven Sore Bruises' was an exception to the rule. Werth and company actually sounded like they had a blast recording the song and the lyrics were pretty funny. 3.) Hula Girl (Howard Werth - Keith Gemmell) - 2:40 rating: **** stars Possibly the album's most commercial song, the breezy, Carribean-flavored 'Hula Girl' was another track that should have brought the band commercial success. Werth's dry, snarling voice seldom sounded as good and the chorus and whistling solos were truly infectious. 4.) Ain't The Man You Need (Howard Werth- Trevor Williams) - 3:20 rating: *** stars Opening up with some petty acoustic guitar, 'Ain't The Man You Need' sounded a bit like a Clapton blues number before inexplicably exploding into a horn-powered blues-rocker. Not sure if it was Gemmell, or Keys, but one of them provided a stunning sax solo. 5.) In Accord ( Keith Gemmell - Trevor Williams - Tony Connor) - 4:55 rating: *** stars Showcasing Werth's ominous snarling voice and some of the album's cleverest lyrics (musical terms in the pursuit of lust), 'In Accord' was side one's toughest performance with Keys earning his paycheck for a dazzling sax solo.
(side
2) One of their strangest performances, 'Barracuda Dan' was a slice of Americana that rocked out with a true sense of vengence. Nice horn charts. 2.) Thunder And Lightnin' (Howard Werth) - 3:37 rating: *** stars Perhaps the album's best song, 'Thunder And Lightnin'' was a blazing mid-tempo rocker that had everything you look for in a song - great melody, interesting lyrics, and one of Werth's best performances. 3.) Party Games (Howard Werth - Trevor Williams) - 3:20 rating: *** stars Hum, ever wondered what a mash-up of Jewish Klezmer music and rock and roll would sound like ? Well, 'Party Games' might give you a taste of the results ... surprisingly enjoyable. 4.) Trombone Gulch (Howard Werth - Trevor Williams) - 2:43 rating: **** stars So after dipping their toes in Klezmer, why not try on a Western theme for size ? Kicked along by Trevor Williams' hyperactive bass line and some equally busy horns, 'Trombone Gulch' was about as close to a rock song as this album offered up. Shame the song faded out just as it was switching into high gear. 5.) Buy Me An Island (Howard Werth) - 5:10 rating: **** stars Maybe it was just my beat ears, but 'Buy Me An Island' sounded like Werth and company were trying to channel Elton John doing an impression of Robbie Robertson and the Band. Regardless, it was one of my favorite performances with a lyric we can all relate to - time to retire to a tropical island and enjoy life.
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One last, non-LP single and they called it quits (until a 2005 reunion):
- 1972's 'Raviole' b/w 'Hard Cruel World' (Charisma catalog number CB-196)
- Connor joined Jackson Heights, followed by a stint with Hot Chocolate. - Gimmel briefly joined the rock band Sammy, followed by stints in Stackridge, The Roy Young Band, and The Pasadena Roof Orchestra. - Judd briefly joined Sharks, followed by The Andy Frasier Band. - The surviving members of The Doors tapped Werth as a replacement for the late Jim Morrison, but that didn't work out (would love to hear the tapes). He subsequently formed and recorded as Howard Werth and the Moonbeams. - Trevor Williams bounced around multiple projects including stints with Jonathan Kelly's Outside and a reincarnated version of The Nashville Teens.
Reunited
in 2004, the band have a web presence at: http://www.audienceareback.com/
© Scott R. Blackerby October, 2024
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wo things that put me off. Werth's voice wasn't the
most commercial instrument you'll ever hear. Ragged
and occasionally
strained, it was one of those voices you'd label as an acquired taste.
The other factor was their unique sound - propelled by Gemmell's sax and
woodwinds, I'm not sure if it would be more accurate to describe them as a
rock band wanting a progressive edge, or a progressive band wanting a rock
edge. Regardless, the sound was somewhat unusual and occasionally a
little disconcerting - check out the title track's freak out segment.
Enough psychobabble. Normally I avoid song-by-song narratives,
but I'll make an exception in this case. One
last comment - Werth and Gemmell typically attract all the attention, but
the under appreciated soul of the group was the rhythm section. Trevor
Williams' bass playing was phenomenal. Check out his work throughout
the album'
and drummer Connor relentlessly kept the rest of the band on track. 
