The Climax Blues Band
Band members Related acts
|
line up 1 (1968) - Colin Cooper
(RIP 2008) -- vocals, harmonica, sax, flute - Derek Holt -- bass, guitar, organ
line up 2 (1968-70) - Colin Cooper (RIP 2008) -- vocals, harmonica, sax, flute NEW - Peter Filleul -- vocals, keyboards (replaced Richard Jones) - Peter Haycock -- vocals, guitar
- Derek Holt -- bass, guitar, organ
line up 3 (1970) - Colin Cooper (RIP 2008) -- vocals, harmonica, sax, flute NEW - Anton 'Humpty' Farmer -- keyboards
- Peter Haycock -- vocals, guitar
line up 4 (1970-71) - Colin Cooper (RIP 2008) -- vocals, harmonica, sax, flute NEW - John Cuffley -- drums, percussion, backing vocals (replaced George Newsome)
- Peter Haycock -- vocals, guitar
line up 5 (1971-74) - Colin Cooper (RIP 2008) -- vocals, harmonica, sax, flute - John Cuffley -- drums, percussion, backing vocals
- Peter Haycock -- vocals, guitar line up 5 (1974-77) - Colin Cooper (RIP 2008) -- vocals, harmonica, sax, flute - John Cuffley -- drums, percussion, backing vocals
- Peter Haycock -- vocals, guitar NEW
- Richard Jones -- bass line up 6 (1977-78) - Colin Cooper (RIP 2008) -- vocals, harmonica, sax, flute - John Cuffley -- drums, percussion, backing vocals NEW - Peter Filleul -- vocals, keyboards
- Peter Haycock -- vocals, guitar - Richard Jones -- bass
line up 6 (1978-79) - Colin Cooper (RIP 2008) -- vocals, harmonica, sax, flute - John Cuffley -- drums, percussion, backing vocals - Peter Filleul -- vocals, keyboards
- Peter Haycock -- vocals, guitar
line up 6 (1979-82) - Colin Cooper (RIP 2008) -- vocals, harmonica, sax, flute - John Cuffley -- drums, percussion, backing vocals
- Peter Haycock -- vocals, guitar
line up 7 (1982) - Colin Cooper (RIP 2008) -- vocals, harmonica, sax, flute NEW - George Glover -- keyboards (replaced Peter Filleul)
- Peter Haycock -- vocals, guitar supporting musicians: - Dave Markee -- bass (replaced Derek Holt) - Henry Spinetti -- drums, percussion (replaced John Cuffley)
line up 8 (1985) as Peter Haycock's Climax Blues Band NEW - Livingston Browne -- bass NEW - George Castle -- keyboards - Peter Haycock -- vocals, guitar NEW
- Pete Thompson -- drums, percussion line up 9 (1986-199?) - Colin Cooper (RIP 2008) -- vocals, harmonica, sax, flute NEW - John Cuffley -- drums, percussion, backing vocals - George Glover -- keyboards NEW - Derek Holt -- bass, guitar, organ NEW - Lester Hunt -- vocals, lead guitar (replaced Peter Haycock)
line up 10 (199?-2008) NEW - Roy Adams -- drums, percussion (replaced John Cuffley) - Colin Cooper (RIP 2008) -- vocals, harmonica, sax, flute - George Glover -- keyboards - Lester Hunt -- vocals, lead guitar, bass, keyboards NEW - Neil Simpson -- bass (replaced Derek Holt)
line up 11 (2009-) - Roy Adams -- drums, percussion - George Glover -- keyboards - Lester Hunt -- vocals, lead guitar, bass, keyboards NEW - Johnny Pugh -- vocals, sax, harmonica (replaced Colin Cooper) - Neil Simpson -- bass (replaced Derek Holt)
|
- A Band Called O (Peter Filleul) - Demon (Lester Hunt) - Electric Light Orchestra II (Peter Haycock)
- Grand Alliance (Derek Holt) - Hipster Image (Colin Cooper) - Hunter (Lester Hunt) - Mickey Jupp band (Johnny Pugh) - Night of the Guitars (Derek Holt) - The Parlour Band (Peter Filleul) - The Real Thing (Johnny Pugh) - Rhino's Revenge - Roy Wood's Rock and Roll Band (Neil Simpson)
|
|
Genre: blues-rock Rating: *** (3 stars) Title: A Lot of Bottle Company: Sire Catalog: SASD-7518 Year: 1970 Country/State: Stafford, UK Grade (cover/record): VG+/VG+ Comments: small cut out notch along bottom edge (1976 reissue) Available: 1 Catalog ID: 6071 Price: $15.00
|
Produced by Chris Thomas, 1970's "A Lot of Bottle" wasn't a major change in musical direction from Climax Blues Band's earlier releases. Seemingly like every other early-1970s English band, these guys appeared determined to underscore their credentials as authentic blues-rockers. That said, the thing that's always intrigued me about this outfit is their occasional willingness to embrace more conventional and rock conventions. Check out the screaming rocker 'Reap What I've Sown' with one of the funniest lyrics I've ever heard - "drinking in bar my friends all around ; it's the smell of my money the way they found me". Yeah, competitors like Fleetwood Mac, Keef Hartley, John Mayall, Savoy Brown, etc. also occasionally went commercial, but that tended to be later in their recording careers, Elsewhere keyboardist Anton 'Humpty' Farmer was brought in to supplement Arthur Wood, but at least to my ears, with the exception of some barrelhouse piano on 'Long Lovin' Man' and some Hammond on the closer 'Cut You Loose' most of his contributions were simply lost in the mix. The 1976 Sire reissue featured a slightly different track listing - adding 'Like Uncle Charlie' which which had been an earlier, non-LP UK single:
Not my favorite Climax Blues LP by a long shot, but still worth tracking down since you can still find it on the cheap.
"A Lot of Bottle" track listing: (side 1) 1.) Country Hat (instrumental) (Climax Blues Band)- 1:56 rating: ** stars I'm guessing it was meant to underscore their credentials as an authentic blues band, but to my ears the opening instrumental 'Country Hat' was one of the album's dullest performances. Yeah, technically you couldn't criticize Pete Haycock's acoustic slide guitar, but that still didn't make it very exciting ... 2.) Everyday (Climax Blues Band) - 2:21 rating: ** stars 'Everyday' found the band continuing in the blues-rock vein, though this time out they cranked up the amplified and slapped Cooper's bone dry vocals on top of the track. Curiously, the song faded out just as it was beginning to generate some traction and energy. 3.) Reap What I've Sown (Climax Blues Band) - 4:30 rating: **** stars As mentioned above, Climax was occasionally willing to sell out in favor of recording a more conventional number. The pounding, fuzz guitar drenched 'Reap What I've Sown' was that number this time around ... great track and should have provided the band with some commercial exposure. The track was tapped as a single in the UK and as a promotion 45 in the States: - 1970's 'Reap What I've Sown' b/w 'Spoonful' (Harvest catalog number HAR 5029) - 1970s 'Reap What I've Sown' (stereo) b/w 'Reap What I've Sown' (mono) (Sire catalog number SI 351)
I've never seen a stock copy, only promo versions, but when reissued by Sire in 1976 the single was: - 1976's 'Reap What I've Sown' (stereo) b/w 'Reap What I've Sown' (mono) (Sire catalog number SI 351)
4.) Brief Case (instrumental) (Climax Blues Band) - 3:57 rating: *** stars The instrumental 'Brief Case' was one of the collection's puzzles. Built on a tasty hook, it served as a showcase for Haycock's richly textured guitar and Cooper's sax (he's one of the few sax players that doesn't bug me). While I've always liked the track, it certainly sounded lost on this collection - way to adult contemporary for 1970. 5.) Alright Blue / Country Hat (instrumental) (Climax Blues Band) - 4:05 rating: ** stars The instrumental medley 'Alright Blue / Country Hat' found them returning to straight forward country-blues. Cooper's harmonica served as the focal point for the first half of the track. Again, technically quite impressive though not particularly exciting. 6.) Morning Noon and Night (Climax Blues Band) - 2:33 rating: *** stars Another nod to a more accessible sound, 'Morning Noon and Night' had a nifty blues-rock foundation, with horns, and some tasty Haycock lead guitar. Unfortunately, the 'group' sung vocals were pedestrian. Curiously this one also faded out just as it started gaining some steam. 7.) Long Lovin' Man (Climax Blues Band) - 3:34 rating: ** stars 'Long Lovin' Man' was a standard boogie rocker showcasing Farmer's barrelhouse piano. Great beer drinking song with absolutely nothing original going for it.
(side
2) Their cover of Willie Dixon's classic 'Seventh So' started out as a plodding number, but about midway through exploded into a platform for what was an extended Haycock solo. The solo was certainly impressive, but simply came too late to salvage the track. 2.) Please Don't Help Me (Climax Blues Band) - 2:56 rating: *** stars Yeah it had a blues base, but 'Please Don't Help Me' found the band turning surprisingly funky. 3.) Like Uncle Charlie (Climax Blues Band) - 4:05 rating: **** stars Probably the stand out performance on the album, 'Like Uncle Charlie' was easily the most commercial performance. Yeah, the abrupt tempo change was kind of jarring, but the ballad segment of the song was among the prettiest things they've ever recorded and Haycock turned in a stunning solo.
- 1969's 'Like Uncle Charlie' b/w 'Loving Machine' (Parlophone catalog number R 5809) 4.) Louisiana Blues (Morganfield) - 5:11 rating: *** stars Kicked along by Derek Holt's thundering bass and with plenty of Cooper harmonica, 'Louisiana Blues' returned to conventional country-blues terrain. The highlight on this one came in the form of some stunning Haycock acoustic slide guitar. 5.) Cut You Loose (Climax Blues Band) - 5:09 rating: *** stars 'Cut You Loose' was another blues-rocker built on a nice Haycock chiming guitar pattern. The song was structured to give each a couple of players a solo shot. Farmer turning in some eat quasi-jazzy Hammond B3 (?) and Cooper showed off his prowess on sax (his performance sound amazing with a pair of quality headphones).
|
|
Genre: blues-rock Rating: *** (3 stars) Title: Tightly Knot Company: Sire Catalog: SASD-7517 Year: 1971 Country/State: Stafford, UK Grade (cover/record): VG+/VG+ Comments: small cut out notch along edge Available: 1 Catalog ID: 4816 Price: $15.00
|
If you're a fan of English blues and can somehow get over the gawdawful cover (yeah there's something fascinating about how bad it is), 1971's "Tightly Knit" was something that should appeal to you. Produced by long time band associated Chris Thomas, musically this wasn't a major change in direction for the band. The main thrust remained blues, but this time around the group took some creative risks moving away from straight ahead formulaic blues patterns. The first album to feature largely original material, the band was actually at their best when stretching out beyond conventional blues into more rock and pop oriented areas. Highlights include the extremely sexist rocker ''Shoot Her If She Runs and the surprisingly pop-ish 'Towards the Sun'.
"Tightly Knit" track listing: (side 1) 1.) Hey Mama (Climax Blues Band) - 3:30 2.) Shoot Her If She Runs (Climax Blues Band) - 3:30 3.) Towards the Sun (Climax Blues Band) - 3:18 4.) Come On In My Kitchen (W. Payne) - 6:32 5.) Spoonful (Willie Dixon) - 3:53
(side
2) 2.) Little Link (instrumental) (Climax Blues Band) - 1:35 3.) St. Michael's Blues (Climax Blues Band) - 9:53 4.) Bide My Time (Climax Blues Band) - 3:17 5.) That's All (Climax Blues Band) - 2:10
|
|
Genre: blues-rock Rating: *** (3 stars) Title: FM/Live Company: Sire Catalog: SAS-7411 Year: 1974 Country/State: Stafford, UK Grade (cover/record): VG+/VG+ Comments: double LP; gatefold sleeve Available: 1 Catalog ID: -- Price: $15.00
|
Having already invested considerable time, effort and money in The Climax Blues Band with little to show for the investment, 1974 saw Sire release a double live concert set. Originally recorded and broadcast by New York City radio station WNEW-FM, "FM/Live" was clearly meant to showcase the band's versatility and recoup some of that earlier investment. Joining the flood of double album live sets, the pop-tinged 'I Am Constant' found the band offering a preview from their forthcoming "Stamp Album" project. For a band who'd carved out their reputation as a blues band, the set was more diverse than one would have expected. Clearly an indication of the direction they would be pursuing over the next couple of years. Still, exemplified by the extended 'So Many Roads' and guitarist Peter Haycock's 'Country Hat' the emphasis remained on English-blues. My big complaint with the album was that far too often the band fell victim to the live album formula that included seemingly endless jams like 'Flight', 'Goin' To New York' and John Cuffley's needless drum solo on Mesopopmania.' These guys were just so much better on tracks like 'I Am Constant', 'Seventh Son' and their cover of Wilbert Harrison's 'Let's Work Together' where they kept it tuneful and focused.
Always liked the David Heffernan designed cover
"FM/Live" track listing: (side 1) 1.) All the Time In the World (Colin Cooper - Peter Haycock - Derek Holt - John Cuffley) - 5:17 rating: *** stars Well, the band intro was inane - typical intro from someone who didn't have a clue what a Climax Blues Band was ... The live version of 'All the Time In the World' was quite energetic, but didn't surpass the studio version found on 1972's "Rich Man" LP. Extra star for managing to do such a good job replicating the multi-part vocals. Dock it a star for stretching it out a bit too long. 2.) I Am Constant (Climax Blues BandColin Cooper - Peter Haycock - Derek Holt - John Cuffley) - 3:34 rating: **** stars 'I
Am Constant' was another "preview" effort - the studio version
appeared on 1975's "Stamp Album." I've always
thought this was one of their most commercial and radio-friendly
performances and by keeping it short and tight, they merely underscored what
a tight outfit they were. Taken from 1969's "Climax Blues Band Plays On", the live version of the instrumental 'Flight' was stretched out from seven to over eleven minutes. It was also given more of a jazzy arrangement in order to let each member showcase their virtuosity. Basically an extended, seemingly endless jam, it probably sounded a lot better in a live situation after you'd consumed a couple of cold beers. Here it was just your standard live album filler.
(side
2) Apparently
English blues bands were contractually obligated to include a Willie Dixon
cover on their albums ... Recorded for 1970's "A Lot of
Bottle", bless Colin Cooper's dry, funky vocals and
but about Peter Haycock's solo for
saving 'Seventh Son' from your standard bland arrangement. In this
case the song's secret ingredient was Derek Holt's
melodic bass line.
Another
"Rich Man" track, the funky 'Standing By a River' gave Haycock an
opportunity to stretch out on lead guitar. It's
been covered by a slew of folks, including Otis Rush and John Mayall.
Standard English blues-rock. I built some energy as it went along, but
clocking in at almost eleven minutes, it takes it's sweet time to get
there. I always thought the song title was 'So Many Roads, So
Many Trains.' I quite liked this jazzy, stretched out instrumental until it hit Cuffley's extended drum solo. zzzzzzzzz
(side
3) 2.) You Make Me Sick (Colin Cooper - Peter Haycock - Derek Holt - John Cuffley) - 3:34 rating: *** stars Bar
band blues with some energetic vocals, Haycock's electric slide guitar, and
it was short ... Geez, where was Bo Diddley? This was a copywrite case just waiting for his law firm to cash-in..
(side
4) Given
they were playing in front of a New York City crowd,
'Goin' To New York' was a clever choice for their set
list. Musically it was another over-extended slice of bar-band blues. Well,
the Wilbert Harrison original is still tops, but would you rather hear this
speeded up rock version, or Bryan Ferry's limpid take? Easy choice for
me.
|
Genre: rock Rating: *** (3 stars) Title: The Stamp Album Company: Sire Catalog: SASD-7507 Year: 1975 Country/State: Stafford, UK Grade (cover/record): VG+/VG+ Comments: gatefold sleeve; mispressing Available: 1 Catalog ID: -- Price: $15.00
|
1975's "Stamp Album" found The Climax Blues Band moving into the realm of self-production. Self-production shows a record company has faith in an act, but it also opens up artists to reinforce their worst tendencies. Yeap, we are definitely talking mixed opportunities. For me the album was interesting for showcasing the band's drastic musical changes over time. Their seventh studio set in six years, the album found the band further trying to broaden their appeal with a more versatile, open sound. I would imagine Sire Records' pressure for sales had something to do with the changes. With all five members sharing writing responsibilities, the collection included stabs at top-40 pop (the radio-ready 'I Am Constant' and the breezy 'Sky High'), Blood, Sweat & Tears-styled horn-rock ('Running Out of Time') and even a stab at reggae ('Mr. Goodtime'). Largely missing in action: the patented English blues-rock moves they built their fan base on. There wasn't a single blues cover on the album. In fact there wasn't a single non-original in the album. The results weren't bad with singer guitarist Peter Haycock repeatedly showing a knack for catchy hooks. Needless to say, longstanding fans were appalled, but to my ears it made for an enjoyable, if unspectacular release. Similarly, peaking at # 69, sales proved unspectacular.
Always loved J. Flournoy Holmes' cover design ...
Now here's the weird part of the story. My copy's a misprint. Sire in its infinite wisdom managed to press the "A" side sequence (the first four tracks) on both sides of the album !!!
"Stamp Album" track listing: (side
1) Hardcore Climax Blues Band fans fawn over their blues-rock repertoire which made poppier tracks like 'Using the Power' a difficult transition for many of them. That wasn't a problem for me. I actually quite enjoyed their more commercial outings and powered by a tasty little Derek Holt electric keyboard pattern this one was nice. It was tapped as the leadoff single:
-
1975's
'Using the Power' b/w 'Running Out of Time' (Sire catalog SAS-721)
2.) Mr. Goodtime (Colin Cooper - John Cuffley - Peter Haycock - Derek Holt - Richard Jones) - 5:23 rating: *** stars Loved
the intro, but it took me a little while to wrap myself around the reggae motif.
Actually, I never did totally embrace the sound. Maybe not as forced
as 10.C.C. on 'Bloody Tourists', but it came close.
One
of their most commercial outings, 'I Am Constant' showcased a catchy melody
and some atypically sweet group vocals. The song should have scored
massive airplay for the band. Not
sure I would ever label The Climax Blues Band as being funky, but 'Running Out of Time'
came close. Colin Cooper's
dry voice seldom sounded as good. He also turned in a nice extended
sax solo on this one. Did I put a Pablo Cruise album on by mistake? Geez, showcasing Peter Haycock on vocals and lead guitar, the breezy 'Sky High' showcased a melody that could easily fit under the 'yacht rock' umbrella. Again, I quite like their commercial side, but can see where blues-rock fans were aghast.
(side
2) 'The
Devil Knows' was a pleasant, if forgettable, up-tempo boogie-rocker. Opening
up with some Richard Jones barrelhouse piano, 'Loosen Up' started out
sounding like a convention New Orlean blues number, but the risque lyrics
always bring a smile to my face. Another
Haycock spotlight moment, the pretty ballad 'Spirit Returning' was the
obvious choice for a single. Smooth, catchy and mindless.
Perfect for top-40 radio. Guess that's why Sire passed on the
opportunity. Powered by Haycock's "bell" effect lead guitar, the pretty,anthem instrumental 'Cobra' sounded like something you'd hear in a Scottish pub. Big Country wannabes? Perhaps by favorite performance on the album.
|
|
Genre: blues-rock Rating: *** (3 stars) Title: 1969 / 1972 Company: Harvest Catalog: SHSM 2003 Year: 1975 Country/State: Stafford, UK Grade (cover/record): VG+/VG+ Comments: UK pressing; textured cover Available: 1 Catalog ID: 4750 Price: $15.00
|
With The Climax Blues Band finally beginning to attract some commercial visibility, Harvest jumped at the opportunity to repackage some of the group's earlier work. Slapping on some sorry ass packaging, 1975's "1969 / 1972" pulled together eleven tracks from the band's first five studio sets. Exemplified by selections such as 'Please Don't Help Me', 'Hey Baby Everything's Gonna Be Alright Yeh, Yeh, Yeh' and 'Reap What I've Sowed' the focus was clearly on the band's blues roots. It's actually a rather pleasant spin, though there's nothing particularly ground breaking to be found here. On the other hand, it's much more affordable than collecting those first five albums.
"1969 / 1972" track listing: (side 1) 1.) Please Don't Help Me 2.) Hey Baby Everything's Gonna Be Alright Yeh, Yeh, Yeh 3.) Everyday 4.) Towards the Sun 5.) You Make Me Sick 6.) Reap What I've Sowed
(side
2) 2.) Looking for My Baby 3.) Flight 4.) Mole On the Dole 5.) That's All
|
|
Genre: blues-rock Rating: *** (3 stars) Title: Sample and Hold Company: Virgin / Epic Catalog: FE-38631 Year: 1983 Country/State: Stafford, UK Grade (cover/record): VG+/VG+ Comments: includes original lyric inner sleeve Available: 1 Catalog ID: 6373 Price: $15.00
|
From the outside, 1983's "Sample and Hold" had all the markings of a band running on creative fumes and contractual obligations. Signed by Virgin (and distributed by Epic in the States), the band's once vaunted line up was reduced to founding members Colin Cooper and Peter Haycock, along with newcomer George Glover on keyboards and assistance from hired guns Dave Markee on bass and drummer Henry Spinetti. Slap on a haphazard collage cover, some of the dullest song titles you seen in years and you had all the makings of an artistic snooze fest. Co-produced by John Eden and the band, the album was going to be a major disappointment for anyone expecting to hear a collection of English blues-rock. 'Course fans of the band's initial blues sound had long ago fled (as had every one else), so if you bought this album it wasn't because you were interested in hearing Savoy Blues Band-styled blues-rockers. Yeah, from the outside this seemed like a bargain bin standard. With all of that stacked up against Climax Blues and virtually non-existent expectations, I'll readily admit the album turned out to be a surprisingly pleasant experience. With Haycock responsible for the bulk of the ten tracks, material such as 'Sign of the Times' and 'Friends In High Places' exhibited a likeable AOR-feel. All three members had decent voices that were well suited for this type of quasi-anonymous radio-fodder. In fact, much of the album would have slotted well alongside mid-1980s radio standards - easy enough to picture a listener mistaking the band's cover of Graham Lyle's 'Listen To the Night' for a Dire Straits song (just check out Haycock's Mark Knofler-styled guitar moves). Come to think of it, this might have fallen under the "yacht rock' umbrella.
One of those strange albums that wouldn't seem to have all that much going for it, but one that I enjoy hearing on a regular basis. As you'd expect, the album enjoyed little or no promotion from Virgin/Epic and in spite of some touring (John Edwards and Jeff Rich stepping in as rhythm section), it quickly vanished without a trace. That was followed in swift order by the band itself, though within a couple of years Haycock had resurrected the nameplate as Peter Haycock's Climax Blues Band.
"Sample and Hold" track listing: (side 1) 1.) Sign of the Times (Colin Cooper - Peter Haycock) - 4:33 rating: *** stars The lone Cooper-Haycock collaboration, 'Sign of the Times' was also one of the album highlights. Kicked along by Cooper's dry, craggy voice and Glover's barrelhouse piano, the song had a catchy, jumpy melody that was surprisingly catchy. It also showcased Haycock's overlooked slide guitar chops. One of those songs that snuck into your head when you weren't expecting it. YouTube has a clip of the band performing the song at a 1984 performance at London's Marquee Club. Ignore the fact it is listed as 'Sing of the Times': CLIMAX BLUES BAND - Sing Of The Times - YouTube 2.) Friends In High Places (Peter Haycock) - 4:12 rating: *** stars Showcasing a very commercial melody that sounded like it had been written for radio airplay (just listen to the incideously catchy chorus), 'Friends In High Places' was even better. Yeah, this may have been music as product rather than art, but it had a wonderful pop feel and how could you not smile at a couplet like "Everybody knows you've got a stack, they're saying you made it on your back ..." ? The tune was tapped as a German single.
- 1983's ‘Friends In High Places’ b/w 'Movie Queen' (Virgin catalog number 105 742-000)
Here's another performance from their 1984 show at The Marquee: Climax Blues Band - Friends In High Places - YouTube
3.) Doin' Alright (Peter Haycock) - 4:59 rating: ** stars 'Doin' Alright' was a pretty, but slightly anonymous ballad that someone might easily have mistaken for a Gerry Rafferty tune. 4.) Listen To the Night (Graham Lyle) - 3:37 rating: *** stars One of two covers, 'Listen To the Night' has always reminded me of a Dire Straits song. The raspy vocal certainly sounded a bit like Mark Knopfler with Haycock's guitar sounding like he was channeling Knopfler. I love Dire Straits, so thought this was one of the album's most interesting performances. The song was released as the first UK 45:
- 1983's ‘Listen To The Night’ b/w 'Church' (Virgin catalog number VS 576)
5.) Shine (Peter Haycock) - 4:13 rating: *** stars 'Shine' was one of those typical mid-1980s anthem rockers that I find myself liking even though it managed to hit every rock and roll cliche known to mankind.
(side
2) 'Heaven and Hell' was about as close to a conventional rock song Climax ever came ... and the surprise was that it was quite good. Anyone who enjoyed those mid-1980s hair bands (you know who I'm talkin' about), was going to enjoy this mindless slice of AOR. It's probably the song I would have tapped as the single. 2.) Walking On Sunset (Peter Haycock) - 3;40 rating: ** stars Hearing a pop-tinged track like 'Walking On Sunset' is was hard to believe these guys were once blues-rockers. Commercial, anonymous, and soulless in the way a Pablo Cruise song was ... Admittedly I liked Dave Markee's melodic bass. 3.) Movie Queen (Colin Cooper) - 4:20 rating: **** stars The only Cooper solo contribution to the album, 'Movie Queen' was also an album highlight. Showcasing Cooper's ragged, textured voice, the song was probably a little too AOR for many folks, but I've always been a softie for songs like this and Haycock's jangle rock guitar was great. Here's another 1984 Marquee Club performance: Climax Blues Band - Movie Queen - YouTube 4.) I Am Ready (Andy Fraser - Frankie Miller) - 3:18 rating: **** stars I always wondered why 'I Am Ready' sounded so atypical - more like a Bad Company, or a Free-styled rocker than a Climax track. 'Course looking at the writing credits (Andy Fraser and Frankie Miller), served to explain everything. It'd be interesting to know how they came to record the song. Anyhow, it was actually one of the best tracks on the album - very mid-1970s blues-rock that should appeal to any Paul Rodgers fans out there. 5.) The End of the Seven Seas (Peter Haycock) - 5:40 rating: *** stars Opening up with some pretty Haycock lead guitar, 'The End of the Seven Seas' sounded like one of those radio-ready Journey, or Kansas tunes. Meant to be big, epic, with a touch of progressive sheen, when all was said and done, the results were pretty, but faceless. Hum, it really did sound like a Kansas tune ...
Peter Haycock's Climax Blues Band only lasted a year or so, before he hooked up with ELO II. That left Cooper and Glover to grab the nameplate, recruiting former Hunter singer/lead guitarist Lester Hunt to continue on as a three piece, which was quickly augmented by former members John Cuffley and Derek Holt. With various line up changes Cooper continued to front the band until 2008 when he died of cancer. The remaining band members subsequently recruited Johnny Pugh as a replacement and continue touring.
For anyone interested, the official band website can be found at: http://www.climaxbluesband.com/
|
BACK TO BADCAT PAYMENT INFORMATION
