Band members Related acts
line up 1 (1977)
- Dale Adams -- keyboards, synthesizers
- Bill Dunham -- guitar
- Bob Evans -- vocals, flute
- Doug Margetts - bass
- Bruce Pace -- drums, percussion
- Mark Colby -- sax
- Val Houston -- trombone
- Wally McMurray -- trumpet, flugelhorn
- Nelson Padron -- percussion
- none known
Rating: 3 stars ***
Country/State: Florida, US
Grade (cover/record): VG+/VG+
Comments: still in shrink wrap (opened)
Catalog ID: 1962
Serious obscurity here ... Wizard was seemingly a short-lived, South Florida-based outfit rumored to have been a tax scam label. That might explain the complete absence of bibliographical information on this outfit.
Duckbutter featured the talents of keyboardist Dale Adams, guitarist Bill Dunham, singer Bob Evans, bassist Doug Margetts, and drummer Bruce Pace. Released in 1977 their one and only album was produced by Steve Wittmack (who contributed three songs to the collection) and Fred Torchio. Musically "Duckbutter" wasn't anything special. Imagine a bunch of modestly talented CPAs or aerospace engineers who shared a love of music and wanted to pick up young-ish divorcees on the weekends. That should give you a feel for the album's general vibe. Evans actually had a likeable voice and on tunes like 'Experience What It Is' and 'Tell Me You Love Me ' the band turned in a decent approximation of mid-'70s West Coast pop bands like Pablo Cruise. Clearly there was some talent here, but it was offset by the fact there wasn't a single original thought or note across these ten tunes. The good news is it was one of those albums that got progressively better the more beers you consumed and the less attention you paid.
"Duckbutter" track listing:
1.) Knowing We Were Made for Each Other (Larry Alexander) - 3:19 rating: ** stars
'Knowing We Were Made for Each Other' opened the album up with a pedestrian mixture of lounge act pop with a bit of light disco added to the mix ... The Latin-tinged horns and percussion help a little bit, but ultimately not enough to salvage this one. Imagine a third tier Pablo Cruise and you'd have a feel for the tune.
2.) Experience What It Is (Bob Evans - Bill Dunham) - 3:27 rating: *** stars
Exemplified by Mark Colby's sax solo, the horns were way more prominent on 'Experience What It Is' with the band opting for a somewhat funky jazz vibe. Kind of a subpar Average White Band feel ... Nice backing vocals, but ultimately too MOR-ish for their own good.
3.) Soon Come Again (Larry Alexander - Sandy Tarano) - 3:39 rating: *** stars
Synthesizer drenched lounge act ballad. Kudos to Doug Margetts' nice bass work and to their credit the band showcased some nifty backing vocals.
4.) Tell Me You Love Me (Steve Wittmack) - 3:23 rating: ** stars
One of three tunes written by producer Steve Wittmack, was another Pablo Cruise-styled pop tune. Ah, '70s synthesizers washes ...
5.) Dreams Can Come True (Bob Evans) - 3:17 rating: ** stars
Powered by Dale Adams' synthesizers, 'Dreams Can Come True' made it sound like they were trying for a slice of Styx-styled progressive-tinged pop. They didn't quite nail it, but then so what.
Hum, white guys trying too hard to sound funky are usually an embarrassment. That's certainly the case on this lame slice of horn-powered funk. Anyone got a Wild Cherry LP lying around?
2.) Porch Lights (Bob Evans) - 3:38 rating: *** stars
More funk, though 'Porch Light' wasn't as irritating as the previous tune. Add the fact Mark Colby turned in a decent sax solo.
3.) Shining Star (Maurice White - Bailey - Dunn) - 4:03 rating: ** stars
The album's lone cover - you had to wonder why the decided to pick and Earth, Wind and Fire tune for the honor. Can't say I particularly enjoyed their lite jazz arrangement of the tune. Way too Herbie Mann-ish.
4.) You're the One (Steve Wittmack) - 3:52 rating: * star
You had to wonder why they thought they could pull of white boy funk ... hideous.
5.) My Soul Be Right (Bob Evans) - rating: * star
Drunken group vocals may have sounded like a good idea in the studio, but in retrospect this was probably one of those tunes that probably should have remained in the tape box. Who would have ever thought Sha Na Na would sound like an attractive alternative ...
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