Family
Band members Related acts
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line up 1 (1966-67) - Roger Chapman -- vocals, harmonica, percussion - Ric Grech (RIP) -- vocals, bass, cello, backing vocals - Jim King -- vocals, sax, harmonica, keyboards, backing vocals - Harry Ovenall -- drums, percussion - John "Charley" Whitney -- lead guitar, keyboards
line up 2 (1967-69) - Roger Chapman -- vocals, harmonica, percussion - Ric Grech (RIP) -- vocals, bass, cello, backing vocals - Jim King -- vocals, sax, harmonica, keyboards, backing vocals NEW - Rob Townsend -- drums, percussion (replaced Harry Overnall) - John "Charley" Whitney -- lead guitar, keyboards
line up 3 (1969) - Roger Chapman -- vocals, harmonica, percussion - Jim King -- vocals, sax, harmonica, keyboards, backing vocals - Rob Townsend -- drums, percussion NEW - John Weider -- bass, guitar, violin, backing vocals (replaced Ric Grech) - John "Charley" Whitney -- lead guitar, keyboards
line up 4 (1969-71) - Roger Chapman -- vocals, harmonica, percussion NEW - John "Poli" Palmer -- keyboards, flute, vibe, xylophone, backing vocals - Rob Townsend -- drums, percussion - John Weider -- bass, guitar, violin, backing vocals - John "Charley" Whitney -- lead guitar, keyboards
line up 5 (1971-72) - Roger Chapman -- vocals, harmonica, percussion - John "Poli" Palmer -- keyboards, flute, vibe, xylophone, backing vocals - Rob Townsend -- drums, percussion NEW- John Wetton (RIP) -- vocals, bass, guitar (replaced John Weider) - John Whitney -- guitar, keyboards
line up 6 (1972-73) NEW - Tony Ashton (RIP 2001)-- keyboards (replaced Poli Palmer) - Roger Chapman -- vocals, harmonica, percussion NEW - Jim Cregan -- bass, guitar (replaced John Wetton) - Rob Townsend -- drums, percussion - John Whitney -- guitar, keyboards
line up 7 (2012-14) - Roger Chapman -- vocals, harmonica, percussion - Jim Cregan -- bass, guitar - John " Poli" Palmer -- keyboards, flute - Rob Townsend -- drums, percussion
backing musicians (2012-2014) - Paul Hirsh -- keyboards - John Lingwood -- drums, percussion - Nick Payne -- sax, harmonica - Gary Twigg -- bass - Geoff Whitehorn -- lead guitar, backing vocals
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- The Animals - Asia (John Wetton) - Ashton, Gardner and Dyke (Tony Ashton) - Axis Point - Blind Faith (Ric Grech) - The Blossom Toes (Jim Cregan) - The Blues Band - The Farinas (John Whitney) - Farm Dogs - Ric Grech (solo efforts) - Nicky Hopkins (solo efforts) - King Crimson (John Wetton) - Medicine Head - Mogul Thrash (John Wetton) - The Moments - The Rocking R's - Streetwalkers (Roger Chapman and John Whitney) - Stud (Jim Cregan and John Weider) - Traffic - John Wetton (solo efforts) - Wetton and Manzanera (John Wetton)
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Genre: rock Rating: 3 stars *** Tiitle: Music In a Doll's House Company: Reprise Catalog: K 44067 Year: 1968 Country/State: UK Grade (cover/record): VG+/VG+ Comments: UK pressing Available: 1 Catalog ID: -- Price: $30.00
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"Music In
a Doll's House" track listing: 1.)
(side
2)
Music in a Doll's House is the debut album by English progressive rock group Family, released on 19 July 1968. The album, co-produced by Dave Mason of Traffic,[5] features a number of complex musical arrangements contributing to its ambitious psychedelic sound. Background The Beatles had originally intended to use the title A Doll's House for the double album they were recording during 1968.[6] The release of Family's similarly titled debut prompted them to adopt the minimalist title The Beatles for what is now commonly referred to as the "White Album" due to its plain white sleeve. "Old Songs, New Songs" features a cameo from the Tubby Hayes group, arranged by 18-year-old Mike Batt. Hayes played the tenor sax solo at the end of the track (uncredited). Batt also arranged and conducted other strings and brass for the album, notably "The Chase" and "Mellowing Grey" but was not credited.[citation needed] The album was the first by an English rock group to be released on the US Reprise label (which had originally been set up by Frank Sinatra but was now owned by Warner Bros). It was licensed to the label by Dukeslodge Enterprises, a company run by the band's manager, John Gilbert, who was credited as 'executive producer' of the album. The album was released on vinyl in mono (RLP6312), stereo (RSLP6312) and on Stereo 8 Track Cartridge. In an interview for ZigZag magazine, Whitney reported that due to only having four track recording equipment final overdubs were done live during the mix so mono vinyl copies had a different mix to the stereo version; due to a pressing error the record would jump the grooves during playback so the mono release was withdrawn.[7] This album was initially issued in the US using the UK import and sold in the US as a domestic album with an extra piece of cardboard to stiffen the sleeve (as they essentially had the same catalog number in both countries). Around the time the second album was issued in the US, US pressings of this album started to appear. (The album also initially had a 12" black and white photo of the group included as an insert.) Reception In the Q & Mojo Classic Special Edition Pink Floyd & The Story of Prog Rock, the album ranked number 30 in its list of "40 Cosmic Rock Albums".[8] It was voted number 606 in the third edition of Colin Larkin's All Time Top 1000 Albums (2000).[9] Track listing All tracks written by John Whitney and Roger Chapman, except as noted. Side A No. Title Writer(s) Length 1. "The Chase" 2:13 2. "Mellowing Grey" 2:48 3. "Never Like This" Dave Mason 2:18 4. "Me My Friend" 2:01 5. "Variation on a Theme of Hey Mr. Policeman" (instrumental) 0:23 6. "Winter" 2:26 7. "Old Songs for New Songs" 4:17 8. "Variation on a Theme of The Breeze" (instrumental) 0:40 Total length: 17:14 Side B No. Title Writer(s) Length 9. "Hey Mr. Policeman" Whitney, Ric Grech, Chapman 3:13 10. "See Through Windows" 3:43 11. "Variation on a Theme of Me My Friend" (instrumental) Whitney 0:22 12. "Peace of Mind" 2:22 13. "Voyage" 3:35 14. "The Breeze" 2:50 15. "3 x Time" 3:34 16. "God Save the Queen" (hidden track) 0:14 Total length: 19:57 Personnel Family Roger Chapman – vocals, harmonica, tenor saxophone John "Charlie" Whitney – lead and steel guitars Jim King – tenor and soprano saxophones, vocals, harmonica Ric Grech – bass guitar, vocals, violin, cello Rob Townsend – drums, percussion Technical Dave Mason – producer, Mellotron Jimmy Miller – co-producer on "The Breeze" and "Peace of Mind" John Gilbert – executive producer Eddie Kramer – engineer George Chkiantz – second engineer Peter Duval – album design Julian Cottrell – front cover photography Jac Remise – back cover photography he non-LP single "Scene Through the Eye of a Lens" b/w "Gypsy Woman" not withstanding, Music in a Doll's House (1968) is the debut full-length release from the earliest incarnation of Family, featuring Roger Chapman (harmonica/tenor sax/vocals), Rick Grech (violin/ cello/bass guitar/vocals), Rob Townsend (percussion/drums), John "Charlie" Whitney (guitar/pedal steel guitar/keyboards), and Jim King (harmonica/keyboards/soprano sax/tenor sax/vocals). Their highly original sound has often been compared to Traffic, which may be in part due to the production skills of Jimmy Miller and Dave Mason, the latter also contributing the organic and rootsy rocker "Never Like This." Additionally, neither band was overtly psychedelic or progressive, contrasting them from the other burgeoning combos such as Soft Machine, Pink Floyd, and Caravan. Family's deceptively involved arrangements are coupled with an equally unique blend of Chapman's commanding vocals driving through the jazz and folk-rooted tunes. "The Chase" is a spirited opener that immediately establishes their unmistakable vibe, which is furthered on the sides "Old Songs for New Songs" and the aggressive rocker "Peace of Mind." The antithesis can be heard on the rural-flavored "Mellowing Grey" and "Winter," or perhaps the almost blatantly trippy "See Through Windows." In 1996, See for Miles issued Music in a Doll's House along with Family Entertainment (1969) on a double-disc anthology, including the previously mentioned pre-LP 7" "Scene Through the Eye of a Lens" b/w "Gypsy Woman," both of which have been released on compact disc for the first time here. The package additionally boasts a 40-page booklet and hardback CD jacket, while the audio has been digitally remastered utilizing Super Bit Mapping. Along with The Soft Machine, The Family (as they were initially styled) were one of the few bands from outside the Home Counties to make a splash on the London underground scene after leaving their Leicestershire base in 1967. The immediate result was “Scene Through The Eye Of A Lens”, not a hit but nevertheless one of the finest 45s to spring from the UK psychedelic pool, before the band set to work on their debut album with the assistance of hands-on producer Dave Mason. Bedecked in intelligent but heavily lysergic lyrics, the hugely ambitious Music In A Doll’s House evokes the era as eloquently as anything, with seminal songs like “Me My Friend,” “Hey Mr Policeman” and “Peace Of Mind” matched all the way by Mason’s barnstorming (over)production, which utilized backwards mellotrons, violin feedback, trumpets, the obligatory phasing and Roger Chapman’s aquired taste vibrato vocals to create a swirling, perverted, densely hallucinatory wall of sound. “We’d met Dave Mason when we did our first single, which he played on,” Charlie Whitney later told ZigZag. “When we came to do Doll’s House, Jimmy Miller was producing us, but he began to get involved with the Stones and Beggar’s Banquet, and I think he and Dave got together and Dave decided that he would like to take over producing the album, so he did. He had lots of ideas. For example, “Voyage” – all those feedback violins, backwards mellotrons, they were his idea.” The album was initially released in both mono and stereo formats, though mono copies are alot harder to find these days – according to Whitney, the result of a technical fault. “It kept jumping the grooves, so they withdrew it. There were some interesting things on the mono version, because in those days when you did the final overdubs to a song, since it was only four tracks you had to do you final overdubs – say a few bars of guitar – while they were actually mixing. So the guitar bits were different from ,ono to stereo, and some of it was much better on the mono mix.” Released in July 1968 in a memorably intricate sleeve design, Music In A Doll’s House was a minor commercial success: it also put paid to The Beatles’ tentative plans to name their forthcoming double album A Doll’s House after the Henrik Ibsen play. And while the second Family LP, Family Entertainment, also contained a number of top-grade psychedelic thrills before the band become one of the better acts operating within the UK progressive rock mainstream, Music In A Doll’s House is their definitive early creation. –Record Collector, David Wells Tracklisting All tracks written by John Whitney and Roger Chapman, except as noted. Side one “The Chase” – 2:16 “Mellowing Grey” – 2:48 “Never Like This” (Dave Mason) – 2:20 “Me My Friend” – 2:00 “Variation on a theme of Hey Mr. Policeman” – 0:25 “Winter” – 2:26 “Old Songs New Songs” – 4:18 “Variation on a theme of The Breeze” – 0:39 Side two “Hey Mr. Policeman” (Whitney, Ric Grech, Chapman) – 3:14 “See Through Windows” – 3:44 “Variation on a theme of Me My Friend” (Whitney) – 0:22 “Peace of Mind” – 2:26 “Voyage” – 3:31 “The Breeze” – 2:52 “3 x Time” – 3:51 Personnel Roger Chapman – lead vocals, harmonica, tenor saxophone John “Charlie” Whitney – lead guitar, steel guitar Jim King – tenor and soprano saxophone, harmonica, vocals Ric Grech – bass guitar, violin, cello, vocals Rob Townsend – drums, percussion with Dave Mason – producer Jimmy Miller – co-producer on “The Breeze” and “Peace of Mind” John Gilbert – executive producer Eddie Kramer – engineer George Chiantz – second engineer Peter Duval – album design Julian Cottrell – front cover photography Jac Remise – back cover photography Trivia “Old Songs, New Songs” features a cameo from the Tubby Hayes group. This album was initially issued in the US using the UK import and sold in the US as a domestic album (with an extra piece of cardboard to stiffen up the sleeve). Around the time the second album was issued in the US, US pressings of this album started to appear. In the Q & Mojo Classic Special Edition Pink Floyd & The Story of Prog Rock, the album ranked number 30 in its list of “40 Cosmic Rock Albums”. The debut CD by English band, Family, is among the classic albums of the era as the band demonstrates that they like their contemporaries--the Moody Blues, Pink Floyd, Traffic, and others--had as much talent as any of their brethren. One has to experience delight in hearing the vast musical influences combined with the experimentation of the times, something that drew me in right from the start. I urge all fans of the era to give this CD a listen as it will make similar impact on you. Roger Chapman is a unique vocalist who can cover a wide range of sound while Charlie Whitney is a superb guitarist and fine backup vocalist. Ric Grech is a powerful bassist and would move on to recognition in Blind Faith while Jim King's horns are as delightful as was Chris Wood's with Traffic. Rob Townsend is a percussionist who ranks among the best, all of which, makes for a well-crafted CD, one you need to hear. 2 people found this helpful Helpful Report Right Stuff 5.0 out of 5 stars A Gem! Reviewed in the United States on August 8, 2006 Verified Purchase Not to age myself but I heard this when it was first released and loved it! Chapman has the best voice in rock and roll and it is a sin that not enough people are aware of it. Fearless is my favorite Family album but Music in a Doll's House is superb. While rooted in the 60's it stands the test of time. 3 people found this helpful Helpful Report Bill Your 'Free Form FM Print DJ 4.0 out of 5 stars Excellent Reviewed in the United States on October 10, 2009 All the compositions on Music Of A Doll's House are great. They are organic, and have a English Folk feel. Listening to the whole album, it is like heariang post-Acqualung Jethro Tull but better: no epics or mellow-dramatics. Just well arranged accustic music with a middle ages spice. Lead singer Roger Chapman has a great, goat like voice. That is in no way insult: his pitch and use of vibrato produce this effect, and there no other singer like him in rock. He also has the pipes to thrust forth extremely powerfully. The only problem with the album is the production. Dave Mason, then in Traffic, produced. The whole album has a flanged eccho and badly superimposed effects that don't serve this music well. Understood, this was 1968, and musicians were learning how to make music in a post-Sgt. Pepper era. But the writing here is so good and the woody guitar work so warm, it would have worked better to have the clean production of the second Traffic album. That said, this is worth buying both for the music and to understand English rock during 1968. PS: I have this on a See For Miles CD from the 1990s. Has the sound improved on reissues? Please Comment. Read less One person found this helpful Helpful Report Rich K 5.0 out of 5 stars Sounds great Reviewed in the United States on June 7, 2013 Verified Purchase Remastered and with bonus tracks. I like it's released as an album concept with the gatefold jacket. The CD sounds crisp with excellent dynamics. Helpful Report mystyrtee 5.0 out of 5 stars Family record Reviewed in the United States on April 15, 2014 Verified Purchase An original. Not as good as Family Entertainment, which is one everyone should have. Delivery was very good as was the price. Helpful Report Bob P 5.0 out of 5 stars goo album Reviewed in the United States on April 29, 2013 Verified Purchase This was an album that I had the vinyl version that I wanted the Cd version so that could play it on my cd player. Helpful Report Amazon Customer 5.0 out of 5 stars Five Stars Reviewed in the United States on September 20, 2016 Verified Purchase T"was the first album I owned when it first came out. One person found this helpful Helpful Report Richard M. Caputo 5.0 out of 5 stars Ahead of it's time... Reviewed in the United States on March 21, 2015 Verified Purchase Unbelievable - to think this came out about 1967 shows how progressive this group was. One person found this helpful Helpful Report See more reviews Top reviews from other countries Translate all reviews to English pedro 5.0 out of 5 stars Family - Music in a Doll's House Reviewed in Spain on September 13, 2020 Verified Purchase ¡Excelente album! Cuando estaba en apogeo la psicodelia británica, imaginativo y muy bien producido. Una banda muy empastada con buenos músicos con la voz de Roger Chapman, Ric Grech, Rob Townsend y el apoyo de Dave Mason, y otros artífices. Para quien no lo haya escuchado (??? ); imprescindible. Report Translate review to English Simo Imo 5.0 out of 5 stars Basta ascoltarlo una volta per capire che capolavoro sia Reviewed in Italy on October 31, 2019 Verified Purchase I primi 4 dischi dei Family sono tutti meravigliosi, da ascoltare e riascoltare. I family sono una delle prime band e anche tra le più atipiche e meglio invecchiate della scena del prog. Inoltre questa edizione in papersleeve è molto carina. CONSIGLIATO Report Translate review to English Dumont 5.0 out of 5 stars vieux pot -bonne soupe ! Reviewed in France on May 17, 2013 Verified Purchase dans les années 1970, FAMILY était à l'avant garde des groupes progressifs et aujourd'hui où les nouveaux groupes clonent sans vergogne le ou les "tubes" du moment, l'originalité était au rendez-vous à chaque nouvel album. 4 people found this helpful Report Translate review to English H.Schwoch 5.0 out of 5 stars Ein herausragendes Debütalbum Reviewed in Germany on June 3, 2011 Verified Purchase Beeinflusst von Rhythm'n'Blues, Psychedelic-Pop und Progressive-Rock-Pionieren wie The Moody Blues, nahm diese Band im wichtigen Musikjahr 1968 eines der herausragensten Debütalben aller Zeiten auf. Angefüllt mit atemberaubenden Melodien, großartigen Arrangement-Ideen, ständig im Spannungsfeld zwischen der Rauheit der Straße und tiefer Melancholie pendelnd, und gekrönt von der einzigartig gurgelnden Stimme von Roger Chapman, hat diese Platte wiederum einen sehr starken Einfluss auf später berühmt gewordene Bands wie King Crimson, Jethro Tull, die Genesis der Gabriel-Ära und viele andere ausgeübt. Meine Lieblingssongs: "Mellowing Grey", "Never Like This", "Be My Friend", "Winter", "Peace of Mind" und "The Breeze" - doch das Ganze funktioniert in sich wie ein fantastisches frühes Konzeptalbum. Es ist eine Schande, dass MUSIC IN A DOLL'S HOUSE heute fast vergessen ist und auch so gut wie nie in den beliebten Listen der 'besten Prog-Rock-Alben aller Zeiten' geführt wird. Dabei ist dies die Ursuppe, aus der in den 70ern dann vieles Großartige entstanden ist. Family selbst machten danach noch einige weitere respektable Alben; die Magie ihres Debüts erreichten sie aber nie wieder. PS: Die CD von See-For-Miles-Records aus dem Jahre 1989 klingt nicht perfekt, aber auch bestimmt nicht schlecht. Schon die damalige Vinyl-LP hatte ihre Schwächen, und viel mehr ließ sich wahrscheinlich aus den alten Bändern in diesem Fall nicht 'rausholen. Außerdem bleibt auf diese Weise ein gewisser Spätsechziger-Charme erhalten. Read more 3 people found this helpful Report Translate review to English Morten Vindberg 5.0 out of 5 stars One of the Great Classics of the Late 1960's Reviewed in the United Kingdom on May 16, 2010 Verified Purchase Family first album "Music In A Doll's House" is one of the albums, which must not be ignored. With Traffic guitarist Dave Mason as producer, the group recorded a very exciting album which is both innovative, melodic and bearing Mason's obvious Traffic imprint. Group's original line-up included, besides the three regular Family members Roger Chapman, John Whitney and Rob King, also bassist and violinist Rick Grech and saxophonist Jim King. The line-up allowed a diverse instrumentation and the group took great advantage of this oportunity. Moreover, the songwriter-team Chapman / Whitney shines, with many fine compositions. "Pscychedlia" is probably what you first think when you hear the opening track "The Chase"; the number has a fine melody and an instrumentation that can lead the mind towards both the Move and King Crimson. The acoustic melodic approach is also found on the album, not least the beautiful "Mellowing Grey" and the airy "The Breeze" - both fine examples of this. "Never Like This" was written by Dave Mason and it clearly shows - sounds almost like a "Hole in My Shoe - 2". The grandiose of the opening number returns with "Me My Friend" - interesting change on lead vocals with Chapman taking care of the chorus while Jim King takes care of the verse. More pscychedelia on "Winter" - sounds almost like Creation. The group's roots in R & B are revealed on "Hey Mr. Policeman" and "Old Songs, New Songs" - both tracks could have been Yardbirds numbers. The intro of "Peace of Mind" was later reused by David Bowie; the song is one of the major highlights of the album and a number that would become one of the group's live favorites. At no time in this very seamless album, one senses idling, and you may easily find yourself subsequently go humming some of the fine melodic themes. The original Family line-up released the year after another album "Family Entertainment" on which they actually managed to surpass themselves. Both albums by two great classics of the period. Read less 21 people found this helpful I heard this LP as a teen on the radio here in Detroit. Uncle Russ Gibb played it and promoted their appearance(s) at the Grande Ballroom(our main Rock Castle for Detroit)! I bought it and was blown away! Roger Chapman's voice was so unique and perfect! The whole band's musical prowess was unreal! Rick Grech was here before Blind Faith gigs! As far as I'm concerned...this LP is a standout for that era...Pretty Things were good....but not anything like this! Helpful Report Bryan 5.0 out of 5 stars I've waited so long Reviewed in the United States on March 22, 2010 I've had many friends over the years recommend Music in a Doll's House to me, a supposed classic by a late 60's pop band called Family. Supposedly this is the ultimate example of pop songwriting written as close to perfection as humanly possible. I have to question how much of a classic this album is though, seeing as how less than 10 people on amazon know about it. WHAT a shame too! This album seriously does everything right, and I really mean it when I say EVERYTHING. Some of the prettiest and most carefully created pop songs you will ever hear from a late 60's album. This album stands among the very best of them, including Love's Forever Changes, the Rolling Stones Between the Buttons, the Who's Tommy, the Beatles Abbey Road, the Moody Blues Days of Future Passed, etc. Seriously, this album IS just as chock-full of extremely melodic pop songs similar to any Stones, Who, Kinks or Beatles album, I totally kid you not! If there's a weak point on this album I honestly can't find it. This music sounds enchanted most of the time thanks to the choice of delicate and beautifully played instrumentation. Now, what's really amazing to me is the lead singer who goes by the name of Roger Chapman. He closely resembles SEVERAL other singers out there such as Peter Gabriel, Roger Wootton of the folk-rock cult favorite Comus, and there's even an Italian progressive rock band that was popular in their home country during the 70's with a lead singer *identical* to Roger Chapman named Premiata Forneria Marconi (check out an album of theirs called Chocolate Kings for an *incredible* resemblance between the two singers- you won't be able to tell them apart I guarantee it!) Chapman has a very good singing voice and a talent for expanding his range in all the right places to express any and all emotions to you, the listener. What a splendid display of vocal talent. Another highlight is the way the album was produced. This does NOT sound like an album from 1968. The entire album sounds amazingly crystal clear and just beautiful. Every instrument sounds like it could have been recorded using todays technology. This is the complete opposite of most albums recorded in 1968 where you know immediately what period in time they were made, such as a certain Iron Butterfly classic for instance. Want me to pick a favorite song? I guess "3 x Time" would be my pick. Those vocals are so sincere, beautiful, and just a perfect example why late 60's rock continues to touch me on such a personal level. I love the melodic horn riff too, along with those rather ominous Moody Blues-sounding chants before the song shifts back to the horns. Weird, but lovely. Why Music in a Doll's House hasn't gone on to become a popular lost classic the same way Love's Forever Changes has is something we'll never know. You just have to trust me when I say you will immediately fall in love with this album if you share the same love as I do for late 60's pop music. Helpful Report Morten Vindberg 5.0 out of 5 stars One of the Great Classics of the Late 1960's Reviewed in the United States on May 16, 2010 Family first album "Music In A Doll's House" is one of the albums, which must not be ignored. With Traffic guitarist Dave Mason as producer, the group recorded a very exciting album which is both innovative, melodic and bearing Mason's obvious Traffic imprint. The group's original line-up included, besides the three regular Family members Roger Chapman, John Whitney and Rob King, also bassist and violinist Rick Grech and saxophonist Jim King. The line-up allowed a diverse instrumentation and the group took great advantage of this oportunity. Moreover, the songwriter-team Chapman / Whitney shines, with many fine compositions. "Pscychedlia" is probably what you first think when you hear the opening track "The Chase"; the number has a fine melody and an instrumentation that can lead the mind towards both the Move and King Crimson. The acoustic melodic approach is also found on the album, not least the beautiful "Mellowing Grey" and the airy "The Breeze" - both fine examples of this. "Never Like This" was written by Dave Mason and it clearly shows - sounds almost like a "Hole in My Shoe - 2". The grandiose of the opening number returns with "Me My Friend" - interesting change on lead vocals with Chapman taking care of the chorus while Jim King takes care of the verse. More pscychedelia on "Winter" - sounds almost like Creation. The group's roots in R & B are revealed on "Hey Mr. Policeman" and "Old Songs, New Songs" - both tracks could have been Yardbirds numbers. The intro of "Peace of Mind" was later reused by David Bowie; the song is one of the major highlights of the album and a number that would become one of the group's live favorites. At no time in this very seamless album, one senses idling, and you may easily find yourself subsequently go humming some of the fine melodic themes. The original Family line-up released the year after another album "Family Entertainment" on which they actually managed to surpass themselves. Both albums by two great classics of the period. 4 people found this helpful Helpful Report professional woman 5.0 out of 5 stars TRUE TIME-TRAVEL PIECE Reviewed in the United States on June 9, 2011 This one is a true time-travel piece. 1968. Mellotrons, phasing, sitar, wah wah, horns, violin, cello, kitchen sink--everything going. Early progressive. An ambitious and fabulous debut that even got up the chart. Not bad. The prolific writing partnership of Roger Chapman and Charlie Whitney started here. Produced by Dave Mason who also has a song--Never Like This. The Chase starts it all. There are excellent transitions from song to song throughout. I like the whole thing so it's hard to pick high points, but I think Me My Friend, Old Songs For New Songs, See Through Windows, and 3 x Time are the ones. 3 x Time is hilariously perfect and pours into a rambling God Save the Queen. Family pursued a unique path. Though they had songs and albums on the charts they didn't capitalize and commercialize enough for the big fame--or we'd known more about them. This is a Now album. It was created a while back, but it is reliably current. This is crazy good. Wildly great. A permanent fave. It's so good I wish they'd made two. Music in a Doll's House Two. 5 people found this helpful Helpful Report Opaque Visions 5.0 out of 5 stars wonderful album. perfect in every way! Reviewed in the United States on January 21, 2012 Like I said in the title, this album is just perfect in every way. The wide variety of musical instrumentation, the wonderful mixture of both singers (two totally different voices that just complement each other greatly). It is impossible to pick a favorite song because the album as whole is just complete - each song as good as the next. The last few songs all blend into each other and take your mind on a wonderful trip that you don't want to come back from (which is the kind of music I absolutely love). This album has risen to the top of my favorites and I have to break it out and listen to it on a constant basis. None of the songs ever get old and they sound fresh with every listen. Love, love, love this album, it is a must have for anyone who has good taste in music-it has it all and so much more! One person found this helpful Helpful Report RhodeIsland 1969 5.0 out of 5 stars Gives Sgt. Pepper a Run for its Money Reviewed in the United States on May 31, 2012 This is the album that caused the Beatles to drop their originial title for the album that became the "White Album." And it enhances 1968's reputation as a great year for rock. The range of songs is astonishing. A classic. 2 people found this helpful Helpful Report BENJAMIN MILER 5.0 out of 5 stars One of the greatest psychedelic albums I've ever heard Reviewed in the United States on December 5, 2001 Music in a Doll's House, well, what can I say? Unlike a lot of their psychedelic contemporaries of the time, like Jefferson Airplane, this one really stands the test of time real well. While a lot of the studio effects like phasing is rather dated sounding, it works real well here. To me, this album sounds exactly like how Traffic's Mr. Fantasy would sound like if it was fronted by Peter Gabriel (although Roger Chapman's voice has much more vibrato). In fact, this album was produced by Dave Mason, so that explains a lot. And it's also well known that Family had a big influence on Genesis during their early days. That's why "Mellowing Grey" sounds like something off From Genesis to Revelation, although this one is much better than anything on that album, because of better production and even a real Mellotron. Music in a Doll's House also features Richard Grech, pre-Blind Faith, so that's one for all you trivia buffs out there. Other goodies on this album are "Winter Time", "Mr. Policeman", "See Through Windows", and "The Breeze". Most of these songs are short, but they are just so amazing. I understand Family did much better in Britain than America. It's either Roger Chapman's voice didn't go down too well with American audiences, or the fact the band's relationship had soured with Fillmore promotor Bill Graham when they had a fistfight with him at the Fillmore East. But whatever the case, Music In a Doll's House is a wonderful example of the psychedelic 1960s, and of all the albums in this genre from that time I've heard (Jefferson Airplane, Iron Butterfly, The Doors, Electric Prunes, even early Traffic), this by far the best one and holds up best to repeated listens (something I can't say with a lot of those other bands of the time). One person found this helpful Helpful Report loce_the_wizard VINE VOICE 5.0 out of 5 stars Trip the light fantastic Reviewed in the United States on September 4, 2001 Sometimes you need to go back and experience what was to wonder what could have been. No other debut album from a band can match the force of this one from Family, and for more than 30 years, this work has remained a testimony to what rock music should be about: creative, mind-bending, pulsing, twisting, strange, engaging, and even failing. The CD is full of gems, but the crowning glory may be "Old Songs, New Songs." Chappo's unearthly delivery of the main vocals contrasted with the falsetto of reedman Jim King's vocal on the chorus could stop traffic. Charlie Whitney offers up one of the coolest wah-wah pedal-powered solos toward the last minute of the song against the rock solid drums of the great Rob Towsend and the bass line of the late Rick Grech. Be warned, however, if you cut your teeth on what has been on commercial FM radio for the past 20 years, you may experience osmotic shock when listening to Family. Had Family achieved the popularity it so deserved, then maybe today folks would know that the best rock band to ever feature violin, saxophone, guitar, bass, drums, and vocals may very well have been Family, not the Dave Matthews Band. 5 people found this helpful Helpful Report mycues@tcsn.net 5.0 out of 5 stars Music In a Doll's House was a breaktrhough Reviewed in the United States on July 30, 1998 Family's angular, art-school sensibility propelled by pub-rock energy made "Music In A Doll's House" a 1968 breakthrough. Dave Mason (of Traffic) lent a steady hand to the production with avant garde violins by Rick Grech (later of Bind Faith) and bright wind instruments by Jim King. These British progressive rockers managed to find their way to the mainstream through Charlie Whitney's sturdy guitar work and Roger Chapman's bleating, histrionic vocals. Suffering from multiple personnel changes, later albums became a bit workmanlike. But the arty, playful inventiveness of "Doll's House" ranks it, in my book, as a turning point. One person found this helpful Helpful Report A. J. Elliott 1.0 out of 5 stars BE WARNED Reviewed in the United States on April 28, 2015 this pucka version isn't remastered whatever it may say, get the SEE FOR MILES label version as sound quality is so much better than this, don't worry about it not having the two bonus tracks as you can get them elsewhere.after all its only the album you need 2 people found this helpful
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Genre: rock Rating: 3 stars *** Tiitle: A Song for Me Company: Reprise Catalog: RS-6384 Year: 1970 Country/State: UK Grade (cover/record): VG+/VG+ Comments: gatefold sleeve Available: 1 Catalog ID: 2448 Price: $20.00
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"A Song
for Me" track listing: 1.) No Mule's Fool The folk-tinged 'No Mule's Fool' was one of the band's prettiest compositions. It's always reminded me of something Ronnie Laine might have done with The Faces. Wonder if Dexy's Midnight Runners heard this one ... The song was tapped as a single in a couple of European countries:
- 1969's 'No Mule's Fool' b/w 'Good Friend' (Reprise catalog number RS 27001) Neither the video, nor sound quality were great, but YouTube has a 2002 reunion performance: https://www.youtube.com/watch?v=MLwsdXknmsQ 2.) Drowned In Wine 3.) Love Is a Sleeper 4.) Some Poor Soul 5.) Whee Is
(side
2)
ond G
In an effort to keep abreast of changing
musical tastes, they have banished most traces of psych influences,
moving more solidly in a progressive direction, but still with
considerable diversity, including country flavor. Their overall appeal
has begun a slow, but steady decline as well. Grades - 3 B+'s, 2 B's,
4 B-'s, and a C+, still quite consistent though. This issue came with
a lyric insert.
Published
RS 6384 Vinyl LP (1970)
Family were always an interesting band, Chapman's voice, the use of vibes, flute, violin et all, and while this album has it's moments and some nice touches, there are no songs that comes right out of those speakers that immediately grab your attention . I enjoy segments rather than the songs as a whole. I should say that "A Song For Me," (probably the nearest we come to single land and strongest track), reminds me a little of Atomic Rooster (well a bit). Thought I'd throw that in. The 1998 issue contains two bonus tracks, the single "No Mules Fool," (3.5 stars) and its B Side, "Good Friend of Mine," (2.5 stars) the last two recordings to feature Jim King. To reap it's rewards, file under "stick with it." An album to be digested slowly, with perseverance comes the enjoyment.
Published
Il cambio di formazione avvenuto nella
band porta in dote sonorità maggiormente orientate verso il rock
progressivo.
Nonostante ciò Chapman e soci continuano a mantenersi nel solco del formato canzone (eccezion fatta per il brano che dà il nome al disco), con una serie di tracce che mescolano senza sforzo e con buon gusto folk, psichedelia, country e progressive. All'interno del panorama del rock dei primi anni '7' i Family si collocano come un gruppo sperimentatore, poco incline a seguire i dettami della moda musicale e in grado di maneggiare i vari stili allora in voga, capace di creare uno stile personale. Ritengo questo un gran merito.
Published
Family was a very strange band with a
vocalist that takes some getting used to. They play some cool prog
rock and the guitar player is very good but this may be their weakest
release. Their previous release was their best but this long play
doesn't build on it. Too bad!
Published
Stabilizing themselves as the weird
underground outfit they really have to be.
Published
Good album throughout, with the exception
of “Some Poor Soul” - but that track is followed by the highlight
“Love is a Sleeper”.
A bit weaker, when compared to
their previous 2 albums, but still no doubt a must-have
Published
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Genre: rock Rating: 3 stars *** Tiitle: Family Entertainment Company: Reprise Catalog: RS-6340 Year: 1969 Country/State: UK Grade (cover/record): VG / VG Comments: minor ring wear; promo sticker on front cover Available: 1 GEMM catalog ID: not yet listed Price: $
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"Family
Entertainment" track listing: 1.) The Weaver's Answer (Chapman/Whitney) 2.) Observations From A Hill (Chapman/Whitney) 3.) Hung Up Down (Chapman/Whitney) 4.) Summer '67 (Whitney) 5.) How-Hi-The-Li (Whitney)
(side
2) 2.) From Past Archives (Chapman/Whitney) 3.) Dim (Chapman/Whitney) 4.) Processions (Whitney) 5.) Face In The Cloud (Grech) 6.) Emotions (Chapman/Whitney)
A blues-based band with art-rock inclinations, Family was one of the more interesting groups of hippie-era Britain. Fronted by the deft and frequently excellent guitar playing of John "Charlie" Whitney and the raspy, whisky-and-cigarette voice of Roger Chapman, Family was much loved in England and Europe but barely achieved cult status in America. While bands like Jethro Tull, Ten Years After, and the Keith Emerson-led Nice (and later Emerson, Lake, and Palmer) sold lots of records, Family, which frequently toured with these bands, was left in the shadows, an odd band loved by a small but rabid group of fans. Although the band's first official release was Music in a Doll's House in 1968, the roots of the band go back as far as the early '60s, when Whitney started a rhythm & blues/soul band called the Farinas while at college. In 1966, Whitney met Roger Chapman, a prematurely balding singer who had a voice so powerful that, to quote Robert Christgau, "it could kill small game at a hundred yards," and the two began a creative partnership that would last through two bands and into the early '80s. With Whitney and Chapman leading the way, Family became whole with the addition of bassist Ric Grech, saxophonist Jim King, and drummer Rob Townsend. Within a year they were hyped as the next big thing, and under that pressure and intense British pop press scrutiny delivered their debut record in 1968, Music in a Doll's House. Doll's House is pop music redolent of the zeitgeist: Chapman's voice is rooted in the blues and R&B, but the record is loaded with strings, mellotrons, acoustic guitars, horns, essentially all the trappings of post-psychedelia and early art-rock. Almost completely ignored in the states, Doll's House was a hit in Britain and Family began a string of less art-rock, more hard rock albums that ended, as did the band, with the release of It's Only a Movie in 1973. After Family's demise, Whitney and Chapman formed the blues-rock Streetwalkers; other Family members (of which there were quite a few in the band's tempestuous eight years) such as John Wetton (King Crimson, Asia) and Jim Cregan (Rod Stewart) went off to find fame and fortune elsewhere. Trivia buffs note: it was Ric Grech who was the first to leave Family in 1969 to become the least well-known member of supergroup Blind Faith. Sadly, that proved to be Grech's biggest mistake, as Blind Faith imploded in a year, and Grech (whose last notable band membership was in Traffic), long plagued by drinking problems, died of liver failure in 1990. Today Charlie Whitney plays in an extremely low-key country/blues/bluegrass band called Los Rackateeros, and Roger Chapman lives in Germany, where his solo career is flourishing. A fine, occasionally great band, Family deserved more recognition (at least in America) than they received. Something that a thoughtfully compiled CD retrospective might rectify. Family Entertainment followed on the heels of Family's Music in a Doll's House with the band's first incarnation: Roger Chapman (harmonica/tenor sax/vocals), Rick Grech (violin/cello/bass guitar/vocals), Rob Townsend (percussion/drums), John "Charlie" Whitney (guitar/pedal steel guitar/keyboards), and Jim King (harmonica/keyboards/soprano sax/tenor sax/vocals). While not totally dismissing their psychedelic leanings, much of the material bears a stronger acoustic influence, in much the same manner as Fairport Convention and Traffic were also exploring. The jazzy sitar lead of "Face in the Cloud" and the even more prominent Eastern-flavored "Summer '67" somewhat date the affair, and are contrasted by the beautifully noir and trippy "How-Hi-the-Li" (which may have been the impetus for Chicago's "Wishing You Were Here") and the upbeat "Hung Up Down," sporting Grech's unmistakable violin as it wafts over the rural and slightly surreal lyrics. These sides are set against the edgy "Weaver's Answer," which immediately establishes a broader spectrum of styles, most notably given Chapman's commanding if not slightly intimidating vocals. Whitney's blistering fretwork yields bite to the Grech-penned "Second Generation Woman," while "Emotions," another full-tilt rocker, is infused with an apparent R&B homage. Interested parties should note that Family Entertainment and Music in a Doll's House were issued in a double-disc package featuring a commendable 24-bit digital remastering rendering all other versions useless — especially the early-'90s pressing on the German Line label. Not only are both LPs included, but the 45s "Scene Through the Eye of a Lens" and "Gypsy Woman" are finally brought into the digital domain. The accompanying 40-page liner booklet is likewise a feast for the eyes.
Family was a British Progressive rock band comprising Roger Chapman on vocals, John "Charlie" Whitney on guitar, Jim King on sax and flute, Rick Grech on bass, violin and vocals and Rob Townsend on drums. While never a big success in the US, Family were quite successful in their homeland and best remembered for vocalist Chapman's "electric goat" vibrato and wild, manic Family formed in 1967 in Leicester, England, although the basis for the band actually had existed since 1962 when they were known as the Farinas and subsequently The Roaring Sixties. The original Farinas line up featured Tim Kirchin on bass and Harry Overnall on drums with Jim King and Charlie Whitney sharing vocal duties. Rick Grech replaced Kirchin on bass in 1965 and Roger Chapman joined around the same time on vocals. American producer Kim Fowley suggested the band change their name to Family based on their penchant for wearing double-breasted suits giving themselves sort of a mafia appearance--a look they soon abandoned in favor of a more hippy or bohemian image. Shortly after becoming Family, drummer Overnall quit and was replaced by Rob Townsend. Family's debut single Scene Through The Eye Of A Lens/Gypsy Woman was released by Liberty in the autumn of 1967. While the single received much praise from critics, it received very little airplay, due to its rather complex, uncommercial nature. Family's debut album Music in a Doll's House was finally released in July 1968; produced by former Traffic member Dave Mason. Mason also contributed one composition to the album Never Like This--the only song recorded by Family not written by a band member. Music In A Doll's House charted respectably in the UK and, like their debut single, received praise from the critics as well as getting considerable airplay from well-known British radio personality John Peel. The sound of this album was largely based around Roger Chapman's rather odd vocalizations, Rick Grech's classically trained violin playing and the jazzy reed and horn work of Jim King which, while very psychedelic in nature, sounded far more sophisticated and mature than a lot of other albums of the genre. Some criticised the album for being restrained in comparison to their wild live performances which had gained them a respectable cult following in their homeland. Family's 1969 follow-up Family Entertainment toned down the psychedelics of their previous offering, although it was equally eclectic and complex and featured their first UK hit "The Weaver's Answer". With the UK success of Family's first two albums, they decided to try to conquer the US, although they were faced with many setbacks which all but killed any chance of a successful career in the States. Before their 1969 US tour, Ric Grech, whose violin playing had been very integral to Family's sound, unexpectedly left to join Steve Winwood, Eric Clapton and Ginger Baker in the supergroup Blind Faith and was replaced by former Eric Burdon and the Animals bassist John Weider. The biggest blow to Family's US career involved their first concert at Bill Graham's Fillmore East, sharing the bill with Ten Years After and The Nice in which Chapman, during his normal manic stage routine, loses control of his mike stand which comes within inches of Graham. This nearly gets Family pulled from the bill at the Fillmore, although they were spared as long as Chapman performed on stage with his arms pinned at his side. While Family and Graham reconciled their differences, Family's reputation in the US sadly never recovered from the incident. After the tour, Jim King was relieved of his position in the band due to "erratic behavior" and was replaced by multi-instrumentalist John "Poli" Palmer on keyboards, vibes, flute and violin. With Family's 1970 release A Song For Me, they developed a more aggressive sound, dominated by Whitney's tight guitar lines and Palmer's keyboard and vibraphone work. Family's new line-up and sound gained them an even larger European following and they played at several major rock festivals including the 1970 Isle Of Wight music festival and Holland's Kralingen Festival. Both performances were documented in the festival documentary films Message To Love and Stomping Ground. Family's follow-up album Anyway featured a side of a live performance of new material at Fairfield Hall in Croydon, England, as well as a side of new studio recordings. In 1971 Weider left to join the band Stud and was replaced by former Mogul Thrash bassist John Wetton. Much like Grech in the original line-up of the band, Wetton also shares vocal duties with Chapman. This line-up records the albums Fearless(1971) and Bandstand(1972) which were both quite successful in both the UK and the States. In mid-1972 Palmer leaves Family and is replaced by keyboardist Tony Ashton, formerly of Ashton, Gardner and Dyke and Wetton leaves to join the newly re-formed King Crimson and is replaced with bassist Jim Cregan. In 1973 Family released It's Only A Movie which would be their final album. Family gave their final concert at Leicester Polytechnic on October 13th, 1973. Roger Chapman and Charlie Whitney continued to record as the Streetwalkers which included former Jeff Beck vocalist Bob Tench.
Family started out as the Farinas, a
rhythm-and-blues band in Leicester, England, founded by John
"Charlie" Whitney and Jim King, who was the group's lead singer.
Rick Grech became the bass player in 1965, and Roger Chapman soon joined to
replace King on lead vocals. This allowed King to concentrate on the
saxophone (which was his specialty), the harmonica, and occasional piano
duties. The arrival of Chapman was a pivotal moment in the group, as he
began a songwriting and recording partnership with Whitney that would last
well into the seventies - long after Family broke up. After Music In a Doll's House, Family was quickly labelled as a
"progressive" rock band, suggesting comparisons to groups like Yes
and Genesis. Family's music was progressive in the sense that they tried to
expand the boundaries of rock and constantly sought to break new ground.
Unlike most of the "progressive," or "art rock" bands
that would sprout up in the early seventies, however, Family had no
aspirations to classicism or highbrow pretentions. Their attitude was very
much a rock and roll one, and their music remained firmly rooted in rhythm
and blues - which veteran rock critic Dave Marsh called the taproot of all
great rock.
Originally
formed in 1962 as The Farinas and then changing their name to The
Roaring Sixties, the group settled on the name Family in '67 at
the suggestion of producer/songwriter Kim Fowley. Family
remained virtually unknown in the U.S. although their wildly eclectic
progressive rock made them a hitmaker in the U.K. Traffic's Dave
Mason coproduced their debut album with Jimmy Miller. After the
release of their second album, 1969's Family Entertainment,
the group launched into a U.S. tour. Unfortunately the day before it was
to start, bassist Rick Grech quit to join Blind
Faith with Eric Clapton, Steve Winwood and
Ginger Baker. Family's debut peformance at The Fillmore East
ended in a fistfight between vocalist Roger Chapman and promoter Bill
Graham. A few days later Chapman lost his voice and his visa,
and Family returned to the U.K. In '72, Family opened for Elton
John but despite FM airplay of 1971's Fearless and
1972's Band Stand, they never found a U.S. audience.
In
'73, Family played a farewell concert tour of the U.K. which
included a final show in their hometown of Leicester. Chapman and
guitarist Charlie Whitney formed Streetwalkers which would
include future Iron
Maiden drummer Nicko McBrain (Chapman would
become highly successful in Germany with his touring group The
Shortlist), guitarist Jim Cregan went on to join Steve
Harley And Cockney Rebel, bassist John Wetton, who had
been with the group from '70 to '71, went on to join King
Crimson, Roxy
Music, Uriah
Heep and later Asia.
Original bassist Rick Grech passed on in 1990.
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Genre: rock Rating: 4 stars **** Title: Bandstand Company: United Artists Catalog: UAS-5644 Year: 1972 Country/State: Leicester UK Grade (cover/record): VG+/VG+ Comments: gatefold gimmick cover Available: 3 Catalog ID: 2633 Price: $15.00
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Perhaps due in part to the fact it was recorded without the normal round of personnel upheavals, 1972's "Bandstand" marked a major return to form for the band. While it may have lacked some of their more creative moves, the results made for their most consistent release, showcasing a distinctive switch towards a commercial, hard rock influenced sound. Exemplified by the lead off rocker 'Burlesque' and 'Broken Nose', Chapman's unique voice proved well matched to the genre and served as kind of a precursor to his forthcoming post-Family Streetwalkers project. His warble could still drive the uninitiated crazy (check out 'Coronation'), but for the most part he proved focused and surprisingly tuneful. (Maybe it was just me but to my ears he occasionally recalled a more greasy Bon Scott.) That said, there was little chance of confusing these guys for AC/DC. Bolstered by some pseudo-psych arrangements including backward tapes 'Bolero Babe' was a nifty atmospheric ballad, while 'Glove' and 'Ready To Go' spotlighted the band's R&B roots. Due in part to the fact it was so different from the rest of the LP and exhibited a little bit of Beatles influence, my personal favorite was the heavily orchestrated closer 'Top of the Hill'. Sporting some of their strongest melodies and nice performances from the entire line-up this was a good one. In the States the LP was essentially ignored. Always loved the gimmick album cover.
"Bandstand" track listing: 1.) Burlesque (Roger Chapman - John Whitney) - 4:04 rating: **** stars If you wanted to hear Chapman at his best and his creepiest, then the slinky rocker 'Burlesque' was a good place to start. There was just something unsettling hearing the man's trembling delivery on this one. Reprise tapped it as a single throughout the world (except seemingly the US):
- 1972's 'Burlesque' b/w 'The Rocking R's' (United Artists catalog number K14196) Surprisingly good, YouTube has a 2013 reunion performance: https://www.youtube.com/watch?v=t6wdlZtevZk You Tube also as a clip of Chapman's post-Family band Streetwalkers doing the tune. If anything, it's even better than the Family version: https://www.youtube.com/watch?v=fS3mPtfWoKg 2.) Bolero Babe (Roger Chapman - John Whitney) - 4:11 rating: **** stars For a band that didn't exactly accelerate when it came to crafting memorable melodies, the lysergic-tinged 'Bolero Babe" was very much an exception to the rule. Bassist John Wetton turned in a stunning performance. 3.) Coronation (Roger Chapman - John Whitney - John Wetton - 3:49 rating: **** stars Another tune with an unexpectedly touching melody; made just a bit strange by Chapman's shaky voice. 4.) Dark Eyes (Roger Chapman - John Whitney) - 1:48 rating: **** stars Opening up with some lovely Poli Palme piano, 'Dark Eyes' found the band diving into English folk music. Shame it was such a short performance. 5.) Broken Nose (Roger Chapman - John Whitney) - 4:09 rating: **** stars 'Broken Nose' was a great performance it you wanted to hear the power Chapman and company could bring to the table. Even like the cheesy '70s synthesizer touches Poli brought to the mix.
(side
2) The Family song for folks who don't like Roger Chapman and Family. With Chapman sing with an unexpected degree of restraint (John Whitney on harmonies), to my ears 'My Friend the Sun' has always sound like a great Ronnie Laine song. English folk-rock has seldom sounded as good as this one.
- 1972's 'My Friend the Sun' b/w 'Glove' (United Artists catalog number K14128) - 1972's 'My Friend the Sun' b/w 'Glove' (United Artists catalog number UA-XW171W) YouTube has a clip of Chapman's post-Family Streewalkers performing the tune at a 1975 appearence on the German Rcokpalast television show: https://www.youtube.com/watch?v=wp9yaQS06rk 2.) Glove (Roger Chapman - John Whitney) - 4:53 rating: **** stars Excellent blues-rocker with John Whitney turning in what was probably the album's best guitar solo. 3.) Ready To Go (Roger Chapman - John Whitneyr) - 4:35 rating: **** stars I've ready 'Ready To Go' was intended as a slam of the music business. No idea if it's true, but had any other band recorded the rocker 'Ready To Go' it would have been a massive hit. Another should've been a hit tune ... 4.) Top of the Hill (Roger Chapman - John Whitney) - 5:41 rating: **** stars The first 90 seconds of 'Top of the Hill' were probably the most pastoral music the band ever wrote. From there the song morphed into another surprisingly melodic tune with Chapman actually keeping his voice largely under control. Nice way to end the album.
Opening for Elton John (!) the band subsequently toured the US and Canada. Just when they seemed on the cusp of making some commercial inroads, joining a long list of former members Palmer and Wetton both called it quits. They were replaced by keyboardist Tony Ashton and guitar player Jim Cregan. Wetton subsequently reappeared with King Crimson.
Only 43, a long term alcoholic, Grech died of kidney and liver failure in 1990. Ashton died of cancer in 2001.
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Genre: rock Rating: 4 stars **** Title: Anyway Company: United Artists Catalog: UAS-5627 Year: 1972 Country/State: Leicester UK Grade (cover/record): VG+/VG+ Comments: -- Available: 2 Catalog ID: 2634 Price: $15.00
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Family's fourth album, 1970's "Anyway" was an odd half live and half studio collection. Apparently unhappy with their prior studio set, the band reported thought a live album would be a better reflection of their true talents. Reprise marketing half agreed, allowing for a split album. Side one featured four tracks recorded at a 1970 performance at Fairfield Hills, Croyden. While the four tunes reflected new material, some of it quite impressive ('Good News Bad News'), sonically the tunes weren't all that great, suffering from a muddy, bottom heavy mix. The five studio selections were similarly inconsistent. Seemingly inspired by an earlier American tour, 'Part of the Load' was one of their best rockers. The rest of the studio tune underscored the band's penchant for eclectic moves. The anti-war statement 'Lives and Ladies') recalled something out of the English folk-rock genre. The instrumental 'Normans' offered up what sounded like a country-hoedown. And then there was the issue of Roger Chapman's voice. One of the most divisive instruments in music, you love the man, of he reminds you of a bleating sheep. You'll have to make up your own mind.
The US pressing included a sticker with the following information: "This album, released previously in England, as available now in the United States for the first time. Since it was recorded, Family has issued a new album, BANDSTAND, but while they have changed and certainly progressed in the intervening time, this album is a classic example of their unusual, imaginative style. This album also offers the only available live recordings by Family, one whole side's worth, as well as "In My Own Time" which was not included on the English version. Not only collectors and Family fans, but anyone who appreciates the unusual in rock, is sure to be grateful that ANYWAY has finally come out."
"Anyway" track listing: 1.) Good News Bad News (John Whitney - Roger Chapman) - 8:06 rating: **** stars If you've ever wondered what one of those English folk-rock bands would have sounded like if they'd decided to record a hard rock tune, then 'Good News Bad News' might be the place to check it out. Clocking in at over eight minutes it was way too long, but the good news lay in the fact, for the most part, Roger Chapman mellowed out his strident vocals and the song gave John Palmer the opportunity to pound away on the xylophone and lead guitarist John Whitney plenty of time to show off his chops. Neither the sound or video quality are great but YouTube has a clip of a very stoned looking Chapman and the band performing an abbreviated version of the tune: https://www.youtube.com/watch?v=yVreMCXLxqY 2.) Willow Tree (John Whitney - Roger Chapman) - 4:40 rating: *** stars Geez, where in the work did this one come from? I certainly never expected to hear Chapman and company taking on a jazzy ballad - seriously. Not exactly my choice in genres, but give them credit for expanding their musical horizons. 3.) Holding the Compass (John Whitney - Roger Chapman) - 4:28 rating: *** stars Introduced by Chapman as a new song, powered by John Whitney's nifty guitar work, 'Holding the Compass' was a surprisingly tuneful slice of English folk-rock. Chapman's jittery voice meant it was going to be one of those tracks you loved, or just detested. Not much middle ground on this one. YouTube has a clip of the band performing the song for French television. This version is quite a bit more rock oriented that the album version: https://www.youtube.com/watch?v=PdMaIhajOXY YouTube also has a clip of the band performing the song for the German Beat club television program. This version goes back to the folkier arrangement and is interesting give drummer Townshend's not in the line-up; John Palmer picking up percussion duties. https://www.youtube.com/watch?v=zrII0Oq72Pk 4.) Strange Band (John Whitney - Roger Chapman - Williamson) - 3:35 rating: ** stars Autobiographical title ??? Weird jazzy jam tune that sounded pretty discordant to my ears. I'm at a lost as to why it was released as a single throughout Europe:
- 1970's 'Strange Band' and 'Hung Up Down' b/w 'The Weavers Answer' (Reprise catalog number RS 27009) YouTube has another Rockpalast performance of the song at: hThettps://www.youtube.com/watch?v=gC4G5DWc8Mo
(side 2) 1.) In My Own Time (John Whitney - Roger Chapman) - 3:30 rating: **** stars With Chapman braying in his finest form, you just had to marvel at how this one was tapped as an English single (it hit # 4). There's simply no way an American label would have even thought about it as a 45. The strange thing is my American ears initially agreed. It sure didn't sound very commercial, but over the years I've come to appreciate the fact it was so unique. For some reason United Artists marketing managers decided to add the song to the US release "Anyway" track listing.
- 1971's 'In My Time' b/w 'Seasons' (Reprise catalog number K 14090 YouTube has a 1971 Top of the Pops performance of the song at: https://www.youtube.com/watch?v=8AEFJmhigdI
2.) Part of the Load (John Whitney - Roger Chapman) - 4:38 rating: **** stars Apparently inspired by their previous US tour, 'Part of the Load' had a fairly conventional "life's-tough-on-the-road" lyric, but the combination of John "Poli" Palmer's jazz keyboards, John Whitney's fuzz guitar, and John Weider's slinky bass line made this one of the album highlights. YouTube has a promotional video for the song at:: https://www.youtube.com/watch?v=4r310cwVwnM 3.) Anyway (John Whitney - Roger Chapman) - 3:30 rating: *** stars Loved the Whitney's strumming acoustic guitars and the Celtic and African percussion. 4.) Normans (instrumental) (John Palmer - John Whiteny - John Weider) - 2;25 rating: ** stars 'Normans' was a strange, quasi-country hoedowni flavored instrumental. In order to accommodate the addition of the English single 'In My Own Time', the US album featured an edited version of the song.. 5.) Lives and Ladies (John Whitney - Roger Chapman) - 6:28 rating: *** stars With a rather blatant anti-war lyric, 'Lives and Ladies' found the band straddling the musical line between delicate English folk and Whitney-powered blues-rock instrumental section ... Geez, no wonder these guys had a hard time holding onto an audience.
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Genre: rock Rating: 4 stars **** Title: Fearless Company: United Artists Catalog: UAS-5627 Year: 1971 Country/State: Leicester UK Grade (cover/record): VG+/VG+ Comments: gimmick sleeve; original custom, lyric inner sleeve Available: 2 Catalog ID: 3240 Price: $20.00
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Co-produced by George Chkiantz and Family, 1971's "Fearless" was recorded with the band till recovering from their second North American tour. It also marked a new line-up with original bassist John Weider (off to form Stud) being replaced by former Mogul Thrush multi-instrumentalist John Wetton. Powered by Roger Chapman's unique voice, I wouldn't argue the album marked a major change in the sound, but at the same time, there was something different - something more open and commercial (I'm using the word in a broad sense), than on their previous four studio albums. That made this set a good starting point for anyone interested in checking the band out. Anchored by three of the band's prettiest melodies ('Between Blue and Me', 'Larf and Sing', and 'Spanish Tide') the album was highly diverse, including stabs at everything from a Faces-styled bar rocker ('Sat'd'y Barfly'), to a catchy jazz-rock instrumental ('Crinkly Grin'), and even an acoustic blues tune ('Children'). Chapman remained a unique singer and while there was no way he was going to appeal to all listeners, with the exception of the rocker 'Blind', his vocal excesses were kept in check this time around, possibly making the set a little more palatable to casual listeners.
The album hit # 14 on the UK charts; making Family's first appearance on the US charts where the set peaked at # 177.
"Fearless" track listing: 1.) Between Blue and Me (John Whitney - Roger Chapman) - 4:59 rating: **** stars Roger Chapman's voice has always been an acquired taste and I typically have to get myself in the right mood before playing a Family album. The funny thing is I can remember the first time I heard 'Between Blue and Me' and wondering if I'd really put on a Family album. One of the prettiest ballads the group ever performed, Chapman started out singing without his usual wobbly phrasing ... his trademarked vocals kicked in as the song picked up speed and energy, but the first minute was totally unexpected. I seem to remember reading somewhere the song was intended as a tribute to guitarist John "Charley" Whitney's parents. Neither the sound, or video quality are very good, but YouTube has a 1971 performance on the English The Old Grey Whistle Test Series television show: https://www.youtube.com/watch?v=Nob52_oaTcI YouTube also has a December, 2016 performance: https://www.youtube.com/watch?v=SLXdOBILHj8 Yeah, time had taken a bit of a toll on the survivors. 2.) Sat'd'y Barfly (John Whitney - Roger Chapman) - 4:02 rating: **** stars Powered by John "Poli" Palmer's barrelhouse piano, 'Sat'd'y Barfly' sounded like Family was trying to out-drink Rod Stewart and The Faces. It made for an awesome bar band track ... Easy to picture these guys getting trashed in a corner pub and how many can you think of that feature a funky tuba solo ? Reflecting surprisingly daring tastes, the track was tapped as a French single:
- 1971's 'Sat'd'y Barfly' b/w 'Spanish Tide' (Reprise catalog number 14 143)
3.) Larf and Sing (Poli Palmer) - 2:45 rating: **** stars For folks who doubted Family found actually write and perform a song with a decent melody, I'd suggest checking out the breezy 'Larf and Song'. Keyboardist Palmer wrote it and handled the lead vocals. Worth hearing if only for Whitney's beautiful solo, the stunning a capella chorus, and (for a 50 something year old), the thought provoking lyrics "Life begins to write a book across my face; the stories that are me, the views I hold. Out years on earth begin to turn into a race and I resign myself to growing old ..." The song was released as a single in the UK and the US:
UK release: - 1971's 'Larf and Sing' b/w 'Children' (Reprise catalog number SAM 1) US release: - 1971's 'Larf and Sing' b/w 'Between Blue and Me' (United Artists catalog number 50882)
4.) Spanish Tide (John Whitney - Roger Chapman)- 4:00 rating: **** stars 'Spanish Tide' was another atypical performance in that it featured a beautiful melody showcasing Whitney's acoustic guitar and Palmer on harpsichord. The combination of Chapman and bassist John Wetton on lead vocals was also surprisingly strong. YouTube has another The Old Grey Whistles Test Series television show performance, though it appears they were lip-synching: https://www.youtube.com/watch?v=PnwVbQPJcck (in spite of the sound, no acoustic guitars apparent). 5.) Save Some for Thee (John Whitney - Roger Chapman) - 3:45 rating: **** stars 'Save Some for Thee' featured an even more mainstream and radio-friendly melody and structure (complete with horn charts). It made for such an attractive composiiton that you could even overlook Chapman's voice.
(side 2) 1.) Take Your Partners (John Whitney - Roger Chapman - Poli Palmer) - 6:25 rating: *** stars Maybe I'm being pompous and taking myself too seriously, but 'Take Your Partners' sure sounded quite progressive to my ears - the band members taking the opportunity to stretch out in what was almost a jam situation. It was also one of the tracks where newcomer Wetton seemed to have a real influence on the rest of the group. Initially it wasn't one of the songs that had the biggest impact on me, but the tune had some fantastic lead guitar and grew on me over time. 2.) Children (John Whitney - Roger Chapman) - 2:20 rating: *** stars Modestly interesting to hear Chapman taking on a slice of acoustic blues ... 'Children' made it clear he could sing without that weird warble in his delivery. 3.) Crinkly Grin (instrumental) (Poli Palmer) - 1:05 rating: *** stars Hearing the jazz-rock instrumental 'Crinkly Grin' I'm always surprised to remember Palmer was also an accomplished vibraphone player. Shame this one wasn't a bit longer. 4.) Blind (John Whitney - Roger Chapman) - 4:02 rating: **** stars Geez, hearing Chapman power up the vocal chords was simultaneously impressive and scary. Every time I hear the blazing 'Blind' I find myself hoping he doesn't blow out his voice box. Always wondered about the weird sound effect that opened the song and reappeared throughout the tune - it sounded like someone playing glasses with a wet finger. Elsewhere what I thought were bagpipes were apparently Wetton on violin. Cool rocker. 5.) Burning Bridges (John Whitney - Roger Chapman - Poli Palmer) - 4:00 rating: **** stars With a modest raga-flavor and a dark and ominous lyric, 'Burning Bridges' sounded like something that might have been recorded in the mid-'60s. Always loved Whitney's killer mandolin performance on this one.
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Genre: rock Rating: 4 stars **** Title: It's Only a Movie Company: United Artists Catalog: UA-LA-181-F Year: 1973 Country/State: Leicester, UK Grade (cover/record): VG/VG+ Comments: cut corners top and bottom right Available: 1 Catalog ID: -- Price: $20.00
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The last Family studio album ... You couldn't be blamed if you were expecting a standard contractual obligation throw-away set.
"It's Only
a Movie" track listing: 1.)
(side
2)
It's Only a Movie is the seventh and final studio album by the British progressive rock band Family, released in 1973, and their last original studio album before they disbanded that year. Track listing All selections by Whitney and Chapman except "Check Out" by Whitney, Chapman and Cregan. Side one No. Title Length 1. "It's Only a Movie" 5:08 2. "Leroy" 5:43 3. "Buffet Tea for Two" 5:23 4. "Boom Bang" 3:06 Side two No. Title Length 5. "Boots 'n' Roots" 5:00 6. "Banger" (instrumental) 3:07 7. "Sweet Desiree" 3:47 8. "Suspicion" 3:20 9. "Check Out" 4:34 Note: 2 track timings are incorrectly listed on the original LP label. "Boom Bang" is listed as 3:30 and "Check Out" as 4:45. Above timings are correct. The CD release on Mystic Records also contains the following bonus tracks: No. Title Length 10. "Hometown" 11. "Holding the Compass" (live) 12. "The Weaver's Answer" (live) 13. "Dim" (live) 14. "Procession / No Mule's Fool" (live) Personnel Family Roger Chapman - lead vocals John "Charlie" Whitney - guitar, banjo Tony Ashton - keyboards, backing vocals Jim Cregan - bass Rob Townsend - drums, percussion Additional Personnel Peter Hope-Evans - harmonica (2) Del Newman - string and horn arrangements Way overrated and the "album de trop" if you ask me, this lacklustre collection of songs is really the end. Thank them for not over-stretching their welcome/ they understood that they were a spent force and gracefully bowed out. Impeccable recording career up to now, this was the only flawed album. The live album is posthumous. For family completist, this little brother is worthy of being in your collection. social review comments | Review Permalink Posted Friday, January 6, 2006 | Review this album | Report (Review #63362) Review by ZowieZiggy PROG REVIEWER 1 stars The last Family album features very few fine moments. One of these is the 10CC oriented title track. It really sounds as if it were coming out of the head of Godley & Creme, or Goldman & Stewart if you prefer. It features lots of inventive background sounds and displays a very positive mood. A fine opener to be honest. But there won't be many songs like this. The painful and country Leroy is probably one of their weakest ever. Chapman is also more discreet in his vocal parts; he sounds more as an unplugged goat (in comparison with the his nickname: the electric goat). Even if he is excellent again during Buffet For Two (but heavy orchestrations were not needed IMO). Actually, he seemed to have been connected to a plug again during Boom Bang. A song with no beat during the verses and which only shines thanks to Roger. The inspiration sounds completely out of steam for this album, inexistent during Boots 'n' Roots: some sort of a cabaret song. This album has not much to offer, I'm afraid. Little rock, little prog, little avant- garde. Nothing great is left in this case. The Banger bluesy instrumental affair is hard to bear. But in these cases, you know what to do. The only problem is only that the next songs aren't worth either. Family was an original band, which is maybe the reason they are featured on this site, but never truly progressive. This work should just be best forgotten. One star. social review comments | Review Permalink Posted Tuesday, November 11, 2008 | Review this album | Report (Review #188797) Review by ClemofNazareth SPECIAL COLLABORATOR Prog Folk Researcher 2 stars Jim Cregan of Blossom Toes and the late Tony Ashton rounded out a rather long list of musicians who wandered through the Family turnstile at one time or another, and became part of the lineup that would disband shortly after this album released. This isn't as bad an album as the rap it's given would leave you to believe, but by the same token there's not a whole lot to remind me of some of their better days either. "Buffet Tea for Two", despite the cheesy title, has some great piano and percussion (not to mention at least a couple of uncredited instruments), and the opening title track has the feel of what was coming to be known as "art rock" at the time. The band even manages to take a stab at dirty R&B with "Sweet Desiree" and what can only be described as cowboy country blues with the completely out-of-place "Stop This Car" including a muddled attempt at slide guitar that I'm pretty sure was delivered with a Gibson and a beer bottle. So some creativity I suppose considering they really weren't that kind of band, but in this record is mostly a total mishmash of sounds with no cohesive theme, rhyme or reason. The cowboy photo on the cover is appropriate given the salty, almost redneck sound of most of the rest of the album, including the aptly-named "Boots N' Roots" and the closing "Check Out", which sounds like a jam session and appropriately fades away to signal an end to the album and to the band. Not much else to say really. This was a very good band in their heyday, but changing times and a revolving lineup combined to make them irrelevant as the mid-70s gave way to the early vestiges of disco and punk. They called it quits after this record, followed of course by the inevitable 'lost' live releases and white-label compilations. Really for collectors only, although probably a little too good for the two stars I'm going to lay on it (but not by much). peace social review comments | Review Permalink Posted Tuesday, June 15, 2010 | Review this album | Report (Review #286693) Review by jamesbaldwin PROG REVIEWER 3 stars With the loss of both John Wetton and multi-instrumentalist Poli Palmer (and the arrival of bassist Jim Cregan and keyboardist Tony Ashton) the Family lose their progrock potential and the art-rock arrangements (already deficient on Bandstand), and still leave the arrangements of strings and horns to Del Newman. The band that record It's Only a Movie is now worn down by the continuous changes of the group players and the creative effort made in 6 very different albums (published in 5 years). And yet Chapman and Whitney are not content to record a classic rock album, and still they try to explore new territories, ending up in the parody of country-western and soul genres, and in goliardic songs in style Bonzo Dog Doo-Dah Band. "It's Only a Movie" is a goliardic song, with saloon piano, that pretend to be a soundtrack of a western movie. Nice but not serious. Vote 7+. "Leroy" Is another parody of country-western, with harmonica and saloon piano and strings; in this case the track is more melodic and romantic than the previous. Vote 7,5. "Buffet Tea for Two" recalls some instrumental passages of "Tommy": is an orchestral song based on rhythm, with an art rock approach; maybe the most proggy song of the album. Vote 7,5/8. "Boom Bang" is very pumped (vote 7,5) and sung with grit. In this side the quality and the seriousness of the songs are increased. "Boots and Roots" opens side B with goliardic mood (again). The presence of Tony Ashton is noted: the piano is present in this album in greater doses than any other album of the Family. It is a lazy and ironic ballad (vote 7+), with a swing arrangement. In the end, "Movie" is more art rock arranged than Bandstand! "Banger" (vote 6,5/7) is an instrumental song with mood soul and horn arrangement. "Sweet Desiree" is another song arranged in a funambulistic way (vote 7,5), combining latin rhythms, music soul and horn arrangement. In fact it is a Latin-jazz piece. "Suspicion" (vote 7+) mix soul music, with horns in the foreground, with blues rhythm and piano saloon: the effect is a funky song mixed with the bluegrass. The Family continue to amaze for their eclecticism. "Check Out" is the piece that ends the album, with a syncopated rockblues (similar to "Burlesque" but faster) too forced and pulled for long. Vote 7. Even when the Family strive to give their worst, they are not able to produce a bad record, and they end up astonishing for their inventiveness in mixing different musical genres, with always original art rock arrangements. In this record, which does not present any memorable song, that is the less unitary, the most ramshackle in their career, the Family do not write any bad song and avoid any banality, churning out original songs, as often goliardic and parodistic, ie they have no ambition to become memorable pieces. The album suffer because the songs are not connected to each other with a sequence that has a studied sense, and because the songs are not "serious" but still remains a disc more than decent. Medium quality of the songs: 7,31. Vote 7+. Three stars This is a good, unusual record. Family always made unusual records. This might be atypical in their line, but this was the end of their line. When making it they didn't know that, but people left, people came in--there were too many outside commitments. Then, too, around those days corporate in general was taking over and the freedom music meant was losing. When it's Profit Only, Product steps up. Party over. Too bad. Looked like a new phase coming up for the band. After listening to all the Family records, I have new respect for It's Only a Movie. This is about 50,000 miles away from their first album--they covered a lot of territory. It's a long way to simple. And fun. Dance. The title tune and Leroy both have a touch of americana. Buffet Tea For Two is an interesting tune with nice solos and arrangement. There's Boom Bang, a single--Banger, a cool instrumental, swinging Suspicion, and the pure Family tune, Check Out. A fine ending. The bonus tracks are the usual insights into the band and the times. Hometown is very, very pretty. Just put it on and pretend you're not looking for deep, wild man stuff and have fun. It doesn't always have to be a serious freak show on the cutting edge--just another version of adventurous. Something to appreciate, but maybe not love. Sometimes, It's Only a Movie. 2 people found this helpful Helpful Report Ove Torpe (ovetorpe@online.no) 5.0 out of 5 stars A forgotten gem by one of the best bands of the early 70's Reviewed in the United States on October 29, 1998 This is the final recording of the best of all those bands that hever really made it. All of the 9 tracks are interesting, the title track, "Sweet Desire" and "Check out" are outstanding, and they illustrate the impressive ability of this band to adopt different styles and forge them into their own. The title song with its simple guitar riff, vaudeville-like melody and extensive use of various film soundtracks is a tour de force into the musical creativeness and enthusiasm of the eraly seventies, before the self indulgence and pompousness of bands like Genesis took over. Their mix of musicality, ingenuity and sheer power places them second to none of their era, including better known acts like Led Zeppelin or Jethro Tull. Also recommended are the records Fearless, Bandstand and Music from a dolls house. One person found this helpful Helpful Report Morten Vindberg 4.0 out of 5 stars Family Farewell Reviewed in the United States on May 8, 2010 Family's last album "It's Only a Movie" sounds quite different from the group's other records. Part of the explanation can be be explained with the fact that the group lineup had undergone a few changes. Pianist Tony Ashton and bassist / guitarist Jim Cregan were new in the group, and especially Ashton's often honky tonk style playing has left its mark on the album. Another thing is that the album to a certain degree is a concept-album in which a portion of numbers have the imprint of soundtrack music. Moreover there is an extraordinarily significant impact from the American music. The album was not a commercial success but not because it's not a good one. I believe many Family may not have been able to identify with the group's new direction. A few numbers stand out for me out from the rest, especially the country bluesy "Leroy" - both comical and catchy - a little Rocky Raccoon over it. "Buffet for Two" is one of the tracks where the group sounds mostly like themselves. Strong vocals and a rather complex number, with a grande arrangemment. "Sweet Desire" could almost be called exotic reinterpretation of the old "Louie Louie" The closing track "Check Out", and should prove to also be the group Family's check out - really very unfortunate, as the group had given so much and in fact never quite achieved the recognition it deserved. "Check Out" is a fine number that goes well alonside rock revival trend at the time including Mott the Hoople. If you miss the "old" Family there are things to go for among the bonus tracks. Especially the beautiful B-side "Hometown" by Rick Grech time - Chapman sounds here almost as Peter Gabriel. The other bonus numbers are old live favourites chosen among the group's best compositions. Read more One person found this helpful Helpful Report loce_the_wizard 4.0 out of 5 stars Family Matinee Reviewed in the United States on May 10, 2004 This is the one Family recording that strikes the listener as "light." Apparently the fellows decided to do something quite different from their mainstay musical forays and different it is. Once they knew the gig was up, I'm guessing they decided to have fun with such songs as the title track "It's Only a Movie," "Leroy," and "Sweet Desiree." There is an aching sadness to "Buffet Tea for Two," a paean to starting over (which is exactly what Chapman and Whitney were about to do with the dissolution of Family) featuring a great, typically underplayed solo by Charlie Whitney. The jaunty keyboards of the late Tony Ashton give this recording a real tilt toward the R&B fold, and Chappo's vocals, as always, prove to have the right touch. Jim Cregan's vocals, second guitar, and bass fill in the edges nicely, and Rob Townsend shows his deft touch once more on drums. The last song on the LP version of this recording, "Check Out" really rocks and as it ends, you cannot help but be both amused and sad that the greatest band of its time closed out its recording career with such an aptly named song. This part may get a bit confusing, so bear with me. Five live bonus tracks are included on this 2004 version. None of those tracks appear on the newly released Family Live CD, so Family collectors can make a case for getting this version of "It's Only a Movie." But two fairly good studio bonus tracks from the 2000 remaster of this same title---Stop This Car and Drink to You---are absent here. So completists will have to outlay some extra cash in an effort to get the whole Family catalog. Though I would not recommend this CD as an introduction to Family, I do think it is a fitting conclusion to one of the more creative rock ensembles. Read more 9 people found this helpful Helpful Report See more reviews Top reviews from other countries Translate all reviews to English Erwin Noske 5.0 out of 5 stars Gelungener Abschluß Reviewed in Germany on April 15, 2022 Verified Purchase Das letzte Studio-Album von FAMILY aus dem Jahr 1973, bevor Chapman und Whitney 1974 als STREETWALKERS wiederkamen. Das Album ist gut remastered und mit den beiden B-Side Singles DRINK TO YOU/STOP THIS CAR als Bonus. Gute Sound-Arbein. Genau so wollte ich die CD auch haben. Roger Chapman klingt etwas gezähmter und singt einige Songs mit tieferer Stimme. Charlie Whitneys Gitarre hat einen extravaganten Sound, der bei FAMILY-Alben mehr als oft auffiel - besonders beim ersten Stück IT'S ONLY A MOVIE. Einige der anderen Stücke klingen mehr wie Country-Music, was aber den Anspruch der Musik nicht mindert. Report Translate review to English AndrewG 5.0 out of 5 stars Great Cd Reviewed in the United Kingdom on September 15, 2020 Verified Purchase Excellent Album I had it on vinyl but now on CD sounds just as good. Report J. E. Jenkins 5.0 out of 5 stars This band never received the credit they should have, ... Reviewed in the United Kingdom on July 23, 2014 Verified Purchase This band never received the credit they should have, this is an absolutely superb album, enjoyable from beginning to end. 2 people found this helpful Report Morten Vindberg 4.0 out of 5 stars Family Farewell Reviewed in the United Kingdom on May 8, 2010 Verified Purchase Family's last album "It's Only a Movie" sounds quite different from the group's other records. Part of the explanation can be be explained with the fact that the group lineup had undergone a few changes. Pianist Tony Ashton and bassist / guitarist Jim Cregan were new in the group, and especially Ashton's often honky tonk style playing has left its mark on the album. Another thing is that the album to a certain degree can be called concept-album in which a portion of numbers have the imprint of soundtrack music. Moreover there is an extraordinarily significant impact from the American music. The album was not a commercial success but not because it's not a good one. I believe many Family fans may not have been able to identify with the group's new direction. A few numbers stand for me out from the rest, especially the country bluesy "Leroy" - both comical and catchy - a little Rocky Raccon over it."Buffet for Two" is one of the tracks where the group sounds mostly like themselves. Strong vocals and a rather complex number, with a grande arrangemment. "Sweet Desire" could almost be called exotic reinterpretation of the old "Louie Louie" The closing "Check Out", and should prove to also be the group Family's check out - really very unfortunate, as the group had given so much and in fact never quite achieved the recognition it deserved. "Check Out" is a fine number that goes well alonside rock revival trend at the time including Mott the Hoople. If you miss the "old" Family there are things to go for among the bonus tracks. Especially the beautiful B-side "Hometown" by Rick Grech time - Chapman sounds here almost as Peter Gabriel. The other bonus numbers are old live favourites chosen among the group's best compositions.
For a swan song, this is pretty a good one. Generally, at this point in a band's career, when personnel changes become more frequent, live shows become more unpredictable, and substance use seems to become more central to the band than singing and songwriting, you would think that Family (a band that partied as hard as any) would simply cough up a final piece of dreck and say so long. But Movie is a relaxed, funny and funky record, almost sunny in disposition. The songs take a while to worm their way in, but once they do, tracks like "Boots N Roots" and "Boom Bang," with their swagger and sway, end up sounding as good as any of the band's previous work. Totally ignored upon release, Movie was one of those records that seemed to go directly into the cutout bins, a fitting end to Family's career in America. (United Artists, 1973) So they didn't break up after all, but the close call seems to have mellowed them--this is their funniest, funkiest, most relaxed album. I know an autumnal Roger Chapman is a little hard to imagine, but this is a man of many guises--back in the beginning he sometimes came on like an opera singer. Pick: "Leroy," inspired by "No Money Down." B+ he seventh and final album by Family is reissued as a 2cd remastered set with an illustrated booklet featuring a new essay on it’s making. Tony Ashton and Jim Cregan joined the band but rather than revitalising the group they produced one of their least essential albums. This is leagues away from the heights of Bandstand and Music From A Doll’s House. The songs are pretty run of the mill and uninspired and it’s hard to pick a stand out track really. In fact it’s a set where the extras are better than the original album. There’s a generous 19 tracks added, five being studio cuts and the remainder coming from BBC sessions from a 1973 In Concert and a Top Gear appearance from later in the same year. The jaded sound of a band reaching the end of the road really, with their heyday behind them. What does it all *mean*? It was no surprise when the band split not long after the album’s release as they sound rather uninspired and unsure of what direction to take.
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