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- Paul Jones (aka Paul Pond) -- vocals, harmonica

  backing musicians:

- Buzz Braunder -- oboe, recorder

- Charlie Brown -- lead guitar

- Garnett Brown -- trombone

- twlwart Clark -- viola

- Bert Collins-- trumpet

- Don Corrado -- French horn

- Richard Crooks -- percussion

- John Herd -- viola

- Joe Grimaldi -- sax

- Artie Kaplan -- sax

- Weird Harold Lieberman - trumpet

- Thomas Jefferson Kaye -- guitar

- Keith Koser -- fiddle

- Martin Kupersmith -- guitar

- Robert Rizzo -- bass

- Ted Wender -- piano

- The Blues Band

- The Manfreds

- Manfred Mann's Earth Band

Genre: rock

Rating: 3 stars ***

Title:  Crucifix In a Horseshoe

Company: London

Catalog: XPS 605
Year: 1972

Country/State: Portsmouth, UK

Grade (cover/record): VG+/VG+

Comments: US pressing; original lyric inner sleeve

Available: 1

Catalog ID: 5

Price: $50.00

If Paul Jones is known to an American audience, it's for one of two things:  1.) His mid-1960s work with The Manfred Mann Band.  Of course the fact he was the band's vocalist from 1962 to 1966 means that outside of hardcore music fans, pretty much anyone under 40 will be clueless about the man), and 2.) His role starring alongside Jean Shrimpton in the 1967 sci-fi-comedy film Privilege (again, outside of film buffs anyone under 40 will give you a blank stare)..

Jones' fourth studio album found him continuing his corporate wanderings.  This time he was signed to the newly formed, progressive-oriented Vertigo label.  Recorded in New York with support from the band White Cloud,1971s "Crucifix In A Horseshoe" teamed Jones with producer Thomas Jefferson Kaye.  In the States London Records acquired distribution rights releasing the album in 1972.  I've always been a big fan of Jones' voice.  He was responsible for making so many of the early Manfred Mann songs enjoyable.  Occasionally reminding one of David Bowie, or perhaps Ian Hunter that fantastic voice is on full display on tracks like 'Life After Death', 'Strangely Human Sound' and 'Motel Blues.'  If you've heard any of Jones' four earlier studio albums you'll know he's never been a "moon-in-June" writer.  As a wordsmith I wouldn't go as far as comparing him to a Dylan, but his themes are always interesting and, at least to my ears, consistently enigmatic.  I'd love to know what songs like 'And You Say I'm Too Dependent On My Mind', 'Song (For Stan Stunning And Noodle Queen)' and 'The Pod That Came Back' were about.  The downside is most folks don't pay all that much attention to lyrics and songs that make you puzzle out a lyric or spend too much time thinking about a song ...  well that's gonna be a problem for a lot of folks. To me it was kind of  like a Steely Dan (not in terms of music), but trying to decipher the lyrics.  A pleasant surprise that I quite enjoy.

For hardcore fans the original UK release sported different cover art, but the same track listing and track order (Vertigo catalog number 6360 059). 

"Crucifix In a Horseshoe" track listing:
(side 1)

1.) Life After Death  (Paul Jones) - 3:32 rating: **** stars

I've always liked Jones' voice and on the country-tinged 'Life After Death' he sounded a bit like a Southern-fired version of David Bowie.  The song's hysterical lyrics sounded like something Bryan Ferry might have crafted.  The song was tapped as the English 45:

- 1971's 'Life After Death' b/w 'The MIghty Ship' (Vertigo catalog number 6059 053)

2.) Motel Blues (Loudon Wainwright III) - 4:00  rating: *** stars

For a brief moment in the early-'70s Loudon Wainwright III was the critics' golden child.  He could do no wrong in their eyes and that brought other artists running to tap into Wainwright's "magic".  Interestingly, with a dry, speak-sing delivery Jones' cover of 'Motel Blues' sounded like an Ian Hunter and Mott the Hoople performance.  Even the theme seemed Mott-ish - life as a rock star is tough, but someone has to do it.  The things you have to do to keep the groupies happy ...  Vicki Sue Robinson on backing vocals.

3.) And You Say I'm Too Dependent On My Mind  (Paul Jones) - 5:55 rating: **** stars

Opening up with some of Jones' harmonica and a slinky, bluesy vibe, 'And You Say I'm Too Dependent On My Mind' served as a good example of Jones' nifty voice and always interesting wordplay.  I guess that's a nice way of saying that after all these years I still don't have a clue what the tune was about. The song also served as the source for the album's odd title.  

4.) Construction Worker's Song (Paul Jones) - 5:57 rating: ** stars

Hey look everyone.  I'm not really a rock star- I'm just a blue collar guy.  Can't say I liked the country-tinged 'Construction Worker's Song' very much   It was too country for my tastes.

(side 2)
1.) Song (For Stan Stunning And Noodle Queen)  (Paul Jones) - 3:46 rating: *** stars

Somewhere on the web there must be a resource shining a spotlight on the inspiration and meaning behind Jones' catalog.  The bouncy, soul-influenced 'Song (For Stan Stunning And Noodle Queen) ' was another one where the title and lyrics left me in the dark, but I can tell you this one also harkened back to something in Bowie's catalog.

2.) The Pod That Came Back  (Paul Jones) - 4:19 rating: ** stars

Musically 'The Pod That Came Back' was a standard blues number with horns and Jones' patented oddball lyrics.  It was odd choice for London to release as an American promotional single.

- 1972's 'The Pod That Came Back' b/w 'Construction Worker's Song' (London catalog number 45-178)

3.) The Mighty Ship  (Artie Resnick - Pat Poor) -  3:40  rating: *** stars

The epic 'The Mighty Ship' had one of the album's catchiest melodies (there wasn't a lot of competition in this category) and could have been something recorded during his time with Manfred Mann.  It also made for one of the oddest choices for a single I've ever encountered.  There simply was no way radio would have touched this one. The song previously served as the "B" side to the English 'Life After Death' 45.

- 1972's 'The Mighty Ship' b/w 'Who Are the Masters' (London catalog number 45 168)

4.) Who Are The Masters (Kris Resnick - Paul Jones - Rupert Holmes) - 3:32  ating: *** stars

With circus music backing, the lyrics behind 'Who Are The Masters' were odd even by Jones' standards..

5.) Strangely Human Sound ( Kris Resnick - Rupert Holmes) -  3:48  rating: **** stars

A pretty, folk-tinged tune with odd effects on the back vocals, 'Strangely Human Sound' has always reminded me a bit of a Traffic tune.  One of the album's standout performances and typically enigmatic.