line up 1 (1973)

- Keith Barbour -- vocals

- Ron Elliott -- vocals, guitar

- Don Francisco -- vocals, drums, percussion

- Sherman Hayes -- bass, vocals

- Arthur Richards -- lead guitar, backing vocals

- The Beau Brummels (Ron Elliott)

- Keith Barbour (solo efforts)

- The Big Wha-Koo (Don Francisco)

- Ron Elliott (solo efforts)

- Crowfoot (Don Francisco)

- Giants (Ron Elliott)

- Highway Robbery (Don Francisco)

- Wha-Koo (Don Francisco)

Genre: pop

Rating: 4 stars ****

Title:  Pan

Company: Columbia

Catalog: KC 32062
Year: 1973

Country/State: California

Grade (cover/record): VG+/VG+

Comments: gatefold sleeve; textured cover

Available: 2

Catalog ID: 1037

Price: $50.00

I've always wondered about the short-lived Pan.   With the involvement of former Beau Brummel front man Ron Elliott you would have thought the band would have attracted considerable attention .   Naturally that wasn't the case.  I'll also admit my affection for this one puts me at odds with lots of folks who find it bland and forgettable.

Released three years after his post-Beau Brummels solo album "Candlemaker",  1973's "Pan"  found Ron Elliott returning to the recording environment with the band Pan.  Showcasing the talents of  singer Keith Barbour, drummer Don Francisco, bassist Sherman Hayes, and lead guitarist Arthur Richards, the high powered line-up quickly scored a contract with Columbia Records.  With Elliott responsible for all of the material, musically the album was quite diverse.  Tracks such as 'Long Way Home', 'Garbage Man', and 'More Than My Guitar' made it  clear Elliott had been listening to more than his share of early-'70s country-rock bands - echoes of The Flying Burrito Brothers, Michael Nesmith and Poco abounded throughout the collection.  That wasn't to say Elliott had totally lost his fascination with more commercial genres.  'Love Glow (Calamity Jane)' was near perfect top-40 pop, while 'Lady Honey' and 'Dancing To the Band' both included buoyant CS&Y styled harmonies.   Mind you, the album wasn't perfect.  'Delinga de Mattei' was a throwaway old timey ballad, while Barbour's performance on 'The Puppet' came precariously close to the MOR material that made him a mid-'60s solo star (thought there was no denying he had a killer voice).   Speaking of voices, as much as I enjoyed this al bum, to my ears one of the set's most interesting dynamics lay in how different Barbour and Elliott were.  Exemplified by tracks like ' Love Glow (Calamity Jane)', Elliott had a light, commercially-friendly voice.  In contrast, Barbour had a deep, gruff, soulful voice.   Hearing them sharing lead vocals on the same song ('Long Way Home'), was interesting, if somewhat jarring.  

"Pan" track listing:
(side 1)

1.) Long Way Home  (Ron Elliott) - 2:53

Pretty and surprisingly commercial country-rock ballad that served to showcase what a great voice Keith Barbour had (though Ron Elliott sounded good as well).   Imagine Poco with the addition of some cheesy synthesizers and a tasty slide guitar solo and you'll have a feel for this one.   Very nice way to start the LP.  rating: **** stars

2.) Lady Honey  (Ron Elliott) - 4:07

'Lady Honey' was a glistening slice of country-rock.  Highly commercial melody (that would have been even better without the extensive orchestration); this one's always reminded me a bit of something Michael Nesmith might have written had he hung out and starting writing with Crosby, Stills, & Nash.   One of the album highlights and should have been a hit for the band.   rating: **** stars

3.) The Puppet  (Ron Elliott) - 3:45

Another tune showcasing Barbour, 'The Puppet' probably wouldn't have sounded out of place with his mid-'60s output (think along the lines of 'Echo Park').  Deep, sincere and a bit over-the-top in a Dan Fogelberg kind of way, but the man sure had a killer voice.   rating: ** stars

4.) Garbage Man  (Ron Elliott) - 2:21

I'm not a gigantic country-rock fan, but 'Garbage Man' was an exception the rule.  rating: *** stars

5.) Ain't Got the Strings  (Ron Elliott) - 3:40

If you ever wondered what Barbour would sound like in a country-rock setting, then you'll want to check out 'Ain't Got the Strings'.   Much better than you would have ever suspected.   rating: *** stars

(side 2)
1.) More Than My Guitar  (Ron Elliott) - 3:14

More conventional country-rock - complete with pedal steel, a bit more country than the earlier tunes, but with an extremely commercial refrain.  Always loved the lyrics "I would never hurt you in my song ..."   rating: *** stars

2.) Sad Rag Doll  (Ron Elliott) - 4:14

It took awhile for 'Sad Rag Doll' to reveal it's subtle charms to my ears.   Originally I thought it was a lame slice of singer/songwriter angst, but it had a breezy melody that snuck into your head and wouldn't leave (even though the arrangement included accordion (an instrument I usually detest)).    rating: *** stars

3.) Delinga de Mattei  (Ron Elliott) - 2:12

Hollywood hipster ?   Old-timey goofiness ?   This sounded like something Leon Redbone might have found cute (though Elliott had a far better voice).  Whatever, this one was lame and completely forgettable.  

4.) Love Glow (Calamity Jane)  (Ron Elliott) - 3:31

Easily the album's most commercial tune ...  you simply had to wonder how this one escaped being tapped as a hit single.  rating: **** stars

5.) Dancing To the Band/Dreams  (Ron Elliott) - 4:35

If for no other reason, 'Dancing To the Band/'Dreams' deserved to be another album highlight for the  harmony vocals that sounded like they'd been ripped right off a CSN&Y album.  rating: **** stars

Columbia doesn't seem to have done much to promote the LP.  No singles seem to have been released and you seldom run across a copy of the album.   Anyhow, anyone expecting to hear Beau Brummels-styled top-40 pop was probably going to be disappointed by the set, which would be unfortunate since the album was quite enjoyable.  Well worth looking into !!!