Brian Alexander Robertson
Band members Related acts
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line up 1 (173) - Brian Alexander Robertson -- vocals, keyboards
backing musicians: (1973) - Paul Beer -- euphonium - Herbie Flowers (RIP 2025) -- electric bass, upright bass - Miss Alison J. -- piano - Barry Morgan -- drums, percussions - Stephen Saunders -- euphonium
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- The Assistants - BA'nd Brothers Band - Mike and the Mechanics
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Genre: singer-songwriter Rating: * (1 star) Title: Wringing Applause Company: Ardent Catalog: ADS
2804 Country/State: Glasgow, Scotland Grade (cover/record): VG+/VG+ Comments: gatefold sleeve; 3 include split on lower seam Available: 1 Catalog ID: -- Price: $25.00
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A Scottish guy signed to Memphis' famed Ardent Records ... how could you not be curious to hear what this is all about? Add to that the album gets a lot of positive reviews.
So this information is lifted from Robertson's web page biography:
Scots born, composer-author BA Robertson was educated at Allan Glen’s School Glasgow, and the Royal Scottish Academy of Music. He studied piano, harmony, and counterpoint at the RSAM, when still a schoolboy. His sister was a gifted amateur contralto who sang with The Scottish Junior Singers, and The Edinburgh Festival Chorus. When she gave solo recitals BA would be her accompanist. She arranged his first-ever recording session at Biggar’s Music Store in Glasgow. He was eight years old. Biggar’s had a studio above the store, where they cut direct to lacquer. BA played piano, and sang Silent Night with his sister. He moved to London, on the encouragement of Georg Kajanus, a former member of Eclection. Georg, and his then wife Christine, became kind of adoptive parents, even fixing him up with Georg’s old driving job, at Panzer’s Deli on Notting Hill Gate. His professional career began at twenty one when he signed a publishing deal with Steve Morris, son of Broadway music publisher EH ‘Buddy’ Morris. Georg made the demos that secured the deal, and became producer of the first album.
How
Robertson attracted the attention of Ardent Records remains a mystery to
me. Even stranger, the album was only released in the States. The
basic tracks were recorded at London's Morgan Studios with former Eclection
front man and longtime mentor Georg Kajanus handling productio
Final thought - How could a label that signed and recorded a band like Big Star decided releasing this album was a good idea?
"Wringing
Applause" track listing: 1.) Moira's Hand (B.A. Robertson) - 3:30 rating: ** stars "Moira's Hand" was nothing like what I was expecting. A big, heavily orchestrated ballad, the tune had a very over-the-top "Broadway-ish" feel. Robertson's earnest, accented delivery reminded me of a Scottish Harry Chapin. Not a good thing. As for the lyrics - well they were major league dark and depressing. Darned if I have a clue what the song was about, but clearly Robertson was trying to make an important statement. Who knows why, but Ardent decided to release the song as a single:
- 1973's "Moira's Hand" b/w "To My Star" (Ardent catalog number ADA 2907)
Robertson apparently wrote the track for the band Affinity who recorded it for their 1970 debut album "Affinity" though it didn't make the final cut. Their version finally appeared on the 2003 archival album "1971-72". Stripped of the orchestration and showcasing Linda Hoyle's wonderful voice, their version is far better than Robertson's singer/songwriter arrangement.
2.) In the Limelight (B.A. Robertson) - 3:59 rating: ** stars Unfortunately the keyboard powered "In the Limelight" underscored Robertson's affinity for Broadway-styled material. While it was more pop oriented than the opener, the song reminded me of a cross between early Billy Joel and Bill Murray's Nick the lounge singer persona 3.) These Fantasies (B.A. Robertson) - 3:51 rating: *** stars "The Fantasies" sported one of the album's most conventional and commercial melodies, but was ruined by the "clever" music-is-such-a-tough-life lyrics and Robertson's "music hall" vocals. I'll give it an extra star for the fact it reflected Robertson had a sense of humor. 4.) After the Theatre (B.A. Robertson) - 4:57 rating: * stars As you can tell Broadway-styled pomposity is not my thing. The big Broadway-ready ballad "After the Theatre" was simply horrible; made all the worse by Robertson's dramatic delivery and some of the most heavy-handed lyrics I've ever come across. This one made the late Michael Lee Aday (aka Meat Loaf) and his producer Jim Steinman sound like a grunge rock act. (And the track seemed to go on and on and on ...) 5.) Carnival (B.A. Robertson) - 5:05 rating: * stars I'm thankful for small favors and at least "Carnival" wasn't another ballad. Unfortunately the title was an accurate description of what was to come - Robertson taking on the role of a carnival barker. Oh my gosh, life in circus was so great. The spoken word and "cast" vocals made me wonder if I'd managed to put some sort of Broadway soundtrack on by mistake. Can I put on an Al Stewart album now?
(side
2) Scottish guy singing about life as a cowboy ... Not quite progressive, but maybe you could get away labeling "Cowboys" as a slice of 10c.c-styled art rock. Extra star for being one of the few songs that didn't sport extensive orchestration. 2.) To My Star (B.A. Robertson) - 5:29 rating: * star More performer tragedy - young and hot one day; old and no longer in demand the next day. Throw in a drinking problem to lighten the plotline. The accordion backing and general feel reminded me a little of what producer Kajanus was going to do with his band Sailor. 3.) Coatails (B.A. Robertson) - 4:14 rating: * stars Back to theatric overload. Hard to pick the album's worst song, but the hyper-sensitive ballad "Coatails" was definitely in the running. Based on this one Robertson should probably avoid writing anything that required he shift into a falsetto. 4.) Baby Nuts (B.A. Robertson) - 4:12 rating: * stars Starting out like a slice of incidental film music, things went downhill when Robertson's vocals kicked in. His jittery delivery sounded like he was pumped up on speed and the lyrics which seemed to be comparing lovers to a squirrel's behavior were just weird. Please, no more falsetto. 5.) Myths and Illusions (B.A. Robertson) - 4:29 rating: * stars And let's close this album out with a big, sensitive ballad ... Yeah, what use are artists once they're talents have been used up?
© Scott R. Blackerby January 2026
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and arrangements. Terry Manning handled the engineering in
Memphis. Released in 1973 to my ears
"Wringing Applause" managed to highlight the worst
aspects of Robertson's persona. Anyone expecting to hear a collection
of conventional pop, or rock material was in for a major surprise.
While Robertson occasionally exhibited a knack for crafting a catchy melody
("Fantasies"), he also displayed an affinity for Broadway-styled
material and arrangements. Seemingly a concept piece having to with
the tough life of artists, the album was full of heavy handed ballads like
the enigmatic single "Moira's Hand", "In
the Limelight" and "After the Theatre". Even worse, the
lyrics reflected a mix of Harry Chapin and Randy Newman-styled story-teller
vignettes with Robertson going on about topics like the difficulties of life
in the theatre ("After the Theatre"), remembering the joys of
working in a circus ("Carnival"), life as a faded Ziegfeld girl
("To My Star") and life in the old West
("Cowboy). Coupled with theatrical-styled vocals that
occasionally reminded me of Tim Curry's performance on "The Rocky
Horror Picture Show" soundtrack, this was a tough one to sit
through. 