line up 1 (1973-75)

- Steve Emery -- bass, backing vocals

- Tony Fernandez -- drums, percussion

- Bob Jackson -- keyboards, synthesizers

- Alan Ross - vocals, lead guitar

- Reuben White -- percussion

- Badfinger (Bob Jackson)

- Byron Band (Bob Jackson)

- The Dodgers (Bob Jackson)

- The Fortunes (Bob Jackson)

- Indian Summer (Bob Jackson)

- Rigor Mortis (Alan Ross and Bob Jackson)

- Ro Ro (Alan Ross)

- The Alan Ross Band

- Stars (Alan Ross)

Genre: pop

Rating: 3 stars ***

Title:  The Pit and the Pendulum

Company:\RSO

Catalog: SO 4802
Year: 1974

Country/State: UK

Grade (cover/record): VG+/VG+

Comments: --

Available: 1

Catalog ID: 460

Price: $20.00

I originally encountered singer/guitarist through his work with the short-lived band RoRo.  When RoRo collapsed, in 1972 Ross hooked up with The Who's John Entwistle as a member of Rigor Mortis.   When that unit called it quits, Ross joined Entwistle's recording and touring band.  

In 1973 Ross formed the cleverly titled band Ross.  The original line-up featured bassist Steve Emery, drummer Tony Fernandez, keyboardist and former Rigor Mortis alumni Bob Jackson, and percussionist Reuben White.

Produced by Bruce Botnick, 1974's "The Pit and the Pendulum" was a concept piece based on Edgar Alan Poe's 1842 short story.  If you ever read the original story, you'll remember it focused on the narrator's experience of being tortured during the Spanish Inquisition.   Luckily the "horror" element was largely dropped from the album, Ross and company instead focusing their efforts on crafting a surprisingly mainstream and commercial set of AOR rockers that more, or less sought to address some of the story's underlying plotline.   And that highlights one of the disconnects centering around this set.  I've seen it labeled as progressive on various sales sites.  I'd suggest the progressive label is a bit of a stretch, unless you're willing to consider The Alan Parsons Project, or Styx progressive. Mind you, that's not intended as a slam since I'm a big Parsons fan and found this album to be entertaining from start to finish.   Yeah, it had a distinctive '70s artistic and production feel, but since I grew up with this stuff, I found it all kind of comforting.  The fact Ross had a nice voice and was an excellent lead guitar player certainly didn't hurt with Jackson serving to add tasteful keyboards throughout.  Highlights - the opening AOR ballad 'Swallow Your Dreams', 'Discovery', and the country-rock-tinged 'Free'.

"The Pit and the Pendulum" track listing:
(side 1)

1.) Swallow Your Dream   (Alan Ross) - 4:15

'Swallow Your Dream' opened the album with a pretty, AOR ballad that showcased Ross' attractive voice and economical, if always tasteful, lead guitar.    Could've been a nice single.   rating: **** stars

2.) Gotta Get It Right Back   (Alan Ross) - 4:19

'Gotta Get It Right Back' found the band upping the funk factor with a bouncy, percussion rich melody.  The song also underscored the band's excellent harmony vocals, with Ross turning in one of his best guitar solos.   rating: *** stars

3.) Madness In Memories   (Alan Ross) - 5:26

With a slinky, slightly funky feel, 'Madness in Memories' has always reminded me of a Curtis Mayfield number.  And then about halfway through the song morphed into what sounded like a Santana-styled jam.   Interesting influences and again, quite enjoyable.  rating: *** stars

4.) Standing Alone   (Alan Ross) - 4:09

Ah, church organ intros always grab me, as do twelve string guitar so the power ballad 'Standing Alone' struck a chord with me.   Don't think I've ever heard such a pretty song dedicated to a dank dungeon.  rating: *** stars 

5.) Discovery   (Bob Jackson) - 4:41

Written and sung by keyboardist Jackson, 'Discovery' showcased some nice Fernandez drums, giving the song a tougher, rock orientation.   While Ross had a nice voice, Jackson's was also impressive, though far rougher and rawer - he reminded me a bit of Stevie Winwood.   rating: **** stars

(side 2)
1.) Now I See   (Alan Ross) - 4:14

'Now I See' wasn't exactly a blues number, but slowed everything down, showcasing a nice melody, some nice harmony voals, and some fantastic double tracked lead guitar that definitely had a Free-blues-rock feel to it.   rating: *** stars.

2.) So Slow   (Alan Ross) - 3:59

Nice rocker with a catchy refrain.   rating: *** stars

3.) The Edge (instrumental  (Alan Ross) - 1:50

The instrumental 'The Edge' added a jazzy edge to the band's repertoire, before diving into a heavy metal territory..   Only complaint on this one had to do with the length - it didn't even clock in at two minutes.  rating; *** stars

4.) Nearer and Nearer   (Alan Ross) - 4:14

'Nearer and Nearer' was one of the album's most overtly commercial numbers with a top-40 melody; nice Ross vocal and a killer Steve Emery bass line.   rating : *** stars

5.) Free   (Alan Ross) - 1:00

Way too short, 'Free' introduced a touch of country-rock to the mix and was another standout tune.  rating: **** stars

6.) I've Been Waiting   (Alan Ross) - 5:37

'I've Been Waiting; was another pretty power ballad which, had it been released in the mid-'80s would have probably provided the band with a platinum seller.    Very commercial and a bit anonymous.  rating: *** stars

7.) So, I'm Happy Now   (Edgar Alan Poe - Alan Ross) - 2:05

Pretty acoustic ballad with Ross straining to his some of the higher notes.  rating: *** stars

RSO seemed intent on breaking the band in the US, financing an extended tour where they opened for Eric Clapton and generated some buzz via an appearance on Don Kirchner's Rock Palace television show.   Unfortunately, keyboardist Jackson quit in the middle of the tour, effectively sabotaging the band's momentum.   

Jackson subsequently joined a late-inning version of Badfinger.

Ross went on to form the Alan Ross Band which released a pair of obscure late-'70s albums.   He then retired from music.