Spooky Tooth
Band members Related acts
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line up 1 (1968-69)
- Luther Grosvernor -- lead guitar
line up 2 (1969-70)
- Luther Grosvernor -- lead guitar
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up 3 (1970) - Mike Harrison -- vocals, keyboards
- Michael Kellie -- drums, percussion (replaced Gary Wright)
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up 4 (1970) NEW - John Hawkin -- keyboards (replaced Alan Spenner) - Michael Kellie - drums, percussion NEW - Steve Thompson -- bass (replaced Henry McCulloch)
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up 5 (1973) Michael Kellie) - Mike Harrison - vocals, keyboards NEW
- Ian Herbert -- bass (replaced Steve
Thompson)
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up 5 (1973)
- Mike Harrison - vocals, keyboards NEW
- Chris Stewart - bass (replaced Ian Herbert)
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up 6 (1973-74) - Mick Jones - guitar, backing vocals NEW - Mike Patto -- vocals (replaced Mike Harrison) - Gary Wright - vocals, keyboards
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up 7 (1974) NEW - Val Moore -- bass - Mike Patto -- vocals NEW
- Chris Stewart - bass (replaced Ian Hebert)
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- Art - The Bluebottles (Mike Patto) - Bo Street
Runners (Mike Patto) - The Chicago Lines Blues Band (Mike Patto) - Decameron - Dick and the Firemen (Mike Patto)
- Eire Apparent (Henry McCullough and Chris Stewart) - Frampton's Camel
(Mike Kellie) Alan Spenner) - Luther
Grosvenor (solo efforts) - Illusion (John Hawkin) - Junkyard Angels (Mike Harrison and Ian Herbert) - The Alvin Lee
Band (Bryson Graham) - Patto's People (Mike Patto) - The People (Henry McCulloch and Chris Stewart) - Stealers Wheel (Luther Grosvenor) - Stone the Crow (Steve Thompson) - Timebox
(Pike
Patto) - Van Der Graff Generation (Keith Ellis) - The Leslie West
Band (Mick Jones)
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Genre: rock Rating: *** (3 stars) Title: It's All About Spooky Tooth Company: Island Catalog: ILPS 9080 Country/State: US/UK Year: 1968 Grade (cover/record): VG/VG+ Comments: UK pressing; extra heavy vinyl Available: SOLD Catalog ID: SOLD Price: SOLD $40.00
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Evolving out of the R&B oriented VIPs (who metamorphosed
into the progressive leaning Art (see separate entries), Spooky Tooth was formed in late 1967 by
expatriate American keyboard player Gary Wright (then studying medicine in England) and English
singer/guitarist Mike Harrison. With the addition of lead guitarist Luther Grosvernor, drummer Michael Kellie and bassist Greg Ridley, extensive touring tightened the band's chops, leading to a deal with Chris Blackwell's Island Records. - I'll readily admit that I've always thought Janis Ian's version of 'Society's Child' was one of the most irritating songs I've ever heard. Sure, the sentiments were in the right spot, but the song itself is cloying and hyper-sensitive. Pretty much what you'd expect from a then-17 year old. ANd then there's the Spooky Tooth version which in attempting to 'heavy-up' the track manages to make it even worse. Gary Wright's church organ introduction had potential, but then Wright shifted into hyper-emotive mode and double tracked his lead vocals with results that sounded like Alvin and the Chipmunks getting stoned on whippets. rating: ** stars - Thankfully ' Love Really Changed Me' found the band returning to a more mainstream rock-oriented sound. Kicked along by a nice Luther Grosvenor guitar riff, the song had a bouncy, almost-pop flavored melody. Imagine mid-era Spencer Davis Group and you'd be in the right aural ballpark. grading: *** stars - A mid-tempo, vaporous ballad, ' Here I Lived So Well' was pretty enough showcasing some of the band's sweetest, but never really got a great deal of energy going. In fact, I'd argue Greg Ridley's bass line was probably the standout part of the track. rating: *** stars - Dylan wrote it; The Band made it famous ... Spooky Tooth's cover of ' Too Much of Nothing' was certainly enjoyable (always loved Grosvenor's banjo accompaniment), but nothing here was going to make you forget The Band's version. rating: *** stars - Easily one of the best song on the album, the Wright-penned ' Sunshine Help Me' sported a great, pounding melody that was actually good enough to make you overlook Wright's stratospheric falsetto. rating: **** stars - Side two found the band returning to a more pop-oriented sound with the enjoyable ' It's All About a Roundabout'. For me the winning ingredients were Wright deft harpsichord flourishes and some nice barrelhouse piano. One of the best melodies Wright ever wrote, it's hard to understand why this one wasn't tapped as a single. rating: **** stars - For some reason every self-respecting '60s-era band seemed to feel the need to cover John D. Loudermilk's ' Tobacco Road'. The Spooky Tooth version initially slowed the song down to a funeral dirge, putting Wright's multi-tracks vocals upfront and center. It then abruptly shifted gears into an anonymous blues-rocker middle segment and then back to dirge before stretching it out with a typical rock close out. Pass ... rating: ** stars - With Mike Harrison and Wright sharing lead vocals, ' It Hurts You So' almost sounded like a different band. A fragile, almost fey ballad, it was another pretty ballad that benefited from having a hint of Brit-psych influence in the underlying melody. Great drums from Michael Kellie ... rating: *** stars - Another R&B-tinged number, ' Forget It, I've Got It' was built on some nice Wright keyboards, a squealing Grosvenor solo, and interesting percussion touches. Quite different from your standard Spooky Tooth song, I actually liked this one quite a bit. rating: *** stars - Another son with Mike Harrison handling lead vocals, ' Bubbles' sounded like a mid-1960s British toytown psych effort. The track actually had a rather rough, semi-finished feel, but there were plenty of giify production effects including bubble sounds, phased vocals, and Ridley's acid-tinged bass guitar pattern. Definitely a timepiece, but a fun timepiece. rating: *** stars
1.) Society's Child (Janis Ian) - 4:30 (side 2) 1.) It's All About a Roundabout (Jimmy Miller - Gary Wright) - 2:43
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Genre: rock Rating: **** (4 stars) Title: Spooky Tooth Two Company: A&M Catalog: SP-3124 Country/State: US/UK Year: 1969 Grade (cover/record): VG+/VG+ Comments: minor ring, corner and edge wear Available: 1 Catalog ID: 5862 Price: $25.00
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Standing as the band's formal American debut, 1969's "Spooky Tooth Two" reinforced their reputation as a happening underground FM act. Refining their molten-metal attack, the collection benefited from strong original material, coupled with growing studio confidence and improved production values (the latter courtesy of Jimmy Miller). Showcasing an exceptional strong set of original material, tracks like 'Waiting for the Wind', 'Evil Woman' and 'That was Only Yesterday' aptly displayed the group's mixture of Wright's keyboards and Grosvenor's guitar fury, quickly becoming FM staples. Grosvenor's lead guitar theatrics added real rock punch to tracks such as 'Better By You, Better By Me'. The band wasn;t hurt having two strong vocalists. Harrison was the more pedestrian of the two; steady, but sometimes under-whelming. Wright took more of the spotlight and while I liked his voice, on performances like 'I've Got Enough Heartaches' he occasionally resorted to over-singing. Elsewhere supported by some of the shrillest backing vocalists you'll ever hear 'Feelin' Bad' demonstrated overly sensitive ballad territory was not the band's strong point. Still, the album made for a classic example of late 1960s FM rock and marked the band's artistic and commercial zenith. One of my picks for a desert island collection. I've sold copies at least four times and every time I regret it and in up purchasing a replacement.
An impressive seller, the album peaked at # 44. Shortly after it's release bassist Gregg Ridley left to join Humble Pie and was replaced by Andy Leigh.
In case anyone cares, here's the original Island UK cover ( Island catalog number ILPS 9098):
"Spooky Two" track listing:
1.) Waitin' For The Wind (Luther Grosvenor - Mike Harrison - Gary Wright) - 3:29 rating: **** stars Michael Kellie's funky drum intro made you wonder what you'd gotten yourself into, but then Greg Ridley's innovate bass, Gary Wright's pounding organ and wailing vocals, and Grosvenor's guitar kicked in. Classic Spooky Tooth and a shame it faded out so early. This was the track tapped as a single in thee US and Germany::
US: - 1969's 'Waitin' for the Wind' b/w 'That was Only Yesterday' (A&M catalog number 1144) Germany: - 1969's 'Waitin' for the Wind' b/w 'Feelin' Bad' (Island catalog number 388 883 UF) 2.) Feelin' Bad (Mike Kellie - Gary Wright) - 3:17 rating: *** stars Wright's weird affection for Gospel has always been a curiosity to my ears, but complete with wailing background singers he seldom did it as well as on this mid-tempo rocker. Not sure who she was, but one of those background singers threatened to sing Wright under the table. Get a good pair of headphones to hear the battle clearly. 3.) I've Got Enough Heartaches (Mike Kellie - Gary Wright) - 3:24 rating: *** stars 'I've Got Enough Heartaches' continued the Gospel-influences though this one had a slightly more mainstream and commercial flavor. Once again the female backing singers threatened to blow Wright off the stage. 4.) Evil Woman (Weiss) - 9:00 rating: **** stars Side one ended with what's probably Spooky Tooth's finest moment - the blazing 'Evil Woman'. Kicked along by a great molten Grosvenor lead guitar pattern and one of his finest solos (take note Jimmy Page), the icing on the cake came in the form of Wright's 'balls-in-a-vice' vocals. The man sounded like he was in true pain on this one. To my ears the extended nine minute track simply epitomized late-1960s heavy meta. Hard to believe this one was tapped as a single.
(side 2) 1.) Lost In My Dream (Gary Wright) - 5:03 rating: ** stars As much as I'd like to say something nice about 'Lost In My Dream' this one was simply over-the-top excess ... 2.) That Was Only Yesterday (Gary Wright) - 3:51 rating: **** stars Every wanted to hear Spooky Tooth going country? You wouldn't have thought the results would sound very promising, but they actually managed to pull it off with 'That Was Only Yesterday'.
- 1969's 'That Was Only Yesterday' b/w 'Oh! Pretty Woman' (Island catalog number WIP 6058) 3.) Better By You, Better Than Me (Gary Wright) - 3:36 rating: **** stars Side two's stand out performance, 'Better By You, Better Than Me' marked a return to their patented heavy metal sound. The combination of Grosvenor's crushing guitar and Wright keyboard fills and agonized vocals had to be heard. The song was tapped as a French single:
- 1969's 'Better By You, Better Than Me' b/w 'Waiting for the Wind' (Island catalog number 6014 007)
4.) Hangman Hang My Shell On A Tree (Gary Wright) - 5:40 rating: **** stars It took awhile for it to kick in, but 'Hangman Hang My Shell On A Tree' morphed from a stark acoustic ballad in to a cool sing along ditty with a great hook and some nice fuzz bass from Ridley.
© Scott R. Blackerby October, 2024
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Genre: rock Rating: ** (2 stars) Title: Ceremony Company: A&M Catalog: SP-4225 Country/State: US/UK Year: 1970 Grade (cover/record): VG+/VG+ Comments: minor cover and edge wear Available: 1 Catalog ID: 666 Price: $20.00
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1969's "Ceremony" found Spooky Tooth jumping into a full-scale collaboration with French electronic musician Pierre Henry. I guess you had to admire their willingness to try something new; something that expanded their repertoire. On the other hand, this might not have been the smartest thing they ever did. Showcasing the combination of Henry's experimental electronics, Luther Grovesnor's screaming guitar, and Gary Wright's growling voice and stabbing keyboards, extended dirge-like material such as "Offering", "Hosanna" and "Have Mercy" proved a real stretch for their rock fans. Apparently intended as a concept piece; the package was seemingly built around a vaguely religious theme. Emphasizing electronic sounds and outright experimentation, tracks such as the percussion and guitar dominated "Confessions" and "Jubilation" left many Spooky Tooth fans confused and unhappy. Sporting what sounded like an ongoing squeaky wheel, or maybe a sob, 'Jubilation' was easily one of rock's most irritating songs - I remember thinking my record player gears had broken the first time I played it. While the band's credentials as serious musicians may have enjoyed a boost, the same couldn't be said for sales, the collection faltering at # 92. Add to the sorry mix, John Holmes' cover painting stood as one of the year's uglier offerings.
It's funny to see how many folks recall trippin' this album. All I can say is that listening to it sober is liable to give you a massive headache.
1.) Have Mercy (Pierre Henry - Gary Wright) - 7:52 rating: ** stars
'Have Mercy' started out
with two minutes of plodding blues-rock before suddenly exploding into a
mixture of molten rock moves and oddball background sound effects (sounding
like something along the lines of a bubbling cauldron).
Henry's sound effects/influences got
progressively more obvious in the mix as the song went along (especially if
you listen to the tune with a good pair of headphones). Not
particularly commercial, or enjoyable is about the nicest thing I can say
about the opener. 'Jubilation'
wasted no time diving into Henry's experimental electronics (imagine your
toasted short circuiting). Things got a little better when
Wright's voice was spotlighted, but for the most part this was Henry's baby
... I'm guessing it was heartfelt, but the religious lyric may not be
everyone's cup of tea. No idea what happened around the three
minute mark, other than to tell you it sounded like Wright was drooling all
over himself. Musique concrète ? Beats me if this fit the technical description of the genre, but it was certainly irritating.
(side 2) 1.) Prayer (Pierre Henry - Gary Wright) - 10:52 rating: *** stars The opening
segment of 'Player' was essentially a noise collage. Call it Taliban
interrogation music and you'd be in the right place. Things
improved when Wright took over, revealing a pretty ballad, though once again
the religious lyrics (basically The Lord's Prayer), weren't going to go over
well with everyone. Clocking in at almost eleven minutes, this one
would have benefited from some judicious editing. Extra star for
Grosvenor's nice acoustic guitar, though it was almost negated by Henry's
irritating contributions. rating:
*** stars If you stripped off Henry's thoroughly irritating electronic effects and Wright's continual gasping (was he being tortured, or just out of breath?), 'Offering' might have been a decent hard rock track. Unfortunately those effects were front and center. Imagine trying to tune into a good radio station on your AM band radio late at night and the station keeps fading out. Same effect here. Geez. Believe it or not, the track was tapped as a single in France and Japan.
- 1969's 'Offerings' b/w 'Have Mercy' (Philips catalog number 6009.047) France - 1969's 'Offerings' b/w 'Have Mercy' (Philips catalog number SFL-1286) Japan 3.) Hosanna (Pierre Henry - Gary Wright) - 7:37 rating: *** stars Another prayer set to a hard rock melody ... most folks will recognize the lyrics as Hosanna In the Highest', making it kind of funny to see the writing credit to Henry and Wright. Guess they were lucky God didn't sue them for copyright infringement. Probably the album's closest thing to a straightforward commercial track and it gave Grosvenor an opportunity to finally cut lose.
Scott R. Blackerby October, 2024
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Genre: rock Rating: *** (3 stars) Title: The Last Puff Company: A&M Catalog: SP-4266 Year: 1970 Country/State: US, UK Grade (cover/record): VG+/VG+ Comments: includes original A&M stock inner sleeve Available: 12 Catalog ID: 5819 Price: $15.00
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As expected, following the release of 1969's "Ceremony" Spooky Tooth underwent yet another round of personnel changes. This time around, out the door went lead singer Gary Wright who quickly reappeared with the short-lived Wonderwheel. With the band's A&M recording contract calling for the release of one more album, survivors Luther Grosvenor, Mike Harrison, and Mike Kellie found themselves left holding the corporate bag. To their unending credit, the three were willing to complete the required obligation, promptly recruiting former Grease Band members Henry McCullough, Chris Stainton, and Alan Spenner for a late-inning Spooky Tooth line-up. The makeshift lineup quickly recorded 1970's aptly titled "The Last Puff" (the album was actually credited to Spooky Tooth featuring Mike Harrison). Given the set's humble origins it proved a surprisingly tight and mildly enjoyable endeavor. Having lost their prime writer, Harrison and company still managed to cobble together an occasionally engaging mixture of earlier Spooky Tooth castoffs (Wright's 'Wrong Time'), new band originals (the Chris Stainton penned title track), and slew of covers, including a molten tempo take on The Beatles' 'I Am the Walrus' and an early Elton John cover ('Son of Your Father).
Far from the band's best, but better than your standard contractual obligation release. Although the band broke up shortly after the album's release, it proved a modest seller, reaching # 84 in the States.
- Grosvenor released a solo album, followed by stints with Stealers Wheel and Mott the Hoople. - Harrison struck out in pursuit of a brief solo career. - Kellie became a member of Frampton's Camel.
"The Last Puff" track listing: 1.) I Am the Walrus (John Lennon - Paul McCartney) - 6:22 rating: *** stars I remember being convinced I had the turntable set at the wrong speed the first time I played Spooky Tooth's cover of 'I Am the Walrus'. Harrison and company actually kept pretty close to the Beatles original, but slowed it down to a crawl - you literally wanted to reach out and slap the band up the side of the head and say 'get on with it'. Not sure if it was Grosenvor or McCullough, but one of them turned in a nice solo towards the end of this six plus minute epic. It's just waiting to get to that point seemed endless ... Even though it wasn't very good, the track was tapped as a European single:
- 1970's 'I Am the Walrus' b/w Hangman Hang My Shell On a Tree'' (Island catalog number 6014 023) 2.) Wrong Time (Hugh McCracken - Gary Wright) - 5:07 rating: **** stars To my ears 'Wrong Time' was easily the standout track; in large measure due to the fact it harkened back to the original lineup's patented organ and keyboard sound. The fact it was written Gary Wright and sounded like his lead vocals certainly didn't hurt the results. Nice mid-tempo rocker with a great lead guitar though once again I don't know if it was Grosvenor, or McCullough. 3.) Something to Say (Joe Cocker - Nicholls) - 5:49 rating: ** stars In spite of an unsteady Harrison vocal that actually recalled Joe Cocker (who'd written the song), 'Something to Say ' was an okay ballad. The backing female chorus threatened to drown Harrison out in a couple of places.
(side 2) 1.) Nobody There at All (Martin - Post) - 3:58 rating: *** stars 'Nobody There at All' was another mid-tempo ballad with kind of a country-rock edge. The song benefited a nice chorus. This one also sounded like a Wright carryover. 2.) Down River (David Ackles) - 4:47 Their cover of David Ackles 'Down River' was suitably subdued and forgettable. rating: ** stars 3.) Son of Your Father (Elton John - Bernie Taupin) - 3:52 rating: ** stars I was never a fan of the original version of Elton John's 'Son of Your Father' and this half-speed cover didn't do anything to improve on it. 4.) Last Puff (instrumental) (Chris Stainton) - 3:37 rating: ** stars Chris Stainton's only contribution to the album, 'Last Puff' was a bluesy instrumental. Propelled by Stainton's keyboards, picture something the Young-Holt trio might have recorded and you'd be in the right neighborhood. Nice bass line though.
Scott R. Blackerby October, 2009
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Genre: rock Rating: *** (3 stars) Title: Tobacco Road Company: A&M Catalog: SP-4300 Year: 1971 Country/State: US/UK Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: 6388 Price: $15.00
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In the wake of the band's breakup, A&M decided to squeeze a couple of extra bucks out of the American buying public, reissuing the 1968 debut "It's All About Spooky Tooth" as "Tobacco Road". Artistically there wasn't much point to it, but from a marketing standpoint it apparently made some sense given people were confused enough to propel it on to the American charts. It wasn't a gigantic seller, but managed to hit # 152.
Collector's will probably want to look for the original 1968 "It's All About Spooky Tooth" album. Other folks may be be willing to settle for this release since it has the same songs and you can a copy far cheaper ... yeah, the downside is the cover art on this album is nowhere near as good.
"Tobacco Road" track listing: 1.) Society's Child (Janis Ian) - 4:30 rating: ** stars I'll readily admit that I've always thought Janis Ian's version of 'Society's Child' was one of the most irritating songs I've ever heard. Sure, the sentiments were in the right spot, but the song itself is cloying and hyper-sensitive. Pretty much what you'd expect from a then-17 year old. ANd then there's the Spooky Tooth version which in attempting to 'heavy-up' the track manages to make it even worse. Gary Wright's church organ introduction had potential, but then Wright shifted into hyper-emotive mode and double tracked his lead vocals with results that sounded like Alvin and the Chipmunks getting stoned on whippets. 2.) Love Really Changed Me (Luther Grosvenor - Jimmy Miller - Gary Wright) - 3:33 rating: *** stars Thankfully 'Love Really Changed Me' found the band returning to a more mainstream rock-oriented sound. Kicked along by a nice Luther Grosvenor guitar riff, the song had a bouncy, almost-pop flavored melody. Imagine mid-era Spencer Davis Group and you'd be in the right aural ballpark. 3.) Here I Lived So Well (Luther Grosvenor - Mike Harrison - Jimmy Miller - Gary Wright) - 5:06 ratng: *** sttars A mid-tempo, vaporous ballad, 'Here I Lived So Well' was pretty enough showcasing some of the band's sweetest, but never really got a great deal of energy going. In fact, I'd argue Greg Ridley's bass line was probably the standout part of the track. 4.) Too Much of Nothing (Bob Dylan) - 3:57 rating: *** stars Dylan wrote it; The Band made it famous ... Spooky Tooth's cover of 'Too Much of Nothing' was certainly enjoyable (always loved Grosvenor's banjo accompaniment), but nothing here was going to make you forget The Band's version. 5.) Sunshine Help Me (Gary Wright) - 3:02 rating: **** stars Easily one of the best song on the album, the Wright-penned 'Sunshine Help Me' sported a great, pounding melody that was actually good enough to make you overlook Wright's stratospheric falsetto.
(side 2) 1.) It's All About a Roundabout (Jimmy Miller - Gary Wright) - 2:43 rating: **** stars Side two found the band returning to a more pop-oriented sound with the enjoyable ' It's All About a Roundabout'. For me the winning ingredients were Wright deft harpsichord flourishes and some nice barrelhouse piano. One of the best melodies Wright ever wrote, it's hard to understand why this one wasn't tapped as a single. 2.) Tobacco Road (John D. Loudermilk) - 5:33 rating: ** stars For some reason every self-respecting '60s-era band seemed to feel the need to cover John D. Loudermilk's 'Tobacco Road'. The Spooky Tooth version initially slowed the song down to a funeral dirge, putting Wright's multi-tracks vocals upfront and center. It then abruptly shifted gears into an anonymous blues-rocker middle segment and then back to dirge before stretching it out with a typical rock close out. Pass ... 3.) It Hurts You So (Jimmy Miller - Gary Wright) - 3:03 rating: *** stars With Mike Harrison and Wright sharing lead vocals, 'It Hurts You So' almost sounded like a different band. A fragile, almost fey ballad, it was another pretty ballad that benefited from having a hint of Brit-psych influence in the underlying melody. Great drums from Michael Kellie ... 4.) Forget It, I've Got It (Jimmy Miller - Gary Wright) - 3:26 rating: *** stars Another R&B-tinged number, 'Forget It, I've Got It' was built on some nice Wright keyboards, a squealing Grosvenor solo, and interesting percussion touches. Quite different from your standard Spooky Tooth song, I actually liked this one quite a bit. 5.) Bubbles (Luther Grosvenor - Gary Wright) - 2:49 rating: *** stars Another son with Mike Harrison handling lead vocals, 'Bubbles' sounded like a mid-1960s British toytown psych effort. The track actually had a rather rough, semi-finished feel, but there were plenty of giify production effects including bubble sounds, phased vocals, and Ridley's acid-tinged bass guitar pattern. Definitely a timepiece, but a fun timepiece.
Scott R. Blackerby October, 2009
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Genre: rock Rating: *** (3 stars) Title: You Broke My Heart So I Busted Your Jaw Company: A&M Catalog: SP-4385 Year: 1973 Country/State: US/UK Grade (cover/record): VG+/VG+ Comments: gatefold sleeve; US pressing Available: 3 Catalog ID: 5860 Price: $20.00
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Following a three year break during which time various band member solo endeavors had proven to be lukewarm successes, in 1973 Mike Harrison and Gary Wright reunited Spooky Tooth. The revamped line up featured drummer Bryson Graham and guitarist Mick Jones from Wright's Wonderwheel project, along with bassist Chris Stewart (replacing Ian Herbert). Self-produced, 1973's "You Broke My Heart So I Busted Your Jaw" proved surprisingly tight and entertaining, though it fell short of past glories and side two was pretty weak. Largely penned by Wright (drummer Graham contributing 'This Time Around'), keyboard and guitar propelled material such as the lead off rocker 'Cotton Growing Man', 'This Time Around', and 'Wildfire' showcased the band's now-patented up-tempo blues-rock stylings. While hardly earth shattering, the set wasn't all that different from material being pumped out by the likes of Bad Company. Hardcore fans will accuse me of blasphemy, but I've always thought Harrison voice sounded strained throughout the set - checkout the opener 'Cotton Growing Man.' All told it was patchy, but better than many 'comeback' albums.
With minimal support from Island (the label
didn't even release a single), the album hit #
84 on the US album charts.
"You Broke My Heart So I Busted Your Jaw" track listing: 1.) Cotton Growing Man (Gary Wright) - 4:38 rating: **** stars Powered by Harrison's gravelly voice and Jones' raspy lead guitar, 'Cotton Growing Man' marked a return to the hard rock sound found on their sophomore album. The result was a fantastic mid-tempo rocker that would have sounded great on mid-1970s FM radio had A&M bothered to promote it when it was tapped as a single. Shame the rest of the album wasn't as good. Not sure if they are playing live, but YouTube has a 1974 clip of the band performing the song on the West German Beat Market television show: Spooky Tooth - Cotton Growing Man (1974) - YouTube 2.) Old As I was Born (Gary Wright) - 4:40 rating: **** stars 'Old As I was Born' has always been a personal favorite in that it boasted one of the band's most commercial songs. The track retained a distinctive Spooky Tooth sound, but sported some atypical, but exquisite group harmonies that you wouldn't normally associate with the band. There was also a nice mandolin solo and a great Wright cheesy synthesizer solo. 3.) This Time Around (Bryson Graham) - 4:08 rating: *** stars Drummer Graham's lone contribution to the album, 'This Time Around' was an okay rocker, but lacked anything to distinguish it from the rest of the set. The highlight came in the form of a nice Jones solo. 4.) Holy Water (Gary Wright) - 3:37 rating: ** stars The first real disappointment, 'Holy Water' sounded like Harrison was trying to channel an early Elton John/Bernie Taupin ballad. Momentarily interesting in a Gospel-inspired way, the keyboard-propelled ballad quickly lost its energy.
(side 2) 1.) Wildfire (Gary Wright) - 4:35 rating: *** stars 'Wildfire' found the band carving out a nice little groove, but the song never really developed beyond that initial funky hook and most listeners probably tired of the song after hearing the lyric 'Wildfire is in my mind' a dozen times.. 2.) Self Seeking Man (Gary Wright) - 3:46 rating: ** stars 'Self Seeking Man' showcased some of Wright's most irritating features - namely an over-the-top 'heavy' ballad that forced him to reach for those high notes that brought out the shrill aspects of his voice. This one sounded a lot like some off of his forthcoming late-1970s solo efforts. 3.) Times Have Changed (Gary Wright - Mick Jones) - 3:55 rating: ** stars The Wright-Jones ballad 'Times Have Changed' was the song that seems to have attract the most critical attention, but to my ears it was a bland, mildly discordant mess. 4.) Moriah (Gary Wright) - 6:21 rating: *** stars Crap, another ballad ... Well, at least after two super lame songs 'Moriah' showed a little bit of energy before limping out with some hideous new-age-styled sound effects. Should have ditched the touchy feely fade out for more Mick Jones guitar. Nowhere near the album's best song, but at least it ended the set on a mildly upbeat note.
Scott R. Blackerby October, 2009
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Genre: rock Rating: *** (3 stars) Title: Witness Company: Island Catalog: ILPS-9255 Year: 1973 Country/State: US/UK Grade (cover/record): VG+/VG+ Comments: small punch hole top right corner Available: 1 Catalog ID: -- Price: $20.00
Genre: rock Rating: *** (3 stars) Title: Witness Company: Island Catalog: 87 332 IT Year: 1973 Country/State: US/UK Grade (cover/record): VG+/VG Comments: German pressing; gatefold sleeve Available: 1 Catalog ID: 251 Price: $50.00
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Enduring another round of personnel turmoil, the
band saw Bryson Graham and Ian Herbet replaced by Mike Kellie (back for
another round with the group) and ex-Grease Band bassist Chris Stewart. Adding to the
group's problems, longtime US label A&M had dropped the band. As a
result 1973's "Witness" found the
revamped quintet relocating to New York and recording for Chris Blackwell's Island Records.
With Gary Wright responsible for penning most of the nine tracks, the
Once again the US and UK releases (Island catalog number 87 332 IT) sported different art work, though the track listing and track orders were identiical.
"Witness" track listing: 1.) Ocean of Power (Gary Wright) - 4:41 rating: **** stars If you wanted to be totally honest about it, neither Mike Harrison, or Gary Wright had the greatest voices. On this collection the pair frequenty sounded strained and uncomfortable. I'll also readily admit I frequently haevea hard time telling them apart. That said, I think Harrison had the lead on 'Ocean of Power' and his voice was perfectly suited for a dark, mid-tempo rocker like this one'. Kicked along by Harrison's wailing voice, keyboards and Mike Kellie's powerhouse drumming, this was a classic Spooky Tooth effort that had FM radio written all over it. 2.) Wings on My Heart (Gary Wright) - 3:31 rating: ** stars 'Wings on My Heart ' was a bloated ballad that unfortunately underscored Wright's worst vocal characteristics. Plodding and thoroughly dull, the only thing worthwhile on this one was Mick Jones pretty lead guitar solo. Otherwise this was one you could live without. 3.) As Long as the World Keeps Turning (Gary Wright) - 3:38 rating: *** stars 'As Long as the World Keeps Turning' had an interesting pop edge to it. Nice title track hook with the band unveiling some nice harmony vocals. Wright also turned in a cool little synthesizer solo. Goodness knows I'm a sucker for cheesy '70s synthesizers. 4.) Don't Ever Stray Away (Chris Stewart - Gary Wright) - 3:12 rating: *** stars I've always liked Mike Harrison's rugged voice and he seldom sounded as good as on the molten rocker 'Don't Ever Stray Away'. Another track with an interesting melody, some chunky Mick Jones guitar and a nice hook, this one actually sounded like '80s AOR.
5.) Things Change (Gary Wright) - 4:15 rating:
**** stars
(side 2) 1.) All Sewn Up (Mick Jones - Gary Wright) - 3:40 rating: **** stars Opening up with Jones contributing some Bad Company styled guitar, 'All Sewn Up' found a nice middle ground between blues-rock and more commercial pop orientation. It was a nice example of how good Harrison and Wright could sound when they weren't trying to out-sing one another. Island seemingly agreed tapping the track as the album's single:
- 1973's 'All Sewn Up' b/w 'As Long As the World Keeps Turning' (Island catalog number 1219) 2.) Dream Me a Mountain (Gary Wright) - 3:42 rating: *** stars Kicked along by a nice Chris Stewart bass line, 'Dream Me a Mountain' was a decent bluesy-rocker that could have been a monster song, but just never fully switched into gear. Nice example of Harrison and Wright's shared vocal approach. This one always interested me in terms of comparing their voices. 3.) Sunlight of My Mind (Gary Wright) - 4:52 rating: *** stars 'Sunlight of My Mind' found the band upping the energy level and while Wright sounded good on this one, Jones stole the show with his raucous guitar - great solo on this one. 4.) Pyramids (Mike Kellie - Gary Wright) - 4:27 rating: ** stars 'Pyramids' ended the album with a slow, bluesy jam with Harrison and Wright again sharing lead vocals. With the two of them trying to out shout one another, guitarist Jones was left to steal the show with one of his nicest solos.
© Scott R. Blackerby November, 2024
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Genre: rock Rating: **** (4 stars) Title: The Mirror Company: Island Catalog: ILPS-9292 Year: 1974 Country/State: US/UK Grade (cover/record): VG+/VG+ Comments: original die-cast cover with original insert; cut top right corner Available: 1 Catalog ID: 4815 Price: $10.00
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With original singer/keyboardist Mike Harrison striking out in pursuit of a solo career, Spooky Tooth fans probably weren't expecting great things from the survivors. Those fears were probably reinforced by the back cover photo that showed a band looking suspiciously like early Journey. To their collective credit surviving members Bryson Graham, Mick Jones and Gary Wright were smart enough to dig up some talented replacements in the form of former Boxer singer/keyboardist Mike Patto and bassist Val Burke (wow, some 'fro there guy). Co-produced by Wright, Jones and Eddie Kramer, 1974's "The Mirror" may not have been the year's most original offering or even the band's creative zenith, but it was far from a creative deathbed. Creatively Harrison's defection appeared to have little impact on the band with Wright and Jones proving more than capable of handling the writing chores. Patto also proved his worth wasted no time co-writing several tracks with the others. His instantly recognizable voice (check out 'Two Time Love') also stood as a nice counterpoint to Wright's patented screech. For all the changes material like the lead-off rocker 'Fantasy Satisfier', 'Two Time Love' and 'Woman and Gold' served to showcase the combination of Wright's patented screech and stabbing keyboards and Jones' molten guitar solos remained firmly in place. To be honest, if the set had one or two more songs as good as 'I'm Alive' or 'Hell or High Water' (and you thought Peter Frampton discovered that irritating voice box guitar effect) it would have gotten a fourth star. Surprisingly consistent the album proved a modest success, peaking at # 130 in the US. (The set was originally released with a die cut cover.)
1.) Fantasy Satisfier (Gary Wright - Mick Jones) - rating: **** stars Yeah, I can find Gary Wright's performances to be a mixed bag, but on the full-throttled rocker 'Fantasy Satisfier' he demonstrated he could handle a conventional rocker without any problems. Admittedly the lyrics were little more than high schooler "wet dream" material, but the song did rock. It was also tapped as a single in the UK and Germany:
- 1974's 'Fantasy Satisfier' b/w ''The Hoofer' (Goodear catalog number EAR 607) 2.) Two Time Love (Gary Wright - Mick Jones - Mike Patto) - rating: **** stars Interesting to hear Mike Patto on lead vocals. I frequently find his voice whiney and irritating, but surrounded by one of Spooky Tooth's funkier arrangements and Gary Wright on backing vocals he actually sounded quite good. Not to say I didn't miss the criminally overlooked Mike Harrison.
- 1974's 'Two Time Love' b/w 'The Hoofer' (Good Ear catalog number EAR 109)
3.) Kyle (Gary Wright - Robert Purvis - Bill Elliott) - rating: *** stars The
ballad 'Kyle' was pretty enough, but Patto's ragged voice didn't do the
arrangement any favors. Well
Val Burke's opening bass lines were dazzling ... From there on the
song drifted into competent, if unspectacular rock territory with each
member get a little solo time. A competent blues-rocker, 'Higher Circles' was one of those tracks that managed to highlight the aspects of Wright's performances that I found irritating - the spacey closing and quasi-Gospel refrain and backing vocals didn't help.
(side 2) 1.) Hell or High Water (Gary Wright - Mike Patto) - rating: **** stars I have to admit the vocals sure sound like Mike Harrison, but Patto's shown as the co-writer. Regardless, powered by Mick Jones' voice-box guitar effects (and you thought Joe Walsh and Peter Frampton were the voice-box kings), 'Hell or High Water' was one of the album highlights. The track was tapped as a single in Australia, Canada and New Zealand:
-
1974's 'Hell or High Water' b/w 'Woman and Gold' (Island catalog number
IS0004A) And
'I'm Alive' showcases Wright at his best. Boasting a great melody;
awesome keyboards and his vocals at their strongest, this is one of the
songs I would have tapped as a single - certainly stronger than the album's
three singles. I also loved Burke's bass and Jones' lead guitar
on this one. Jones'
acoustic guitar introduction (carrying over from 'I'm Alive') was a nice
introduction to the title track. Admittedly the performance may be a
bit "forced" but I've always liked the melody; the cheesy
synthesizers and Wright's instantly recognizable vocals. It
took me a while to warm up to Patto's 'The Hoofer.' Ultimately
the bouncy melody; Patto's unique vocals and the lyric "Don't
let the long faced ugly mother wearing a frown, get ya' down ..."
won me over.
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collection was full of mid-tempo rockers that aptly displayed group's instantly recognizable over-the-top
mixture of keyboards and guitar. In
Harrison and Wright they were blessed with a pair of strong singers, though
both frequently sounded like their throats were full of phlegm and it took
some effort to figure out which was handling lead vocals. While the album did little to expand their musical horizons, all nine tracks were professional,
with most of the songs at least modestly enjoyable. Yeah, there were
some real turkeys here. The ballads 'Wings on My Heart' and 'Pyramids' were
forgettable,
but there were also some real gems including the atmospheric rocker 'Ocean of Power', 'Things
Change' and the surprisingly pop-ish 'As Long As the World Keeps Turning'. Another highlight, Harrison
simply killed on the molten-guitar rocker 'Don't Ever Stray Away'.
Certainly not their creative zenith, but a nice rebound. Unfortunately
Island didn't seem to have much interest in promoting the album which saw a
continuation of their gradual loss of audience. The album only reached
# 99 on the US Billboard charts.
