Chris Youlden (Band)
Band members Related acts
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- Chris Youlden -- vocals, keyboards
supporting musicians (1973) - Roy Barrington --
bass supporting musicians (1973) - John Beecham --
trombone
supporting musicians (1974) - John Beecham -- trombone - Dave Caswell -- trumpet - Mike Cotton -- trumpet - Rosco Gee -- bass - Derek Griffiths -- guitar - Suzanne Lynch -- backing vocals - Jack Mills -- guitar - Nick Newell -- sax - Anna Peacock -- backing vocals - Bruce Rowlands -- drums, percussion - Terry Stannard -- drums - Pete Wingfield -- keyboards - Jay Yates -- backing vocals
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- Down Home Blues Band (Chris Youlden) - Maxwell Street (Chris Youlden) - Savoy Brown (Chris Youlden) - Shakey Vick's Big City Blues Band (Chris Youlden)
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Genre: blues-rock Rating: 4 stars **** Title: Nowhere Road Company: London Catalog: PS
633 Country/State: Dagenham, UK Grade (cover/record): VG+/VG+ Comments: promo sticker on cover; original lyric inner sleeve; cut out hole top right corner Available: 2102 Catalog ID: 1 Price: $35.00
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Best known for
having replaced Bryce Portius as one of Savoy Brown's original lead singers,
during his tour of duty with the band Chris Youlden rivaled Kim Simmonds in
serving as the band's focal point. In addition to being blessed with a voice
that was perfectly suited for the band's bluesy rock moves, his reputation
wasn't hurt by his onstage attire - often a bowler and monocle, or a
tux. It also didn't hurt that Youlden was a capable writer,
responsible for penning roughly half of Savoy's classic early-'70s material. 1.) Nowhere Road (Chris Youlden) - 4:50 Say what you will about Youlden, but there was no denying the man had one helliuva voice ! And if you thought all he was capable of doing were plodding blues numbers, then check out the surprisingly funky (yes, funky) title track. Love the bubbly Mike McNaught keyboards and the guitar fills were just icing on the cake. The tune was tapped as a single throughout Europe and as a promo single in the States:
- 1973's
'Nowhere Road' b/w 'Standing On The Corner'
(catalog number 45-1048 DJ)
rating: **** stars Even
with the horns, 'One October Day' was one of the most mainstream and
commercial things Youlden's ever recorded. The title track refrain was
irresistible. rating:
**** stars In
the wake of one of his most commercial offerings, 'Chink of Sanity' was one
of the prettiest tunes he'd ever penned, though it would have been even
better without the horn arrangement. great tune to hear that
special snarl embedded in Youlden's voice.
rating: **** stars Even
more radio friendly was the blazing rocker 'Cryin' in the Wind'. I'm
sure the song's commercial edge offended his longtime blues fans, but it's
probably my favorite Youlden
solo side, I've always wondered who turned in the wonderful guitar solo - Ray
Fenwick, Danny Kirwan, Foggy Lyttle, or Chris Spedding ? rating:
**** stars Nice
boogie rocker that's always reminded me of something The Guess Who might
have recorded. In fact, Youlden's voice even sounded a bit like
Burton Cummings on this one. rating:
*** stars (side 2) 6.) Standing On the Corner (Chris Youlden) - 3:28 'Side
two's 'Standing On the Corner' found the horns returning. I actually
liked the song's structure and melody, but the extended sax solo and
bleating female backup vocalists did the song a disservice. rating:
*** stars The
slinky ballad was one of the album's sleeper tunes. Again, not sure
who played it, but the song's wah-wah guitar and melodic solos were
first-rate. rating:
**** stars Another
slice of unexpectedly funky rock. Not as good as the title
track, but enough to get you up and moving. rating:
*** stars Heavily
orchestrated ballad that had kind of a strange vocal on it - Youlden almost
sounding like he'd swallowed the mike.
rating: *** stars If
you were to pick a song to appear on a Savoy Brown album, the jump blues
'Time Will tell' might be the best choice. Powered by Youlden's
unique voice and some breezy lead guitars, this was one of the album's
highlights.
rating; **** stars Ever
think you'd hear Youlden do a pop song? Me neither, but kicked along
by some of the most melodic flute you'll ever hear,
'Pick Up My Dogs and Gone' was top-40 ready. How was it that
Parrot/Deram didn't release it as a single?
rating; **** stars
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Genre: blues-rock Rating: 3 stars *** Title: City Child Company: London Catalog: PS
642 Country/State: Dagenham, UK Grade (cover/record): VG+/VG+ Comments: -- Available: 2103 Catalog ID: 1 Price: $40.00
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Having
listened to 1974's "City Child" dozens of
times over the years, I'm still on the fence in terms of my final opinion.
Youlden had a great blues voice
and was capable of writing classic material. Unlike the debut album,
on his second solo release the results were kind of hit-or-miss. Part
of the problem may have been associated with the fact this time around Youlden
handled
production duties depriving himself of an independent second set of ears. Self-produced, the
ten original tunes were more varied than his debut, but that wasn't
necessarily a good thing. While the bluesy 'Little Cog In a Big Wheel',
'Love and
Pain' and 'It Ain't for Real' recalled his Savoy Brown-styled
roots, 'Conjure Wife' was an out-out-out rocker, while 'Born
and Raised In the City' and 'Keep Your Lamp Lit' were
actually funky (in a mid-'70s Boz Scaggs kind of way). Best of the lot was the
haunting rocker 'Spare Change'. Not as instantly likeable as the
debut, but the set's grown on me over the years. 1.) Conjure Wife (Chris Youlden) - 3:40 Breezy
blues number that served to showcase what a great voice Youlden had and
quickly grew to be one of my favorite performances. rating:
**** stars White-boys
blues-funk ... didn't do much for me the first time around, but
the punchy horns and Youlden's rough hewn vocals grew on me; especially on
the chorus when he blended in with the female backing singers.
My earlier comparison to Boz Scaggs wasn't all that far off. rating:
*** stars 'The
Morning Light' was one of those tunes where Youlden shifted into his smooth,
pseudo lounge lizard voice (which I've always loved). The highlight on
this jazzy number came in the form of Roscoe Gee's fantastic bass
work. rating:
**** stars Opening
up with a tasty little guitar riff, 'Keep Your Lamp Lit' had an irresistible
breezy flow. The horns were a bit distracting this time out, but
Youlden's vocals made up for it.
rating: *** stars 'Little
Cog In a Big Wheel' was the tune that came the closest to his Savoy Brown
catalog. Bluesywith some great blues-lyrics (ah life is tough when you
are academically challenged), but in a fashion that should have appealed to
folks that don't like the blues. rating:
**** stars (side 2) 1.) Peace of Mind (Chris Youlden) - 3:23 Nice
Gospel-blues tune that would not have sounded out of place on a Bonnie and
Delaney album. Another one that grew on you given a
chance.
rating: **** stars Up-tempo
New Orleans flavored blues number with some nice Pete Wingfield barrelhouse
piano kicking it along. Unfortunately this one just never kicked into
gear for me. rating:
** stars My
pick for one of the standout performances, 'Spare Change' sported the
album's best melody and Youlden's best vocal. Parrot should have
tapped this one as a single.
rating: **** stars 'Love
and Pain' found Youlden stripping away most of the pop and rock
accompaniment, returning to a straightforward slice of Savoy-styled
blues. Usually I'm not a big fan of the genre, but his
performance was dazzling; for some reason reminding me of the late Otis
Redding.
rating: **** stars Built on a horribly catchy hook, the bouncy, breezy, radio-friendly 'It Ain't for Real' was the album's charmer. Always loved Derek Griffiths' melodic Santana-styled lead guitar work on this one. rating: **** stars
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