![]() The rock version of ‘C’mon Everybody’ is a long way from Eddie Cochran and 50s rock’n’roll, more of a 70s jam, fat riffs, Stones meets UFO? Twin lead guitar parts and mini lead sections with wah wah pedal keep the party going, Marriott leading the vocal charge. The solo parts are fluid and effortless, capturing the feel of a live performance – tight but loose.Īcoustic guitar introduces the gentler ‘You’ re So Good To Me’, one of the singles from the LP, mellow until the soul multi-vocal chorus ‘I know you’re so good for me…the sun’ s gonna shine…’ Joyous if derivative and ‘of the time’. ![]() One of Clem’s favourite records in recent years had been Crosby, Stills, Nash and Young’s Deja Vu, so the sudden and unexpected appearance of Stephen Stills in the studio one evening was an unforgettable moment, and his subsequent contribution of a brilliant vocal line (Do you get the message?) for Hot ‘n’ Nasty helped the track become a hit single and one of the Pie’s most popular tracks to this day.Īn ascending progression segues into the blues rock of The Fixer, Marriott’s vocal delivery not giving away much indication of what the song is about. ‘Hot’n’Nasty’ opens in funky style, squelching organ through the intro, making way for wah wah guitar and a full rockin jam topped by Marriott’s blues wail and backing vocals by a special guest, as Clem Clempson’s web page recounts:Īfter just a handful of gigs the new Pie line-up began work in Olympic Studios on the Smokin’ album. Steve Marriott became the erstwhile ‘leader’, former Colosseum guitarist Dave ‘Clem’ Clempson accepted an invitation from Marriott to join the band in 1972 and Humble Pie went on to record 1972’s ‘Smokin’’, their most successful album to date. Frampton left Humble Pie before the release of this live album, unhappy with the band’s direction, to forge a successful solo career. A commercial breakthrough, ‘Performance’ captured the band’s set at Bill Graham’s Fillmore East in New York City, full of their extended interpretations of songs written by others, probably the most successful being ‘I Don’t Need No Doctor’, a full on rocked up cover of the R&B tune written by Nick Ashford, Valerie Simpson and Jo Armstead. After their first label Immediate, who were also home to the Small Faces, went bankrupt, the band recruited a new manager, Dee Anthony, who helped them sign a new deal with A&M and directed their sound to a grittier, blues-based rock, more suited to Marriott’s raw, soulful vocals.ġ970s ‘Humble Pie’ and 1971s ‘Rock On’ preceded their live double album ‘Performance: Rockin’ The Fillmore’, released in November 1971. Their first two LPs, ‘As Safe As Yesterday Is’ and ‘Town and Country’ contained a number of melodic acoustic-based songs, a sound heavily influenced by Frampton. I highly recommend this pressing to anyone who likes this album.Hard rock ‘supergroup’ Humble Pie formed in Essex, England in 1969, featuring former Small Faces’ frontman Steve Marriott and Herd guitar virtuoso Peter Frampton, ex-Spooky Tooth bassist Greg Ridley and drummer Jerry Shirley. "Sweet Peace and Time" - this song has never sounded good to me, there is just too much going on. It actually rattled my walls(!), which never happened before. "I Wonder" - never heard the bass so tight on this one. "Road Runner" - good drum mix is heard again, and the organ playing is clean sounding (no sibalance). "30 Days In The Hole" - super bass (but nice and tight), and you can hear every bead in those maracas too. ![]() "Old Time Feeling" - I don't like this song, but the sound was really good (innermost track too!) and I still can't figure out if it's a mandolin or guitar in there. On the other pressings I have heard this all sounds mashed together. "C'mon Everybody" nice separation on this song, the drum playing is highlighted, and the electric guitar effects sound good. "You're So Good For Me" (a really beautiful song) the acoustic guitars sound so natural, you can just about hear the wood. "The Fixer" has the most defined bass that I have heard from that track. The opening track "Hot 'n Nasty" has backround singers and you can almost count them(!). The vinyl is dead quiet, and the first thing I noticed, compared to the other pressings I have (a few domestic originals, and Brazilian) is the improved sound stage, separation and detail. Ordered from Acoustic Sounds, the record was clean, well pressed and had no scuffs or marks. Got the newly released (Analog Productions) 180 gram vinyl.
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