Reviews: James Taylor, Herbie Mann, James Gang, David Gates in Quadio
The latest four titles in Rhino’s long-running Quadio series are now available at general retail. As usual, they comprise a quartet of eclectic titles from the 1970s. Two singer-songwriters – James Taylor and Bread’s David Gates – are joined by soul-jazz titan Herbie Mann and the rockers of The James Gang. Each Blu-ray Audio Disc in the Quadio series includes the original four-channel quadraphonic mix with a high-resolution 192/24 stereo mix, with both sourced from the original analog tapes. (The lone exception here is the Herbie Mann quad mix, which was sourced out of necessity from the commercially-released tape.)
And watch this space for our imminent report on the newest batch of Quadio releases from Carly Simon, Gordon Lightfoot, Hot Tuna, and The Souther-Furay-Hillman Band!
James Taylor’s sixth studio LP, 1975’s Gorilla, found the singer-songwriter bouncing back after the relative disappointment of his Walking Man album. Featuring such guests as Lowell George, Randy Newman, Valerie Carter, David Crosby, and Graham Nash, Gorilla found Taylor in a joyful mood with such classic hits as “Mexico” (featuring Crosby and Nash) and a revival of Holland-Dozier-Holland’s “How Sweet It Is (To Be Loved by You),” with Taylor’s then-wife Carly Simon on harmony vocals. Here, it’s presented in a discrete, well-balanced mix. The effervescent opener “Mexico” places Crosby and Nash’s backgrounds in the rear channels along with light instrumentation (electric guitar, harp, percussion), contributing to the track’s breezy feel. “Music” places the Fender Rhodes in the rear channels in a subtle but satisfying touch.
The hit Motown cover “How Sweet It Is (To Be Loved By You)”is afforded probably the best mix here, with Carly Simon’s solo vocals distinct in the rear channels as well as the chorus backgrounds (with Carly and JT, too). The instrumentation is nicely spread, with piano and electric guitars also in the back and JT’s vocals so crisp and clear up front. It’s infectious and joyful, and the best that quadraphonic sound can offer.
Gorilla is a varied set, and each track is given a unique sonic treatment. The spare “Wandering” makes minimal but effective use of the rear channels with accordion and JT’s own harmony vocal, while David Grisman’s mandolin anchors the wry title track in the back. Some background voices there add a surprising dimension, and woozy woodwinds pop up in the rear left channel. “I Was a Fool to Care” is front-centric with strings and percussion (as well as JT’s own background vocals) adding gentle support from behind.
The sultry, string-laden orchestration in the back adds heft to “You Make It Easy.” Taylor’s most soulful lead remains up front (as well as the saxophone solo). Another impressive mix is that of “Lighthouse,” offering yet another showcase for those delicious Crosby and Nash vocals. C&N start the song alone in the rear channels; when the solo Crosby enters the rear left, the effect is beautiful. The cascading vocals benefit mightily from the discrete treatment. The funky “Angry Blues” is more thunderous in surround than in stereo, with an increased presence for Lowell George on guitar and vocals. It’s happily enveloping, and the song makes more of an impression here than on the stereo LP. Not every track is as showy; the album concludes with the delicate “Love Songs” (with its prominent bed of woodwinds) and the lovely, folk-tinged “Sarah Maria.” Gorilla may not be Taylor’s most beloved LP, but it’s a stunner in surround.
Herbie Mann’s Hold On, I’m Comin’ (1973) continued the flautist’s long association with Atlantic Records. It preserves performances from both New York’s Yankee Stadium and the Montreux Jazz Festival in Switzerland. Backed by David Newman (saxophone), Pat Rebillot (electric piano), Sonny Sharrock (guitar), Andy Muson (bass), and Reggie Ferguson (drums), Mann tears into a setlist blending jazz, pop, and soul. Selections include The Jackson 5’s Clifton Davis-penned hit “Never Can Say Goodbye,” the Luther Ingram/Mack Rice-written Staple Singers smash “Respect Yourself,” and a percussion-focused take on The Memphis Horns’ “(Gimme Some Of That Good Old) Soul Beat Momma.”
The Quadio presentation is discrete for a live album if understandably front-centric, with echoes and ambiance in the rear channels. The funky rhythm section on “Gimme Some…” is anchored by Andy Mason’s bass. “Never Can Say Goodbye” is given a most subtle and quiet treatment, with Mann’s ethereal flute, Rebillot’s keys, Musan’s bass, and Newman’s relaxed and languid sax all impressing. “Respect Yourself” picks up the tempo and makes for an adventurous exploration in improvisation. Rather than dominating the proceedings, Mann is truly part of the ensemble throughout – a well-tuned, intuitive unit. He revisits his 1969 classic “Memphis Underground” with freshness and vivacity. Sonny Sharrock brings a spiky rock edge to his guitar while the band lays down a torrid groove rooted by the bass as usual. The title song serves as encore to the set.
Miami (1974) captures the high-octane sound of The James Gang in its post-Joe Walsh years. The band’s seventh studio album, it features Tommy Bolin in blazing fashion on the cusp of his departure to join Deep Purple. The cover intentionally echoed that of the band’s James Gang Rides Again LP with the title reflecting the recording locale of Miami’s Criteria Studios. Bee Gees collaborator Albhy Galuten joined the band (guitarist Bolin, vocalist Roy Kenner, bassist Dale Peters, and drummer Jimmy “Jim” Fox) on synthesizer for “Head Above the Water.” Tom Dowd’s production kept the band in a rootsy, earthy milieu. Two more albums would follow for Atco before The James Gang called it a day.
This is a solid quad presentation of an album that’s not the band’s finest in any era. The vocals are placed primarily in the fronts, sounding centered with a nicely-defined bass mainly in the left front. Tommy Bolin’s guitars can be heard throughout the album in both the front and back channels, emphasizing the instrument in the mix (as it should be for an LP such as this). Often, the drums are featured in the front and back right channels.
Bolin serves up the requisite pyrotechnics on “Do It (The Way You Do It),” and “Sleepwalker” is particularly tasty in surround, too, as it makes good use of the rear channels. (Another side of Bolin is revealed on the ballad “Spanish Lover,” one of the quietest tunes on Miami.) There appears to be a bit of noise on the “Praylude/Red Skies” suite, though it’s one of the album’s signature pieces. The light “Summer Breezes” features the guitars nicely spread in the soundscape, and “Head Above the Water” utilizes the rear channels first as gentle support and then builds appropriately with the music. Miami might not rank with The James Gang’s finest, but the surround mix makes for an enjoyable listen.
The Quadio two-fer of First/Never Let Her Go (1973/1975) brings together the first two solo albums from Bread’s frontman and balladeer supreme, David Gates. The appropriately-titled First, featuring the singles “Suite: Clouds, Rain” and “Sail Around the World,” welcomed Bread bandmates Mike Botts and Larry Knechtel as well as Larry Carlton, Jim Horn, John Guerin, Louie Shelton, and Russ Kunkel among its A-list musicians. Never Let Her Go continued in the lush, melodic vein of its predecessor and spun off the hit title track.
First’s reflective “Sail Around the World” is a strong opening to a low-key album that failed to yield a major Pop hit (though the sweeping and varied “Suite: Clouds/Rain” made the AC top three). Along with “Clouds,” an impressively discrete mix illuminates “I Use the Soap.” Though best-known for his ballads, Gates indulges his rockier side on “Sunday Rider” (“Take my wife and take my pay/But don’t take my Sunday lady from me”) and the boisterous, brassy “Help Is on the Way.” More understated is the tender lullaby “Ann,” while “Do You Believe He’s Comin’” comes close to the sound of Christian rock. “Lorilee” has a pleasing Classics IV/Spooky/Stormy feel with tasty organ and sax; a lengthy instrumental opens the song.
Never Let Her Go is overall the stronger and more varied quad mix. The very Bread-esque title track is beautifully and immersively mixed with drums, strings, and background vocals anchoring the rear channels, but there’s demonstration disc-worthy separation on almost every track. The hard-rocking “Angel” evokes Bread’s “Mother Freedom” and the quad mix does it full justice with crisp, spiky guitars up front and crystal clear drums in the back. Gates similarly cuts loose on the imploring “Watch Out,” “Chain Me,” and “Light of My Life,” the latter of which features great bass definition here. The pretty “Someday” is as melodic as Gates’ best, and “Strangers” is as moody as “Greener Days” is jaunty. Fans of the classic ‘70s soft rock sound won’t want to miss this Quadio pairing.
All four titles are available now on Amazon.com and at finer retailers. You’ll find the track listings and order links below. As an Amazon affiliate, we earn from qualifying purchases.
Herbie Mann, Hold On, I’m Comin’ (Atlantic ATLQ-1632-QR, 1973)
- “(Gimme Some Of That Good Old) Soul Beat Momma”
- “Never Can Say Goodbye”
- “Respect Yourself”
- “Memphis Underground”
- “Hold On, I’m Comin’”
David Gates, First/Never Let Her Go (Elektra, 1973/1975)
First (Elektra EQ 5066, 1973)
- “Sail Away Around The World”
- “Sunday Rider”
- “Soap (I Use The)”
- “Suite: Clouds, Rain”
- “Help Is On The Way”
- “Ann”
- “Do You Believe He’s Comin’”
- “Sight & Sound”
- “Lorilee”
Never Let Her Go (Elektra EQ 1028, 1975)
- “Never Let Her Go”
- “Angel”
- “Playin’ On My Guitar”
- “Watch Out”
- “Part Time Love”
- “Chain Me”
- “Light Of My Life”
- “Someday”
- “Greener Days”
- “Strangers”
The James Gang, Miami (Atco QT 36-102, 1974)
- “Cruisin’ Down The Highway”
- “Do It”
- “Wildfire”
- “Sleepwalker”
- “Miami Two-Step”
- “Praylude”
- “Red Skies”
- “Spanish Lover”
- “Summer Breezes”
- “Head Above The Water”
James Taylor, Gorilla (Warner Bros. BS4 2866, 1975)
- “Mexico”
- “Music”
- “How Sweet It Is (To Be Loved By You)”
- “Wandering”
- “Gorilla”
- “You Make It Easy”
- “I Was A Fool To Care”
- “Lighthouse”
- “Angry Blues”
- “Love Songs”
- “Sarah Maria”
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