LE ROUX
''LOUISIANA'S LE ROUX''
APR 1978
CAPITOL
39:07
1. Take A Ride On A Riverboat/3:34
2. Love Abductor/3:46
3. New Orleans Ladies/3:58
4. Crazy In Love/
5. Slow Burn/5:03
6. Snake Eyes/4:17
7. Backslider/3:48
8. Bridge Of Silence/4:32
9. Heavenly Days/3:34
10. I Can't Do One More Two-step/3:53
Bobby Campo /Congas, Drums, Flugelhorn, Flute, Percussion, Trumpet, Vocals
Tony Haselden /Guitar, Guitar (Electric), Vocals
Leon Medica /Bass, Producer, Vocals
David Peters /Drums, Percussion, Vocals
Jeff Pollard /Guitar, Vocals
Rod Roddy /Clavinet, Fender Rhodes, Keyboards, Oberheim Synthesizer, Piano, Vocals
REVIEW
by Lindsay Planer
Released in 1978, Louisiana's Le Roux is the self-titled debut long-player from Le Roux -- a sextet whose moniker is derived from a word describing a distinct gumbo. As it is traditionally extracted from several sources, the broth-like substance retains an extremely unique flavor. In much the same way, Bobby Campo (trumpet, flügelhorn, flute, congas, percussion, vocals), Tony Haselden (electric guitar, vocals), Leon Medica (bass), David Peters (drums, percussion), Jeff Pollard (electric and acoustic guitars, lead vocals), and Rod Roddy (Rhodes electric piano, acoustic piano, clavinet, Oberheim synthesizer, vocals) create a fusion drawing from pop, rock, blues, R&B, funk, jazz, and of course their Crescent City roots. Le Roux evolved from the Jeff Pollard Band out of Baton Rouge, and their initial notice grew out of supporting blues legend Clarence "Gatemouth" Brown (guitar, vocals) during a mid-'70s tour of North America and Africa. Leon Medica (bass, producer) brought them to the attention of Screen Gems-EMI exec Paul Tannen, which ultimately led to a three-disc deal recording for Capitol. For their audience, the platter was undoubtedly a welcome diversion from the pop music disco dregs and remained nowhere as angst-ridden as the ensuing punk movement. "Take a Ride on a Riverboat" is a propulsive midtempo rocker commencing the affair with both their penchant for tight well-arranged harmonies and an ability to kick out the jams -- especially Roddy's effusive piano fills, Campo's bluesy solo, and Medica's thick and hearty bassline holding it all together. Pollard's fretwork alternately shines and grinds throughout the slinky and satisfying "Love Abductor." The compact vocals during the chorus stand as a perfect correlation against Pollard's chiming jazzy-inspired progressions. "New Orleans Ladies" is their ode to the bayou's steel magnolias, and became not only the best-known track from this album, but arguably of Le Roux's entire repertoire. That honor was solidified when the prestigious Creole-based Gambit Weekly magazine named "New Orleans Ladies" as Song of the Century. The driving rocker "Slow Burn" allows the band -- especially Campo, Medica, and Pollard -- a chance to wail. Not surprisingly, it also became an outlet for extended improvisations during live performances. "Snake Eyes" is a bouncy foreboding tale with some tasty phrases recalling Steely Dan's "Haitian Divorce." "Bridge of Silence" is a lyrical love song that again shows the combo's blend and Pollard's considerable skills as a composer, while "I Can't Do One More Two-Step" is freewheeling, offering a groove that isn't too far removed from the Meters. Louisiana's Le Roux made a brief entry onto the Pop Album survey, although outside the prestigious Top 100.
''LOUISIANA'S LE ROUX''
APR 1978
CAPITOL
39:07
1. Take A Ride On A Riverboat/3:34
2. Love Abductor/3:46
3. New Orleans Ladies/3:58
4. Crazy In Love/
5. Slow Burn/5:03
6. Snake Eyes/4:17
7. Backslider/3:48
8. Bridge Of Silence/4:32
9. Heavenly Days/3:34
10. I Can't Do One More Two-step/3:53
Bobby Campo /Congas, Drums, Flugelhorn, Flute, Percussion, Trumpet, Vocals
Tony Haselden /Guitar, Guitar (Electric), Vocals
Leon Medica /Bass, Producer, Vocals
David Peters /Drums, Percussion, Vocals
Jeff Pollard /Guitar, Vocals
Rod Roddy /Clavinet, Fender Rhodes, Keyboards, Oberheim Synthesizer, Piano, Vocals
REVIEW
by Lindsay Planer
Released in 1978, Louisiana's Le Roux is the self-titled debut long-player from Le Roux -- a sextet whose moniker is derived from a word describing a distinct gumbo. As it is traditionally extracted from several sources, the broth-like substance retains an extremely unique flavor. In much the same way, Bobby Campo (trumpet, flügelhorn, flute, congas, percussion, vocals), Tony Haselden (electric guitar, vocals), Leon Medica (bass), David Peters (drums, percussion), Jeff Pollard (electric and acoustic guitars, lead vocals), and Rod Roddy (Rhodes electric piano, acoustic piano, clavinet, Oberheim synthesizer, vocals) create a fusion drawing from pop, rock, blues, R&B, funk, jazz, and of course their Crescent City roots. Le Roux evolved from the Jeff Pollard Band out of Baton Rouge, and their initial notice grew out of supporting blues legend Clarence "Gatemouth" Brown (guitar, vocals) during a mid-'70s tour of North America and Africa. Leon Medica (bass, producer) brought them to the attention of Screen Gems-EMI exec Paul Tannen, which ultimately led to a three-disc deal recording for Capitol. For their audience, the platter was undoubtedly a welcome diversion from the pop music disco dregs and remained nowhere as angst-ridden as the ensuing punk movement. "Take a Ride on a Riverboat" is a propulsive midtempo rocker commencing the affair with both their penchant for tight well-arranged harmonies and an ability to kick out the jams -- especially Roddy's effusive piano fills, Campo's bluesy solo, and Medica's thick and hearty bassline holding it all together. Pollard's fretwork alternately shines and grinds throughout the slinky and satisfying "Love Abductor." The compact vocals during the chorus stand as a perfect correlation against Pollard's chiming jazzy-inspired progressions. "New Orleans Ladies" is their ode to the bayou's steel magnolias, and became not only the best-known track from this album, but arguably of Le Roux's entire repertoire. That honor was solidified when the prestigious Creole-based Gambit Weekly magazine named "New Orleans Ladies" as Song of the Century. The driving rocker "Slow Burn" allows the band -- especially Campo, Medica, and Pollard -- a chance to wail. Not surprisingly, it also became an outlet for extended improvisations during live performances. "Snake Eyes" is a bouncy foreboding tale with some tasty phrases recalling Steely Dan's "Haitian Divorce." "Bridge of Silence" is a lyrical love song that again shows the combo's blend and Pollard's considerable skills as a composer, while "I Can't Do One More Two-Step" is freewheeling, offering a groove that isn't too far removed from the Meters. Louisiana's Le Roux made a brief entry onto the Pop Album survey, although outside the prestigious Top 100.
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