LONG JOHN BALDRY
''LOOKING AT LONG JOHN''
1966
30:51
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1 You've Lost That Lovin’ Feelin' 03:22 (Phil Spector, Barry Mann, Cynthia Weil)
2 Only A Fool Breaks His Own Heart 02:44 (Shelly Coburn, Norman Bergen)
3 Make It Easy On Yourself 02:58 (Burt Bacharach, Hal David)
4 Let Him Go (And Let Me Love You) 02:12 (Lucky Edwards Jr., Maxwell)
5 The Drifter 03:03 (Richard Gottehrer)
6 Cry Me A River 03:01 (Arthur Hamilton)
7 Stop Her On Sight (S.O.S) 01:56 (Albert Hamilton, Richard Morris)
8 Turn On Your Lovelight 02:07 (Deadric Malone, Joseph Scott)
9 I Love Paris 02:13 (Cole Porter)
10 Keep On Running 02:16 (Jackie Edwards)
11 Ain't Nothing You Can Do 02:31 (Deadric Malone, Joseph Scott)
12 Bad Luck Soul 02:22 (Martin, Ralph, Gussin)
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REVIEW/AMG
Richie Unterberger
Baldry's move from blues into pop/soul for his second album may have been viewed as something of a loss in integrity, given his purist blues stance on his debut. Maybe it wasn't such a bad idea, though, given that the debut LP wasn't very good, and the British blues-rock field was crowded with many greater talents in the mid-'60s. Looking at Long John, with a sub-Righteous Brothers sort of approach, is certainly a change in style, but the result really isn't any better. Baldry's vocal limitations are a big handicap whether applied to white-boy blues or blue-eyed soul, and the production is thin in comparison with the American soul/pop it's clearly trying to emulate. If you wanted this kind of stuff, the Righteous Brothers did it many times better. Not only that, if you were British at the time and weren't aware of the Righteous Brothers, you weren't about to turn to John Baldry; the Walker Brothers (American, but based in Britain) also did this kind of stuff much better. The BGO CD reissue combines this and the 1964 LP Long John's Blues on one disc.
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BIOGRAPHY/AMG
Richie Unterberger
Like Cliff Richard, Chris Farlowe, Slade, Blur, and eel pie, Long John Baldry is one of those peculiarly British phenomena that doggedly resists American translation. As a historical figure, he has undeniable importance. When he began singing as a teenager in the 1950s, he was one of the first British vocalists to perform folk and blues music. In the early '60s, he sang in the band of British blues godfather Alexis Korner, Blues Incorporated, which also served as a starting point for future rock stars Mick Jagger, Jack Bruce, and others. As a member of Blues Incorporated, he contributed to the first British blues album, R&B at the Marquee (1962). He then joined the Cyril Davies R&B All Stars, taking over the group (renamed Long John Baldry and His Hoochie Coochie Men) after Davies' death in early 1964. This band featured Rod Stewart as a second vocalist, and also employed Geoff Bradford (who had been in an embryonic version of the Rolling Stones) on guitar.
In the mid-'60s, he helped form Steampacket, a proto-supergroup that also featured Stewart, Julie Driscoll, and Brian Auger. When Steampacket broke up, he fronted Bluesology, the band that gave keyboardist Reg Dwight -- soon to become Elton John -- his first prestigious gig. He was a well-liked figure on the London club circuit, and in fact the Beatles took him on as a guest on one of their 1964 British TV specials, at a time when the Fab Four could have been no bigger, and Baldry was virtually unknown.
Ironically, his greatest commercial success came not with blues, but orchestrated pop ballads that echoed Engelbert Humperdinck. The 1967 single "Let the Heartaches Begin" reached number one in Britain, and Baldry had several other small British hits in the late '60s, the biggest of which was "Mexico" (1968). (None of these made an impression in the U.S.)
The commercial success of his ballads led Baldry to forsake the blues on record for a few years. He returned to blues and rock in 1971 on It Ain't Easy, for which Rod Stewart and Elton John shared the production duties. The album contained a tiny American chart item, "Don't Try to Lay No Boogie-Woogie on the King of Rock'n'Roll," and Stewart and John split the production once again on the 1972 follow-up, Everything Stops for Tea. Baldry never caught on as an international figure, though, and by 1980 had become a Canadian citizen. He continued to record, and did commercial voice-overs as well as the voice of Doctor Robotnik in children's cartoons. After battling a severe chest infection for several months, Long John Baldry passed away on July 21, 2005, while hospitalized in Vancouver.
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TO THE TOP
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''LOOKING AT LONG JOHN''
1966
30:51
********************
1 You've Lost That Lovin’ Feelin' 03:22 (Phil Spector, Barry Mann, Cynthia Weil)
2 Only A Fool Breaks His Own Heart 02:44 (Shelly Coburn, Norman Bergen)
3 Make It Easy On Yourself 02:58 (Burt Bacharach, Hal David)
4 Let Him Go (And Let Me Love You) 02:12 (Lucky Edwards Jr., Maxwell)
5 The Drifter 03:03 (Richard Gottehrer)
6 Cry Me A River 03:01 (Arthur Hamilton)
7 Stop Her On Sight (S.O.S) 01:56 (Albert Hamilton, Richard Morris)
8 Turn On Your Lovelight 02:07 (Deadric Malone, Joseph Scott)
9 I Love Paris 02:13 (Cole Porter)
10 Keep On Running 02:16 (Jackie Edwards)
11 Ain't Nothing You Can Do 02:31 (Deadric Malone, Joseph Scott)
12 Bad Luck Soul 02:22 (Martin, Ralph, Gussin)
********************
REVIEW/AMG
Richie Unterberger
Baldry's move from blues into pop/soul for his second album may have been viewed as something of a loss in integrity, given his purist blues stance on his debut. Maybe it wasn't such a bad idea, though, given that the debut LP wasn't very good, and the British blues-rock field was crowded with many greater talents in the mid-'60s. Looking at Long John, with a sub-Righteous Brothers sort of approach, is certainly a change in style, but the result really isn't any better. Baldry's vocal limitations are a big handicap whether applied to white-boy blues or blue-eyed soul, and the production is thin in comparison with the American soul/pop it's clearly trying to emulate. If you wanted this kind of stuff, the Righteous Brothers did it many times better. Not only that, if you were British at the time and weren't aware of the Righteous Brothers, you weren't about to turn to John Baldry; the Walker Brothers (American, but based in Britain) also did this kind of stuff much better. The BGO CD reissue combines this and the 1964 LP Long John's Blues on one disc.
********************
BIOGRAPHY/AMG
Richie Unterberger
Like Cliff Richard, Chris Farlowe, Slade, Blur, and eel pie, Long John Baldry is one of those peculiarly British phenomena that doggedly resists American translation. As a historical figure, he has undeniable importance. When he began singing as a teenager in the 1950s, he was one of the first British vocalists to perform folk and blues music. In the early '60s, he sang in the band of British blues godfather Alexis Korner, Blues Incorporated, which also served as a starting point for future rock stars Mick Jagger, Jack Bruce, and others. As a member of Blues Incorporated, he contributed to the first British blues album, R&B at the Marquee (1962). He then joined the Cyril Davies R&B All Stars, taking over the group (renamed Long John Baldry and His Hoochie Coochie Men) after Davies' death in early 1964. This band featured Rod Stewart as a second vocalist, and also employed Geoff Bradford (who had been in an embryonic version of the Rolling Stones) on guitar.
In the mid-'60s, he helped form Steampacket, a proto-supergroup that also featured Stewart, Julie Driscoll, and Brian Auger. When Steampacket broke up, he fronted Bluesology, the band that gave keyboardist Reg Dwight -- soon to become Elton John -- his first prestigious gig. He was a well-liked figure on the London club circuit, and in fact the Beatles took him on as a guest on one of their 1964 British TV specials, at a time when the Fab Four could have been no bigger, and Baldry was virtually unknown.
Ironically, his greatest commercial success came not with blues, but orchestrated pop ballads that echoed Engelbert Humperdinck. The 1967 single "Let the Heartaches Begin" reached number one in Britain, and Baldry had several other small British hits in the late '60s, the biggest of which was "Mexico" (1968). (None of these made an impression in the U.S.)
The commercial success of his ballads led Baldry to forsake the blues on record for a few years. He returned to blues and rock in 1971 on It Ain't Easy, for which Rod Stewart and Elton John shared the production duties. The album contained a tiny American chart item, "Don't Try to Lay No Boogie-Woogie on the King of Rock'n'Roll," and Stewart and John split the production once again on the 1972 follow-up, Everything Stops for Tea. Baldry never caught on as an international figure, though, and by 1980 had become a Canadian citizen. He continued to record, and did commercial voice-overs as well as the voice of Doctor Robotnik in children's cartoons. After battling a severe chest infection for several months, Long John Baldry passed away on July 21, 2005, while hospitalized in Vancouver.
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