"Yes, Jimmy Page knew that Humble Pie was a dangerous group."
HUMBLE PIE "Smokin '" 1972
In the garden of discs that will haunt my whole life, it is undoubtedly the top priority. There were in my life, but it remains for me despite the unchanging companion plays and years.
I also noticed that I still had not chronicled in these pages the great heights of sonic my love rock'n'rollien. For fear of missing the chronicle, for fear that my words are not up to my feelings, my emotions. I also choose them sparingly, like "Power Supply" from Budgie, or "Imagination Lady" Chicken Shack. But it misses others, even more beautiful.
"Smokin '" So, is my all-time record. It is my life, my soul, blood flowing in my veins, all my contradictions, my inner rage.
blood and sweat, this disc drips. I had already addressed the oh so sublime self-titled debut of Humble Pie in 1970, already frankly superb, and also in the top ten discs of my pantheon. 
In 1971, Humble Pie was formed by Steve Marriott on vocals and guitar, Peter Frampton in the same roles, a little more and a little less soloist singer, Greg Ridley on bass and Jerry Shirley on drums. Since 1970, the foursome, signing with manager Dee Anthony and label A & M, engages in a Heavy-Blues powerful, moving away from heavy-rock country and pop of his debut, but also that the bankruptcy scored his first steps. Marriott man small in size but huge in personality, the gift of voice and songwriter, is gradually defining the sound Humble Pie. Frampton place here and there some good songs between heavy rock sound and the influence in California, but it seems to gradually disconnect from the rest of the group.
And the future will seal his fate with "Live At The Fillmore" published in late 1971, this double album recorded live at the Fillmore East in New York sells 500,000 copies in the U.S.. Y dominates the dramatic voice of Marriott, the rhythmic leaded Ridley and Shirley, and then the solos of jazz-blues Frampton, incidentally. The latter shines, let's be honest, but he is reduced to playing companions of excellence, become the clear leader Marriott. Not surprisingly, Frampton go away, especially since his music seemed to then move towards jazz, which not related to any of his comrades. Dee Anthony so he negotiates a contract with A & M solo, and Frampton shine commercially in 1976 with its "Comes Alive! "Which sold 8 million copies, and has nothing of jazz.
Hands Free, Steve Marriott forges his group as he sees fit. The three hiring a musician's strange past, one David "Clem" Clempson. The latter has played rather brilliantly in Colosseum, excellent jazz-rock of the equally excellent drummer John Mayall, Jon Hiseman. But then, Colosseum, then, is the kind scarecrow for kids. Group of big names of British Blues Boom-it is both anti-chamber of Progressive Rock, and the tomb of the blues-rock vaguely heavy and shouting themselves hoarse in solos too demonstrative to be honest. It was unfamiliar with the Colosseum, but it was mostly unfamiliar with Clempson. 
Because the boy was also the guitarist in a trio of Heavy-Blues name Bakerloo (already mentioned in these pages). This group was a significant influence on their first games of the era, namely Earth aka Black Sabbath or Led Zeppelin. The strength of this group was very blues guitar of Clem, incredibly expressive and powerful, hooting at the death. This technique of vibrato on Paul does not leave listeners indifferent or careless Experts but left the marble buyers face this group too wise enough in his rock'n'roll lifestyle. 
So even Clempson as Marriott, Ridley and Shirley hiring in December 1971. The poster laugh, but anyway, Humble Pie laugh. Just think: a former Small Faces, a priori already surpassed commercially by his former group became the Faces, a bass player from Spooky Tooth, and a drummer that are mocked in comparison to the relentless John Bonham. And then add this famous defector Colosseum, and you have the best of the old-fashioned English Rock. Imagine the scene: four lads with their pedigree against Ziggy Stardust, Lou Reed, Alice Cooper, Led Zeppelin, Deep Purple, ELP, King Crimson or Yes. Condemned in advance.
However, Led Zeppelin's first U.S. side refused. Jimmy Page knew that it was a time hoped Marriott as a singer of his group. But the personality of this last, powerful, unstable, angry, would hardly have stuck with that page. He preferred a form of imitative rather talented but mostly docile.
Yes, Jimmy Page knew that Humble Pie was a dangerous group. Only Grand Funk Railroad took them, and Pius was ranked among the noisy groups without finesse alongside Railroad but also of Mountain and Cactus, these groups of Heavy-American Blues and critics of the time plugged difinissait as clumsy and classless, dirty jeans with their times and their threadbare Blues standards. The Blues? Music of another age, prehistory of Rock what. We grime androgynous, we look at ourselves, we are looking for. We play what the queer, for these bumpkins fans Missippi queen. Fucking rednecks. Bullshit. Humble Pie was well beyond, in a world that none of the common man did not touch the little finger. Much less a Lynyrd Skynyrd, who were yet their first game in 1974.
"Smokin '" is a diamond. Because he knew how to combine with a rare combination of Soul, Blues, rythm'n'blues, the Heavy-Rock, and Heavy-Metal with a strength and cohesion impeccable. What
white group was able to play with such a mastery of the Soul? No harm is touched, especially after the "Innervisions" by Stevie Wonder in 1973, but none had this beat, this swing. Beck, Bogert, Appice rubbed it, without reaching a quarter of the brilliance of this song.
Note that it is enough air to start this drive with such a title, either "Hot'N'Nasty" as authentically rhythm'n'blues. Finally, Heavy rythm'n'blues, because if the rhythm is smooth and square, it is heavy and thick. The Hammond organ Marriott scrambled the song before Clempson not uncheck small chorus racy and bleeding. Steve Marriott sings with an incredible talent, and first surprise, he was accompanied by two black singers, two former Raylettes or Madeline Bell and Doris Troy. These choirs will give Marriott the idea of hiring full-time black singers, future Blackberries. The third singer is a man here, and not only that, since this is Stephen Stills. After this fine introduction to the subject which, no less, makes Marriott the undisputed leader of the group, after "The Fixer". This is a solid title, thick, mid-tempo, relentless. Clempson perfectly complements the riff cradingue Marriott, doubling the light of agreements and chorus to wah-wah sticky. Ridley and Shirley are all powerful at the height of the best rhythm of the time, Bogert-Appice, Entwistle and Moon-Jones-Bonham. But they have this harshness, this total lack of skill in the words that just makes them endearing. If
.jpg)
Humble Pie fell into the heavy riff for quite a few albums, both with "I Do not Need No Doctor", or "Stone Cold Fever" they had never had that sound. The tone was often more blues, more raspy and less sure of his strength. With the production of Marriott, the guitars roar, they yell more. Clem Clempson there is a lot. His ability to blend into the group, to inject his talent without squabble of egos (as was still the case with Frampton), and even give guitar lessons at Marriott, to encourage them to do more solos, shows how much capital he was empowerment incredible, audible on this record. 
Titles massive, powerful, there are two totally incomparable. First is that reinterpretation of "C'Mon Everybody" by Eddie Cochran. Do not look here for any trace of the original rockabilly rhythm, you're wasting your time. A big fat riff over-compressed in the left speaker crackles, soon followed by the counterpoint of Clempson. Ridley and Shirley landed in ambush. The latter hits his skins with precision and indescribable bearings wobbly toms, making the steep track. Ridley added, making snoring in his bass counterpoint on the toms. And then both roll the chorus, and the two guitars are more than roar. Marriott is here master of the riff, the bass while ensuring Clempson handles treble with chorus bursting with saturation and wah-wah. Note that Stevie sings beautifully again, transforming the old classic rock with nothing but his vocal line. 
"Sweet Piece And Time" closes the gallery by hitting the heavy listener at the end of a disk rolling toms thick but fluid. Ridley who sings it, and there's no doubt, his deep voice and shy was an asset to the group. Marriott is not far, doubling his singing voice of rabid wolves. The two guitars weave a carpet of powerchords-chorus is simply magical. The melody is a blend of Southern rock that does not exist yet and "When The Levee Breaks" by Led Zeppelin on "IV". Except, I prefer this title than the Zep. Shorter, it is also more eventful and emotional. Marriott Clempson are the purview of the twin-guitar, foreshadowing Thin Lizzy and the Southern rock precisely, much more than Wishbone Ash, despite all the qualities of this group. 
Clempson Clem is still brilliant, taking in Humble Pie Shoreline emotional rare. Until you see the other three fellows join. Marriott followed as soloists, the two men meet. Steve sings to bursting, while Ridley was the voice of the loser, the guy who washes his despair in whiskey. hear these two screaming Sweet Piece And Time, Wake Up Your Mind "is a treat that was engulfed in a broth of riffs and solos, wah-wah and sustain. The two metronomes in ambush are the rhythmic snoring. Maybe I'm A Loser, But I'm Gonna Be A Winner One Day.
Between the two there is room for emotion. First, there are two acoustic tracks absolutely superb, and you have no doubt. First "You're So Good For Me." Greg Ridley sings his voice scratched, soon joined by Doris Troy and Madeline Bell. Steve Marriott is the third high-pitched voice, but not the third chick. I love the lyrics of this song. So macho can seem, Humble Pie had the knack to vibrate with emotion and romance in the best sense of the word. First is the acoustic guitar arpeggios interwoven, joined by the steel-guitar and drums generous Shirley. Yes, Honey, you have the power, because the love you have for me finds no equal in human bumpkin I am. But yes, Babe, I love you. Class shit. They expect all this, secretly. "Ol 'Time Feelin'" is more a tribute to good old country-blues of families. But it may be that this song is at least as good as "Honky Tonk Woman" country version of the album "Let It Bleed The Rolling Stones. Because we feel that these lads play. Marriott blast in the harmonica, everyone is a little drunk. Old Time Feelin ', what.
And then in the middle, there is "Thirty Day In The Hole," coupled with "Roadrunner", classic soul of Holland / Dozier / Holland, namely the Motown songwriters. Troy Bell and ensure the black vote. A smile, a slap. As such, a mixture of soul and heavy rock music is a masterpiece. We find the spirit of "Hot'N'Nasty", this mellow groove and punchy, but with a dose of Rock and more. The choirs of Troy Bell and conspicuous by their majestic splendor and lyrical. It smells pure blues, this little bridge with heavy-funk irresistible. Injected directly after him, "Roadrunner" is sinking into the bayou, the mangrove. Sticky, heavy, this version still shines in this personal transfiguration in Humble Pie. 
The title itself above the slow blues of the disc, is "I Wonder." While still a cover (and this is even more surprising that Marriott is an excellent songwriter), but emotionally it is a jewel. So of course when we talk about in heavy slow blues-rockers, it is feared the worst. Because these versions extension "Spoonful" and "Stormy Monday" for long minutes, can be both exhilarating and perfectly chiantes. Good First, the title is mid-tempo. It begins with a sort of final explosion. Marriott screaming his guts like an old dog, and the blood flowing in the gutter. The bass and drums rhythm installs, heavy, impenetrable. Clempson soloïse quietly singing in counterpoint. The tension mounts. Smoldering, Marriott is numb with anger, he wondered why. Clempson takes over the throat of fire, raising the note until the explosion. Long lava burning pain to better extract the Clempson solo is brilliant, his Les Paul magic perfectly.
This disc is imperative to listen to headphones, as it is full of little bits of riffs that respond to an echo, as if these four had played so loud that the room still echoed in their music. "Smokin '" is an album dense, exciting. I never got tired ever after hundreds of plays, and I always felt the same pleasure every time. And Humble Pie hits the jackpot, winning the United States by classifying this disc to 6th place on the charts. The tour that will accompany it will last more than a year, without respite, which will not be without consequences for the future. Meanwhile, Humble Pie is the best band in the world, and this disc is proof.
all rights reserved 
0 comments:
Post a Comment