Big Ears

1. What were your VERY FIRST impressions on listening to the album, say from the first five minutes in?

It is unusual to open an album with a lyric from someone outside the band, but Ambrosia has Nice, Nice, Very Nice, written in collaboration with American author, Kurt Vonnegut (adapted from the Bokononist Hymn on the second page of his novel, Cat's Cradle, published in 1963). Like many list poems, it makes an effective lyric, with references to seemingly unconnected characters, such as the lion hunter, a Chinese dentist and the British Queen. The song has a vocal arrangement similar to the British and Californian psychedelia groups of the mid-to-late sixties, with flowing harmonies and a relaxed intonation. Lead singer David Pack uses a calypso delivery, with rolling consonents, in keeping with Vonnegut's novel, which is set on the fictional Caribbean island of San Lorenzo. The track itself starts with hi-hat and open chords, developing into the instrumentation of early Yes. There are Spanish guitar parts, guitar and keyboard solos remniscent of Howe and Banks, and a Keith Emerson-style brass fanfare on synthesizer. According to Classics Rock, a website devoted to literary references in rock music, Vonnegut was pleased with the results and it certainly makes a sprightly opener.

2. What did you think of the opening tracks?

Time Waits for No-one also has a percussive intro, with more Spanish guitar - a trademark of the group. Punchy acoustic guitar creates a Groundhogs-type riff, while the band's own lyrics are sung in a less mannered but equally strong technique. David Pack is clearly a capable lead singer. Variety comes in the form of complex harmonies, touches of jazz guitar with piano, hand claps (Alan Parsons?) and whooping. Added to these is a guitar solo which sounds like Alan Parsons Project alumnus, Ian Bairnson. Hold On to Yesterday continues the Steely Dan jazz feel, before a lilting vocal over piano and organ, along with excellent harmonies, creates an atmosphere reminiscent of Pink Floyd's Dark Side of the Moon (that was also engineered by Alan Parsons). An instrumental passage combines guitar with mellotron strings, while there is another distinctive Ian Bairnson-sounding guitar solo. Overall, Hold On to Yesterday is a brilliantly constructed piece and is one of the best tracks on the album. It gives the impression that, although credited as engineer, Alan Parsons had a hand in the production. Hold On to Yesterday's influence extends to Celtish-inspired British rock bands such as Love & Money and Mostly Autumn.

3. What did you think of the later tracks?

As the title sugests, World Leave Me Alone is a blues track with loud acoustic guitar and plenty of reverb. Pack provides a superb guitar solo and an unexpected phased vocal. The intro to Make Us All Aware makes good use of stereo and the production with grand piano and bass drum sounds like Rupert Holmes's for John Miles' Zaragon. Beach Boys harmonies give way to harpsichord psychedelia before segueing into clean synths and piano. Ambrosia's token slow ballad is the short Lover Arrive, which sounds a bit like Simon and Garfunkel. In Mama Frog, the band have attempted to write a nonsense verse, along the lines of Lewis Carroll's The Jabberwocky, hence its inclusion as a reading, along with curious synthesizer and percussion effects, before the end of the track. Strangely, Mama Frog is a near perfect impersonation of Captain Beyond, in jazz mode, and would have been better if the song and poem were separate. Indeed, The Jabberwocky (’Twas brillig and the slithy toves did gyre And gimble in the wabe) serves little purpose other than to give attention to a great writer, carry the AP mark and fill a gap.

If Hold On to Yesterday is a great track, Drink of Water is a minor masterpiece on which to close the album. It is a symphonic piece with plaintive voice and organ, big Fifth Dimension chorus, soaring guitar solo and melodic instrumental passage. The ending is nicely unpredictable and the group finish on a high point with their best track.

4. Did you like the vocalist? Hate him/her? Any impressions?

David Pack is an excellent singer, similar to the great Brad Delp.

5. Did the music (only) generally appeal to you, or not?

There are not any instrumentals, although they may have been a good idea. Curiously, all the tracks are relatively short too.

6. Did the album get better or worse as you listened to it (first time)?

It is consistently strong throughout, although the reading of The Jabberwocky sounds like filler.

7. What did you think of the lyrical content?

Using words by Kurt Vonnegut and Lewis Carroll implies a reluctance to come up with their own lyrics, but the band's songs are fine. Maybe there were time pressures.

8. Did you like the instrumental parts?

David Pack is not just a strong singer, but can play guitar and keyboards to a high standard. Keyboard player Christopher North is no slouch either. Credit should go to the rhythm section for always avoiding the obvious.

9. What did you think of the production?

Typical of American AOR and progressive rock bands of the time, Ambrosia is clean, but not at all sterile. The album was produced by luxury studio owner Freddie Piro and engineered by Alan Parsons. The latter's mark is all over this album, but when he took control of the next record it was slightly less dynamic. So, Piro may be due credit for the compelling and driving nature of Ambrosia.

10. How well do you already know the band/artist?

In the seventies, I thought Ambrosia were a mushy AOR group, like REO Speedwagon, Chicago or Journey with Steve Perry, and on this basis I never gave them a second hearing . . . until now. In fairness, I know little about REO Speedwagon, while Chicago and Journey were exciting in the early days. Having ignored them for so long, this album is a revelation to me.

11. What sub-genre, if any, would you assign this music to?

American progressive rock with an AOR feel.

12. On repeated listens, did you find you liked the album more, or less?

It just keeps getting better.

13. What would you class as your favourite track, if you have one?

Drink of Water, followed very closely by Hold On to Yesterday

14. And the one you liked least?

The reading of The Jabberwocky. It is far from terrible, but is unnecessary.

15. Did the fact that this album is a debut/sophomore/middle period or later period allow it, in your mind, any leeway, and if so, was that decision justified or vindicated?

Some bands, like Captain Beyond for example, appear with a flourish. Ambrosia are the same in that the debut is so strong, they must have struggled to meet their own high standards. So, in short, the answer is no.

16. Are you now looking forward to hearing other albums by the band/artist?

Definitely. So far I have heard the second album several times and it has all the elements, including some magnificent standouts, but lacks the drive of album one. David Pack's solo album of 1985, as one would expect, has fine songs and vocal performances, but the eighties production is one of the worst examples I have ever heard.

17. Did you get, thematically, the idea behind the album if there was one?

Insofar as Alan Parsons seemed to be trying to make his own album.

18. Did the album end well?

Extremely well. Drink of Water is a great track, but it also has an unpredictable ending.

19. Do you see any way the album could have been improved?

Only in that they should have had more of their own songs.

20. Do you think the album hung together well, ie was a fully cohesive unit, or was it a bit hit-and-miss?

The criticisms are minor and Ambrosia is an astonishing album with few weaknesses.

Overall Album Rating: 9.0 out of 10. I was going to give it 8.75, but hearing this is like ignoring a girl at school and finding she blossomed as an adult and was with someone else.

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My Journal: Rabbiting On