The Bats - Image
- Huff Puff (Ditchfield, Clifford, Jarman, Eckstein)
- Herd Boy (Diamini, Ditchfield, Clifford, Jarman, Eckstein)
- Money Ain't Worth A Dang (Ditchfield, Clifford, Jarman, Eckstein)
- My Girl (Robinson, White)
- What Is Soul (medley):
- Soul Finger ()King, Jones, Cunningham, Cauley, Caldwell)
- Knock On Wood (Cropper, Floyd)
- Fa Fa Fa (Redding, Cropper)
- Land of 1000 Dances (Kenner, Domino)
- The Image (Ditchfield, Clifford, Jarman, Eckstein)
- Waiting For You (Diamini, Ditchfield, Clifford, Jarman, Eckstein)
- Love Of The Common People (Hurley, Wilkins)
- Warren (Ditchfield, Clifford, Jarman, Eckstein)
- Trouble (Lieber, Stoller)
1968, CBS stereo ALD-8129
(some of this is grammatical nonsense, but that's how it's written!)
One reason why the Bats are great and why they will be even greater isbecause they are independent. As a group they are individual. They Batsdon't borrow, beg or steal anyone else's mind and would rather present anhonest version of themselves than be imitations of others. This is a hardway of going about the pop business but when the formula clicks it reallyhappens.
They were musicans long before they played pop and are even more musicalthan those four lads who emerged from that Cavern in Liverpool. And just asoriginal. Check the SAFCA details and see how many tracks are by Paul E.Ditchfield, Eddie Eckstein, Barry E. Jarman and Peter Clifford.
This LP started a long time ago. Long before it was actually recorded, theBats began to search for good album numbers. Instead of copying existingideas they learnt new ones by tearing up strong roots and working andwatching in London. They have played their findings on the bandstand and inthe nightclub many times, each playing has improved and matured the songsuntil they have been ready to record in this captured state. The songs havea true and free ring about them. Essentially the Bats are entertainers/popstars/composers and their many cabaret acts assure them of a lifetime of afuture in the business. As friends, too, they are unbeatable.
When the Bats first started out they were considered as way ahead of thetime -- but now that recording techniques have caught up with them we canbegin to understand the message in their music. Unlike the blatantattention -- getting antics of most hit-parade conscious artists, the Batshave something to say, and they're saying it with good pure music.
-- Ronnie Wilson
track 1: good album opener, fake cockney accent, like Manfred Mann, jokingstudio chat talking at end
track 2: also on 7", penny whistle, cellos, like the Bee Gees, hauntingmelodies, heavier sound during bridge, sticks in the memory
track 3: organ based, fuzz, distortion but used in pop idiom. superb chorusharmonies, like the Rascals, brilliant song
track 4: cover of Motown classic, very laid back, dance floor favourite
track 5: famous tunes introduced by 'What Is Soul' theme. Must have been greatin concert. Very competent however, can't hold a candle to the Flames (punintended)
track 6: dramatic intro, soft psychedelic, first song to live up to sleevepic atmosphere, strings, very like Bee Gees, drum sound much like theFlames, same sound engineer, same reverb
track 7: also on 7", heavier song, great upper range vocals, catchyflute/guitar lines, weird drum break ending
track 8: also on 7", cover song, big production number, lots of harmonyvocals
track 9: song about a baby boy, very much a pop tune but played superbly,album filler
track 10: intro with Afrikaans accent, featuring strong "r's", Elvisimpersonation, fake noisy audience (they wish!), speed up with Mickey Mousevocals halfway. Logical album closer
Summary: a great pop-rock album hinting at psychedelia, one I wouldn't bewithout.
-- Bas Möllenkramer, Holland, September, 1999
[webmaster of The Flames website]
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