ALBUM REVIEW - By Rob Bolton -
This great album was their "Swan Song". Issued a few months after the DC5 disbanded, the LP collects six of their later singles, some "b"-sides, a couple USA album tracks, and four new releases. With fourteen full-length songs, this British-only album has nearly twice the playing time of some of the USA LPs. Here they blend into a magnificent collage of passionate music, more romantic than dancable, more heart-felt than commercial. The fact that the album didn't chart massively worldwide is a testimony to the declining musical taste of the period, as described in Don McLean's prophetic "American Pie" song about "The day the music died." Amongst that rubble, this beautiful album stands the test of time. Here's the play-by-play:
IF SOMEBODY LOVES YOU - The big production number blossoms with a full-sounding orchestra: strings and horns thoughtfully arranged, supplemented by Mike's piano and organ, Rick's very lively bass activity, (I'm told it may actually be session player Les Hurdle), and Dave's standard drum style. The successful formulas of "You Got What It Takes" and "Everybody Knows" seem somehow blended here, and are then amplified by the backing vocals of Madeliene Bell and Doris Troy. The result is like a broadway show tune, or a climax song to a dramatic movie. And the words: some of the DC5's best ever! At last, a mature view of love, and its well-deserved thankfulness. Released as a USA single in 1969, it got past everybody. But this song's overall elegance, topped by Mike's convincing vocal delivery, make it an absolute classic, worthy of being a title cut.
IT AIN'T WHAT YOU DO - One of the "new" songs, it does have a nice melody, and the "shakers" on the chorus add life. But the pace drags a bit, and the words are totally trite: "It ain't what you do, it's the WAY that you do it." etc. Were the words a quick shot at social relevence, aimed to appease the early 70s counter-culture? Perhaps, but now that we all know better, these lyrics are about the only part of the album that doesn't ring right today.
LIVE IN THE SKY - We did not all live in a yellow submarine. If this song's a take-off on the Beatles, well, it's an improvement. Still true to basic DC5 style, it's spiced up with a massive Wembley Stadium crowd chant, a "Glory Glory Halleluia" horn section, and a few "all together now"s. Released as a UK single, it reached the top fourty in late 1968. The trite words don't even matter, it's just a fun song.
FIVE BY FIVE - One of their very best rockin' instrumentals. Everybody's really cooking: Dave and Rick are in perfect synch for a powerful foundation, while Mike and Lenny trade leads on their well-effected keyboards and guitars. Lenny borrows part of his performance from their 1964 song "Rumble", and it actually fits better here than there. His mini-leads between the bridge and verse are very exciting. The melody line resembles an American folk song called "This Train". The song was chosen to conclude the DC5 video "Hold On", where Dave is seen playing the drums while standing, and really wails on the twin floor toms. On singles: the song was the flip side of "Julia" in the UK, and the flip side of "Here Comes Summer" in the US.
HERE COMES SUMMER - The last single to be released while the band was together, this June 1970 endeavor features at least two guitars (presumably Lenny and Denny). The first non-original piece on the album, it was a commercial attempt to capture the US summertime party market. To do so, it needed to be quicker and lighter in sound. The pleasant melody (borrowed somewhat from Stephen Foster's "Old Kentucky Home") plods along too slowly, and there's just not enough joy in the vocals. I live in upstate New York, USA. Around here, we're so starved for good weather that when summer comes, we celebrate in a spirit that's different from this song. I do like this song. I'd just change the words a bit, and re-name it "Here Comes Winter".
HOW DO YOU GET TO HEAVEN - A very nice melody, combined with clever use of banjo, horns, and some giant bass/drum THUDDDs create a great backdrop for some simple preaching. The song is biblically accurate in its insistance that "we all come from the same place", and in its denouncing of pharisaic self-righteousness and bigotry. If you're really interested in how to get to heaven, well, the song doesn't fully say, which is just as well, because the DC5, like the rest of us, should defer that question to someone more qualified: (Click HERE for more on that.)
EVERYBODY GET TOGETHER - A fitting finale to the "History" CD, here's the DC5's standard style covering the timeless Youngbloods classic. Lyricly, another very meaningful song, complete with subtle biblical references, building to the "love one another" message. For once, this doesn't come across as shallow, as its carried out in a nearly two-minute final chorus, where the music fades and a praise-style sing-along ensues. A great video of this song also exists. Released as a single in England, the Brits endorsed its great message with a #8 chart position earlier in 1970.
JULIA - Side two of the album contains the slower songs, opening with this churchy-sounding ballad. The organ and bells put you right in the front row as Mike Smith renders a heart-felt tribute to a departed loved one. Actually, Lenny wrote this dramatic piece, which was released as a single in the UK, but didn't have sufficient commercial appeal. A song for those who know what its like to weep.
BREAK DOWN AND CRY - This "b"side of "Here Comes Summer" is typical Mike Smith blues style, and again showcases his vocal performance atop well-played guitars. The simple, pretty melody, and the well-played blue notes before each verse make it easy listening. However, here's where Denny's sax is conspicuously absent. I can't help but imagine its bluesy activity between the vocal lines, and I don't know why the sax was stashed for just about this whole album. In fact, there are no Denny Payton compositions on this LP at all, which is unusual.
I AM ON MY OWN - British "country music" chosen from the US 1965 album "I Like It Like That". It's a Lenny Davidson guitar showcase, plus Rick's bass, but no drums or keyboards, and none really needed. Simple melody, somewhat satirical but typical country lyrics, and nice harmonies.
RED AND BLUE - Nicely orchestrated top-40 material, this was released in the US as a single in 1967, but it didn't chart. The lyrics paint an unusually vivid picture in this, another emotional saga of lost love. Mike's keyboard intertwines nicely with the violins, and again, the simple melody is very engaging.
IF YOU WANNA SEE ME CRY - This "new" song later wound up on the "b"side of "Southern Man", and is more trademark Mike Smith rhythm-and-blues. The piano and organ are perfectly blended, and Lenny's "talking guitar" answers each of Mike's vocal lines expertly. But I miss the sax again.
WORRIED TIMES - A very black-gospel sounding song, again featuring Madeleine Bell and Doris Troy's great backing vocals. And don't miss Rick's excellent bass interpretation, a staple of the band, that can be more clearly heard here than on most recordings. The song is dramatic and positive, with an interesting "fill-in-the-blanks" vocal-to-melody arrangement that sings: "Look behind you / look before you / look above you / oh yeah / and maybe the answer / yes, Lord, the answer / to these worried times . . ."
DARLING I LOVE YOU - Another power-ballad, played with the passion and intensity that's expected. In the USA this was the "b"side to "Bring It On Home to Me" (which somehow missed this album, but did get slipped onto DC&Friends). With its beautiful orchestration and dramatic melody, here's a fitting goodbye to a wonderful album! - Rob Bolton, 5/99.