Ambrosia's first album - is it progalicious?

[UstadKhanAli]

My friend told me that '70s lite-rock band Ambrosia had a really cool progressive rock album in 1975. Anybody ever heard this? What say you? Is it cool?

[cooterbrown]

Ambrosia always had prog/jazzy leanings, mixed with their CS&N and Yes-infuenced harmonies, until their third or fourth album, when they become much more mainstream. But even "Holdin' On to Yesterday" from their first album was an FM staple, and dented the Billboard Top 20.

 

from Wiki:

 

The first album, Ambrosia , produced by Freddie Piro, was released in 1975. It spawned the Top 20 chart single "Holdin' on to Yesterday" as well as the FM classic "Nice, Nice, Very Nice." The latter sets to music the lyrics to a song in Kurt Vonnegut's Cat's Cradle . The album was nominated for a Grammy award for Best Engineered Recording (other than Classical). A little known fact is Ambrosia's connection with The Alan Parsons Project. Alan Parsons was the engineer for Ambrosia's first album and the producer for their second. All four members of Ambrosia played on the first Alan Parsons Project album, Tales of Mystery and Imagination , which was recorded soon after Ambrosia's first album.

 

 

David Pack is just a terrific singer. What a gorgeous, clear instrument he posesses.

[Kendrix]

It's a fav of mine.

At the time it came out it seemed that theese guys were destined to be very, very big. That never quite came about.

 

It was a very ambitious album- musically and lyrically.

Recording an mix quality was way above average

The arrangements are very well thought out.

A very wide range of sounds / instruments were used.

 

Of course David Packs vocals are excellent.

 

If you dont know this one I highly reccommend it.

It's much deepeer / much less "pop" than their subsequent releases.

[Rudolf von Hagenwil]

listen to them....

 

http://www.youtube.com/watch?v=3_papClZ84c

 

 

[rasputin1963]

Didn't they chart with "(That's) How Much I Feel" ?

 

 

...and sump'n else, too, can't remember now.

[cooterbrown]

 

Didn't they chart with "(That's) How Much I Feel" ? ...and sump'n else, too, can't remember now.

 

 

"You're the Only Woman"

"Biggest Part of Me"

[barrytaylor]

Ambrosia's debut album is a Prog Classic. The songs Nice Nice Very Nice, Time Waits For No One, Make Us All Aware, Mama Frog, and Drink Of Water are all Prog Rock gems! Alan Parsons does an amazing job mixing this album. It's one of the best headphones albums I've ever heard. The album got a grammy nomination for Best Recorded album of 1975. Holdin On To Yesterday was the hit off the album and went to 17 on the Hot 100 Charts.

[Bookumdano2]

Well here's my ol' review of Ambrosia as I remember them-

 

"Make Us All Aware" was sorta cool when they played it at a concert I saw them in during the summer of 75. "Holdin' On to Yesterday' was a killer hit on the radio that summer too (I thought) and had great use of violin for the solo and builds. They also pulled that one off live in a great way in 75 for the most part.

 

Based on seeing them play and those two songs, I then bought their first album or two .. which I didn't think much of after playing a bunch of times. I bought the next albums up through Life in LA and then stopped buying their stuff.

 

Now.. those guys are more famous than me.. but to me, but their biggest asset was David Pack. And their biggest weight was ... David Pack.

 

The guy was/is spot on perfecto as a singer and somehow could also pull it off that way live each time I saw them in 75 and then again in 97 or so. I think he has autotune built into his throat as an implant or something. He could/can also write nifty little songs that are remembered.

 

But gheez .... in 1975, if you were gonna do the stuff that they were doing , you really really really needed to also have some sort of decent guitar player in the band. As in lead guitar. And then come up with some lead guitar parts to put into the songs. Sometimes. Any time. One time. Ambrosia didn't have one of those things. Their guitar player was David Pack. Who ... well ... he could play guitar.

 

So... Ambrosia....this was a band in dire need of a lead guitar player. I thought. Without an edgy guitar to play against Chris North's keyboards, the band was just sorta ... non-descriptive and plain.

 

non-descriptive and plain.... terms often used to describe me.

[barrytaylor]

Ambrosia's first two releases are progressive creative art rock albums and are anything but bland. Their albums Life Beyond LA and One Eighty fall into the WestCoast Pop studio sound. Their last studio album Road Island produced by James Guthrie, who engineered The Wall by Pink Floyd, is a return to their Prog and Rock roots and even contains a Prog Metal gem in the song Ice Age.

Here's a review of Ambrosia's self titled debut album by Tom Karr of Progressive World.

This self titled debut release by Ambrosia is on my list of the ten best progressive rock albums by American bands in the 1970s. This work features all of the essential elements of the genre and also boasts an impressive grasp of pop music sensibilities, and more memorable themes and catchy hooks than many artists would produce over the course of a long career. The group displays a mature sound, and awesome instrumental skills that rival those of any of the best progressive rock bands of the day. Whether exploring territory similar to that of Yes, or the Italian sound, ala Banco, displaying their home-grown influences, including vocal kinship with The Beach Boys, and Todd Rundgren, instrumental resemblances to Chicago and Blood, Sweat And Tears, or charting out some of the stylistic elements that they would later hone into the MOR trademark sound of their later, decidedly un-progressive career, they always achieved the highest standards of excellence.

This release was also notable in its production values. It was engineered by Alan Parsons, famed for his work with The Beatles, and his own later work in the Alan Parsons Project. Parsons brought his considerable skills and studio experience to bear on this project, and the album benefited from some of the best pre-production and planning that any fledgling act could ever hope to receive. Some stellar sidemen/women contributed to the outstanding sound of this effort, including Zappa alumni Ruth and Ian Underwood on marimba and saxophone, respectively. A Russian balalaika ensemble enhances the track "Time Waits For No One", and well conceived details reveal themselves in all of the eight tracks included here

 

This CD begins with a Yes influenced number, "Nice, Nice, Very Nice." It will be immediately clear that these musicians are extraordinarily talented and that the songwriting will be far above what is expected on a debut from an unknown (at that time) group of musicians and writers. Christopher North's keyboards are sophisticated, and show the kind of stately bearing and understated elegance of Rick Wakeman's best work. Burliegh Drummonds drumming is comparable to, and is seen as, a mixture of Bill Bruford's tight jazzy style with some of the flair and power of Santana/Automatic Man drummer Michael Shrieve. The quartet was rounded out with the ubiquitous Joe Puerta and David Pack on bass and guitar. These two probably appear on more albums than Wakeman and half the studio pros of L.A. combined All the band members sang, and their vocal prowess was unrivaled within this genre. Their harmonies were the equal of those of the Beach Boys and the best work of Todd Rundgren's Utopia. "Nice, Nice, Very Nice" had lyrics fron novelist Kurt Vonnegut, and a very catchy song structure that provides all the expected twists and turns of progressive rock, and the hooks and layers of vocals that fans of finely crafted pop music would love.

 

"Time Waits For No One" begins with tightly played acoustic guitar and piano, and features some nice additional touches like a ringing alarm clock, and tubular bells accenting the chorus. The chorus also lays out the bands powerful vocal style, with overlapping layers of harmony vocal lines. Acoustic instruments punch out some nice jazz inspired lines, and the bridge uses some balalaika, oddly used to cast a Latin tinge to the section, along with punchy hand claps, creating the sounds of a fiesta in this brief song within a song.

 

The third track "Holdin' On To Yesterday," shows the direction the group would later take. This was Ambrosia's first single, and it received considerable airplay in the mid seventies. This song is a textbook of MOR essentials, and it can be compared to the kind of work that Paul Carrack would bring to the Squeeze with "Tempted" several years later, or the Crowded House favourite "Don't Dream It's Over", which would appear five years later. The track has some very satisfying B-3 work, and a smooth, yet gutsy guitar solo that will remind the listener of the kind of guitar work that graced Joni Mitchell's great Court And Spark album.

 

The fourth track, "World Leave Me Alone," is another pop-rock gem. This number features crisp acoustic guitar rhythms and gritty electric leads in the style of George Harrison, and a glittering, spacey, Rundgren-esque bridge which leads to the finale, a Beatles inspired ascending progression with Lennon/McCartney/ Harrison style, soaring vocal harmonies.

 

This, and the preceding track are by no means symphonic progressive rock, but they are welcome nonetheless. These fine examples of pop songcraft are by no means out of place on a release such as this.

 

The next track is a beautiful work "Make Us All Aware." It has a very classy, Wakeman like piano track, lovely vocals, and a Celtic inspired harpsichord bridge that leads to a brief Moog break, beds of vocal harmonies, and a gentle conclusion to it all. This tune has some Yes-like qualities, and is one of the high points of this CD.

 

The following track, "Lover Arrive," is a peaceful piano piece with layers of symphonic backing. This calls to mind the romantic melodies of Brahms, mixed with the mid 70s sounds of Elton John.

 

Moving on to cut number seven, we have "Mama Frog," an Italian sounding composition. This may remind the listener of some of the more straight forward and catchy music of Banco. It combines jazz/rock keyboards with some pulsing drum work, and provides an opportunity for North to show off some Nocenzi style, burbling Moog, and tasty B-3 work. The center section of this tune features a spoken verse from Lewis Carroll's Jabberwocky, which may strike some listeners as a bit corny, but in my opinion it comes off as ear candy, quite well done, and is, like all the additional sound effects, a wonderful treat. The end of this tune displays an impressive, syncopated drum and keyboards section with stop-start riffs, sounding almost like a passage from Il Balleto Di Bronzo's Ys. This number displays a very, very tight band with chops to spare.

 

The album's finale is the overpowering "Drink Of Water." Featuring a huge sounding cathedral organ, soulful Hendrix inspired rhythm guitar work, and pristine vocal harmonies, this song is a powerful end to a great and inspired release. This song sounds like Yes meets Beach Boys meets Blood, Sweat And Tears. The organ work will make the hair stand up on the back of your neck, and the lovely lyrics may bring a tear to your eye as well.

 

This is simply an outstanding effort from a band that would later make a name for themselves writing and recording easy listening hits such as "Biggest Part Of Me," "You're The Only Woman," "Life Beyond LA," and of course, "How Much I Feel."

 

When there is such a brilliant work such as this self-titled debut waiting to be re-discovered, there can be no reason to subject yourself to that later, radio friendly repertoire.

[cooterbrown]

 

Ambrosia's first two releases are progressive creative art rock albums and are anything but bland. Their albums Life Beyond LA and One Eighty fall into the WestCoast Pop studio sound. Their last studio album Road Island produced by James Guthrie, who engineered The Wall by Pink Floyd, is a return to their Prog and Rock roots and even contains a Prog Metal gem in the song Ice Age. Here's a review of Ambrosia's self titled debut album by Tom Karr of Progressive World. This self titled debut release by Ambrosia is on my list of the ten best progressive rock albums by American bands in the 1970s. This work features all of the essential elements of the genre and also boasts an impressive grasp of pop music sensibilities, and more memorable themes and catchy hooks than many artists would produce over the course of a long career. The group displays a mature sound, and awesome instrumental skills that rival those of any of the best progressive rock bands of the day. Whether exploring territory similar to that of Yes, or the Italian sound, ala Banco, displaying their home-grown influences, including vocal kinship with The Beach Boys, and Todd Rundgren, instrumental resemblances to Chicago and Blood, Sweat And Tears, or charting out some of the stylistic elements that they would later hone into the MOR trademark sound of their later, decidedly un-progressive career, they always achieved the highest standards of excellence. This release was also notable in its production values. It was engineered by Alan Parsons, famed for his work with The Beatles, and his own later work in the Alan Parsons Project. Parsons brought his considerable skills and studio experience to bear on this project, and the album benefited from some of the best pre-production and planning that any fledgling act could ever hope to receive. Some stellar sidemen/women contributed to the outstanding sound of this effort, including Zappa alumni Ruth and Ian Underwood on marimba and saxophone, respectively. A Russian balalaika ensemble enhances the track "Time Waits For No One", and well conceived details reveal themselves in all of the eight tracks included here This CD begins with a Yes influenced number, "Nice, Nice, Very Nice." It will be immediately clear that these musicians are extraordinarily talented and that the songwriting will be far above what is expected on a debut from an unknown (at that time) group of musicians and writers. Christopher North's keyboards are sophisticated, and show the kind of stately bearing and understated elegance of Rick Wakeman's best work. Burliegh Drummonds drumming is comparable to, and is seen as, a mixture of Bill Bruford's tight jazzy style with some of the flair and power of Santana/Automatic Man drummer Michael Shrieve. The quartet was rounded out with the ubiquitous Joe Puerta and David Pack on bass and guitar. These two probably appear on more albums than Wakeman and half the studio pros of L.A. combined All the band members sang, and their vocal prowess was unrivaled within this genre. Their harmonies were the equal of those of the Beach Boys and the best work of Todd Rundgren's Utopia. "Nice, Nice, Very Nice" had lyrics fron novelist Kurt Vonnegut, and a very catchy song structure that provides all the expected twists and turns of progressive rock, and the hooks and layers of vocals that fans of finely crafted pop music would love. "Time Waits For No One" begins with tightly played acoustic guitar and piano, and features some nice additional touches like a ringing alarm clock, and tubular bells accenting the chorus. The chorus also lays out the bands powerful vocal style, with overlapping layers of harmony vocal lines. Acoustic instruments punch out some nice jazz inspired lines, and the bridge uses some balalaika, oddly used to cast a Latin tinge to the section, along with punchy hand claps, creating the sounds of a fiesta in this brief song within a song. The third track "Holdin' On To Yesterday," shows the direction the group would later take. This was Ambrosia's first single, and it received considerable airplay in the mid seventies. This song is a textbook of MOR essentials, and it can be compared to the kind of work that Paul Carrack would bring to the Squeeze with "Tempted" several years later, or the Crowded House favourite "Don't Dream It's Over", which would appear five years later. The track has some very satisfying B-3 work, and a smooth, yet gutsy guitar solo that will remind the listener of the kind of guitar work that graced Joni Mitchell's great Court And Spark album. The fourth track, "World Leave Me Alone," is another pop-rock gem. This number features crisp acoustic guitar rhythms and gritty electric leads in the style of George Harrison, and a glittering, spacey, Rundgren-esque bridge which leads to the finale, a Beatles inspired ascending progression with Lennon/McCartney/ Harrison style, soaring vocal harmonies. This, and the preceding track are by no means symphonic progressive rock, but they are welcome nonetheless. These fine examples of pop songcraft are by no means out of place on a release such as this. The next track is a beautiful work "Make Us All Aware." It has a very classy, Wakeman like piano track, lovely vocals, and a Celtic inspired harpsichord bridge that leads to a brief Moog break, beds of vocal harmonies, and a gentle conclusion to it all. This tune has some Yes-like qualities, and is one of the high points of this CD. The following track, "Lover Arrive," is a peaceful piano piece with layers of symphonic backing. This calls to mind the romantic melodies of Brahms, mixed with the mid 70s sounds of Elton John. Moving on to cut number seven, we have "Mama Frog," an Italian sounding composition. This may remind the listener of some of the more straight forward and catchy music of Banco. It combines jazz/rock keyboards with some pulsing drum work, and provides an opportunity for North to show off some Nocenzi style, burbling Moog, and tasty B-3 work. The center section of this tune features a spoken verse from Lewis Carroll's Jabberwocky, which may strike some listeners as a bit corny, but in my opinion it comes off as ear candy, quite well done, and is, like all the additional sound effects, a wonderful treat. The end of this tune displays an impressive, syncopated drum and keyboards section with stop-start riffs, sounding almost like a passage from Il Balleto Di Bronzo's Ys. This number displays a very, very tight band with chops to spare. The album's finale is the overpowering "Drink Of Water." Featuring a huge sounding cathedral organ, soulful Hendrix inspired rhythm guitar work, and pristine vocal harmonies, this song is a powerful end to a great and inspired release. This song sounds like Yes meets Beach Boys meets Blood, Sweat And Tears. The organ work will make the hair stand up on the back of your neck, and the lovely lyrics may bring a tear to your eye as well. This is simply an outstanding effort from a band that would later make a name for themselves writing and recording easy listening hits such as "Biggest Part Of Me," "You're The Only Woman," "Life Beyond LA," and of course, "How Much I Feel." When there is such a brilliant work such as this self-titled debut waiting to be re-discovered, there can be no reason to subject yourself to that later, radio friendly repertoire.

 

 

Wow...you must really like Ambrosia.

That was a fanboi-ish, overly-analytical review worthy of the most zealous Rush fan.

[Gomer Pyle]

Ambrosia 1 and 2 are one of a kind albums, you wont find anything else that sounds like them. Vocally Joe Puerta is right up there with David Pack. I couldn't imagine going through life without them. Check them out, Paul.

[Rubber Lizard]

Mr. Taylor should definitely be writing album reviews.

 

Anyhoo, this is why I love Rhapsody. I'm downloading Ambrosia right now. I am interested in whether I can hear Alan Parson's influence in it -- whether he was a big part of the sound, or stayed out of the way.

 

Without hijacking the thread, can anyone suggest one of Mr. Parson's albums that is representative?

[girevik]

I liked Barry Taylor's writeup. Made me more interested in acquiring that album.

[UstadKhanAli]

I'm very interested in hearing more, but this is what I've found online so far:

 

http://chickenlicken.vox.com/library/audio/6a00d4141b5c05685e00d4142d2a1f6a47.html

 

Meh.

[barrytaylor]

Here are 3 good live songs and a history video.

 

 

 

 

 

 

 

 

[Lee Flier]

I don't really know much about Ambrosia, except that Chris North's dad was my 8th grade math teacher. No, really. I know you all wanted to know that.

[Lee Flier]

Wow...you must really like Ambrosia. That was a fanboi-ish, overly-analytical review worthy of the most zealous Rush fan.

 

:lol:

[Rubber Lizard]

I went for a walk and listened to Ambrosia today. I will be leaving it on the mp3 player because it's such good headphone material. I can't decide yet if what I liked was the music or the production... or the combination.

 

Ken, if all you listened to was "nice, nice.." then you didn't hear the good parts. One man's opinion.

 

Over.

[barrytaylor]

 

Mr. Taylor should definitely be writing album reviews. Anyhoo, this is why I love Rhapsody. I'm downloading Ambrosia right now. I am interested in whether I can hear Alan Parson's influence in it -- whether he was a big part of the sound, or stayed out of the way. Without hijacking the thread, can anyone suggest one of Mr. Parson's albums that is representative?

 

 

I would start with my favorite Tales Of Mystery and Imagination. The lads in

Ambrosia play on the song The Raven.

 

Three songs to listen to off Ambrosia's second album Somewhere I've Never Travelled are Cowboy Star, The Brunt, and Danse With Me George. Danse With Me George was a big favorite with Leonard Bernstein he called it a musical masterpiece. It was recorded at Abbey Road with the London Philharmonic orchestra. Christopher North destroys a steinway on his piano solo!!

[UstadKhanAli]

 

Ken, if all you listened to was "nice, nice.." then you didn't hear the good parts. One man's opinion.

 

 

Thanks. That's all I could find to listen to online so far. I'll keep looking for more stuff to get a taste of Ambrosia.

[Karma1]

barrytaylor - that was a hell of a review! Incredibly well-informed and insightful. I wasn't a huge fan of the group, but I liked them and saw them when they played in Denver back in the mid-70's. They were quite impressive in concert and I always thought they should have been more popular than they were. Prog was really big back then and with their pop leanings, their sound was very accessible.

[Hard Truth]

The review quoted by Barry was by Tom Karr of Progressive World. Barry did attribute it, but many of you missed it.

[Kendrix]

I don't really know much about Ambrosia, except that Chris North's dad was my 8th grade math teacher. No, really. I know you all wanted to know that.

 

Man... Lee always seems to be so well connected.

It's an LA thing.

[cooterbrown]

 

The review quoted by Barry was by Tom Karr of Progressive World. Barry did attribute it, but many of you missed it.

 

 

I missed it, but regardless, it's still a drooling fanboi review.

 

The fact that he compared almost everything on the album to Yes was ridiculous.

Apples and oranges - two completely different bands with different aims, idioms, and sonics.

[Rubber Lizard]

Thanks, Barry. I'm sure to check out both the parson stuff and the second Ambrosia album, as you suggest.

 

An aside: Rhapsody's silly "Oooo, if you like THAT, you might like THIS" feature is a source of constant amusement. When I searched for Ambrosia, Barry Manilow and Art Garfunkle were the "similar albums". But I did download something from Art Garfunkle... It's fun listening to recordings made in old-school land -- a valuable exercise!