Notes

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Source: Japan 24-Bit Remaster

Ocalist/multi-instrumentalist Caleb Quaye was the mastermind fronting the largely forgotten Hookfoot. Quayle started his professional musical career as a member of Long John Baldry's backing band Bluesology. When Baldry decided to disband the group in 1967 Quaye struck out as a solo act releasing an obscure 45 on Philips:

- 1967's 'Baby Your Phrasing Is Bad' b/w 'Woman of Distinction' (Philips catalog number BF 1588)

When the single disappeared without a trace, Quaye turned to sessions and live working, including supporting former Bluesology keyboardist Elton John. His work with John led to a steady paycheck as a house musician signed to Dick James Music (DJM) which also happened to have signed Elton John to a recording contract. It also introduced him to fellow DJM employees Ian Duck, David Glover, and Roger Pope. Duck, Glover and Pope had a lengthy history themselves having started out as members of The Soul Agents, The Loot, and The Final One. With all four working together in support of various Elton John projects, in 1969 Quaye convinced them to join him in forming a band - Hookfoot and were promptly signed by DJM (A&M acquiring US distribution rights).

Co-produced by Quaye and Jeff Titmus, 1972's "Good Times a' Comin'" was a major surprise to my ears. Largely penned by Quaye (there were three group compositions), nothing hear was particularly original, but the combination of Quaye's rugged voice, some above average rock numbers, and the band's enthusiasm made for an album that was much better than the sum of its parts. Musically the ten performances were all over the genre map which meant they never really established a true group identify. On the other hand, they showed a distinctive chameleon-like ability which made it fun to play spot-the-influences which ranged from Levon Helm and the Band American to Supertramp progressive moves.

- Even though it was tapped as a single, the opening rocker 'Sweet Sweet Music' was actually one of the weaker numbers. Clearly written to maximize radio exposure, this one sounded like it had been cobbled together from a couple of sessions listening to top-40 tracks. The staid 'life is tough as a rocker' lyric certainly did help. rating: ** stars
- 'Living In the City' was a beautiful ballad with a nice Duck bass line and some great harmony vocals from the rest of the band. It's also interesting to hear the song in view of Quaye's early 1980s Christian rebirth. rating: **** stars
- Kicked along by some great jangle rock guitar, another stellar Duck bass line, and a tasty country-rock melody, 'If I Had the Words' was one of the standout performances.
- Penned by Duck, 'Gunner Ebb's Changes' was interesting in that it sounded like something off of a Band LP. Duck's voice bore more than a passing resemblance to Levon Helm and the song's Americana aura was easily mistaken for The Band. I've actually played the song for friends who've mistaken it for a Band track. Nice !!! rating: **** stars
- 'The Painter' found the band taking a stab at a more progressive attack, but it was progressive in a Supertramp fashion, rather than something more bombastic and preteneous like ELP. By the way, that was meant as a compliment since the track had a great melody that climbed in your head and wouldn't leave. My pick for standout performance on side one. rating: **** stars
- The side two opener 'Flying In the U.S.A.' was a perfect example of the album's charms. On the surface this one didn't seem to have a great deal going for it. The melody was okay, but nothing particularly original, as was the case with the 'touring-is-tough' lyric. That said, their performance made the song quite enjoyable and Quaye turned in a nice solo - anyone know what the effect he used to get the cool phased sound? rating: *** stars
- One of three group compositions, 'Is Anyone There ' found the band revisiting their Band fixation. Complete with illusions to the American civil war this one really sounded like it had been pulled from The band's songbook. rating: *** stars
- The first real disappointment, apparently meant to showcase the band's blues roots, 'Slick's Blues for Jumbo' was a conventional blues instrumental. The focus was on Duck's harmonica, but the end result was just kind of dull. rating: ** stars
- Again, kind of ironic giving Quaye's subsequent religious rebirth, 'Look To Your Churches' was an interesting mid-tempo rocker with some lyrics that were quite cutting with respect to organized religion. rating: **** stars
- The album ended with the collection's most conventional rocker 'Good Times a' Comin''. The song sported a nice melody and some great group harmonies, but the highlight on this one came in the form of the extended Duck-Quaye dueling lead guitars. rating: **** stars

Elsewhere the album was tapped for a British single in the form of:

- 'Sweet Sweet Funky Music' b/w 'The Opener' (DJM catalog 17061)

Totally overlooked, this one's far better than the few lukewarm reviews you'll stumble across. Well worth looking for.

01. Sweet Sweet Funky Music
02. Living In The City
03. If I Had The Words
04. Gunner Webb's Changes
05. The Painter
06. Flying In The USA
07. Is Anyone There
08. Slick's Blues For Jumbo
09. Look To Your Churches
10. Good Times A' Comin'