Artikel (engl. Musikzeitschriften)
Fumble (sovereign) 1972
Some people dislike
the oldies trend, while some people find the current groups playing
oldies sacriligeous. Me? I think there're good songs being written now
but that doesn't make those written in the late fifties and early sixties
any the worse. And, dammit, I like hearing them - if they're done "lovingly."
Fumble do Presley, Holly, Nelson, Vee, Sedaka, King and Everlys songs
and do them "lovingly." That doesn't mean to say they all
stand up well. For instance, I shall never be able to take a guy singing
Carole King's "It Might As Well Rain Until September" and
I don't think lead singer Des Henly has the vocal aggression to do Presley's
"One Night", justice. His voice is, however, superbly suited
to Rick Nelson, Bobby Vee, Buddy Holly and Everly Brothers' tunes. "Ebony
Eyes" is gloriously maudlin. Henly, surprisingly, does come to
grips with Little Richard's "The Girl Can't Help It" and Barry's
"Let It Rock" and "Rave On" proves a perfect foil
for his style. But it's on side two Fumble are at their best. It opens
with "Hello Mary Lou," which has a rather fine guitar solo.
"Take Good Care Of My Baby," poses the question is Des Henly
the new Bobby Vee? He certainly has a penchant for Vee material. I get
the feeling that if Des had come along in about 1958-59 he could have
been very, very big. He might even be able to fulfill his promise in
the 70's. "Breaking Up Is Hard To Do" shows how important
the piano was to the era's songs and rounds off a thoroughly enjoyable
and singable album. I reviewed Fumble's act recently and apparently
credited them with "The Night Has A Thousand Eyes," a song
they didn't do. They'd do well to include it in the act in the near
future. It'd be perfect for Henly. Still, the last thing I want is a
rumble with Fumble. All together now . . . "come - a - come - a
- down - doobie - doo - down - down..."
G. B.
Melody Maker - 21. Oktober 1972
Poetry
in Lotion (RCA) 1974
Disc
Magazine- Jan 18, 1975
Disappointing really. An album containing a mixture of old rock numbers
and brand new tunes written by the band. Most of the new songs have
very limited instant appeal, while the older material is interpreted
in a very unsatisfactory manner.
Perhaps I would be more excited about this work if the band concentrated
on one type of music instead of trying to jumble up the past with present.
Of course these are all very personal opinions. Millions of you out
there will doubtless hear this LP and weep warm tears of joy at its
sheer spiritual intensity. Sadly I can only manage cold crocodiles.
BL
Melody
Maker - Jan 18, 1975
A brand new year dawns and with a brand new album from Fumble, the frantic
five from Weston-super-Mare whom I fancy for big things in '75. Their
first album, released two years ago, saw them in a strictly nostalgic
mood recreating oldies from the fifties and sixties. And it was fine
as far as it went. However, they needed to show themselves as something
more than mere adaptors - it's taken two years to get this down on vinyl
but the wait was worth it. "Poetry" is quite a good album
and provides a useful pointer to the direction which Fumble may take.
They haven't cut themselves off from their roots, witness such oldies
as "Not Fade Away," "Break My Mind," "The Letter,"
"Runaround Sue," "Gone Gone Gone and "Keep A Knockin',"
but sharing the grooves with these are five fine numbers written by
lead vocalist Des Henly (four) and pianist Sean Mayes which display
Fumble at their best.
They're an unashamedly lightweight band but on "Poetry" nowhere
do they descent into the mindless sort of music which so dominated the
charts in '74. There are couple of slow songs, "Marilyn" and
"Don't Take Love," written respectively by Mayes and Henly
which are probably the stand-out tracks. They make a good contrast with
the faster ones. Their flop single "Not Fade Away" is included
which offers some hope that this great treatment of a great song won't
disappear without trace. The main criticism is that the album has altogether
too clean a sound. I realise that their music demands a clean sound
but it's carried a bit too far here by producer Shel Talmy. Otherwise
it's just fine. Incidentally, I loved the piano solo on "Keep A
Knockin'."
B.H.