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Shoot: On the Frontier
Added: April 15th 2017 [ Printer Friendly Page ] |
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Kudos once again to Angel Air Records for consistently delivering rare nuggets from the rock 'n' roll vaults, and here's their latest, the 1973 release from the short lived band Shoot, titled On the Frontier. Comprised of ex-Yardbirds/Renaissance member Jim McCarty, guitarist Dave Greene (Raw Material), bassist Bill Russell, and ex-Manfred Man drummer Craig Collinge, the album also featured guest contributions from Renaissance pianist John Tout, violinist Graham Preskitt, pedal steel player B.J. Cole, and horns courtesy of Lyn Dobson & Bob Birtles. McCarty for his part decided to climb from behind the drum kit for the first time and tackle lead vocals and keyboards, and he did a fine job, lending some tasty organ, Mellotron, and piano to the albums ten songs which combined rock, jazz, prog, psychedelia, and country flavors. » SoT Staff Roundtable Reviews:
Posted by Jon Neudorf, SoT Staff Writer on 2017-04-15 10:27:16
My Score:
After his involvement with The Yardbirds and Renaissance, singer songwriter/musician Jim McCarty formed the one-off project Shoot and released the album On the Frontier in 1973. Also in the band were Bill Russell (bass), Craig Collinge (drums, percussion) and Dave Greene (vocals, guitars, banjo). Guests included Lyn Dobson and Bob Birtles (horns), B.J. Cole (pedal steel and dobro), Graham Preskitt (violin) and John Tout (piano on "Old Time Religion").
This wasn't exactly a well-known release at the time which is a real shame. Thanks to Angel Air Records the disc has finally been released on CD and folks that is a very good thing indeed. Is it a long lost '70s classic? Well I wouldn't exactly say that but On the Frontier is an excellent early '70s recording that really hits the sweet spot in terms of melody and listenability. The sound is classic '70s rock, often recalling that smooth California sound, especially within the outstanding vocal harmonies found throughout. McCarty has an excellent voice and is a real highlight here. You can also add tasty guitar rhythms, often having that jangly sound that was so reminiscent of The Byrds' sound.
"The Neon Life" starts the disc off with a nice piano melody and energetic vocals. Superb harmonies, backing horns and a nice guitar solo sets the mood for the rest of the album. The sax solo is also noteworthy. The slower "Ships and Sails" features more gorgeous vocal harmonies and sumptuous bass lines from Russell. More great melodies can be heard on the funky "Living Blind" and the country rock twang of "The Boogie". The title track, featuring jangly guitar rhythms is another melodic winner. The progressively tinged "Mean Customer" is likely the most ambitious offering with tasty acoustic guitar jams and psychedelic pedal steel meanderings. Smatterings of piano adds to its acoustic charm.
For those of you who missed out on this the first time around, well, now's your chance. On the Frontier is a gem of an album that should have been more successful than it was at the time. If you enjoy '70s rock music you know what to do.
Posted by Steven Reid, SoT Staff Writer on 2017-03-05 15:36:40
My Score:
Having been the drummer in The Yardbirds, Jim McCarty then went on to become part of the original line-up of Renaissance. However with a burning desire to sing the songs he was writing, the drummer turned singer took the bold step to leave the band and start his own, calling them Shoot. Recruiting Manfred Mann Chapter Three drummer Craig Collinge, McCarty decided not only to sing, but also take on keyboards and percussion, while Bill Russell joined on bass and Dave Greene on guitars, banjo and backing vocals.
Staying true to the progressive path he'd begun to walk down with Renaissance, Shoot found McCarty moving into a more accessible setting, his voice reminiscent of Status Quo's Francis Rossi, while the gently progressive, gently psychedelic, slightly poppy music made for eclectic, but instantly memorable fare. Releasing their one and only album, On The Frontier, in 1972, the band played a support slot opening for The Pretty Things, as well as recording a few radio sessions. However with McCarty road weary after his 'work them to the bone' time in The Yardbirds, Shoot never really became a touring beast, merely playing a handful of shows here and there and only when the mood took them. Something which way back then meant bands went largely ignored. And so it proved, On The Frontier a commercial flop that, even after backing the album hugely, caused EMI to drop the band. A few rhythm section reshuffles ensued, before they folded only one year after their debut had arrived.
Now some 44 years later, Angel Air have dusted the album down for its first appearance on CD, and added in two 'radio session' tracks as a bonus. In truth, good though those extra tracks are, On The Frontier doesn't need a sweetner to grab your interest, a set of shimmering, enigmatic, but hugely catchy and memorable songs doing that all on their own. McCarty's easy vocal delivery doesn't hurt either, while with horns, dobro, violin and piano sprinkled across the album, the arrangements also hugely impress.
Whether through the surprisingly tuneful drone of the stripped back "Midnight Train", the forceful, almost Roxy Music meets Pink Floyd of "The Neon Life", or the jaunty Moody Blues inspired "Ships And Sails", an authentic vibe carries you along. Especially when you sit back and soak in the clever vocal interplay between McCarty and Greene, which adds yet another dimension to these excellent songs. Something also illustrated via the King Crimson-lite of "Living Blind" and dreamy "Sepia Sister", which unbeknown to the band, had begun to receive regular air time on St Louis radio station KSHE. In fact, you can't help but think that had Shoot managed to have a shot at the US market, they may just have made a greater impact. As it is, the band were one time wonders, but in On The Frontier, they left an excellent album behind them.
