PATTO

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3.5 stars really!!!

First album from Patto, a group named after its singer's surname, released on the Vertigo label, developing a complex kind of progressive blues rock, based on the multi-instrumental prowess of Ollie Hallsall (future Tempest with John Hiseman). Completing the quartet are the raspy-voiced Mike Patto, the sturdy drummer John Halsey and pedestrian bassist Clive Griiffiths. While Patto's "progressive blues rock" label is not really that appropriate, it's quite difficult to define their music accurately as it spans from straight RnR (San Antone) to bluesier rock ala Free (Goverment Man) to jazzy stuff (Money Bag). The ugly drawing on the gatefold artwork is by the same that will do Patto's other album and took care of May Blitz's just as ugly artworks.

Most of Patto"s interest lies in their leader's (Halsall) multi-instrumental virtuoso talents, but he appears to be the main songwriter as well. If the opening side bears collectively-written tracks that flirts between blues and rock (between Humble Pie and Free) with the best track being the acoustic Time To Die and great guitar solo in the aptly-named Red Glow; the flipside belongs to him alone (if you'll except Mike Patto's lyrics credits) and presents the most interesting tracks mentioned above (Money Bag and Gov't Man), but even then, it's not unique and outside one track, it's not essential for the majority of progheads. However most of the proggyness of Patto appear in the jazz-influenced incredible guitar playing from Hallsall's , as he was quite a live attraction with his very young age. Definitely their better album. .

The band Patto sprung from the ashes of sixties band Timebox who's soul tinged pop/rock was to find them little commercial success. After the departure of keyboard player Chris Holmes the remaining members took the surname of vocalist Mike Patto as the new name for the band and continued in an altogether different direction.

Although Timebox had shown signs towards the end of a more adventurous direction there was no mistaking it with Patto. They were much more of a rock band fusing powerful (sometimes) heavy rock with a good dose of jazz and a sprinkling of blues into songs with inventive structures and extended guitar workouts courtesy of their trump card, the brilliant Ollie Halsall, surely one of the most underrated guitar players to have come out of the UK. On drums John Halsey and bassist Clive Griffiths made up a fine rhythm section that could play it straight in the more rocky moments or follow the subtle twists and turns of Halsall's complex jazz excursions with ease. On top of this they had the benefit of the powerful and gritty vocals of Mike Patto who was an excellent vocalist in the classic rock tradition; another under appreciated talent.

The production of the album, courtesy of Muff Winwood is very bare and spacious and really captures the band in the raw allowing the listener to hear every little nuance.

The album gets off to a great start with the slow build of The Man. From restrained beginnings it gradually increases in intensity into a powerhouse of a song and also introduces one of Halsall's other talents; playing vibes. Hold Me Back is a much more straightforward rock song but certainly not ordinary as Halsall's fluent guitar playing weaves as it fluctuates between riffs, licks and lead runs with few overdubs with a superb solo. Time To Die sees the band in a more mellow mood. Acoustic guitar and delicate work from the rhythm section underline a fine vocal performance. Red Glow is an album highlight and another powerful rock moment. It features perhaps Halsall's greatest solo on the album which really burns.

San Antone is a lighter but more uptempo moment which really swings with jazzy overtones and Government Man is another moment of subtle restraint; both great songs. Money Bag captures the band jamming in jazz mode, Patto's vocals not arriving until late and closing track Sittin' Back Easy is another gem moving from delicately picked guitar to a powerhouse of a riff.

Patto were also known for the humour they injected in their performances, something that doesn't really come across on this album or follow up Hold Your Fire. For that you'd need to investigate their third album Roll'Em, Smoke 'Em, Put Another Line Out which however is musically inferior to this gem of a debut and its follow up. They were never a band blessed with luck either with poor album sales, Patto died of cancer in 1979, Halsall died of a drug overdose in 1992 and Griffith and Halsey were involved in a serious car crash while touring with Joe Brown which left Griffith paralysed down one side and no memory of the Patto days apparently. A truly sad story but at least we have this startlingly good debut and even better follow up to remind us what a fantastic and undiscovered gem of a band Patto were.

Upon it's initial release, this curious blend of jazz and rock(which is not, as is the norm with jazz-rock, in the Bitches Brew/Mahavishnu Orchestra style) sold just an estimated 5,000 copies on it's initial 1970 debut. Released by the famous old Vertigo Label(them of the 'spiral')with a special-edition-style textured sleeve, original vinyl copies have become highly-sought items for collectors, with some editions changing hands for up to £500! As has become their style, Germany's Repertoire Records has released 'Patto' on a special edition original vinyl-replica CD - complete with the yellow, textured cover - and have once again captured the mystique of the original album for those rock-enthusiasts who can't find or afford original vinyl copies. The band themselves formed from the ashes of the 1960's singles group Timebox, and was built around vocalist Mike Patto and the hugely-talented guitarist Ollie Halsall, who's eccentric personalities seem to dominate the album. The sound is very much jazz-scaled rock, with the guitars and basses very much to the fore, with catchy rock-soul numbers interspersed with smoky jazz tunes and quirky, improvisational experimentation. Whilst 'Patto' does retain a certain mythical affection from some record collectors, it's not an essential prog-or-jazz album, but nevertheless is a highly-original and enjoyable one. The cool jazz-pop of 'Government Man' is possibly the best indicator of group's prediliction for combining catchy-choruses with proggy guitar-jazz, if not for the song's slight commercial potential that comes in the form of a catchy chorus built upon solid rock foundations, then for the crisp guitar-and-bass interplay that bristles with a funky gusto that gives 'Government Man' a unique, low-slung vibe. Later tracks tend to doodle a bit, especially the ten minute 'Money Bag', but on the whole this is a nicely-judged debut. It would, however, prove to be the peak of the group's recorded output. Follow-up 'Hold Your Fire' failed to re-produce the jazz-gustom and low-slung-rock of it's predecessor, whilst later efforts tended towards a sillier, less-progressive form of strange rock that saw the band incorporate a feature of their popular live show, known as 'Looning'(don't ask) into their already leftfield music. A minor band they may have been, but for one piece of vinyl Patto became, to some, genuine stars, thanks to their unique brand of chameleonic jazz-soul-rock and their sensational live shows. The hit-single or million-selling album may have aluded them, but they have at least contributed an impressiev album to the overall canon of prog, and genuine cult item as well. ST