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AMAR CABALLERO

Babe Ruth

Heavy Prog


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Babe Ruth Amar Caballero album cover
2.59 | 29 ratings | 10 reviews | 10% 5 stars

Good, but non-essential


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Studio Album, released in 1973

Songs / Tracks Listing

1. Lady
2. Broken Cloud
3. Gimme Some Leg
4. Baby Pride
5. Cool Jerk
6. We Are Holding On
7. Doctor Love
8. Amar Caballero:
- a. El Caballero De La Reina Isabella
- b. Hombre De La Guitarra
- c. El Testament De Amelia

Lyrics

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Music tabs (tablatures)

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Line-up / Musicians

- Janita Haan / lead vocals
- Dave Hewitt / bass
- Alan Shacklock / guitars, vocals, percussion, keyboards
- Ed Spevock / drums

Releases information

LP Harvest SHVL 812
LP Harvest ST 1275
CD Beat Goes On BGO 382 (1998) (along with "First Base" as two lp's on one CD)

Thanks to ProgLucky for the addition
and to Joolz for the last updates
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First BaseFirst Base
Import
Repertoire 1995
Audio CD$7.30
$5.82 (used)
Grand Slam: Best ofGrand Slam: Best of
Parlophone 2004
Audio CD$4.66
$3.78 (used)
Babe RuthBabe Ruth
One Way Records Inc 1993
Audio CD$38.99
$13.12 (used)
Stealin HomeStealin Home
Import · Remastered
Bgo - Beat Goes on 2000
Audio CD$10.55
$9.99 (used)
First Base / Amar CaballeroFirst Base / Amar Caballero
Import · Remastered
Bgo - Beat Goes on 2002
Audio CD$12.45
$8.48 (used)
Babe Ruth - Greatest HitsBabe Ruth - Greatest Hits
Griffin Records/ Cema Special Products 1995
Audio CD$12.99
$2.99 (used)
Que PasaQue Pasa
REVOLVER RECORDS 2009
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$29.13 (used)
Babe Ruth - First BaseBabe Ruth - First Base
Harvest Records
Vinyl$24.00 (used)
First Babe (Replica Gatefold Sleeve)First Babe (Replica Gatefold Sleeve)
Import
101 DISTRIBUTION 2010
Audio CD$9.27
$17.43 (used)
Amar CaballeroAmar Caballero
Import
EMI Japan 2013
Audio CD$24.31
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BABE RUTH Amar Caballero ratings distribution


2.59
(29 ratings)
Essential: a masterpiece of progressive rock music(10%)
10%
Excellent addition to any prog rock music collection(28%)
28%
Good, but non-essential (38%)
38%
Collectors/fans only (21%)
21%
Poor. Only for completionists (3%)
3%

BABE RUTH Amar Caballero reviews


Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by Gatot
SPECIAL COLLABORATOR Honorary Collaborator
3 stars My favorite track of this classic album (second release by Babe Ruth) is the album title track "Amar Caballero" that comprises three parts. The song is basically mellow in style during intro part with some influences of classical music. Janita Haan sings with her heart through the vocal clarity she delivers and her powerful timbre. The song starts with vocal line accompanied with acoustic guitar work. The acoustic guitar fills the music augmented with soft keyboard sound. The music then moves into a faster tempo with percussion drive and speedy acoustic guitar work in latin music style. It's a wonderful acoustic guitar solo with excellent rhythm section.

"Baby Pride" is an acoustic guitar exploration, no drumming, heavily loaded with classical music at the intro part followed with nice voice line and great keyboard work. Janita's singing style is in blues-jazz vein augmented with great guitar fills. "We Are Holding On" is a chamber music with guest musicians: Raymond Vincent (vilin), Duncan Lamont (flute) and Nick Mobs (tambourine). "Broken Cloud" is the only different track than the others in terms of nuance as this track is heavily influenced with eastern (Chinese) orchestration. It's a good track.

It's a good album and it has different value when you were there by the time the album was released or even until late seventies. Keep on proggin' ..!

Peace on earth and mercy mild - GW

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Send comments to Gatot (BETA) | Report this review (#43652) | Review Permalink
Posted Sunday, August 21, 2005

Review by Tarcisio Moura
PROG REVIEWER
3 stars Babe Ruthīs second album is their most different and experimental of their entire career. Starting with Lady, an interesting jazzy piece with some funky orchestration. Good and short. It is followed by Broken Cloud, a delicate piece of eastern music with Janita Haanīs singing like an angel. Very poignant. Unfortunatly, the next track is probablyīs BRīs worst ever called Gimme Some Leg. I still donīt understand what is all about. Maybe a (bad) joke? Musically is simply hideous and it is too long. Baby Pride is nice, a jazzy guitar tune, while Cool Jerk is another throwaway song, but at least has a good riff and it is short.

The LP goes on with the acoustic instrumental We Are Holding On: just classical guitar with some string accompaniment. short, good, strange finale. Doctor Love could be a good rockingītrack but suffers from the same flaws as Gimme Some Leg. The final piece of the album is a showcase for Alan Shacklocks fascination with spanish flamenco music. This 3 part suite is quite good and quite bold for the time.

All in all not a bad album, but definitly way inferior to their powerhouse start. A lot of experimentation and new styles here. But those didnīt necessarely translate into good music. Rating: 2,5 stars.

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Send comments to Tarcisio Moura (BETA) | Report this review (#169939) | Review Permalink
Posted Monday, May 05, 2008

Review by Queen By-Tor
SPECIAL COLLABORATOR Honorary Collaborator
3 stars He's out! No, wait! Safe! Safe at second base...

A hit and a near miss for Babe Ruth coming into their sophomore output. After their magnificent debut, will they be able to follow up with an equally good album this time around? The short answer is no. The long answer is coming up. Like their debut, this album is styled around heavy rock inspired by the more hard rocking bands of the time while trying to be a competitor with Zeppelin while adding progressive leanings and a harsh Mexican twinge. Strange indeed for a British band. Noticeable right off the bat (no pun intended) with this album is the cover art. Their debut sported a very unique Roger Dean sleeve, this one has a bunch of horses with a little snippet of their previous art in the bottom corner. The little man holding the bat almost screaming out, Hey! We're Babe Ruth! Remember us?

This album is best described as uneven. In the same way as looking at the career stats of any baseball team, there's very high and very low points to this album. Ultimately and unfortunately the low parts do manage to take their toll on the overall scheme of things, making the album come off as not as good as it could be. In terms of structure on the album the songs are shorter (with exceptions), there's more sense of humor to them and they're (generally) not quite as dark or moody as we're used to from the band. Jenny Haan is still a more than capable vocalist, her voice giving life to all of the songs, and Shacklock still knows how to write a mean riff. There's also less cover material on this album than their debut, with only two songs not having been written by the band.

The good songs on the album are very good. Just as we've come to expect from the band powerhouses like the opener Lady with it's strong vocals, the emotional and dark Broken Cloud remind us why the band has such potential. Also notable on the first side is the slow and melancholic Baby Pride with its touching piano makes for a wonderful way to end a side.

The first side is the stronger of the two, but even it has it's flaws. The longest song on the first side is unfortunately ripe with problems as Gimme Some Leg has a very unimpressive and lacking riff which doesn't help the song move forwards very much. Haan's voice is the one redeeming thing about the song, but even it is cut off at points by a strange backing vocal that is perhaps supposed to be funny but doesn't work out that way. Where the band before excelled at being dead serious this is a curveball which will unexpectedly hit the listener forcing them to walk.

Moving onto the second side we have two of the best and two of the worst songs by the band to this point in their career. Opening with the surf-riff driven Cool Jerk (which sounds suspiciously like the cool whip jingle) we're treated to a song which is actually a cover done by the band... but why? Not at all impressive and a track best skipped. Luckily it's the shortest song on the album. Doctor Love is another song best avoided, nothing memorable about this one. However, sandwiched between the two mediocre/bad tracks is a real gem. The instrumental We Are Holding On is a wonderful (if short) track with intricate and delicate pianos and guitars played emotionally to make a classic track for the band.

Save the best the for last it seems, as coming into the end we're treated with an excellent suite. The title track Amar Caballero is an excellent 9-minute tour de force of sheer joy. Everything the band does well is represented here, and tough the vocals only make appearances for the first third of the song (also a little bit in the second part) they're easily forgiven as Shacklock takes us away on a voyage not soon forgotten. Part B of the song sees it's highest point with Haan screaming out in the background as Shacklock riffs away. The end of the song has a slow and smooth conclusion which brings the album to it's end.

So while there's songs worth a full 5 stars on the album there's also songs that bring questions to mind. Still this is a good album worthy of your time if you enjoyed their first album. Maybe not perfect like their debut, but that was a hard act to follow up on. 3 stars! Very good when it's good, disappointing when it's not. Recommended to fans of the debut and anyone who wants to hear a Mexican (though British) flavored Led Zeppelin With more prog and a female singer.

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Send comments to Queen By-Tor (BETA) | Report this review (#171750) | Review Permalink
Posted Tuesday, May 20, 2008

Review by UMUR
SPECIAL COLLABORATOR Honorary Collaborator
3 stars Amar Caballero is the second album from british rock group Babe Ruth. Babe Ruthīs debut album First Base was an excellent rock album with lots of progressive tendencies ( most notably a cover of King Kong by Frank Zappa & The Mothers of Invention) while this second album is a bit more simple and influenced by both soul and funk.

The music is highly rythmic and the rhythm section is a real treat on this album. The album is build like this: One rocker, one slow song and so fouth for the first seven songs until the last epic title track which is a latin influenced mostly instrumental spanish guitar driven song. A great ending to a good album. I enjoy the rocking tracks like Lady, Cool Jerk, Doctor Love and especially the cool Gimme Some Leg very much while the more slow soft tracks Broken Cloud, Baby Pride and We Are Holding On with their orchestra drenced harmonies are also good but not really my favorites.

The musicianship is really excellent. Try and listen to the attitude in Janita Haanīs voice. She is just so great that lady. The rhythm section is as mentioned extremely tight and funky while main composer and guitarist/ keyboardist/ percussionist / vocalist Alan Shacklock is adds lots of great guitar playing and arrangements. That man is a very good guitarist which he of course already proved on the debut.

The production is really good. This is how a good seventies production sounds like.

The latin inspired cover picture isnīt especially pretty but I guess it suits itīs purpose of telling us that this is latin influenced rock music.

I really like this album even though First Base was a bit more exciting. But I fear for the future releases from the band as Amar Caballero hasnīt got much intricate progressive playing or arrangements. Above all this album rocks and thatīs nice enough but Iīm not challenged. Iīll give Amar Caballero 3 stars.

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Send comments to UMUR (BETA) | Report this review (#176836) | Review Permalink
Posted Monday, July 14, 2008

Review by ZowieZiggy
PROG REVIEWER
2 stars I was rather disappointed when I listened to this album. I can't really see lots of heavy stuff in here.

The band is investigating several musical influences during this album: some jazz with Lady, some syrupy ballad with Baby Pride, some Latin soul with Cool Jerk. Still no trace of a heavy song on the programme with Broken Cloud. It is just a tranquil ballad with loads of orchestrations. Pompous and soundtrack oriented.

Pure blues during Gimme Some Leg, during which Janita provides a fantastic vocal performance a la Joplin (I made the same comment for Wells Fargo on their debut). If you want to get some Spanish/Mexican mood, you can still listen to the sweet instrumental piece We Are Holding On. Acoustic guitar and violin are on the menu.

Doctor Love is the funky one of this album which I don't like very much to be honest.

The longest track from this work Amar Cabballero starts again as a mellow and melancholic song with very sweet vocals; it gets upbeat with the middle part called Hombre De La Guitarra. Some sort of acoustic Santana extravaganza: great percussion by all means. The closing section called El Testament De Amelia brings us back into a full and peaceful acoustic guitar play.

Two stars for this album which is hard to categorize, but it is definitely no heavy prog at all.

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Send comments to ZowieZiggy (BETA) | Report this review (#187655) | Review Permalink
Posted Saturday, November 01, 2008

Review by Certif1ed
SPECIAL COLLABORATOR Honorary Collaborator
2 stars In days of old, when Knights were bold...

The first thing I noticed about this album the first time I heard it (and I've yet to hear Babe Ruth's debut) was that both the production and musicianship were impressive.

Unfortunately, the payback decreases with every subsequent listen - the Wow factor quickly rubs off, and leaves the listener feeling a bit short-changed. So this is a good album for a couple of listens - and well worth hearing.

Listening is another matter - as soon as you start digging deep, you realise that it's all surface.

That doesn't mean there's nothing to like - it's a reasonable album, with a strong line-up of songs and some very interesting touches in the arrangements. All of which turn out to be colour by numbers, not particularly heavy, and definitely not Prog in any sense of the term - so don't come in looking for Heavy Prog - it's barely Prog-Related. It's 1970s rock music with some interesting and different twists:

The thing that jumps out of the opener, Lady, is the uncanny similarity to music you'd normally hear on those Library compilations, such as those on the famous KPM label, featuring such unsung maestros as Alan Hawkshaw and Keith Mansfield (although, sadly, without the Hammond).

The energetic yet laid-back reggae puts me in mind of the Police (specifically, Walking on the Moon), each instrument in the arrangement precisely in place - a bit too precisely for rock and roll, especially the finger-clicks, and the orchestral arrangements perfect to a t. The modulation for the chorus and flute melody interlude are drop-dead gorgeous, but still there's that suspicion of artificiality, and the guitar solo simply imitates the melody without developing it before going off onna light jazz tip noodle. There's plenty of evidence of good musicianship - but not of the musical development that is a feature of Prog.

Broken Cloud continues in this KPM vein - if you're not familiar with that label, then check out KPM 1044, The Big Beat, KPM 1123 (Friendly Faces) and KPM 1131 (The Trendsetters), but this one *sounds* a lot more proggy, with an orchestral arrangement that would be superb, if it wasn't so thin- sounding generally.

Gimme Some Leg is a slow groove rock number, again, too utterly precise to truly rock, and, at this tempo, somewhat lugubrious. The song construction is so obvious that this is a good one to skip over unless you like drawn-out pentatonic scales, of which there are two extended portions. Neat and without fries.

Baby Pride starts with a nice jazzy guitar flurry and again, sounds a little proggy, Janita Haan attempting to extend her rather limited vocal range down into uncomfortable singing ranges. Some might perceive the breathiness as quite sexy, I find it a bit constipated. The progression gets rather repetitive by about halfway through, but there are some nice details in the arrangement - again, inserted at precisely the right times, emphasising the by numbers feeling.

The cover of Cool Jerk annoys the crap out of me, so I won't cover it in any depth - the precision thing is way overplayed - the thing that makes this track work is looseness and funkiness, and this roadkill has neither.

We Are Holding on continues the alternation of up-tempo and down-tempo pieces, and is a sonic feast - it sounds absolutely fabulous. But musically, with everything slotting perfectly into place just like an MFI kitchen unit, it's functionally perfect, but very boring. Well worth a second listen, but not a third.

Up goes the tempo, predictably, for Doctor Love (another possible interpretation of this album's title). This quirky funky track could be really cool if the funk lived in it. But it doesn't. Back to the KPM albums.

The 3-part title track, then, is the biggest nod towards Prog Rock. But who wrote those lyrics? Nasty! The quasi-Spanish guitar works reasonably to paint the portrait of the knight in the court of Queen Isabella - but what a dreary sod he must've been! I prefer the Guitar bloke that follows, lifting the tempo in a merry dance in the loosest (and hence strongest) piece so far on the album, continuing the Spanish flavours, and grooving strongly - but maybe overdoing it a bit, stringing it out for a good couple of minutes longer than it needs to be with nothing new to say or any interesting developments in the music. The applause is really overdoing it.

El Testament De Amelia is a relief when it comes, then - but really a kind of slower restatement of El Caballero De La Reina Isabella.

So this promising 9-minuter is, in fact, 3 separate pieces, linked by the Spanish feel of the acoustic guitar, not a logical (or even illogical) progression, and the album as a whole has no coherent concept.

As I said, definitely one to hear - indeed, one to hear more than once - but not really a keeper in any Prog collection, as it loses its patina pretty quickly, like the chewing gum on the bedpost overnight.

File under Sort-of Prog Related.

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Send comments to Certif1ed (BETA) | Report this review (#189882) | Review Permalink
Posted Wednesday, November 19, 2008

Review by SouthSideoftheSky
SPECIAL COLLABORATOR Symphonic Team
2 stars If this is what second base is like with this babe, I'd rather stay at first base

Babe Ruth's second offering is a major disappointment after the excellent debut, First Base. Amar Caballero is a very uneven album featuring a couple of very good songs, some average ones, and some really bad ones too. Let's start with the bad ones: Gimme Some Leg, Cool Jerk and Doctor Love are horrible attempts at (some kind of) Funk and maybe these could even be seen as proto-Hip Hop! I absolutely cannot stand these three tracks and this brings the album down. The lyrics are also quite horrible on these. You can almost sense what these songs are all about, both musically and lyrically, just by reading the song titles! Strange but true.

Lady is a nice but ultimately forgettable song with a somewhat bombastic chorus. Broken Cloud is very good and features some tasteful flute. I think that Broken Cloud was an Indian chief. This song is just as elaborated and sophisticated as anything from the band's debut and one of the few highlights here. Baby Pride is a decent but quite generic ballad type song and nothing that really stands out. We Are Holding On is a Spanish flavoured acoustic guitar instrumental with a string section, quite good but nothing really memorable.

The best track on this album is the nine minute plus, three part title track. This song features excellent Spanish guitar playing! It reminds me of Al Di Meola's brilliant playing. The first part is a short vocal piece that strongly reminds me of the excellent Carmen who incidentally released their masterpiece debut album the same year as this album was released. I really have a soft spot for this kind of music, and I wish Babe Ruth had made more in this style. However, it is not enough to save this album from being quite bland overall.

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Send comments to SouthSideoftheSky (BETA) | Report this review (#197887) | Review Permalink
Posted Thursday, January 08, 2009

Review by ClemofNazareth
SPECIAL COLLABORATOR Prog Folk Researcher
2 stars Babe Ruth were a band that certainly had every opportunity to be a huge commercial success, which makes the fact they never rose above b-list status and disappeared after four albums of descending quality and importance all the more egregious. The band's first album hit the scene graced with one of the more unusual Roger Dean covers (certainly a prerequisite for progressive music success in the early seventies). Their first two albums were recorded by the inimitable Tony Clark of Beatles and Cliff Richard fame. Their inexplicable recording business connections earned them a multi-album contract on the Harvest label and strong rotation airplay for their 'Wells Fargo' and 'The Mexican' singles.

And to top this all off their first two studio releases were recorded at the commercial- success mecca of the day, Abbey Road Studios. For this, their second album, that meant access to some pretty heavy-hitters to act as backing musicians and who managed to flesh out what was otherwise a lean sound into something that approached a major act production. The plethora of horns, percussion and strings on this album belie the fact the group was nothing more than a quartet featuring the standard fare of a rock band for instrumentation: one guitar, bass, drums and occasional keyboards. The mostly uncredited backing musicians had on their resumes appearances on such luminary rock classics as 'Sgt. Pepper's Lonely Hearts Club Band', 'Jesus Christ Superstar', 'Magical Mystery Tour', Nektar's 'Down to Earth', Fleetwood Mac's 'Mr. Wonderful' and a host of albums for Ginger Baker's Air Force, Stealer's Wheel, Be Bop Deluxe, Mark Almond, Roy Orbison, Stephen Stills, Bell & Arc, Camel, Wishbone Ash and Rod Stewart, among many others. The army of support and promotion helped the band achieve their only Top-100 Billboard record, but it also helped hide the fact that Babe Ruth wasn't much more than a one-trick pony whose attraction would quickly dissipate as soon as the A&R money dried up and the band was forced to try and achieve a worthwhile sound on their own merits.

But that time wouldn't come until after this album was recorded, and the solid support here did result in the band laying down a few tracks that stand up to some scrutiny even if they don't represent the true level of talent in the group's legitimate lineup.

The opening 'Lady' is a slightly bluesy rock number with lush horns, woodwinds, layers of percussion and multi-tracked vocals all designed to give weight to lead singer Janita Haan's appreciable vocal talent. The result is s solid AOR track that lacks soul but has a respectable studio sheen and radio-friendly mood.

'Broken Cloud' is much slower and also fat with strings, horns, and woodwinds that reinforce the spaghetti-western tone the band was by then trying to perfect in their music. Clark must have recognized the band's true strength when he decided to overdub Haan's voice with herself to decent effect, but otherwise this is a rather forgettable tune and one the band would not likely have been able to pull off by themselves in a live setting.

The band's heavy blues background is most evident on 'Gimme Some Leg', an odd tempo number dominated by rich organ bleats and wicked guitar soloing I'd like to believe was delivered by band guitarist Alan Shacklock but can't be sure considering the wealth of more talented musicians hanging around who contributed to this recording.

The record continues its see-saw mood swings with the cool-jazz keyboard-driven 'Baby Pride', a sexy and charming number but one that fails to capitalize on Haan's Janis Joplin- like vocal chops.

And why the band (or Clark) felt the need to insert a cover of the Capitol's hit 'Cool Jerk' is beyond me, but of the half-dozen or so versions I've heard of this song over the years this is easily the most overworked yet uninspired. This is a dance tune meant to drive listeners into a jiggy frenzy. Haan and her doo-wop backing singers sound more like a Sha-Na-Na wramup act. Very weird.

'We Are Holding On', along with 'Doctor Love' (no, not the one you're thinking of) were inexplicably b-side singles with their flip sides being songs that were never released on any Babe Ruth album that I'm aware of. The first is a very decent soft instrumental that chiefly features violin, keyboards and acoustic guitar that I'm quite sure weren't played by anyone in the band (I could be wrong, but I doubt it). The second is a spastic dance tune with erratic percussion that is saved only by the horn solos.

The album does have at least one redeeming song, the nine-minute title track that closes the record, although the thing runs to about the 2:30 mark before it manages to get going with a heavily Latin-influenced bevy of acoustic guitar picking, sassy percussion and occasional distant background singing. This climaxes into what sounds like a brief recording of crowd noises before slipping back into an acoustic coma which slowly and deliberately fades away. Nice guitar work and a decent soundtrack for a desert sunset, but that's about it.

Babe Ruth had a couple decent tunes in the early years, most significantly the cult hit 'The Mexican' on which the band rode for the rest of the career (and for their reunion formation in 2005). Otherwise this seems to have been an attempt by their label to manufacture a persona that the band themselves don't seem to have been capable of projecting on their own. This isn't their worst album; the 1976 disaster 'Kid's Stuff' with an almost completely different lineup and sans Haan owns that distinction. But its also not even close to being their best, and given the massive effort to spice it up with studio musicians and engineering massaging, I have to say that it doesn't deserve more than two out of five stars and a lukewarm recommendation only for hardcore fans (who probably already own it). Otherwise, don't waste your time or money.

peace

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Send comments to ClemofNazareth (BETA) | Report this review (#438379) | Review Permalink
Posted Saturday, April 23, 2011

Review by Matti
COLLABORATOR Neo-Prog Team
3 stars I wouldn't categorize this band as Heavy Prog! Well, I've only heard their two first (and most classic) albums, and neither of them is very heavy as a whole, especially not this one. It's not directly prog rock either, instead one hears various musical styles such as funk and jazz here - which nevertheless justifies calling it a proggy album. The proggiest one is the 3-part 'Amar Caballero' which includes nice Spanish approach.

I enjoy some songs on both albums, not all. Janita Haan is a rather ballsy female vocalist, comparable to Grace Slick of Jefferson Airplane and the singer in an obscure early 70's band Affinity. But she's quite flexible too, as this album demonstrates. She's great on calm pieces ('Amar' and beautiful, mysterious-feeling 'Broken Cloud'), though her voice could be mixed more up front there. Surprisingly I like also the funky opener 'Lady' (in general I'm not fond of funk). It has really delicious horny and jazzy sound. The rest of the album leaves me quite cold. The production is uneven. I'm giving this 2― stars, rounded up due to the rare atmosphere of 'Broken Cloud' and the closer's Spanish touch one don't hear too often.

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Send comments to Matti (BETA) | Report this review (#507560) | Review Permalink
Posted Tuesday, August 23, 2011

Review by Sinusoid
PROG REVIEWER
2 stars The name Babe Ruth has a different meaning depending on whom you ask, and some music aficionados will direct you to this English hard rock group, likely to their debut album FIRST BASE. I happened to get the clean-up album AMAR CABALLERO first, a decision that hasn't been that rewarding.

Let's start with the standout great track of the album that is the one that gives AMAR CABALLERO its title. I've heard their song ''The Mexican'' and this sounds sort of like a sequel to that song (the peppy middle section anyway). The nine-minute mini-epic flows rather smoothly and the acoustic guitar ballad at the beginning puts the listener in the right mood. Fantastic finish.

But where to go with the rest of the album?..it sounds like Babe Ruth couldn't decide if they wanted to be Parliament crossed with Motown or Renaissance without a rhythm section. The quiet ballads (''Broken Cloud'', ''We Are Holding On'' and ''Baby Pride'') are below average to put it nicely. The others are mediocre at best including a couple of forays into some of the most unbearable vocals on the heavy prog circuit. Maybe there was humour intended, but it makes no difference with me if I've already curled into a cringing position.

If you really want to hear the prog rock in this, just get the title track unless you have a penchant for subpar Motown funk-rock. The band sounds absolutely confused on which musical direction to take, and the listener absorbs this confusion almost by default.

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Send comments to Sinusoid (BETA) | Report this review (#743686) | Review Permalink
Posted Tuesday, April 24, 2012

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