Most every music fan has their guilty pleasures and mine is the super-cheesy soft rock of the late ‘70s and early ‘80s. Among the guiltiest of these guilty pleasures is the band Ambrosia. Now, don’t fret if you don’t remember Ambrosia. They were big enough to garner a few Grammy nominations back in 1980 but not big enough to win.
So, here’s the weird thing about Ambrosia. Many years ago I came to the realization that Ambrosia was responsible for not one, not two, but three of the greatest tunes in soft rock history. The three tunes are:
“Biggest Part of Me”
“You’re the Only Woman”
“How Much I Feel”
If you gave those songs a quick listen, I’m sure that you’d agree that all of them are nothing short of incredible. Each one could easily be considered a legitimate one-hit wonder song and yet Ambrosia somehow produced three absolutely perfect tunes.
Post-epiphany, I rushed out and bought their Anthology collection. Look, if you’re a band that can deliver three 24 karat gold songs you definitely deserve my $15 for the rest of your best stuff. But then the weirdest thing happened when I listened to the full album.
It was unlistenable.
Now, I don’t mean that it was average quality music. I’m not saying that it was uneven or erratic. I’m telling you that every other song – aside from the big 3 mentioned above – was horrible. I’m talking “the Yoko songs on Double Fantasy” level horrible.
Quite honestly this blew my mind. And the more that I thought about it, the more that I realized that Ambrosia may be the only band in the history of music to accomplish such a rare feat: they produced three amazing songs and literally nothing else of quality.
Think about it. Most successful bands that are talented enough to sign a record deal, tour and maintain a career tend to deliver at a fairly consist level throughout their recording careers – barring significant line-up changes or finding god. And while many bands may be culturally significant for just a handful of popular songs, their popular songs will usually fit logically within the context of their entire catalog.
For example, my favorite band, The Black Crowes, are famous for probably 4 early ‘90s hits (‘She Talks to Angels”, “Hard to Handle”, “Jealous Again” and “Remedy”). In the case of the Crowes those songs perfectly represent the band and even though they aren’t mainstream popular anymore, they have consistently produced work of roughly the same quality for 20 years.
One-hit wonders, on the other hand, typically produce a singular song that strongly represents a moment in time where the cultural moment eclipses the actual quality of the song.
Bobby McFerrin’s “Don’t Worry, Be Happy” is the perfect example of a one-hit wonder where the song became inexplicably popular in the summer of 1988 in a way that represents the summer of 1988 much more strongly than it represents Bobby McFerrin. Most of us know Bobby McFerrin from that terrible song, but in reality he’s an accomplished musician whose work and reputation far exceeds that one song. sadly, Bobby McFerrin will always be remembered for a song that doesn’t represent him particularly well. In a way, that sucks for him as an artist. In another way, those royalty checks probably keep his mansion well-stocked in cocaine and hookers.
But most one-hit wonders don’t have the musical chops of a Bobby McFerrin. Their one-hit does accurately represent the entirety of their musical identity. In most cases those one-hit wonders weren’t able to sustain a career precisely because that one-hit gave us exactly what we needed from them. There are countless songs that fit into this category, but a great example is Toni Basil and her hit “Mickey.” “Mickey” fairly represented both the early MTV era of 1982 as well as Toni Basil’s musical vision, so we don’t need anything more from her.
The next level up from the one-hit wonder is the one-and-a-half-hit wonder. In this scenario, a band, take Extreme for example, hits it big with one huge song (“More Than Words”). Since people enjoyed that one song so thoroughly that they were more than willing to try another song (“Hole Hearted”) that showed a different side of the band. And while “Hole Hearted” became a moderate hit it couldn’t quite reach the heights of “More Than Words,” which caused people to question whether they like the band Extreme or just the song “More Than Words”. As a result, their inability to nail that second hit sealed Extreme’s fate of better than one-hit wonders but not good enough to sustain a consistent career.
In conclusion, my theory is that every band in the history of music can easily be slotted into one of those 4 categories: consistent band, good one-hitters, bad one-hitters or one-and-a-half hitters.
Except for one band: Ambrosia.
The world’s only three hit wonder.
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Kenny B // Nov 5, 2009 at 1:17 pm
You’re reminding me of the time (somewhere in the early 1990’s) I bought “Tommy Tutone 2″ with the theory that the rest of the album would be as fun and likeable as “Jenny”. Not exactly the worst mistake of my life, but definitely in the top 10.
Mitch // Nov 5, 2009 at 2:47 pm
Really? I’m shocked that you liked 867-5309 in the first place.
According to the wiki, TT is a two-hit band, but I don’t really consider hitting #38 a hit:
1980 “Angel Say No” Pop Singles 38
1982 “867-5309/Jenny” Pop Singles 4
Mitch // Nov 5, 2009 at 2:53 pm
Just for reference, here’s how Ambrosia stacked up on the charts:
“Holdin’ on to Yesterday” 17
“How Much I Feel” 3
“Biggest Part of Me” 3
“You’re the Only Woman (You & I)” 13
So, technically, Ambrosia had a 4th top 20 hit (‘Holdin’ on to yesterday’) but that song pales in comparison to the big 3. I’m really surprised that ‘you’re the only woman’ didn’t crack the top 10.
P Hepple // Dec 10, 2009 at 6:18 pm
Hey Mitch your assessment of Ambrosia couldn’t be farther from the truth. Ambrosia has written and recorded many awesome songs that you are clueless about! Ambrosia’s first big hit in 1975 was the incredible Holdin On To Yesterday. They also scored a big hit with the Kurt Vonnegut inspired FM classic Nice Nice Very Nice. Ambrosia’s debut album is one of the best debuts ever. The songs Time Waits For No One, Make Us All Aware, and Drink Of Water are killer songs! Ambrosia’s second album SomeWhere I’ve Never Travelled produced by Alan Parsons of Pink Floyd’s Dark Side Of The Moon, is one of the best progressive art rock albums of all time. Ambrosia’s first two releases are progressive creative art rock albums and are anything but bland. Their albums Life Beyond LA and One Eighty fall into the WestCoast Pop studio sound. Their last studio album Road Island produced by James Guthrie, who engineered The Wall by Pink Floyd, is a return to their Prog and Rock roots and even contains a Prog Metal gem in the song Ice Age.
Here’s a review of Ambrosia’s self titled debut album by Tom Karr of Progressive World.
This self titled debut release by Ambrosia is on my list of the ten best progressive rock albums by American bands in the 1970s. This work features all of the essential elements of the genre and also boasts an impressive grasp of pop music sensibilities, and more memorable themes and catchy hooks than many artists would produce over the course of a long career. The group displays a mature sound, and awesome instrumental skills that rival those of any of the best progressive rock bands of the day. Whether exploring territory similar to that of Yes, or the Italian sound, ala Banco, displaying their home-grown influences, including vocal kinship with The Beach Boys, and Todd Rundgren, instrumental resemblances to Chicago and Blood, Sweat And Tears, or charting out some of the stylistic elements that they would later hone into the MOR trademark sound of their later, decidedly un-progressive career, they always achieved the highest standards of excellence.
This release was also notable in its production values. It was engineered by Alan Parsons, famed for his work with The Beatles, and his own later work in the Alan Parsons Project. Parsons brought his considerable skills and studio experience to bear on this project, and the album benefited from some of the best pre-production and planning that any fledgling act could ever hope to receive. Some stellar sidemen/women contributed to the outstanding sound of this effort, including Zappa alumni Ruth and Ian Underwood on marimba and saxophone, respectively. A Russian balalaika ensemble enhances the track “Time Waits For No One”, and well conceived details reveal themselves in all of the eight tracks included here
This CD begins with a Yes influenced number, “Nice, Nice, Very Nice.” It will be immediately clear that these musicians are extraordinarily talented and that the songwriting will be far above what is expected on a debut from an unknown (at that time) group of musicians and writers. Christopher North’s keyboards are sophisticated, and show the kind of stately bearing and understated elegance of Rick Wakeman’s best work. Burliegh Drummonds drumming is comparable to, and is seen as, a mixture of Bill Bruford’s tight jazzy style with some of the flair and power of Santana/Automatic Man drummer Michael Shrieve. The quartet was rounded out with the ubiquitous Joe Puerta and David Pack on bass and guitar. These two probably appear on more albums than Wakeman and half the studio pros of L.A. combined All the band members sang, and their vocal prowess was unrivaled within this genre. Their harmonies were the equal of those of the Beach Boys and the best work of Todd Rundgren’s Utopia. “Nice, Nice, Very Nice” had lyrics fron novelist Kurt Vonnegut, and a very catchy song structure that provides all the expected twists and turns of progressive rock, and the hooks and layers of vocals that fans of finely crafted pop music would love.
“Time Waits For No One” begins with tightly played acoustic guitar and piano, and features some nice additional touches like a ringing alarm clock, and tubular bells accenting the chorus. The chorus also lays out the bands powerful vocal style, with overlapping layers of harmony vocal lines. Acoustic instruments punch out some nice jazz inspired lines, and the bridge uses some balalaika, oddly used to cast a Latin tinge to the section, along with punchy hand claps, creating the sounds of a fiesta in this brief song within a song.
The third track “Holdin’ On To Yesterday,” shows the direction the group would later take. This was Ambrosia’s first single, and it received considerable airplay in the mid seventies. This song is a textbook of MOR essentials, and it can be compared to the kind of work that Paul Carrack would bring to the Squeeze with “Tempted” several years later, or the Crowded House favourite “Don’t Dream It’s Over”, which would appear five years later. The track has some very satisfying B-3 work, and a smooth, yet gutsy guitar solo that will remind the listener of the kind of guitar work that graced Joni Mitchell’s great Court And Spark album.
The fourth track, “World Leave Me Alone,” is another pop-rock gem. This number features crisp acoustic guitar rhythms and gritty electric leads in the style of George Harrison, and a glittering, spacey, Rundgren-esque bridge which leads to the finale, a Beatles inspired ascending progression with Lennon/McCartney/ Harrison style, soaring vocal harmonies.
This, and the preceding track are by no means symphonic progressive rock, but they are welcome nonetheless. These fine examples of pop songcraft are by no means out of place on a release such as this.
The next track is a beautiful work “Make Us All Aware.” It has a very classy, Wakeman like piano track, lovely vocals, and a Celtic inspired harpsichord bridge that leads to a brief Moog break, beds of vocal harmonies, and a gentle conclusion to it all. This tune has some Yes-like qualities, and is one of the high points of this CD.
The following track, “Lover Arrive,” is a peaceful piano piece with layers of symphonic backing. This calls to mind the romantic melodies of Brahms, mixed with the mid 70s sounds of Elton John.
Moving on to cut number seven, we have “Mama Frog,” an Italian sounding composition. This may remind the listener of some of the more straight forward and catchy music of Banco. It combines jazz/rock keyboards with some pulsing drum work, and provides an opportunity for North to show off some Nocenzi style, burbling Moog, and tasty B-3 work. The center section of this tune features a spoken verse from Lewis Carroll’s Jabberwocky, which may strike some listeners as a bit corny, but in my opinion it comes off as ear candy, quite well done, and is, like all the additional sound effects, a wonderful treat. The end of this tune displays an impressive, syncopated drum and keyboards section with stop-start riffs, sounding almost like a passage from Il Balleto Di Bronzo’s Ys. This number displays a very, very tight band with chops to spare.
The album’s finale is the overpowering “Drink Of Water.” Featuring a huge sounding cathedral organ, soulful Hendrix inspired rhythm guitar work, and pristine vocal harmonies, this song is a powerful end to a great and inspired release. This song sounds like Yes meets Beach Boys meets Blood, Sweat And Tears. The organ work will make the hair stand up on the back of your neck, and the lovely lyrics may bring a tear to your eye as well.
This is simply an outstanding effort from a band that would later make a name for themselves writing and recording easy listening hits such as “Biggest Part Of Me,” “You’re The Only Woman,” “Life Beyond LA,” and of course, “How Much I Feel.”
When there is such a brilliant work such as this self-titled debut waiting to be re-discovered, there can be no reason to subject yourself to that later, radio friendly repertoire.
Mitch // Dec 11, 2009 at 11:20 am
Phil,
Thank you for your thoughtful response and defense of Ambrosia. I think where we differ is that I love their MOR hits. And while I was a big Yes fan as a kid, Prog rock doesn’t really do it for me. So, no disrespect to the musicianship of Ambrosia (I love Puerta’s work with Hornsby) but I think they’re better as a soft-rock band. It’s the harmonies and the melodies.
It ain’t easy being cheesy!
P Hepple // Feb 8, 2010 at 12:43 pm
Hey Mitch,
Check out these Killer Live versions of Classic Ambrosia songs!!
Holdin On To Yesterday
http://www.youtube.com/watch?v=0j2BI3BHhII
Somewhere I’ve Never Travelled
http://www.youtube.com/user/AMBROSIABAND#p/u/1/Ovjc9CG0j18
Life Beyond LA
http://www.youtube.com/user/AMBROSIABAND#p/u/0/zfGDMQBiR6k
Time Waits For No One
http://www.youtube.com/watch?v=Ry8tHxEWd1E
Nice Nice Very Nice
http://www.youtube.com/watch?v=sbEf5PIehes
Beverly Brooks // May 30, 2010 at 2:52 am
If only more than 91 people would hear about this!
Marybeth // Jun 1, 2010 at 4:28 am
6 months ago, I would have COMPLETELY agreed with the post on this blog…I wasn’t really into anything on Ambrosia’s anthology album except for Holdin’ On to Yesterday, their big soft-rock hits mentioned above, and the other similar soft-rock songs on the album, which I love. For all the same reasons. They are AMAZINGLY beautiful and really beyond compare for that genre, vocally and instrumentally.
However, I decided it really wasn’t fair of me to say that I liked the band so much and not have experienced all their music, so I reluctantly (I was sure I wouldn’t really like anything) downloaded all their albums, burned them onto CDs, and made myself listen. Wow. It did take about 2 listenings to get me interested, but now I can’t stop playing those CDs. And I didn’t really think I was into ‘prog’ either…but it’s really growing on me. I’m actually starting to feel like the ‘beautiful’ songs – the soft-rock hits – don’t have as much substance to them. They are gorgeous, and I still love them, but I am finding some of the other songs more satisfying musically (at least right now). Plus, I now respect them more as musicians. What variety and versatility! Actually, their lack of commitment to a specific sound has garnered many critical reviews…but I don’t agree with them. Granted, it does sound like they have an identity crisis from one song to the next because every song seems to imitate one or a combination of the following bands: Styx, Crosby Stills and Nash, Steely Dan, ELO, Moody Blues, Yes, Blood Sweat and Tears, Pink Floyd, etc., and that doesn’t even include the favorite soft-rock hits, BUT I think that just makes them really excellent musicians. They were able to do all those different songs wonderfully well. And you really miss out if you don’t get a chance to hear all the members sing. David Pack’s lead vocals are achingly sweet, but I enjoy listening to Joe Puerta just as much. You can kind of tell which songs are “Joe” songs and which are “David” songs – David tends to do the less ‘prog’ sounding songs. And obviously their voices sound different. I think Burleigh Drummond sings lead on a couple of songs, but I’m not sure whether it is him or Chris North. It’s definitely not David and I’m 99% sure it’s not Joe.
Yes, there are some weak songs on these albums, but for the most part, I listen to them in their entirety. I am not sure I would have chosen the same songs for the Anthology album that they did. First of all, why put “new” songs on there? I hate when those albums do that. It’s usually songs that they’ve recorded much later…after they are older and not so popular. So they don’t sound quite right, and they don’t fit with the original sound of the band either. Secondly, I would have chosen other songs that represented their ‘prog’ style better…including 1 or 2 among the soft rock doesn’t really do anything except confuse the listener. I would have cut Mama Don’t Understand, Livin on My Own, Heart to Heart, Sky Is Falling, and Cowboy Star. I would have replaced those with any of the following: World Leave Me Alone, Make Us All Aware, Art Beware, How Can You Love Me, Mama Frog, For Openers (Welcome Home), Ice Age, Not As You Were. But there are many more great songs on their albums. It’s also interesting to hear how their sound changes as they enter the 1980s.
Please give this band a second chance and try one of their other albums. I would suggest starting with their debut, “Ambrosia.”
Dan Lucas // Aug 4, 2010 at 2:24 pm
Wiki says Quincy Jones declared “Biggest Part of Me” was one of his all time favorite songs. Quite an accomplishment for the 3 hit wonder. They were really some accomplished FM era musicians.