Fat -

Fat was an American psych-rock band from Massachusetts that released a self-titled album on RCA in 1970, followed by a standalone single in 1971. After a half-decade silence, the band re-emerged with Footloose on self-press Dream Merchant Records in 1976. A further shortplayer appeared on the imprint in 1982, two years after their disbandment.

Members: Peter Newland (vocals, harmonica), James Kaminski (lead guitar, vocals), Michael Benson (lead guitar), Guy DeVito (bass, vocals), William ‘Benji’ Benjamin (drums, vocals)

Background

Fat formed in 1968 in Western Massachusetts, likely centered around the Northampton–Springfield area. The lineup brought together vocalist–harmonicist Peter Newland, dual guitarists James Kaminski and Michael Benson, bassist Guy DeVito, and drummer William “Benji” Benjamin. Drawing on elements of blues, psych, and acid rock, the band quickly developed a regional following in New England, gigging heavily before landing a deal with RCA Victor.

Fat

Fat released their self-titled debut album in August 1970 on RCA Victor. It features the five-piece lineup of singer–harmonicist Peter Newland, twin guitarists James Kaminski and Michael Benson, bassist Guy DeVito, and drummer William “Benji” Benjamin.

Newland fronts a rural-psych sound rooted in melodic blues rock with dual-guitar interplay and sporadic acid licks. “House on the Corner” opens with a creeping groove that crescendos on Kaminski’s fuzz-toned leads. “Mine Eyes Have Seen” follows with a full-on acid-blues explosion over an anguished chorus, while Side A closes with the five-minute “Journey,” a layered jam that mixes chordal motifs and flowing fretwork. The haunting “Black Sunday” evokes late-period Them or early solo Van Morrison, and “Lonely Lady” blends open-chord arpeggios in a moody acoustic-electric setting reminiscent of Stephen Stills.

Side B opens with “Shape I’m In,” a bristly rocker with chunky chords and driving fills. “Country Girl” brings harmonica-laced boogie action in a six-minute rave-up with breakneck fretwork and rural harmonies. “Over the Hill” and “Duck Sweat” channel a backwoods blues-rock sensibility, while the closing “Highway” aims for an anthemic finale but suffers from tuning issues between the band and harmonica.

A1. “House On the Corner” (3:03) – atmospheric mid-tempo opener with tight rhythm section and layered guitars.
A2. “Black Sunday” (3:17) – dark ballad with poetic lyrics and Morrison-esque vocal phrasing.
A3. “Mine Eyes Have Seen” (4:08) – heavy acid-blues rocker with fuzz guitar and a searing chorus.
A4. “Lonely Lady” (4:43) – wistful acoustic-electric blend with open chords and reflective lyrics.
A5. “Journey” (5:00) – modal psych jam with riff-based structure and expansive twin leads.

B1. “Shape I’m In” (2:31) – brisk rocker with simple hook and growling guitar breaks.
B2. “Country Girl” (5:44) – harmonica-driven rave-up with a blazing riff and cowbell groove.
B3. “Over the Hill” (3:12) – mid-tempo rural number with bluesy overtones.
B4. “Duck Sweat” (4:03) – down-home rocker with back porch swagger.
B5. “Highway” (6:02) – would-be epic finale undermined by out-of-tune harmonica.

The album was produced by Eddie Jason and engineered by Roy Cicala and Shelly Yakus at RCA Studios. It appeared on thick orange-label vinyl via RCA’s Rockaway pressing plant. Despite strong musicianship and regional buzz, Fat failed to gain national traction.

“Still Water” / “Jump Town Girl”

RCA issued “Still Water” as a standalone single in January 1971 (b/w “Jump Town Girl”). Both sides were co-written by Peter Newland, Michael Benson, and James Kaminski and produced by Eddie Jason.

A. “Still Water” (3:24) – lush, introspective ballad with orchestrations by Lee Holdridge; showcases Newland’s poetic lyricism and the band’s melodic instincts.
B. “Jump Town Girl” (2:52) – upbeat rock shuffle with tight vocal interplay and rhythm guitar crunch.

The single marked Fat’s last release for RCA before a five-year hiatus.

Footloose

Fat released their second album, Footloose, in 1976 on their own Dream Merchant label.

Footloose marked Fat’s return after a six-year recording hiatus. Only three original members—Peter Newland, Michael Benson, and Guy DeVito—remained from the RCA lineup. Guitarist Christopher Newland and drummer William Perry completed the new five-piece formation.

Peter wrote everything with select input by Benson, DeVito, and Christopher. Side A includes one track each by Perry (“Bistro City”) and former drummer William ‘Benji’ Benjamin (“Dirty Money”), plus the R&B standard “Down Home Girl.”

Compared to their 1970 debut, Footloose presents a slicker, more polished sound geared toward upbeat rock and danceable grooves. While Newland retains his signature soulful vocal delivery, the lyrics shift away from the poetic introspection of the earlier material, opting instead for more straightforward, rock-oriented themes. The album balances classic rock, blues, funk, and light psych influences, with tighter, less exploratory arrangements and occasional forays into jazz-funk, including an instrumental with flute.

A1. “Footloose and Fancy Free” (3:50)
A2. “Dirty Money” (3:46)
A3. “Highway Angel” (3:59)
A4. “Bistro City” (3:54)
A5. “Down Home Girl” (3:35) originated as an AUgust 1964 Red Bird side by Louisiana R&B singer Alvin Robinson; written by Artie Butler and Jerry Leiber and covered by the Rolling Stones, Liverbirds, and (most recently) Nazareth .

B1. “Get It While It’s Hot” (6:38)
B2. “(You Make Me Nervous)” (5:00)
B3. “It Was an Elegant Time” (3:50)
B4. “Immediate Woman” (3:47)

The album was co-produced by Ed Begley and Fat, with engineering by Begley and mastering by M. Posner. It was released in small numbers on Dream Merchant Records (OU-812). Peter Newland designed the cover in collaboration with R. Jurkowski.

In 1977, the band issued a 7″ single of “Footloose and Fancy Free” (b/w “Get It While It’s Hot”).

“Livin’ Like an Outlaw” / “When Will I Meet You”

In 1982, Fat issued the standalone single — Peter Newland’s “Livin’ Like an Outlaw” backed with the Michael Benson co-write “When Will I Meet You?” — on Dream Merchant Records (DM101).

A. “Livin’ Like an Outlaw” (4:05) is a gritty, mid-tempo rocker that reflects Newland’s rough-hewn vocal style and the band’s shift toward harder-edged, working-class rock.
B. “When Will I Meet You?” (3:33) is a shorter, more melodic cut with contemplative lyrics and a streamlined arrangement.

The single marked the band’s final release, appearing two years after their dissolution.

After Fat

Drummer William “Benji” Benjamin played in the new wave band The Elevators, appearing on their 1980 Arista release Frontline, and later joined The K Company, a rockabilly/blues-rock outfit with Fat guitarist James Kaminski. The K Company released the single “Here Comes the Springtime” in 1987 on Meltdown Records. Kaminski handled vocals and guitar and penned both sides, supported by Benjamin on drums and Jerry Ellis on bass.

Discography: