Gulliver -

Gulliver was an American rock quartet formed in Philadelphia by singer-keyboardist Daryl Hall, singer-guitarist Tim Moore, bassist-keyboardist Tom Sellers, and drummer Jim Helmer. The four musicians worked through John Madara’s production circle on Sound of Genesis and the Electric Indian before Elektra issued the group’s sole album.

Members: Daryl Hall (vocals), Jim Helmer (drums), Tom Sellers (keyboards, bass), Tim Moore (guitars)

Background

Gulliver formed in 1969 in Philadelphia when songwriter-producer John Madara assembled Hall, Moore, Sellers, and Helmer around material by the two singers.

Daryl Franklin Hohl was born October 11, 1946, in Pottstown, Pennsylvania. He studied music at Temple University and sang with The Temptones, which cut two 1967 single for the Philly Arctic label. Hall recently befriended John Oates of local rivals The Masters. Despite their musical kinship, the two didn’t collaborate before Oates’ departure for Europe.

Tim Moore played Philadelphia coffeehouses and passed through the DC & Senators, Woody’s Truck Stop (with Todd Rundgren), and the Muffins before Madara employed him as a staff songwriter and session guitarist. The two songwriters lived near one another and developed material within Madara’s operation. Madara secured an Elektra contract and booked Gulliver at Sigma Sound Studios.

Journey to the Moon

Sound of Genesis released the singular album Journey to the Moon in July 1969 on Buddah.

John Madara and Tom Sellers constructed the Apollo 11 concept around NASA communications, Victor Jay narration, and a Philadelphia session ensemble with Hall on keyboards and Moore on guitar. Moore co-wrote most of the original material with Madara, while former Dovells singer Len Barry joined them on the title piece.

“Journey to the Moon” launches from a two-note signal and tinny scriptural narration before piano tumbles into a brisk stomp. “The Computer” flickers through a pageant-like instrumental backdrop with festive accents. “Space Rock” skitters through brisk go-go figures with emphatic ensemble hits.

“A Walk on the Moon” lopes through bright chord changes and a filtered banjo-like figure. “Lunar Walk: Empty, Void” hovers under mission chatter with electric-sitar figures and electronic effects. “Nineteen Ninety-Nine” skips beneath a flute-and-horn phrase and buoyant chord changes.

A1. “Journey to the Moon” (2:28)
A2. “Lift Off: Mystery of Space” (3:58)
A3. “The Computer” (2:29)
A4. “Lunar Landing: Moon Plaque” (3:44)
A5. “Space Rock” (2:32)

B1. “A Walk on the Moon” (2:58)
B2. “Lunar Walk: Empty, Void” (8:24)
B3. “Nineteen Ninety-Nine” (2:07)
B4. “Lift Off & Return: Sea of Tranquility” (4:38).

Madara and Sellers produced the Philadelphia sessions from NASA transmission tapes supplied for the Apollo 11 project. Barry co-wrote and co-produced the title recording, while Sellers supplied the arrangement. Madara entered the project with the songwriting credit “At the Hop”; Sellers soon arranged the Electric Indian single “Keem-O-Sabe.”

Journey to the Moon appeared in a black sleeve dominated by a glowing lunar disc and yellow-green type. Richard Robinson supplied liner notes.

Buddah issued “Journey to the Moon Part I” in July 1969 (b/w “Journey to the Moon Part II”) under the shortened Genesis credit. Sony Music later issued the nine-track program digitally under Sound of Genesis and narrator Victor Jay.

Keem-O-Sabe

The Electric Indian released the singular album Keem-O-Sabe in 1969 on United Artists.

Bernie Binnick devised the studio identity and assembled a Philadelphia cast around the title single. Gulliver members Hall, Moore, Sellers, and Helmer joined guitarist Bobby Eli and vibraphonist Vincent Montana Jr. on a program that combined project originals with six contemporary song adaptations, including hits by Blood Sweat & Tears, Marvin Gaye, Jerry Butler, Stevie Wonder, and Jr. Walker & The All Stars.

“Keem-O-Sabe” circles a recurring cinematic western figure with sitar phrases and a brief Rossini quotation. “I Heard It Through the Grapevine” darts from an exposed opening into busy organ runs. “Rain Dance” breaks from a bass-and-percussion entrance into repeated open breaks. They conclude with a version of “1-2-3,” a 1965 hit for producer Len Barry.

A1. “Keem-O-Sabe” (2:10) – Borisoff, Binnick
A2. “I Heard It Through the Grapevine” (3:10) – Whitfield, Strong
A3. “Spinning Wheel” (3:05) – Clayton-Thomas
A4. “Storm Warning” (2:18) – Fisher
A5. “Rain Dance” (2:10) – Borisoff, Wisner

B1. “Geronimo” (5:15) – Montana
B2. “Only the Strong Survive” (2:27) – Butler, Gamble, Huff
B3. “My Cherie Amour” (3:12) – Cosby, Moy, Wonder
B4. “What Does It Take to Win Your Love” (3:07) – Bullock, Bristol, Fuqua
B5. “1-2-3” (2:20) – White, Borisoff, Medora.

Len Barry produced sessions at Sigma Sound Studios in Philadelphia and Century Sound Studios in New York. Tom Sellers arranged the title track; Jimmy Wisner and Vincent Montana Jr. divided the remaining arrangements. Sigma founder Joe Tarsia engineered the Montana-arranged selections, while Brooks Arthur handled the Wisner sessions. Barry entered the project after the Dovells and the solo single “1-2-3”; Sellers next assembled the Assembled Multitude for an Atlantic album.

Frank Gauna directed the sleeve design, which placed a feathered Tony Price sculpture above a blue sphere. S. Faine Studios supplied photography.

United Artists reissued “Keem-O-Sabe” in August 1969 (b/w “Broad Street”) after a local Marmaduke release. The instrumental reached No. 16 on the Billboard Hot 100, No. 6 on Easy Listening, and No. 46 on Best Selling Rhythm & Blues Singles.

UA followed with “Land of 1000 Dances” in November 1969 (b/w “Geronimo”), which reached No. 95 on the Billboard Hot 100. “Rain Dance” appeared in March 1970 (b/w “Storm Warning”). Cash Box placed the album at No. 101 on the Top 100 Albums chart.

No dedicated CD edition followed, though “Keem-O-Sabe” appeared on later Philadelphia compilations.

Gulliver

Gulliver released the self-titled singular album Gulliver in August 1970 on Elektra.

Hall and Moore divided lead vocals across a ten-track program drawn from their in-house material. The first four selections pair Hall with Sellers, Helmer, and Len Barry in different songwriting combinations; Moore supplied the remaining pieces, including the Sellers collaboration “Seventy.”

“Every Day’s a Lovely Day” chugs through a grainy lead and broad group replies. “Enough/Over the Mountain” eases into an unhurried passage shared by Moore and Hall. “Lemon Road” barrels on a tight band figure beneath Hall’s rough-edged lead. “A Truly Good Song” lingers over piano before swelling into a broader repeated coda.

A1. “Every Day’s A Lovely Day” (2:45) – Sellers, Moore, Hall
A2. “I’m Really Smokin’” (2:25) – Helmer, Hall
A3. “Christine” (1:45) – Barry, Sellers, Hall
A4. “Rose Come Home” (3:35) – Helmer, Hall
A5a. “Enough” (1:58) – Moore
A5b. “Over the Mountain” (2:32) – Moore

B1. “Angelina” (3:10) – Moore
B2. “Flogene” (2:20) – Moore
B3. “Lemon Road” (3:05) – Moore
B4. “Seventy” (3:10) – Sellers, Moore
B5. “A Truly Good Song” (4:25) – Moore.

Sessions took place in 1969 at Sigma Sound Studios, Philadelphia, with John Madara and band member Tom Sellers producing and studio founder Joe Tarsia engineering. Madara brought a production catalog that included “At the Hop” and “You Don’t Own Me.” The cover placed the quartet in silhouette beneath a low sun and a dark crenellated structure.

Elektra paired “Every Day’s a Lovely Day” with “A Truly Good Song” on a 1970 single. Warner-Pioneer issued a reordered Japanese LP in 1984 under catalog K25P-439 in the Elektra series. Essential Media returned the ten-track program on the 2012 manufactured-on-demand CD Christine & Other Favorites.

Postlude

After Gulliver dissolved, John Oates returned to Philadelphia and resumed work with Hall. Madara recorded the pair before manager Tommy Mottola secured an Atlantic contract. The label issued their debut, Whole Oats, in 1972 under the Hall & Oates billing.

Moore moved to Woodstock and released the solo albums Tim Moore and Behind the Eyes, which produced “Second Avenue” and “Rock and Roll Love Letter.” Sellers formed the Assembled Multitude and continued as an arranger-producer. Helmer played on the Whole Oats and Gonna Take a Miracle, the 1971 collaborative album by Laura Nyro and Labelle.