Humble Pie -

Humble Pie was an English hard-rock/blues band that released two albums in 1969 on Immediate, followed by six albums and a live double-LP between 1970 and 1975 on A&M. For the length of its run, the band featured ex-Small Faces vocalist/guitarist Steven Marriott, who formed the band with ex-Herd guitarist/singer Peter Frampton, who departed for a solo career in 1971.

Members: Jerry Shirley (drums), Steve Marriott (vocals, guitar, keyboards, Jew’s harp, 1969-81), Greg Ridley (bass, 1969-75, 2001-03), Peter Frampton (guitar, 1969-71), Clem Clempson (guitar, 1972-75), Bobby Tench (guitar, vocals, keyboards, 1980-81, 2001-03), Anthony “Sooty” Jones (bass, 1980-81)

Background

Humble Pie formed in January 1969 in Moreton, Essex, when Steve Marriott joined the band he helped assemble for his friend, Peter Frampton. The two singing guitarists met and bonded the prior year over their shared desire to break into the edgier realm of rock. Both arrived at their new band with prior success on the pop charts: Marriott in the Small Faces and Frampton in The Herd.

Marriott (b. 1947) hit the scene in 1963 with a solo single on Decca, followed by a sequence of beat gigs that brought him into contact with bassist Ronnie Lane, drummer Kenney Jones, and keyboardist Jimmy Winston, who collectively formed the Small Faces. Between 1965 and 1968, they placed ten singles on the UK Top 20, including “All or Nothing,” “Tin Soldier,” “Lazy Sunday,” and the transatlantic pop-psych evergreen “Itchycoo Park.”

Frampton (b. 1950) landed his first professional gig at age 15 in beatsters The Preachers, managed by Rolling Stones bassist Bill Wyman. In 1966, he joined The Herd, which charted with the singles “From the Underworld” and “Paradise Lost.” After the pop-psych whimsy of “Mixed Up Minds” and “I Can Fly,” they moved into rockier territory on the 1968 single “Sunshine Cottage,” a prelude to Frampton’s next band.

Marriott initially tried to get Frampton into the Small Faces as a fifth member, but this was vetoed by Lane, Jones, and Ian McLagen (Winston’s replacement). Undaunted, Marriott linked Frampton with bassist Greg Ridley and drummer Jerry Shirley.

Ridley first recorded in the R&B/mod band The V.I.P.s, which morphed into Art for the 1967 hard-psych album Supernatural Fairy Tales. With the arrival of American keyboardist/singer Gary Wright, they became Spooky Tooth and released the 1968/69 albums It’s All About and Spooky Two, the second released just after Ridley’s departure.

Shirley played on the 1967 pop-psych single “(Tell Me) Have You Ever Seen Me” (b/w “Madame Garcia”) by The Apostolic Intervention, produced by Marriott and co-written with Lane.

In December 1968, Frampton played as a sixth wheel on sessions between the Small Faces and French singer Johnny Hallyday. Amid growing tensions with his bandmates, Marriott jumped ship to Frampton’s new band.

Due to the established reputations of its two frontmen, the new band was hailed as a supergroup. To downplay the hype, they named themselves Humble Pie and signed to Immediate Records, owned by Stones manager Andrew Loog Oldham.

As Safe as Yesterday Is

Humble Pie released their debut album, As Safe as Yesterday Is, in August 1969 on Immediate.

The album presents blues-rock, acoustic folk-rock, and extended electric pieces with shared lead vocals, organ, harmonica, tablas, flute, and sitar. The debut lineup comprises vocalist and guitarist Steve Marriott, vocalist and guitarist Peter Frampton, bassist Greg Ridley, and drummer Jerry Shirley. Lyn Dobson adds flute and sitar to select titles.

“Desperation” smolders through a slow, unsettled cover treatment, with loud swells pressed against a lagging road pace. “Stick Shift” rattles through Mod-era rock-and-roll motion, with short turns under Frampton’s vocal. “Buttermilk Boy” barrels behind Marriott and Frampton in doubled force, then breaks for heavy licks in the upper range. “Growing Closer” kicks back around Marriott’s piano, with light blues figures under a brighter group drive. “As Safe as Yesterday Is” burns slowly, then bears down through loud band swells and a low-slung road gait.

“Bang!” lunges as a rugged electric number, with Marriott’s vocal pressed into the hard front of the band. “I’ll Go Alone” dazes through sitar and flute before its uptempo instrumental stretch gathers heat. “A Nifty Little Number Like You” punches through the harder side of the set, with Marriott’s voice fixed over a rough lead figure.

A1. “Desperation” (6:25) – Kay
A2. “Stick Shift” (2:22) – Marriott, Frampton, Ridley, Shirley
A3. “Buttermilk Boy” (4:22) – Marriott
A4. “Growing Closer” (3:13) – Anderson
A5. “As Safe as Yesterday Is” (6:08) – Frampton, Marriott

B1. “Bang!” (3:28) – Marriott
B2. “Alabama ’69” (4:37) – Frampton
B3. “I’ll Go Alone” (6:17) – Ridley
B4. “A Nifty Little Number Like You” (6:11) – Frampton, Marriott
B5. “What You Will” (4:20) – Marriott

Humble Pie recorded As Safe as Yesterday Is and its followup in 1969 at Olympic Studios in London with producer Andy Johns, a soundman on contemporary albums by Blodwyn Pig, The Deviants, Free, Jack Bruce, Jethro Tull, Led Zeppelin, Renaissance, and Ten Years After.

As Safe as Yesterday Is reached No. 32 on the UK Albums Chart.

US copies replace “Growing Closer” with the Marriott blues rocker “Natural Born Bugie,” Humble Pie’s non-album debut UK single, released on August 8 with the exclusive b-side “Wrist Job.”

Town & Country

Humble Pie released their second album, Town & Country, in November 1969 on Immediate.

Town and Country places acoustic-electric arrangements, Wurlitzer piano, sitar, hand percussion, and group vocals across songs by all four members. Marriott and Frampton divide the main vocal load, while Ridley and Shirley contribute lead titles.

“Take Me Back” saunters through twin acoustic motion, with small percussion and low bass beneath Frampton’s vocal. “The Sad Bag of Shaky Jake” rolls through a barroom character piece, with Marriott’s tale held to a country-toned track. “The Light of Love” drifts through a sitar-led eastern sketch. “Cold Lady” sways under a weary undertow, while Marriott sings from inside the worn track. “Down Home Again” stomps around a cracking riff, with Marriott’s rock vocal at the front.

“Every Mother’s Son” twangs through an acoustic tale, with country-toned figures under Marriott’s narration. “Heartbeat” knocks back the Buddy Holly cover into a gentle rock-and-roll sway. “Only You Can See” settles into Frampton’s mellow acoustic mode, with the voice carried on a softer strum. “Silver Tongue” motors through wailing voices and a dark electric sweep. “Home and Away” lingers on group vocal harmony before Frampton’s electric ending breaks from the acoustic run.

A1. “Take Me Back” (4:52) – Marriott
A2. “The Sad Bag of Shaky Jake” (2:59) – Frampton
A3. “The Light of Love” (3:04) – Marriott
A4. “Cold Lady” (3:22) – Marriott
A5. “Down Home Again” (2:54) – Marriott
A6. “Ollie Ollie” (0:50) – Shirley

B1. “Every Mother’s Son” (5:42) – Marriott
B2. “Heartbeat” (2:38) – Montgomery, Petty
B3. “Only You Can See” (3:38) – Frampton
B4. “Silver Tongue” (3:19) – Ridley
B5. “Home and Away” (5:57) – Frampton

Immediate lifted “The Sad Bag of Shaky Jake” as a December 1969 single (b/w “Cold Lady”).

Humble Pie

Humble Pie released their self-titled third studio album in July 1970 on A&M.

The album narrows the acoustic detail of the Immediate albums into longer electric pieces, with Wurlitzer, organ, harmonica, and pedal steel accents. B.J. Cole adds pedal steel guitar to “Only a Roach,” “Theme from Skint (See You Later Liquidator),” and “Sucking on the Sweet Vine.” Willie Wilson drums on “Only a Roach.”

“Live With Me” eases into Frampton’s organ swells, then breaks its relaxed drift with short bursts. “Only a Roach” lopes through country-toned vocal replies, with Shirley’s lead vocal folded into group phrases. “One Eyed Trouser-Snake Rumba” slings two alternating voices across a leaping track. “Earth and Water Song” dazes through quiet vocals and acoustic figures before a louder instrumental passage rises inside the back half.

“I’m Ready” barrels under Frampton’s shouted vocal, with a frenzied figure and a contrasting lead break. “Theme From Skint (See You Later Liquidator)” pounds from a plain opening into a louder second part and a crash ending. “Red Light Mamma, Red Hot!” punches through a cracking guitar passage under Frampton’s belted vocal. “Sucking on the Sweet Vine” lingers behind Ridley’s sad vocal, with a softer country-toned sway.

A1. “Live With Me” (7:55) – Humble Pie; starts with a slow church-organ intro in C minor. The band enters after eight bars, while rising organ figures and smoldering guitar phrases form the main track. Marriott’s vocal arrives at 1:30, high and howling, as the volume swells around the chorus phrase. Frampton’s searing solo nearly takes over around 3:15 before Marriott reasserts the lead. The track sits near the dark organ-rock terrain of Spooky Tooth’s “Evil Woman”; parts also recall Blind Faith and Ashton, Gardner & Dyke. After 5:00, high organ spirals threaten to overtake the track again, then recede for Marriott’s distant vocal inside a darker, bass-heavy fog. The volume spills over once more around 7:00, as Marriott screams into the climax before the track ends on a G chord.
A2. “Only a Roach” (2:49) – Shirley
A3. “One Eyed Trouser-Snake Rhumba” (2:51) – Humble Pie
A4. “Earth and Water Song” (6:18) – Frampton; begins with rustic acoustic plucking in the Led Zeppelin acoustic vein. Frampton sings sustained vowels over open chordal strums, accompanied only by bass at first. A light hi-hat adds pace before the full band enters at 1:30. The track presages Frampton’s later solo slow pieces through its crooning vocal manner and open acoustic setting. The lyric turns earth and water into masculine and feminine images inside a love song, with the narrator seeking romance, stability, and a simple life close to nature. A likely Leslie-treated lead arrives around 3:00. A second, more lyrical solo follows at 3:45, with bent and sustained high notes. The loose chord-and-vocal sequence reshapes around 5:00, when Frampton sings “there must be a better land,” then moves into a lead-guitar and organ outro.

B1. “I’m Ready” (4:59) – Dixon
B2. “Theme from Skint (See You Later Liquidator)” (5:43) – Marriott
B3. “Red Light Mama, Red Hot!” (6:16) – Humble Pie, Marriott
B4. “Sucking on the Sweet Vine” (5:46) – Ridley

Humble Pie recorded the album at Olympic Sound Studios in London with producer Glyn Johns, who worked in sequence on 1970 titles by Joe Cocker, McGuinness Flint, Philamore Lincoln, Steve Miller Band, and the Beatles swan song Let It Be.

The gatefold uses Aubrey Beardsley’s drawing The Stomach Dance on the front cover, band images inside, and George Frederic Watts’s second version of Hope on the back cover.

Rock On

Humble Pie released their fourth album, Rock On, in March 1971 on A&M.

Rock On extends the four-piece studio lineup with pedal steel guitarist B.J. Cole, saxophonist Bobby Keys, vocalist Alexis Korner, and Soul Sisters singers P.P. Arnold, Claudia Lennear, and Doris Troy. The album includes the Marriott–Frampton single side “Shine On” and two longer side-end pieces.

“Shine On” bursts from distorted arpeggios into brawny riffs and Frampton-led group voices. “Sour Grain” grinds under Marriott’s vocal, with a rough live-room track around the band. “79th and Sunset” struts through boogie-woogie accents and a raunchy vocal front. “Stone Cold Fever” slams from a power-chord opening into a jazzy middle break. “Rollin’ Stone” guzzles the Muddy Waters cover through Marriott’s rough vocal and heavy band churn.

“A Song for Jenny” rises from pedal-steel curls and acoustic wisps to organ-heavy group-vocal surges. “The Light” loosens behind Frampton’s vocal on a springier electric strut. “Big George” lumbers behind Ridley’s gruff vocal, with a Bobby Keys saxophone break inside the boozy sway. “Strange Days” darkens under Marriott’s echoed vocal, while Frampton’s guitar solos thread through the band churn. “Red Neck Jump” rolls through barrelhouse piano, doo-wop replies, and a loose honky-tonk strut.

A1. “Shine On” (3:00) – Marriott, Frampton
A2. “Sour Grain” (2:40) – Marriott
A3. “79th and Sunset” (3:00) – Marriott
A4. “Stone Cold Fever” (4:10) – Marriott, Frampton, Ridley, Shirley
A5. “Rollin’ Stone” (6:00) – Muddy Waters

B1. “A Song for Jenny” (2:30) – Marriott
B2. “The Light” (3:15) – Marriott
B3. “Big George” (4:10) – Shirley
B4. “Strange Days” (6:35) – Marriott, Frampton, Ridley, Shirley
B5. “Red Neck Jump” (3:05) – Marriott, Frampton, Ridley, Shirley

Humble Pie recorded and mixed most of Rock On in January 1971 at Olympic Sound with Glyn Johns. Andy Johns recorded “79th and Sunset” at Olympic in January 1970, while “Strange Days” came from January 1970 sessions at Island Studios in London.

The album appeared in a cover by John Kelly, who handled design and photography.

Rock On reached No. 118 on the Billboard 200 chart.

Performance: Rockin’ the Fillmore

In November 1971, Humble Pie released Performance: Rockin’ the Fillmore, a two-record document of their May 28–29 shows as New York’s Fillmore East.

The seven-song set (72:39) features two Rock On numbers (“Stone Cold Fever,” “Rollin’ Stone”) and the third album Willie Dixon cover “I’m Ready,” plus exclusive covers of Ida Cox (“Four Day Creep”), Ray Charles (“Hallelujah I Love Her So”), Ashford & Simpson (“I Don’t Need No Doctor”), and a side-long renditions of Dr. John’s “I Walk on Gilded Splinters.”

“Four Day Creep” slams through power-chords, with Marriott’s first vocal held for the roof-raising verse. “I’m Ready” barrels behind Marriott’s crowd shout and a ferocious beat. “Stone Cold Fever” wrestles Marriott’s high vocal around a tough riff and a jazz-tinged middle break. “I Walk on Gilded Splinters” dazes through ominous notes, harmonica cries, and open-ended band breakouts.

“Rollin’ Stone” bends around Marriott’s moans, audience replies, and Frampton’s shifting lead tone. “Hallelujah, I Love Her So” bounces through Marriott-Frampton vocal tradeoffs and inserted oldies fragments. “I Don’t Need No Doctor” guzzles call-response shouts, traded solos, and a sweat-soaked finish.

A1. “Four Day Creep” (3:45) – Hall
A2. “I’m Ready” (8:30) – Dixon
A3. “Stone Cold Fever” (6:14) – Marriott, Frampton, Ridley, Shirley
B1. “I Walk on Gilded Splinters” (23:25) – Rebennack

C1. “Rollin’ Stone” (15:55) – Muddy Waters
C2. “Hallelujah (I Love Her So)” (5:10) – Charles
D1. “I Don’t Need No Doctor” (9:15) – Ashford, Simpson, Armstead

Humble Pie recorded the album live on May 28–29, 1971, at Fillmore East with Eddie Kramer as engineer and David Palmer as assistant engineer. Kramer remixed the tapes at Electric Lady Studios in New York with John Jansen and Andy Edlen among the assistants.

A&M lifted “I Don’t Need No Doctor” as a 1971 single (b/w “A Song for Jenny”), which reached No. 73 on the Billboard Hot 100 chart.

Performance: Rockin’ the Fillmore reached No. 21 on the Billboard 200 chart. The album reached No. 32 on the Canadian RPM Albums chart.

Lineup Change

During the mix-down for Rockin’ the Fillmore, Peter Frampton left Humble Pie over creative differences with Marriott.

Frampton went solo with the 1972 A&M release Wind of Change. He formed Frampton’s Camel (no connection to Camel) for his 1973 second album, which features the concert staples “Lines On My Face” and “Do You Feel Like We Do.” His 1975 fourth album Frampton includes the studio versions of “Baby, I Love Your Way” and “Show Me the Way,” both made famous by his multi-platinum 1976 concert album Frampton Comes Alive!

Humble Pie carried on with guitarist Clem Clempson, who cut one album with blues rockers Bakerloo and joined Colosseum for their 1970–71 titles Daughter of Time and Colosseum Live.

Smokin’

Humble Pie released their fifth studio album, Smokin’, in March 1972 on A&M.

Smokin’ introduces guitarist and keyboardist Clem Clempson after Frampton’s departure. Alexis Korner adds vocals and tiple to “Old Time Feelin’,” Stephen Stills adds backing vocals to “Hot ’n’ Nasty,” and Doris Troy and Madeline Bell add backing vocals to “You’re So Good for Me.”

“Hot ’n’ Nasty” grinds behind Marriott’s dry vocal and Stills’ short backing response. “The Fixer” punches through heavy riff work and a brawny lower-end track. “You’re So Good for Me” mellows through acoustic figures before Troy and Bell lift Marriott into a churchy vocal surge. “C’mon Everybody” barrels through the Eddie Cochran cover with a harder boogie gait. “Old Time Feelin’” knocks back around barroom piano, tiple-like figures, and Ridley-Korner vocal sharing.

“30 Days in the Hole” rides Marriott’s rough vocal over a dirty boogie track. “Road Runner/Road Runner’s ‘G’ Jam” lopes under Stills’ Hammond fills and Marriott’s rough lead vocal. “I Wonder” smolders from a sparse slow-brewing track into a full-band final vamp. “Sweet Peace and Time” revs from a slow start into a large riff and heavy lower-end drive.

A1. “Hot ’n’ Nasty” (3:23) – Marriott
A2. “The Fixer” (5:02) – Marriott
A3. “You’re So Good for Me” (3:50) – Marriott, Clempson
A4. “C’mon Everybody” (5:15) – Cochran, Capehart
A5. “Old Time Feelin’” (5:05) – Marriott

B1. “30 Days in the Hole” (3:59) – Marriott
B2. “Road Runner” (3:42) – Dozier, Holland, Holland
B3. “I Wonder” (8:53) – Gant
B4. “Sweet Peace and Time” (5:49) – Marriott

Humble Pie recorded Smokin’ in February 1972 at Olympic Studios in London with engineers Alan O’Duffy and Keith Harwood. Humble Pie produced the album under The Pie credit. Smokin’ appeared in a cover designed by Kosh.

A&M lifted “30 Days in the Hole” as a late 1972 single (US b/w “Sweet Peace and Time”).

Smokin’ reached No. 6 on the Billboard 200 chart. The album reached No. 20 on the UK Albums Chart and No. 13 on the Canadian RPM Albums chart.

Eat It

Humble Pie released their seventh overall album, the two-record Eat It, April 1973 on A&M.

The hour-plus set (64:30) features four Marriott-penned rockers (Side One), four R&B covers (Side Two), four Marriott acoustic ballads (Side Three), and three live numbers (Side Four) from a concert at Green’s Playhouse in Glasgow. The Blackberries vocal trio comprises Venetta Fields, Clydie King, and Billie Barnum. B.J. Cole adds pedal steel guitar, while Sidney George adds saxophone.

“Get Down to It” stomps behind Marriott’s keyboard and Blackberries replies. “Good Booze and Bad Women” erupts from a drone into barroom vocal calls and a Marriott harmonica turn. “Is It for Love?” sways through Marriott-Blackberries exchanges before a quicker back half. “Drugstore Cowboy” slings a country-toned track into a big group response and late Marriott riffs.

“Black Coffee” punches through Blackberries calls and heavy riff strikes. “I Believe to My Soul” snakes through a wah-wah break and Sidney George horn under Blackberries replies. “Shut Up and Don’t Interrupt Me” darts between Marriott’s lead and Blackberries retorts. Roosevelt Jamison’s “That’s How Strong My Love Is” rises through organ swells, piano rolls, and echo-heavy group vocals.

“Say No More” drifts through a delicate acoustic strum. “Oh, Bella (All That’s Hers)” lingers on pedal steel and Marriott’s softer vocal. “Summer Song” kicks back through dusty country twang. “Beckton Dumps” swings on a syncopated riff, slows for Marriott’s soul turn, then rebuilds to a bluesy finish. “Up Our Sleeve” motors under Marriott’s shriek and live electric fire. “Honky Tonk Women” loosens into a Blackberries-backed vocal cover. “(I’m a) Road Runner” stretches through audience call-response and fierce late guitar.

A1. “Get Down to It” (3:26) – Marriott
A2. “Good Booze and Bad Women” (3:15) – Marriott
A3. “Is It for Love?” (4:39) – Marriott
A4. “Drugstore Cowboy” (5:40) – Marriott

B1. “Black Coffee” (3:10) – Turner
B2. “I Believe to My Soul” (4:05) – Charles
B3. “Shut Up and Don’t Interrupt Me” (3:08) – Cooper
B4. “That’s How Strong My Love Is” (3:45) – Jamison

C1. “Say No More” (2:00) – Marriott
C2. “Oh, Bella (All That’s Hers)” (3:25) – Marriott
C3. “Summer Song” (2:45) – Marriott
C4. “Beckton Dumps” (3:15) – Marriott

D1. “Up Our Sleeve” (4:20) – Marriott
D2. “Honky Tonk Women” (3:58) – Jagger, Richards
D3. “Road Runner” (12:30) – Dozier, Holland, Holland

Humble Pie recorded the studio sides at Clear Sounds, Marriott’s home studio in Moreton, Essex, and side four at Green’s Playhouse in Glasgow. Chris & Irish engineered the album.

Michael Doud served as creative director for the sleeve. Kosh handled art direction and design, while Jim McCrary and Fin Costello supplied photography.

Eat It reached No. 13 on the Billboard 200 chart. The album reached No. 34 on the UK Albums Chart and No. 10 on the Canadian RPM Albums chart.

Thunderbox

Humble Pie released their seventh studio album, Thunderbox, in February 1974 on A&M.

Thunderbox contains five band originals and seven covers, including material first associated with The Violinaires (“Groovin’ with Jesus”), Ann Peebles (“I Can’t Stand the Rain”), Arthur Alexander (“Anna [Go to Him]“), Chuck Berry (“No Money Down”), Dobie Gray (“Drift Away”), and The Staple Singers (“Oh La-De-Da”). Mel Collins adds horns, while Carlena Williams, Venetta Fields, and Billie Barnum supply vocal support under The Blackberries credit.

“Thunderbox” barrels through a hard riff, Marriott’s raw vocal front, and Blackberries replies. “I Can’t Stand the Rain” hammers the Ann Peebles cover into the album’s boogie shell, with Shirley’s piano under Marriott. “Rally With Ali” bounces through a short party track with a looser rhythmic feel. “Ninety-Nine Pounds” rolls through a soulful rock-and-roll remake with loose swagger.

A1. “Thunderbox” (5:19) – Clempson, Marriott
A2. “Groovin’ with Jesus” (2:18) – Randle
A3. “I Can’t Stand the Rain” (4:19) – Peebles, Bryant, Miller
A4. “Anna (Go to Him)” (3:45) – Alexander
A5. “No Way” (2:48) – Marriott
A6. “Rally with Ali” (2:51) – Clempson, Marriott, Ridley, Shirley

B1. “Don’t Worry, Be Happy” (2:59) – Marriott
B2. “Ninety-Nine Pounds” (2:47) – Floyd, Cropper, Pickett
B3. “Every Single Day” (3:50) – Clempson, Marriott
B4. “No Money Down” (4:24) – Berry
B5. “Drift Away” (3:56) – Williams
B6. “Oh La-De-Da” (4:32) – Banks, Hampton

Humble Pie recorded Thunderbox at Olics Sound with Alan O’Duffy as editor. The Pie arranged and produced the album.

The album appeared in a Hipgnosis sleeve with Colin Elgie illustration; the front cover uses a keyhole cut-out that reveals a woman seated on a toilet.

Thunderbox reached No. 52 on the Billboard 200 chart. The album reached No. 58 on the Canadian RPM Albums chart.

Street Rats

Humble Pie released their eighth studio album, Street Rats, in February 1975 on A&M.

Street Rats combines Clear Sounds material with Olympic recordings from January 1975 and includes several tracks that originated outside a planned group album. The album contains covers of The Beatles (“We Can Work It Out,” “Rain,” “Drive My Car”), Chuck Berry (“Rock and Roll Music”), and Betty Wright (“Let Me Be Your Lovemaker”). Mel Collins adds saxophones, Tim Hinkley adds keyboards, and Ian Wallace drums on “Street Rat.”

“Street Rat” grinds through a dry hard-rock figure under Marriott’s strained vocal front. “Rock and Roll Music” lurches through the Chuck Berry cover with Ridley’s rough lead vocal. “We Can Work It Out” wrestles the Beatles cover into Marriott’s soul-shouter mode, with organ and punctuating licks. “Scored Out” slings Marriott’s sung-spoken vocal through loose boogie before a slow take-out. “Road Hog” rattles through a studio-jam boogie, with Marriott’s talk vocal near the front.

“Rain” swells and sags under shared Marriott-Ridley vocals and heavy backing voices. “There ’Tis” noodles around a talk vocal and Mel Collins saxophone. “Let Me Be Your Lovemaker” punches through a heavy crusher, with Ridley’s vocal and Marriott’s dirty lead. “Countryman Stomp” seesaws on piano and a rough Ridley vocal. “Drive My Car” knocks back the Beatles cover as a slow country-toned piece, with slide under Ridley’s talk-singing. “Queens and Nuns” drifts through light slow boogie and Marriott’s chatty front.

A1. “Street Rat” (2:52) – Marriott
A2. “Rock and Roll Music” (2:55) – Berry
A3. “We Can Work It Out” (3:18) – Lennon, McCartney
A4. “Scored Out” (2:43) – Clempson, Marriott
A5. “Road Hog” (3:08) – Marriott

B1. “Rain” (3:58) – Lennon, McCartney
B2. “There ’Tis” (3:06) – Marriott, Clempson
B3. “Let Me Be Your Lovemaker” (5:57) – Reid, Clarke, Wright
B4. “Countryman Stomp” (2:20) – Ridley, Clempson, Hinkley
B5. “Drive My Car” (3:43) – Lennon, McCartney
B6. “Queens and Nuns” (3:04) – Clempson, Marriott, Ridley, Shirley

Humble Pie recorded Street Rats in January 1975 at Olympic Studios in London and Clear Sounds in Essex with producers Andrew Loog Oldham and Steve Marriott.

Street Rats reached No. 100 on the Billboard 200 chart. The album reached No. 98 on the Canadian RPM Albums chart.

On to Victory

Humble Pie released their ninth studio album, On to Victory, in April 1980 on Atco.

On to Victory returns Marriott and Shirley with guitarist and vocalist Bobby Tench and bassist and vocalist Anthony “Sooty” Jones. Cheryl Ashley, Marge Raymond, and Lisa Zimmerman add backing vocals.

“Fool for a Pretty Face” revs through riff-based rock and rough backing choruses. “Infatuation” bursts around an uncredited saxophone break and brassy backing charts. “Take It From Here” motors under Marriott’s lead work and blunt riff changes. “Savin’ It” sways on off-beat accents, Tench’s lead vocal, backing voices, and a reed break.

“Baby Don’t You Do It” guzzles Holland-Dozier-Holland into a high-energy band take. “My Lover’s Prayer” dazes the Otis Redding song through a gospel-tinged Marriott vocal. “Further Down the Road” bends through dual-lead riffage and blues harp. “Over You” settles around electric piano and a lean cover gait.

A1. “Fool for a Pretty Face” (4:11) – Marriott, Shirley
A2. “You Soppy Pratt” (4:08) – Marriott, Shirley
A3. “Infatuation” (3:44) – Marriott, Shirley
A4. “Take It from Here” (3:39) – Tench, Jones
A5. “Savin’ It” (4:39) – Marriott, Shirley

B1. “Baby Don’t You Do It” (3:23) – Holland, Dozier, Holland
B2. “Get It in the End” (2:40) – Marriott, Shirley
B3. “My Lover’s Prayer” (4:02) – Redding
B4. “Further Down the Road” (3:26) – Marriott, Shirley
B5. “Over You” (2:20) – Tench, Jones

Humble Pie recorded On to Victory in 1980 at Villa Recorders in Modesto, California, with John Elijah Wright as co-producer. Wright, Akili Walker, and Claig engineered the album, which the band remixed at Soundworks in New York.

On to Victory appeared in a sleeve designed by Lynn Dreese Breslin.

Atco lifted “Fool for a Pretty Face” as a 1980 single (b/w “You Soppy Pratt”), which reached No. 58 on the Billboard Hot 100 chart.

On to Victory reached No. 60 on the Billboard 200 chart. The album reached No. 89 on the Canadian RPM Albums chart.

Go for the Throat

Humble Pie released their tenth studio album, Go for the Throat, in June 1981 on Atco.

Go for the Throat retains the On to Victory lineup and adds backing vocalists Robin Beck, Maxine Dixon, and Dana Kral. The album includes covers of Elvis Presley (“All Shook Up”) and Aerosmith (“Chip Away the Stone”), plus a new version of the Small Faces’ “Tin Soldier.”

“All Shook Up” darts from Elvis cover roots into a hard boogie break. “Teenage Anxiety” slows to voice and solo piano. “Tin Soldier” toughens the Small Faces song with female backing replies. “Keep It on the Island” saves searing guitar fills for the last stretch. “Driver” stomps through a plain boogie track.

“Restless Blood” churns through another blunt boogie pass. “Go for the Throat” leans on Leslie-treated guitar and a hard-rock riff. “Lottie and the Charcoal Queen” has no usable source detail. “Chip Away the Stone” struts toward a heavy swagger, with Marriott’s organ figure late in the track.

A1. “All Shook Up” (2:40) – Otis Blackwell, Elvis Presley
A2. “Teenage Anxiety” (4:44) – Steve Marriott
A3. “Tin Soldier” (3:09) – Steve Marriott, Ronnie Lane
A4. “Keep It on the Island” (3:54) – Steve Marriott, Jerry Shirley
A5. “Driver” (3:19) – Steve Marriott

B1. “Restless Blood” (4:04) – Richard Supa
B2. “Go for the Throat” (3:59) – Steve Marriott
B3. “Lottie and the Charcoal Queen” (4:37) – Steve Marriott, Jerry Shirley
B4. “Chip Away the Stone” (4:55) – Richard Supa

Humble Pie recorded Go for the Throat in 1980 at Mediasound and Soundworks in New York with producer Gary Lyons.

Atco lifted “Tin Soldier” as a 1981 single, which reached No. 58 in the United States.

Go for the Throat reached No. 154 on the Billboard 200 chart.

“Live With Me”.. slow churchy organ intro… Cm tonality forms… joined by the band after eight bars… rising/rippling organ, slow/smoldering guitar lines… Marriots vocals enter at 1:30, hi-octave howling as he reaches the chorus line amid volume swellup…searing Frampton solo threatens to take over around 3:15 before Marriot reasserts…comparable to Spooky Tooth (“Evil Woman”), Blind Faith and Ashton Gardner & Dyke. Haunted organ sounds spiral high after 5:00, threatening to take over… rescing once again for Marriot, singing at a distance amid a darker, bassier fog…volume overspills one last time around 7:00 as things climax, Marriot screams.. end on G “Earth and Water Song” rustic acoustic plucking (Led Zep acoustic)… Frampton vocal, sustained vowels, over open chordal strums, accompanied only by bass… light hi-hat enters to add pace… full band enters at 1:30…presaging Frampton’s solo ballads…crooning voice, evocative line “I am the earth, she is my water”… Leslied (?) lead solo around 3:00….another, more lyrical solo with bendy, sustained high-notes at 3:45…loosely structed sequence of chords and vocals.. song reshapes at 5:00 “there must be a better land”… lead guitar and organ outro… lyrically, the song uses Earth and water as metaphors for masculine and feminine in the context of a love song, in which the narrator wishes for a simple life of romance, stability and beauty of nature

Discography: