James Gang -

The James Gang was an American hard-rock band that debuted with the 1969 Bluesway release Yer’ Album, followed by four studio albums and a live disc on ABC Records, including the popular 1970/71 titles Rides Again and Thirds. Two songs, “Funk #49” and “Walk Away,” remain staples of classic rock radio. Multiple guitarists passed through the lineup, including Joe Walsh, Domenic Troiano, and Tommy Bolin.

Members: Glenn Schwartz (guitar, 1967-69), Joe Walsh (guitar, vocals, 1969-71), Tom Kriss (bass, vocals, 1967-70), Jim Fox (drums, vocals), Dale Peters (bass, vocals, 1970-76), Domenic Troiano (guitar, vocals, 1971-73), Roy Kenner (vocals, 1971-74), Tommy Bolin (guitar, 1973-74), Richard Shack (guitar, 1975-76), Bubba Keith (vocals, guitar, 1975-76), David Briggs (keyboards, 1974), Bob Webb (vocals, guitar, 1976), Phil Giallomardo (keyboards, vocals, 1976), Nelson “Flaco” Padrón (percussion, 1976)

Background

The James Gang formed in Cleveland, Ohio, in 1966 when drummer Jim Foxx teamed with bassist Tom Kriss and rhythm guitarist Ron Silverman. Foxx hailed from an early lineup of local pop heroes The Outsiders, but left before they recorded the brassy #5 Billboard hit “Time Won’t Let Me.”

Inspired by The Who and the Yardbirds, they churned through a series of lead guitarists, including John “Mouse” Michalski, fresh off a stint with garage-rockers the Count Five, known for the buzz-tinged “Psychotic Reaction” (US #5). In 1967, he was replaced by Glenn Schwartz, a local legend who soon split for California, where he formed Pacific Gas & Electric and later became a born again Christian.

In 1968, the James Gang hired guitarist/singer Joe Walsh from garage rockers The Measles, which had served as an uncredited studio band for bubblegum merchants the Ohio Express. That June, they opened for Cream at Detroit’s Grande Ballroom. Silverman quit just prior to the gig, forcing the cash-strapped band to play as a three-piece. Walsh, Kriss, and Foxx enjoyed the power-trio format and made it permanent.

Months later, they signed with businessman Mark Barger, who managed local psychsters The Lemon Pipers, which recently scored a Billboard #1 with the sitar-laden “Green Tambourine.” He linked them with producer Bill Szymczyk (Ford Theatre, Hello People), who inked them a deal with ABC-subsidiary Bluesway.

Yer’ Album

The James Gang released their debut album, Yer’ Album, in March 1969 on Bluesway.

The album features the original trio lineup of Joe Walsh (guitar, vocals, keyboards), Tom Kriss (bass), and Jim Fox (drums), captured in loose, exploratory form under producer Bill Szymczyk. The band offsets blues-heavy workouts with offbeat humor and layered production flourishes, including orchestration by Bert De Coteaux and interludes like the looping locked grooves that bookend each LP side (“Turn me over” / “Play me again,” both spoken by Walsh).

“Take a Look Around” sets the tone with swirling organ, rich vocal harmonies, and thematic ruminations, building to one of Walsh’s most lyrical solos. “Funk #48” rides a choppy funk-rock riff and syncopated drum fills in the band’s first defining original. They extend Stephen Stills’ “Bluebird” into a mid-tempo sprawl of ethereal leads and breakdowns. “Lost Woman,” a Yardbirds staple, turns into a jam vehicle with extended solos and rhythm section spotlights.

Side B includes the delicate, string-laced ballad “Collage” (co-written with Patrick Cullie) and the tongue-in-cheek pairing of “Wrapcity in English” and “Fred.” The album closes with a 12-minute version of “Stop,” a Jerry Ragovoy/Mort Shuman soul burner stretched into a gospel-tinged piano rocker with brassy crescendos.

A1. “Tuning Part One (Introduction)” (0:39)
A2. “Take a Look Around” (6:20)
A3. “Funk #48” (2:47)
A4. “Bluebird” (6:01)
A5. “Lost Woman” (9:06)

B1. “Stone Rap” (0:59)
B2. “Collage” (4:03)
B3. “I Don’t Have the Time” (2:50)
B4a. “Wrapcity in English” (0:57)
B4b. “Fred” (4:11)
B5. “Stop” (12:00)

Sessions took place in January 1969 at the Hit Factory in New York City. Bill Szymczyk handled production, photography, and additional instrumentation with support from De Coteaux and engineer Denis Minervini.

Yer’ Album marks the sole James Gang studio outing with bassist Tom Kriss, who left soon after its release and was replaced by Dale Peters.

Rides Again

The James Gang released their second album, Rides Again, in July 1970 on ABC.

The album introduced bassist Dale Peters, who replaced founding member Tom Kriss to form the band’s most celebrated lineup with guitarist/vocalist Joe Walsh and drummer Jim Fox.

The opening track, “Funk #49,” expands on the blueprint set by “Funk #48,” driven by a muscular main riff, call-and-response verses, and a percussion-heavy midsection performed by all three members. “Asshtonpark” interjects as a pastoral, vibraphone instrumental segue, while “Woman” returns to hard rock with sinewy guitar lines and bold rhythmic breaks. The album’s centerpiece, “The Bomber,” comprises the sleazy “Closet Queen,” an interpolation of Vince Guaraldi’s “Cast Your Fate to the Wind,” and—on some pressings—a fuzzed-out instrumental excerpt of Ravel’s “Boléro,” removed from most editions after a legal threat from the composer’s estate.

Side B opens with “Tend My Garden,” a baroque-blues number layered with piano and backing vocals. Walsh follows it with three rustic solo compositions: the acoustic vignette “Garden Gate,” the country-inflected “There I Go Again” (featuring Poco’s Rusty Young on pedal steel), and the chiming folk-rocker “Thanks.” “Ashes the Rain and I,” co-written with Peters, closes the album on a symphonic note with sweeping strings arranged by Jack Nitzsche.

A1. “Funk #49” (3:54)
A2. “Asshtonpark” (2:04)
A3. “Woman” (4:37)
A4. “The Bomber (Medley)” (5:39–7:04)
a. “Closet Queen”
b. “Cast Your Fate to the Wind”
[c. “Boléro” – included on select pressings]

B1. “Tend My Garden” (5:44)
B2. “Garden Gate” (1:36)
B3. “There I Go Again” (2:50)
B4. “Thanks” (2:20)
B5. “Ashes the Rain and I” (4:56)

Sessions took place in late 1969 at the Record Plant studios in Los Angeles and New York with returning producer Bill Szymczyk.

Rides Again reached No. 20 on the Billboard 200, propelled by the moderate radio success of “Funk #49” (US No. 59), which later achieved FM evergreen status. It became the band’s best-known studio release and a blueprint for 1970s American hard rock with a funky edge.

Thirds

The James Gang released their third album, Thirds, in April 1971 on ABC.

Thirds was the band’s final studio album with Joe Walsh, who departed later that year to form Barnstorm. By this time, the James Gang’s musical chemistry had matured, yielding a diverse mix of hard rock, country-funk, and mellow balladry.

The album opens with “Walk Away,” a riff-driven breakup anthem powered by Walsh’s cascading multi-tracked leads and dubbed “train wreck” ending. “Yadig?” follows as a brief jazz-funk instrumental with vibes and upright bass, while “Things I Could Be” brings organ-tinged introspection and a rare lead vocal by Jim Fox.

Peters contributes two songs: the rustic “Dreamin’ in the Country” and the racial unity plea “White Man/Black Man,” the latter featuring gospel harmonies from The Sweet Inspirations. Walsh delivers the gentle “Again,” the tender soul-rocker “Midnight Man” (with a guest vocal by Mary Sterpka), and the soulful closer “Live My Life Again,” penned and anchored by Fox.

A1. “Walk Away” (3:32)
A2. “Yadig?” (2:30)
A3. “Things I Could Be” (4:18)
A4. “Dreamin’ in the Country” (2:57)
A5. “It’s All the Same” (4:10)

B1. “Midnight Man” (3:28)
B2. “Again” (4:04)
B3. “White Man / Black Man” (5:39)
B4. “Live My Life Again” (5:26)

Recorded across sessions in New York, Cleveland, and Los Angeles with producer Bill Szymczyk. “Walk Away” became their most successful single (US No. 51) and a future concert staple.

Thirds peaked at No. 27 on the Billboard 200 and went Gold the following summer. Though less cohesive than its predecessor, it showcased the band’s widening musical palette and marked a bittersweet sendoff for Walsh, who would revisit “Walk Away” in live sets for years to come.

Live in Concert

In September 1971, the James Gang released Live in Concert, a document of their May 15 show at Manhattan’s Carnegie Hall. The album captures the final performance of the Joe Walsh, Dale Peters, Jim Fox lineup.

The trio powers through a lean but explosive seven-track set featuring revamped material from all three studio albums plus covers of Albert King (“You’re Gonna Need Me”) and the Yardbirds (“Lost Woman”). Walsh opens on fire with “Stop,” extends his Hammond textures on “Take a Look Around,” and delivers a stripped, acoustic “Ashes the Rain and I” before closing side two with an 18-minute guitar showcase on “Lost Woman.”

A1. “Stop” (4:05)
A2. “You’re Gonna Need Me” (7:30)
A3. “Take a Look Around” (3:50)
A4. “Tend My Garden” (3:45)
A5. “Ashes, the Rain and I” (2:40)
B1. “Walk Away” (3:30)
B2. “Lost Woman” (18:20)

The album reached No. 24 on the Billboard 200 and was certified Gold in June 1972. Though edited down from a longer set, Live in Concert showcases Walsh at his live peak, just before departing to form Barnstorm.

Straight Shooter

The James Gang released their fourth studio album, Straight Shooter, on May 31, 1972, on ABC.

Straight Shooter marked a major lineup shift with holdovers Dale Peters and Jim Fox joined by two ex-members of the just-dissolved Canadian trio Bush: singer Roy Kenner and guitarist Domenic Troiano, effectively merging two trios into a new quartet.

Troiano wrote or co-wrote all nine songs, often in collaboration with Kenner and Peters. The band opens with two funk-tinged cuts, “Madness” and “Kick Back Man,” spotlighting Kenner’s brassy vocals and Fox’s propulsive beats. Troiano sings lead on the folky “Getting Old,” which features violin by Shelly Kurland and string arrangements by Glen Spreen. Hard rock returns on “Looking for My Lady” and “I’ll Tell You Why,” while “Hairy Hypochondriac” injects some offbeat humor. The closing cut, “My Door Is Open,” stretches out into a six-minute, soul-funk jam.

A1. “Madness” (3:14)
A2. “Kick Back Man” (4:56)
A3. “Get Her Back Again” (2:46)
A4. “Looking for My Lady” (2:55)
A5. “Getting Old” (3:48)

B1. “I’ll Tell You Why” (3:55)
B2. “Hairy Hypochondriac” (2:58)
B3. “Let Me Come Home” (5:05)
B4. “My Door Is Open” (6:01)

This revamped lineup recorded the album at Quadrafonic Sound Studios in Nashville with engineer Gene Eichelberger. The Straight Shooter cover depicts a longhorn steer in the Arizona desert, rendered like a leather engraving by Jim Flournoy Holmes, who illustrated the cover to the Allman Brothers‘ 1972 album East a Peach.

Despite mixed acceptance of the new lineup, Straight Shooter reached No. 58 on the Billboard 200 and No. 39 in Canada.

Passin’ Thru

The James Gang released their fifth studio album, Passin’ Thru, in October 1972 on ABC.

The James Gang released their fifth studio album, Passin’ Thru, in October 1972 on ABC Records. It marked the band’s final release for the label and the last to feature Canadian guitarist Domenic Troiano, who departed soon after and was replaced by Tommy Bolin.

The lineup from Straight Shooter remained intact, with Roy Kenner handling lead vocals, Troiano on guitar, and holdovers Dale Peters and Jim Fox on bass and drums. Troiano wrote or co-wrote all nine tracks, often with Kenner. Guest players include William “Smitty” Smith (organ, clarinet, harpsichord), harmonica player Charlie McCoy, and the string arranger Craig Sapphin.

They open with the rollicking “Ain’t Seen Nothin’ Yet,” which features honky-tonk piano from David Briggs. The funk-infused “One Way Street” and “Up to Yourself” showcase the band’s rhythmic chops, while “Had Enough” continues their Southern-tinged rock streak. “Everybody Needs a Hero” and the tender “Drifting Girl” highlight the band’s more melodic side, the latter bolstered by strings and piano. “Things I Want to Say to You” includes a harpsichord and string arrangement by Craig Sapphin, and “Out of Control” adds pedal steel guitar by Weldon Myrick for a country rock twist.

A1. “Ain’t Seen Nothin’ Yet” (2:58)
A2. “One Way Street” (4:31)
A3. “Had Enough” (2:58)
A4. “Up to Yourself” (2:42)
A5. “Everybody Needs a Hero” (6:05)

B1. “Run, Run, Run” (3:40)
B2. “Things I Want to Say to You” (3:40)
B3. “Out of Control” (3:38)
B4. “Drifting Girl” (5:06)

Passin’ Thru was recorded at Quadrafonic Sound Studios in Nashville and Sound City in California, with co-production and engineering by Keith Olsen.

The album cover features an 1880s-era photo of Main Avenue in Bismarck, North Dakota, evoking the album’s rootsy, Americana elements. Passin’ Thru reached No. 72 on the Billboard 200 and No. 28 in Canada.

Bang

The James Gang released their sixth studio album, Bang, in September 1973 on Atco. It marked the debut of guitarist Tommy Bolin, whose addition followed the departure of Domenic Troiano. Bolin, formerly of Zephyr, brought renewed energy and stylistic breadth to the band’s sound.

Bolin co-wrote most of the album with lyricist John Tesar, blending swampy funk, jazz-tinged balladry, and hard rock drive. The opener, “Standing in the Rain,” kicks off with a thunderous riff and group vocals, setting the tone for the varied nine-song set. “The Devil Is Singing Our Song” combines southern-fried blues with a sinister lurch, while “Must Be Love” leans into Allman Brothers-style warmth.

Bolin takes a rare lead vocal on the dreamy “Alexis,” backed by airy Moog textures and Jeff Cook’s lyrical input. The group rocks steady on “Ride the Wind” and “Got No Time for Trouble,” while “Rather Be Alone With You (Song for Dale)” offers an unexpected a cappella moment. On the back half, “From Another Time” and the six-minute closer “Mystery” stretch into more atmospheric and progressive territory.

A1. “Standing in the Rain” (5:05)
A2. “The Devil Is Singing Our Song” (4:22)
A3. “Must Be Love” (3:48)
A4. “Alexis” (5:07)

B1. “Ride the Wind” (3:45)
B2. “Got No Time for Trouble” (3:47)
B3. “Rather Be Alone With You (Song for Dale)” (2:05)
B4. “From Another Time” (4:00)
B5. “Mystery” (6:10)

The band recorded Bang in March 1973 at Cleveland Recording Company and Peter’s Palace. Ken Hamann engineered the sessions with remix assistance from famed Atlantic producer Tom Dowd. Bolin played guitar and Moog synthesizer, sang lead on “Alexis,” and contributed backing vocals. Jim Fox added piano to the haunting closer “Mystery.”

With Bolin’s fiery fretwork and a broadened sonic palette, Bang showcased a looser, more exploratory James Gang. The album reached No. 122 on the Billboard 200 and remains a cult favorite among fans of both the band and Bolin’s later work with Deep Purple and as a solo artist.

Miami

The James Gang released their seventh studio album, Miami, in July 1974 on Atco. It marked the second and final appearance of guitarist Tommy Bolin, who departed shortly after to replace Ritchie Blackmore in Deep Purple.

Bolin wrote or co-wrote every track on Miami, which showcases his growing command as both composer and stylist. The album opens with “Cruisin’ Down the Highway,” a Southern-tinged driving anthem co-written with bassist Dale Peters. Kenner’s vocals and Bolin’s bottleneck work ride a buoyant pace that continues on “Do It,” a crisp hard rocker co-written with Kenner. “Wildfire” and “Sleepwalker,” both penned with lyricist John Tesar, explore heavier moods—the latter unfolding as a melancholic ballad marked by Bolin’s acoustic-electric contrasts.

The brief, country-blues instrumental “Miami Two-Step” leads into the album’s centerpiece: “Praylude / Red Skies,” which opens with ethereal piano and melodic soloing before erupting into a bluesy hard-rock storm. Bolin takes a rare lead vocal on the delicately arranged “Spanish Lover,” then layers acoustic and electric textures on the breezy rocker “Summer Breezes.” The closing track, “Head Above the Water,” co-written with Peters, rides a swampy riff and features Albhy Galuten on synth.

A1. “Cruisin’ Down the Highway” (3:16)
A2. “Do It” (3:38)
A3. “Wildfire” (3:30)
A4. “Sleepwalker” (4:01)
A5. “Miami Two-Step” (1:32)

B1. “Praylude / Red Skies” (5:59)
B2. “Spanish Lover” (3:43)
B3. “Summer Breezes” (2:40)
B4. “Head Above the Water” (4:18)

Miami was recorded and mixed at Criteria Studios in Miami with legendary Atlantic producer Tom Dowd. The engineering team included Ron and Howie Albert and Steve Klein, with a remix assist from Ken Hamann. Bolin handled all guitars and contributed vocals on “Spanish Lover.” Jim Fox added drums, keyboards, and backing vocals, while Peters played bass and fuzz bass. Galuten’s synthesizer textures appear on the closing track.

The album’s cover—an inverted version of Rides Again with a pink flamingo—subtly nods to both continuity and change. Miami peaked at No. 97 on the Billboard 200. Though the band’s commercial fortunes declined, the album has since gained cult status, especially among fans of Bolin, who soon launched a solo career before joining Deep Purple.

Discography: