Russ Ballard -

Russ Ballard is an English musician and songwriter who recorded with the sixties beat groups The Roulettes and Unit 4 + 2. In 1969, he co-founded Argent with ex-Zombies keyboardist Rod Argent. He made five studio albums with the band and wrote their hits “Liar” and “God Gave Rock and Roll to You.” Concurrently, he wrote songs for Barry Ryan, Colin Blunstone (“I Don’t Believe In Miracles”), and the Bell Records pop act Hello.

Ballard released five solo albums between 1974 and 1980 on Epic, followed by two mid-eighties titles on EMI America. In the early Eighties, his songs became hits for Frida Lyngstad (“I Know There’s Something Going On”), America (“You Can Do Magic”), Santana (“Winning”), and Roger Daltery (“Free Me”).

Early Career

Russ Ballard was born Russell Glyn Ballard on October 31, 1945, in Waltham Cross, Hertfordshire. At fourteen, Ballard wrote “The Lost City,” an instrumental later recorded by The Shadows for the July 1965 album The Sound of The Shadows. His older brother Roy played keyboards in Buster Meikle & The Day Breakers, a Hertfordshire group that also included drummer Bob Henrit. In 1961, Ballard joined the group as guitarist.

The Roulettes

Ballard and Henrit entered The Roulettes in early 1963, after the London beat group became the road band for Adam Faith. Guitarist Peter Thorp and bassist John Rogers completed the lineup; John “Mod” Rogan replaced Rogers after a fatal road accident that May. Ballard played guitar and keyboards, which expanded the group beyond its guitar-bass-drums frame.

Parlophone credited the act as Adam Faith with The Roulettes on a run of mid-sixties singles. Faith records from this phase include “We Are in Love,” “I Love Being in Love With You,” “If He Tells You,” “Someone’s Taken Maria Away,” and the UK No. 5 hit “The First Time.” The Roulettes also cut their own Parlophone sides and the 1965 album Stakes and Chips. Ballard co-wrote “Mebody” and “What You Gonna Do?” with Henrit, then shared group credits on “Junk,” “Jackpot,” and “Yesterday, Today and Tomorrow.” The band continued with Faith through October 1965 and worked European dates after a 1967 move to Fontana.

Unit 4+2

Ballard’s Unit 4+2 connection predated his membership. Brian Parker brought Ballard and Henrit into the 1965 “Concrete and Clay” session, where Ballard added guitar to a vocal act built around Tommy Moeller, Parker, Buster Meikle, and Peter Moules. “Concrete and Clay” topped the UK singles chart and reached the American Top 30.

After the 1967 Roulettes breakup, Unit 4+2 onboarded Ballard, who co-wrote later Unit 4+2 titles, including “So You Want To Be a Blues-Player,” “3:30,” and “I Will,” all tied to the final phase of the group’s Sixties recording run. Unit 4+2 issued a self-titled Fontana album in 1969, then ended after a short 1970 live lineup.

Argent

Rod Argent saw Ballard and Henrit at a Unit 4+2 show with former Zombies bassist Chris White. Argent contacted Ballard after the show and assembled a new band with Henrit and bassist Jim Rodford, a prior member of the Mike Cotton Sound. White assumed an offstage fifth-wheel role as co-writer and producer.

Ballard gave Argent a dual-lead voice and multiple rock/R&B-based originals that counter-balanced the Rod Argent–Chris White partnership. For their 1970 self-titled debut, Ballard contributed “Schoolgirl,” “Lonely Hard Road,” and “Liar,” the latter taken to the American Top 10 by Three Dog Night. Argent’s 1971 second album, Ring of Hands, includes the Ballard compositions “Cast Your Spell Uranus,” “Chained,” and “Where Are We Going Wrong.”

On their 1972 release All Together Now, Ballard sings the Argent–Chris song “Hold Your Head Up,” a transatlantic Top 5 hit. Ballard contributed “Tragedy” and “He’s a Dynamo” to the same album. The 1973 followup, In Deep, includes his tracks “Rosie,” “It’s Only Money (Pt I and II),” “God Gave Rock and Roll to You,” a UK Top 20 hit later covered by Kiss. Ballard closed his Argent period with their lavish 1974 release Nexus, which contains his tracks “Love,” “Thunder and Lightning,” “Man for All Reasons,” and “Gonna Meet My Maker.” His exit coincided with their live double-LP Encore, released as his outside songwriting and solo work moved to the foreground.

Outside Songwriter Credits

Ballard’s outside credits predate his solo catalogue. Barry Ryan recorded Ballard’s “Can’t Let You Go” as a 1971 Polydor single. In 1972, former Zombies vocalist Colin Blunstone recorded “I Don’t Believe in Miracles” for his second solo album, Ennismore, an Argent–White production with the full band’s participation.

In 1973, Adam Faith and his drummer, David Courtney, brought Ballard into the studio circle around Roger Daltrey and Leo Sayer. Daltrey recorded his first solo album with backing by Ballard and Henrit. Soon after, Ballard played on Leo’s debut album Silverbird, comprised of multiple Sayer–Courtney numbers.

Ballard formed his clearest pre-solo songwriting relationship with Hello, a glitter-pop act on Bell. He wrote both sides of their 1972 debut single “You Move Me” (b/w “Ask Your Mama”). The group later recorded “New York Groove” for the 1975 Bell single and the 1976 album Keeps Us Off the Streets. Hello also recorded Ballard titles “Star Studded Sham” and “Let It Rock.”

Olivia Newton-John recorded Ballard’s “Heartbreaker” for the 1973 album Music Makes My Day, issued in some territories under the Let Me Be There title. Just as he prepared his solo debut, he played piano on the 1974 debut album by Starry Eyed and Laughing.

Russ Ballard

Russ Ballard released his self-titled debut album in September 1974 on Epic.

The record places ten Ballard originals in a self-contained studio setting. Ballard handles multiple instruments (guitar, harmonica, piano, clavinet, rhythm section). Jucy Lucy reedist Chris Mercer appears among four saxophonists. “You Can Do Voodoo” features backing vocals by serial sessionist Mel Collins.

“She’s a Hurricane” snaps from a barroom piano intro into a punchy run capped by a clipped guitar break. “Loose Women” packs its character roll call into a short sprint with a saxophone turn and a hard title-line return. “I Don’t Believe in Miracles” slows into a plain-spoken lament; amid bleak metaphors, the chorus swells with pained resignation. “You Can Do Voodoo” coils around an astrological text pattern with punchy compression. “You Can Count on Me” softens into a gentler vocal line.

“Fly Away” lifts its central vocal return with layered harmony voices. “Danger Zone, Part I” and “Danger Zone, Part II” pivot on Hohner Clavinet figures. “Venus (Shine Your Light)” slows the close with soft backing voices and a more open finish.

A1. “She’s a Hurricane” (3:08)
A2. “Loose Women” (2:26)
A3. “I Don’t Believe in Miracles” (3:39)
A4. “You Can Do Voodoo” (3:32)
A5. “You Can Count on Me” (2:35)

B1. “Fly Away” (3:20)
B2. “Danger Zone (Part I)” (2:38)
B3. “Danger Zone (Part II)” (3:06)
B4. “Kicks” (4:15)
B5. “Venus (Shine Your Light)” (4:41)

Ballard and Dan Loggins co-produced the sessions in July and August 1974 at CBS Studios in London with engineer Mike Ross and string arranger John Barham.

Roslav Szaybo designed the original sleeve with photography Al Rubin.

Epic lifted “Fly Away” as a 1974 single (b/w “Danger Zone (Part II)”). “Loose Women” became a 1975 single (b/w “Danger Zone (Part I)”).

Winning

Russ Ballard released his second solo album, Winning, in January 1976 on Epic.

Winning presents a mix of up-beat melodic pop-rock band ballads, performed with bassist Dave Markee and drummers Chris Karan and Dave Mattacks. Back Street Crawler keyboardist Rabbit Bundrick adds piano to “Just a Dream Away.” Saxophonist Nick Newall and trumpeter Terry Starr guest alongside backing vocalists Liza Strike, Madeline Bell, and Sunny Leslie.

“Winning” drives its recovery salvo through a direct title shout and a firm forward push. “Born on Halloween” bounces through tight playing and rhythmic vocal turns. “Fakin’ Love” kicks through a lively saxophone break, then drops through descending chords that slow to a full stop. “Since You Been Gone” breaks a four-square piano motif with plunging couplet despair and abrupt pre-chorus shouts.

“Just a Dream Away” drifts on Rabbit’s piano in a laid-back turn between each soaring chorus. “Here I Am” glides on a vocal/string cloud with a titular fountainburst, then saunters out on a billowing reed break. “Free at Last” revs with gospel-tinged release lines. “Are You Cuckoo?” jumps through a synth-bass figure, doo-wop vocal replies, brass punches, backing voices, and a compact guitar break.

A1. “Winning” (3:39)
A2. “Born on Halloween” (3:53)
A3. “A Song for Gail (What Have We Got Her Into?)” (4:33)
A4. “Fakin’ Love” (3:36)
A5. “Since You Been Gone” (2:50)

B1. “Just a Dream Away” (4:21)
B2. “Here I Am” (3:46)
B3. “Free at Last” (3:41)
B4. “Are You Cuckoo?” (3:19)
B5. “Weekend” (3:11)

Muff Winwood produced the 1975 sessions at Island Studios in London. Rhett Davies engineered the recordings. Graham Hughes developed the cover concept and photographed the jacket. Winwood worked in sequence on the debut albums by Deaf School (2nd Honeymoon) and Burlesque.

Epic lifted “Since You Been Gone” as a January 30, 1976 single (b/w “Venus (Shine Your Light)”). “Winning” also appeared as a 1976 Epic single.

Outside versions later drew from the Winning songbook. Bay City Rollers placed “Are You Cuckoo?” on the US edition of Dedication. Roger Daltrey recorded “Just a Dream Away” for the McVicar soundtrack. Rainbow released “Since You Been Gone” from Down to Earth in 1979, when the single reached No. 6 on the UK Singles Chart and No. 57 on the Billboard Hot 100 chart. Nona Hendryx recorded “Winning” for her 1977 debut album, and Santana later took the song to No. 17 on the Billboard Hot 100 with a 1981 Zebop! single.

At the Third Stroke

Russ Ballard released his third solo album, At the Third Stroke, in 1978 on Epic.

Third Stroke moves Ballard into a Los Angeles session with multiple Toto members. Ballard sings and plays guitar, joined by drummers Jeff Porcaro and Mike Baird; bassists Mike Porcaro, David Hungate, Leland Sklar and Dennis Belfield; and keyboardists David Foster, David Paich, and Craig Doerge. Fred Tackett adds guitar on “Expressway to Your Heart.” Bobbye Hall adds percussion, Tom Scott plays flute and saxophone, and Tom Kelly and Denny Henson add backing vocals. David Paich arranged the strings.

“Dancer” claps through flamenco handclaps behind the title return. “Treat Her Right” slows into a compact plea. “I’m a Scorpio” stretches its astrology text through a worked-up arrangement. “My Judgement Day” closes on a slow piano-based setting.

A1. “Dancer” (4:01)
A2. “Helpless” (4:38)
A3. “Treat Her Right” (2:59)
A4. “Expressway to Your Heart” (2:53)
A5. “Cast the Spirit” (6:33)

B1. “Look at Her Dance” (4:10)
B2. “What Does It Take” (3:14)
B3. “I’m A Scorpio” (6:22)
B4. “My Judgement Day” (5:38)

Sessions occurred at Sound City Studios, CBS Studios in San Francisco, and Kendun Recorders with producer Keith Olsen and engineer David DeVore. Ted Jensen mastered the album at Sterling Sound.

At the Third Stroke appeared in a sleeve designed by Nancy Donald. The cover shows three orange-yellow brush strokes across a dark surface, with the artist name and title placed in the upper-left field. Brian Hagiwara and Kenneth McGowan supplied the photography.

Epic lifted “Treat Her Right” as a May 1978 single (b/w “What Does It Take”). “I’m A Scorpio” became a July 1978 single (b/w “Expressway to Your Heart”). In New Zealand, “Dancer” appeared as a 1978 single (b/w “Treat Her Right”).

Later versions extended the songbook. Wild Cherry recorded “Look at Her Dance” for Only the Wild Survive. America recorded “Cast the Spirit” for Your Move, and Rare Earth recorded “Dancer” for A Brand New World.

Barnet Dogs

Russ Ballard released his fourth solo album, Barnet Dogs, in 1979 on Epic.

Barnet Dogs reduces the session frame to a compact band unit. Ballard sings lead vocals and plays guitar. The Barnet Dogs comprise bassist Dave Wintour, drummer Bob Henrit, and guitarist and backing vocalist Bill Roberts. Les Morgan plays drums on “She Said ‘Yeah’,” and Richard Blanshard adds backing vocals. Ballard wrote eight titles. “She Said ‘Yeah’” comes from Roddy Jackson and Don Christy.

“Rene Didn’t Do It” barrels through power chords, a twangy bass line, and hard lead guitar, while the vocal frames the title as an alibi. “Ain’t No Turning Back” charges ahead with a slight Clavinet trace and light harmony replies. “Bad Boy” snaps from reform lines into a shouted title verdict. “On the Rebound” hammers repeated title replies into a clipped call-and-response pattern. “She Said Yeah” keeps the first side’s hard-edged run intact.

“It’s Too Late” surges through angry lines, aggressive power chords, and a two-note solo that fades the track out. “Feels Like the Real Thing” barrels through the same tightened drive. “Riding With the Angels” pounds through the album’s hardest-edged side-two push. “Beware” closes with a warning-toned title line and another hard-edged run.

A1. “Rene Didn’t Do It” (2:52)
A2. “Ain’t No Turning Back” (4:07)
A3. “Bad Boy” (4:06)
A4. “On the Rebound” (3:20)
A5. “She Said ‘Yeah’” (3:15) – Jackson, Christy

B1. “It’s Too Late” (4:08)
B2. “Feels Like the Real Thing” (3:55)
B3. “Riding with the Angels” (4:06)
B4. “Beware” (5:05)

Sessions occurred at Livingston Studio in Barnet, England, with producers Russ Ballard and John Stanley and recording engineer John Mills. Gregg Jackman mixed the album at RAK Studios in London. Tom Leader served as second engineer.

Barnet Dogs appeared in a sleeve with Anglographic graphics, a Barney Aldridge illustration, outer-sleeve photography by John Stanley, and inner-sleeve photography by Richard Blanshard. The cover shows an illustrated pack of angular dogs.

Epic lifted “On the Rebound” as a May 1980 single (b/w “Riding with the Angels”), which reached No. 58 on the Billboard Hot 100. “Rene Didn’t Do It” appeared as a 1980 Australia single (b/w “Feels Like the Real Thing”). Barnet Dogs reached No. 187 on the Billboard 200.

“On the Rebound” later appeared on the 1982 Uriah Heep comeback album Abominog. Samson recorded “Riding with the Angels” for Shock Tactics, and the single reached No. 54 on the UK chart in 1981.

Into the Fire

Russ Ballard & The Barnet Dogs released Into the Fire in 1980 on Epic.

Into the Fire extends the Barnet Dogs band frame with Ballard on lead guitar, vocals, and keyboards, bassist Dave Wintour, drummer Bob Henrit, and backing vocalist Bill Roberts. Richard Blanshard adds additional vocals.

“Breakdown” barrels through a rough-edged band drive and a clipped solo. “Where Do We Go from Here” gathers slowly around piano and a last-try relationship text. “Guilty” lumbers through a slow, steady push with harmony voices, a prominent bassline, and a false ending that reopens the lead break. “Don’t Go to Soho” chants its vocal return through a heavier turn.

“Tonight” alternates its bar-room text between approach and hesitation. “Madman” pivots into a spoken bridge excerpt. “Strangers” glides from a vocal-harmony intro with strummed acoustic and backing keyboards, then gathers at the vocal return. “Here Comes the Hurt” eases into a lighter, lower-pressure line. “I Will Be There” closes on a tight riff, lively low-end motion, and dense lyric text.

A1. “Rock & Roll Lover” (3:31)
A2. “Breakdown” (3:16)
A3. “Where Do We Go from Here” (4:09)
A4. “Guilty” (3:30)
A5. “Don’t Go to Soho” (4:29)

B1. “Tonight” (4:02)
B2. “Madman” (5:04)
B3. “Strangers” (3:53)
B4. “Here Comes the Hurt” (3:56)
B5. “I Will Be There” (4:22)

Sessions occurred at RAK Studios in London with producers Russ Ballard and John Stanley and engineers Greg Jackman, Peter Wade, Schwier, and Will Gossling. Arun Chakraverty cut the lacquer at the Master Room in London.

Into the Fire appeared in a sleeve designed by Media Management, with photography by Govert de Roos.

Epic lifted “Rock & Roll Lover” as a 1981 US single (b/w “Breakdown”). “Here Comes the Hurt” appeared as a 1981 single (b/w “Breakdown”), followed by “I Will Be There” (b/w “Madman”).

Russ Ballard

Russ Ballard released his second self-titled solo album in 1984 on EMI America.

The album reduces the recording frame to a four-player studio band. Ballard sings and plays guitar, joined by bassist Mo Foster, drummer Simon Phillips, and keyboardist Greg Sanders.

“I Can’t Hear You No More” eases through a laid-back, stripped-back opening run. “In the Night” sustains the same measured pace with harmony voices, organ-and-strings backing, and a lifted slap-bass line. “Two Silhouettes” holds its window-scene text in a direct mid-tempo setting. “Voices” tightens the spare method into suspense, with the title line held against a simple backing.

“A Woman Like You” fills the established setting with busier vocal returns. “Day to Day” repeats the busier approach with a sharper title return. “Playing With Fire” punches over electric-piano chords, low-end accents, and pointed background figures. “The Last Time” closes with prominent piano chords and extended final lead work.

A1. “I Can’t Hear You No More” (5:49)
A2. “In the Night” (4:08)
A3. “Two Silhouettes” (4:17)
A4. “Voices” (5:33)

B1. “A Woman Like You” (4:22)
B2. “Day to Day” (3:53)
B3. “Playing with Fire” (5:07)
B4. “The Last Time” (5:26)

Sessions occurred at EMI Studios, Abbey Road, London, with producers Russ Ballard and John Stanley and recording engineers David DeVore and Mike Jarratt. Ian Grimble and Danny Dawson assisted the recordings. Bob Clearmountain mixed the album at Power Station Studios in New York, with Bruce Lampcov assisting.

Russ Ballard appeared in a sleeve with art direction by Henry Marquez and photography by Peter Marlow.

EMI issued “Two Silhouettes” as a 1984 single (b/w “Living Without You”). “I Can’t Hear You No More” appeared as a 1984 Germany single (b/w “The Last Time”). In 1985, “Voices” became a single (b/w “Living Without You”) and reached No. 110 on Billboard Bubbling Under Hot 100 Singles and No. 15 on Mainstream Rock. Russ Ballard reached No. 147 on the Billboard 200 and No. 70 in Australia.

The NBC series Miami Vice used “In the Night” in “Calderone’s Return: Part 1 – The Hit List” and “Voices” in “Calderone’s Return: Part 2 – Calderone’s Demise,” which aired in October 1984.

The Fire Still Burns

Russ Ballard released his seventh solo album, The Fire Still Burns, in 1985 on EMI America.

The Fire Still Burns continues the EMI America and Rujo Production frame from the 1984 album. Ballard sings and plays keyboards, guitars, bass, and electronic drums, joined by bassist Mo Foster, drummers Mike Richardson and Stuart Elliott, and electronic drummer Peter Van Hooke.

“Once a Rebel” rises from unaccompanied synthesizer into a programmed machine pattern, power-chord hits, harmonized lead lines, and background chanting. “The Omen” hammers a two-chord organ riff under power-chord blocks and a direct breakup warning. “Hey Bernadette” slows without dropping its weight, with the vocal fixed on a lonely-road address.

“Time” ticks over acoustic strum and synth-wind color, then leaves the clock alone at the fade. “Your Time Is Gonna Come” surges on thwacking synthesizer color, a hard beat, and stacked voices. “The Fire Still Burns” closes on a hard, title-centered drive.

A1. “Once a Rebel” (5:29)
A2. “The Omen” (4:27)
A3. “Hey Bernadette” (5:46)
A4. “Searching” (6:07)

B1. “Time” (1:52)
B2. “Your Time Is Gonna Come” (4:38)
B3. “Dream On” (4:57)
B4. “The Fire Still Burns” (5:37)

Ballard and John Stanley produced the album for Rujo Production. Stanley also managed the project through Media Management Ltd. in London.

The Fire Still Burns appeared in a sleeve designed and photographed by John Stanley.

EMI issued “The Fire Still Burns” as a 1985 single (b/w “Hold On”), which reached No. 105 on Billboard Bubbling Under Hot 100 Singles and No. 15 on Mainstream Rock. In Germany, “Dream On” appeared as a 1985 single (b/w “The Omen”). The Fire Still Burns reached No. 166 on the Billboard 200 in the United States.

King Kobra recorded “Dream On” for Thrill of a Lifetime in 1986.

Discography: