Denny Laine - Ahh... Laine 1973

Denny Laine did not know this album was released on Warner Bros until 1989. He surmised that the late Tony Secunda, manager for the Moody Blues when Laine was in the band, sold the U.S. rights to Warner Bros. (The original pressing was released in 1973 on Wizard Records in Europe.) Laine is wearing a Wings T-shirt on the front cover and it is amazing that he didn't perform some of these songs with Paul & Linda McCartney when they were all together. "Find a Way Somehow" has that "Let Me Roll It to You" sound from Wings' Red Rose Speedway. But the best track here is "Baby Caroline," which rivals a song called "Blue Nights," not on this collection, and one of Laine's most perfect moments. His voice is in great shape -- bluesy, defined, and in sync with the tunes. "Havin' Heaven" bops and is a good departure from the mellow leanings Laine's music gravitates toward. As a founder of the Moody Blues and singer of their first hit, "Go Now," Laine, like Chad Allen of the Guess Who, found himself shifting gears after finding success. Allen's music is also substantial, and although Laine penned "Say You Don't Mind," a hit for Colin Blunstone, this album is very much like Allen's work on Brave Belt: underrated and underappreciated. "On That Early Morn" has a tasty guitar and a '50s feel. It really is astounding that while his band was hitting number one with Band on the Run, Laine had no idea he had an album out in America (which was one of Warner Bros' biggest failures of that year). Laine performing "The Blues" and "Sons of Elton Haven Brown" on stage, maybe as the opening act for Wings that year, could have changed rock history. This is music straight from the heart. AMG

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Denny Laine - Holly Days 1977

Of the myriad side projects and offshoots which occupied Paul McCartney and Wings during the early to mid-'70s, it is regrettable that this is the only one which came to full fruition -- regrettable because it's also the only one in which Fab Macca had any kind of vested financial interest, thus opening the door for decades' worth of subsequent critics to write it of as just another means of adding more cash to the coffers. Of course, there's no denying that McCartney's acquisition of the Buddy Holly songbook was a prime reason for this collection of, indeed, Buddy Holly covers. But to dwell on that is to overlook the fact that, alongside Wildlife, Red Rose Speedway, and two or three later Wings 45s, Holly Days sounds more like McCartney's original blueprint for Wings than anything else the group accomplished. Laine, Paul, and Linda alone feature on the album, recording in the same Rude studios (the appropriately named Rude Studio where McCartney banged out his demos), and not sounding much more advanced. A note on the sleeve even warns, "this album consists of monophonic recordings, electronically reprocessed to give a stereo effect," and anyone familiar with any of the Beatles' own early-'60s recordings will know exactly what that sounds like. Holly Days is crude, ramshackle, and impossibly primitive, then, but its naïveté is its strength, its amateurism is its armor. It's the sound of three musicians having fun with songs that they love, eschewing effects, ignoring mistakes, and cherishing the lo-fi brashness of it all. Laine's lead vocals are excellent, the McCartneys' harmonies are spot-on, and the musicianship -- mainly Paul -- is supremely slapdash. The result, for anybody wishing to seriously anthologize McCartney's solo output, is an album as honest as any he's been involved in, and a lot more fun than most of them. Holly Days -- happy days! AMG.

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