Orleans - Orleans 1973

Orleans were never a favorite of rock critics, who disliked the soft rock/pop/rock outfit for the same reason they disliked Chicago, America, Player, Pablo Cruise, and Firefall: They saw Orleans as unchallenging. That much is true; Orleans were never the most challenging band in the world. But then, they weren't trying to be. Orleans are what they are -- laid-back, congenial soft rock with occasional R&B influences -- and complaining about the lack of danger in their music is sort of like faulting a romantic comedy for not being as edgy as one of Martin Scorsese's film noir masterpieces. If you're going to honestly evaluate an Orleans album, you have to apply soft rock standards -- not hard rock standards, not punk and new wave standards, not P-Funk standards. And when soft rock standards are applied, one finds that Orleans' self-titled debut album of 1973 is a fairly promising, if imperfect and inconsistent, effort. The LP isn't without pedestrian filler, but its best tracks -- which range from the mildly funky "Tongue-Tied" to the anthemic, gospel-tinged "Half Moon" -- are quite memorable. Although Orleans are a soft rock/pop/rock band first and foremost, they aren't oblivious to soul and funk -- the cynical "Two-Faced World," in fact, combines pop/rock sensibilities with an awareness of Sly & the Family Stone. Orleans were never as funky as Stone or Tower of Power; for that matter, they weren't as gritty or soulful as Janis Joplin, who John & Joanna Hall wrote "Half Moon" for in 1970. But it is safe to say that an appreciation of soul and funk were among the weapons in the band's soft rock/pop/rock arsenal. This 1973 debut wasn't a blockbuster -- Orleans' big commercial breakthrough didn't come until 1975 -- but the soft rock fans who acquired the LP could hear Orleans' potential. AMG.

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Orleans - Orleans II 1974

The right record deal can easily make or break a band; just ask the members of Orleans, who, in the 1970s, were well aware of the difference between a supportive and unsupportive label. The unsupportive label was ABC, which never really believed in Orleans and ended up dropping the band after two albums (Orleans in 1973 and II in 1974). The supportive label was Elektra/Asylum, which gave Orleans a lot more promotion than it had received at ABC; as a result, "Dance With Me" made Orleans a big name in soft rock in 1975. But "Dance With Me" was around before the band moved to Elektra/Asylum; in fact, it is among the songs on Orleans' second ABC album, II. Although ABC didn't think much of this 1974 release, it isn't a bad album. Some of the material is mediocre, but some of it is impressive -- and the record's best tracks demonstrate that ABC made a big mistake by giving Orleans the boot. Those tracks range from "Wake Up" (which addresses environmental concerns) to the anthemic "Let There Be Music" and the charming "Dance with Me." Commercially, this LP bombed -- that's what happens when a record company doesn't believe in an album and does little or nothing to promote it. But, thankfully, two of its best songs got a new lease on life at Elektra/Asylum. In 1975, "Let There Be Music" became the title track of Orleans' third album, and "Dance With Me" became the hit single that it deserved to be -- not just one of nine tracks on an underexposed LP that was plagued by inadequate promotion. Although uneven and imperfect, II deserved much more support than it got from ABC. AMG.

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Orleans - Let There Be Music 1975

The first Asylum release by Orleans is an earnestly engaging, though diffuse collection of pop tunes in many flavors. Both the title track and "You've Given Me Something" are pure power-pop numbers; the former is an agreeably forceful and hook-filled electric guitar-based selection featuring an especially ardent vocal, while the latter song is a bit breezier in feel, propelled along by a galloping drumbeat. "Fresh Wind" tosses mild funk and psychedelic touches into the pure pop formula. "Business as Usual" explores disco-oriented territory, "Cold Spell" sports a funky Stevie Wonder-style guitar hook, and "Give One Heart" exhibits strong reggae influences. "Time Passes On" is a loping, expressive number with an odd Joni Mitchell-like bridge section that features far-flung harmonic excursions, while "Ending of a Song" is a warmly emotive singer/songwriter-influenced selection. The big chart hit "Dance with Me" is a magically understated country-pop song that proves very memorable over repeated hearings. Vocal harmonies on this disc are generally full and vibrant; arrangements and production are more complex and intriguing than may be apparent on first listen. Definite demerits go for the often squarishly didactic and/or cliched verses (examples can be found on "Your Life My Friend," for instance); socially critical lyrics appear on some numbers, notably "Cold Spell" and "Business as Usual." Despite the blocky verses and lack of stylistic focus, this is an often engaging platter worth a listen. AMG.

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