Juicy Lucy - 01 - Mississippi Woman
Juicy Lucy - 02 - Who Do You Love
Juicy Lucy - 03 - She's Mine She's Yours
Juicy Lucy - 04 - Just One Time
Juicy Lucy - 05 - Chicago North Western
Juicy Lucy - 06 - Train
Juicy Lucy - 07 - Nadine
Juicy Lucy - 08 - Are You Satisfied
Juicy Lucy - 09 - Thinking Of My Life
Juicy Lucy - 10 - Built For Comfort
Juicy Lucy - 11 - Pretty Woman
Juicy Lucy - 12 - Whisky In My Jar
Juicy Lucy - 13 - Hello L.A. Bye Bye Birmingham
Juicy Lucy - 14 - Changed My Mind
Juicy Lucy - 15 - That Woman's Got SOmething
Juicy Lucy - 16 - Willie The Pimp
Juicy Lucy - 17 - Lie Back And Enjoy It
The passage of time has not been kind to some of the songs on this album. Standard blues material with plenty of embellishments from the musicians currently find a home within the ranks. Hereby lays the most pressing problem. With such a liquid lineup it was hard for `Juicy Lucy' to actually sound like a band, not just a group of musicians thrown together in the recording studio. Half the band plays as if they were worried that they would soon be booted out of the band (they were), whilst the other half play as if they had the knowledge that after this recording they were going to move onto new fresh pastures (which they did - notably Micky Moody to 'WhiteSnake', Rod Coombes to `Stealers Wheel & then the Strawbs' and Keith Ellis to `Spooky Tooth').
Yet, there are some astounding performances from the guitar works of Micky Moody, the steel guitar works of Glenn `Ross' Campbell, the occasional saxophone break from Chris Mercer, and the ever impressive vocals of Paul Williams (one of the most underrated blues singers to ever tread the boards and bend a microphone. The first seven tracks are fair compositions including a cover of the old Willie Dixon Blues Classic 'Built for Comfort'. The band aimlessly stumbles through many genres of the rock 'n' roll spectrum, from blues to country, and heavy rock to pop. However, it's not until they crack open the Frank Zappa jewel from Hot Rats 'Willie the Pimp' that the band really jell, let their hair down, giving it a go with the confidence that these superior musicians should have. The results are startling with Paul Williams singing at his most Beefheartesque (I do not know if that's a word or not, but if it isn't, it should be) and Micky Moody laying down two smokin' slide guitar solos, while the whole band joins in the fun with a truly rumbustious display.
All in all a pretty average display (apart from the magnificent 'Willie The Pimp'), but worth the while if you fancy some of that early seventies feel.