Skip to main content

Pablo Cruise - The Platinum Years (1977 - 1978)

Pablo Cruise as a band name always confused me. Like Pink Floyd, and to a lesser extent (way, more lesser) Daniel Amos suffered from having fans ask "Which one is Pink?" Somewhere in my early teenage brain I figured Pablo Cruise was a guy who looked like a cross between Sergio Aragones and "Gold Hat" from The Treasure of the Sierra Madre exclaiming he didn't need no stinkin' badges. He would be wearing a black charro outfit singing "Guantanamera" and between sets would be passing out drinks with little umbrellas, so you can imagine where I was trying to fit them musically.

Of course with the passage of time I've heard a couple of their bigger hits like "Whatcha Gonna Do?" and "Love will Find a Way" and given my penchant for 70s cheese I was always kind of curious about the band. As fate would have it I managed to find A Place in the Sun and Worlds Away in the unloved section of one of my favourite record stores. While the jackets weren't in great condition, and both were missing any credits and inserts, the vinyl on both cleaned up real good which made me pretty happy. While the band released several albums, these two albums released in 1977 and 1978 respectively represented the band at their commercial peak - both albums going platinum in the states.

I figured out on my own they weren't a mariachi band, but the palm tree in the logo was a head scratcher - I suspect it was meant to convey a laid back California attitude with sun and fun. To that end the band actually delivered on their promise. I expected this to fall more into disco territory than it did. Sure there were some funky songs with some good old blue eyed soul, but they were actually more of a rock band than an easy listening hotel lounge act. There are some really good songs on A Place in the Sun, including the title track and the earlier mentioned hit "Whatcha Gonna Do?" but for me the biggest surprise and my favourite song on the album is the instrumental "El Verano" which was a great way to close out the album - David Jenkins absolutely rips it up. His guitar work is mind blowing. If there was any doubt that Pablo Cruise could turn up the juice if they wanted to is put to rest with this one track. The fact the guys mostly stayed in their soft rock lane was apparently a choice, they just revved the engine every so often to let people know there was more under the hood. In racing terms we call this sand bagging.

A year later they dropped Worlds Away, building upon the success of A Place in the Sun. The band was at their commercial peak. It seemed like with Worlds Away the band had found the key to blending their soft rock harmonies and layering over it a harder rock groove - they had the pedal to the floor on more than a few songs. Although I still can't quite come to terms with "I Go to Rio" it's played straight, but I get the sense the band had their tongues firmly in their cheeks while recording the song.

Although they'd release a few more albums they wouldn't make the transition out of the 70s and by 1983 they were gone.

It's strange, Pablo Cruise had great chops, and sure they could be up there on the cheesy-pop scale, but when they were good they were really good. You have to give props where props are due: The guys knew how to craft a pop song and were fantastic musicians, and when they were good they were really good. I suppose they were part of that crop of bands like Player who were making solid but somewhat generic "rock" records that were well crafted, impeccably produced and were guaranteed not to offend your parents.




Comments

Popular posts from this blog

6 Cylinder

As a kid we had one radio station, not counting CBC, and generally there was very little that was worth listening to, although there were times something would come on that would make you pay attention. It was 1979 and on a couple of occasions I heard "There Ain't Nobody Here But Us  Chickens" and it cracked me up, and I always wanted to get a copy for myself. A few years ago when my niece was dancing, they did a performance to this song, and now I can't separate my niece from a bunch of dancing chicks in chicken suits. Such is life. When I found this in the dollar bin I actually let out a little chirp, my goodness could it be? It was, and it was in great shape - including the inner sleeve.  Score. I had no idea what to expect, for all I knew there was only one song worth listening to, and if that was the case it was still a dollar well spent. If I could buy an album by Showdown and enjoy it, odds are I'll find something to enjoy here to. Before I put this on I...

Garfield - Strange Streets

I'd seen this before in the bin, but kept flipping through the stacks. I'd see it a few more times, each time stopping to look at it a little more. There was something kind of cool about the cover where the stylized Celtic knot had the dotted yellow line - it was a strange street for sure.  I pulled the record out of the jacket and I was struck by the centre image. There was the familiar Mercury label, the same one I'd seen a thousand times on BTOs Head On album. Well, I'd bought things based on odd associations before - like when I had to buy anything that Solid Rock Records released (this was generally a good thing) who knows maybe this was a hidden gem. There weren't any real scratches or rash, just a lot of dirt and dust - it seemed to clean up okay, but we'll see how it goes. The album opens with the title track, and this wasn't straight ahead pop, or rock. It was leaning to the progressive, but with a pop bent. Oddly enough the vocals reminded me of Mi...

Hoodoo Gurus - Mars Needs Guitars!

The first time I got this album it was a gift from my old roommate Otto. For a goofy little nebbish he would occasionally surprise me with some left of field musical treasures. Although, I still think he was reaching a little when he brought home the new "Led Zeppelin" album by Kingdom Come and forced me to listen to "Get it On" over and over again.  I'd not listened to Mars Needs Guitars in a long, long, long time. The first thing that I jumped out at me was how David Faulkner's vocals reminded me of his fellow countryman Peter Garrett from Midnight Oil. I think the reason this never occurred to me was at the time I didn't have any Midnight Oil until Diesel and Dust in 1987. I'm not saying it was all the time, but there were a couple of songs where it stood out. Not a bad thing, just a thing. Even at the time this felt slightly out of step with what was going on in 1985. It seemed like everyone was using drum machines and synthesizers and having t...