Audience - Lunch (1972) White Promo Copy

	£		25
	$		33

Here is an excellent promo (White Copy) of

Lunch - Audience (1972)

I acquired this copy in June 74 from a local record shop on Sunbridge Road

in Bradford. In my hands it has only been played twice, once to record onto cassette

and once last week to check its quality. first play on a Thorens TD150 and second on

an Lynn LP12.

This is a first pressing as the number pressed in the vinyl is CAS 1054 A-1U

Hard to imagine any American label other than Jac Holtzman's Elektra having the artistic courage to release an album like 1972's Gus Dudgeon produced "Lunch".   Their fourth studio set in three years, the album was recorded in the wake of an extensive American tour opening for Rod Stewart and the Faces.  Phyiscally and artistically tired and increasingly at odds with one another (particular sax player Keith Gemmell and the rest of the band), the fact they were able to squeeze out a fourth studio set before calling it quits actually spoke highly of the band's stamina.  Perhaps to compensate for the core members exhaustion, the album introduced an expanded line up in the form of keyboard player Nick Judd and American horn men Bobby Keys and Jim Price.  Musically the band's sound remained largely unchanged - uniquely British, if somewhat subdued this time around.  Anyone looking to hear lots of blazing guitar from Howard Werth was going to be in for a major disappointment since electric guitar was all but absent from the collection.  That said, even without electric guitars, these guys could rock out - doubt it then check out the likes of Seven Sore Bruises', 'Barracuda Dan' or 'Thunder And Lightnin''.

- Funny, but in spite of Howard Werth's gravel;-in-his-mouth voice and Keith Gemmell's shrill sax, 'Stand By the Door' could have been a radio hit.  Sporting one of Audience's strongest melodies and a hook you simply couldn't get out of your head, this was one of the album highlights.  The song was actually released as a British single.   rating: **** stars
- I'm usually not a big fan of horn-propelled blues-rockers, but 'Seven Sore Bruises' was an exception to the rule.  Werth and company actually sounded like they had a blast recording the song and the lyrics were pretty funny.   rating: *** stars
- Possibly the album's most commercial song, the breezy, Carribean-flavored 'Hula Girl' was another track that should have brought the band commercial success.  Werth's dry, snarling voice seldom sounded as good and the chorus and whistling solos were truly infectious.   rating: **** stars
- Opening up with some petty acoustic guitar, 'Ain't The Man You Need' sounded a bit like a Clapton blues number before inexplicably exploding into a horn-powered blues-rocker.   Not sure if it was Gemmell, or Keys, but one of them provided a stunning sax solo.   rating: *** stars
- Showcasing Werth's ominous snarling voice and some of the album's cleverest lyrics (musical terms in the pursuit of lust), 'In Accord' was side one's toughest performance with Keys earning his paycheck for a dazzling sax solo.   rating: *** stars
- One of their strangest performances, 'Barracuda Dan' was a slice of Americana that rocked out with a true sense of vengence.   Nice horn charts.  rating: *** stars
- Perhaps the album's best song, 'Thunder And Lightnin'' was a blazing mid-tempo rocker that had everything you look for in a song - great melody, interesting lyrics, and one of Werth's best performances.   rating: **** stars
- Hum, ever wondered what a mash-up of Jewish Klezmer music and rock and roll would sound like ?  Well, 'Party Games' might give you a taste of the results ...   surprisingly enjoyable.   rating: *** stars
- So after dipping their toes in Klezmer, why not try on a Western theme for size ?    Kicked along by Trevor Williams' hyperactive bass line and some equally busy horns, 'Trombone Gulch' was about as close to a rock song as this album offered up.  Shame the song faded out just as it was switching into high gear.   rating: **** stars
- Maybe it was just my beat ears, but 'Buy Me An Island' sounded like Werth and company were trying to channel Elton John doing an impression of Robbie Robertson and the Band.  Regardless, it was one of my favorite performances with a lyric we can all relate to - time to retire to a tropical island and enjoy life.   rating: **** stars

Charisma tapped the album for a UK single, as did Elektra though with a different 'B' side for the US market:
 
- 1972's 'Stand By The Door' b/w 'Thunder And Lightnin'' (Charisma catalog number CB 185)
- 1972's 'Stand By The Door' b/w 'Seven Sore Bruises'' (Elektra catalog number E 45788)

Not a particularly commercial collection (apparently to American ears), but an album that I've repeated enjoyed, if only because it is so quirky.  Again, hard to imagine any American label outside of Elektra even daring to release something like this in the States.  To be honest, figuring out how to market this to an American audience was simply a no-win situation for Elektra so the fact the album managed to hit # 175 on the US charts was quite an accomplishment.  Unfortunately that spelled the end of the band.  Personal frustrations saw the band fracture with members going off to other enterprises.

And for Audience completists, yes, the original Charisma cover was slightly different, sporting a different font and title placement.  Made you wonder how much time, effort, and money Elektra marketing spent coming up with their variant for the US marketplace ...

THE SHIPPING PRICE QUOTED IS UK MAINLAND.

FOR ANYWHER ELSE ASK FOR QUOTE BEFORE BIDDING.