The music as you would imagine whilst being of its time is generally very good and listening to it I am reminded of just how good a band Babe Ruth actually were.
Jenny Hahn's raw powerful vocals, and Alan Shacklock's magnificent guitar work made for a true signature sound. With very varied eclectic tastes they covererd Frank Zappa's King Kong , and Curtis Mayfield's We People Darker Than Blue . They enjoyed moderate commercial success in Britain, Canada, and the States, but were plagued by personnel problems, and lack of radio airplay.
A worthwhile compilation made up of tracks from Babe Ruth`s first three albums, which evidently represent the band`s best material. All the tunes on this hits package showcase Babe Ruth`s energetic, hard-rockin` progressive style, with a dynamic tinge of free-flowing jazz fusion that evolves from Steve Gregory`s tenor sax and flute playing. The set takes seven tracks from 1974`s Amar Caballero album, five from their debut, and four from 1975`s self-titled album, spotlighting Janita Hahn`s burly but emphasized vocals. Even though Alan Shacklock`s Mellotron and Hammond organ give the music a certain progressive flair, it`s actually the commingling of the guitars and percussion work that gives the bulk of the songs their edginess and rock depth. Although First Base makes for a solid listen, Grand Slam is the most opportune route to experience the best part of Babe Ruth`s jazz-infused rock at one sitting.
First Base/Amar Caballero - Babe Ruth - A rave review from stonefish9 at Epinions
Babe Ruth Strikes A Home Run With These Two Albums...
Mar 09 '05 (Updated Jun 11 '05)

Author's Product Rating
Product Rating: 5.0

Good music from this British band.

The track Gimme Some Leg .

The Bottom Line
If you want to hear British rock that sounds like nothing you've heard before, pick this one up.

Full Review
Musically, Babe Ruth is definitely is a band that could best be described as non-definable. They were a British band that blended hard rock, blues, classical, jazz, and funk. Here I'm reviewing their two albums on one CD: First Base (1972) and Amar Caballero (1974).

Little is known about the band, other than the fact that the band was led and started by guitarist Alan Shacklock and fronted by lead singer Jenny (also known as Janita) Haan, who sounds like a cross between Pat Benatar and Tina Turner.

Now Alan had been playing guitar since he was a child, and he also had played piano as well. Alan was classically trained in both guitar and piano, so he developed some excellent skills on both. He had played in many rock bands around the England area including the Juniors (no, not the guys who had a hit with At The Hop ). He then studied music at the prestigious Royal Academy Of Music (the British equivalent of Berklee College Of Music or Julliard), before he decided to form his own group that encompassed jazz and classical influences as well as blues, soul, and funk.

First, he recruited keyboard player Dave Punshon. Dave was also a classically trained pianist who was part of the London jazz scene. Next to complete the members were bass guitarist Dave Hewitt, and drummer Jeff Allen.

The band decided that they needed a lead singer, and they needed one who could sing worth a damn. They found that with Jenny Haan.

Jenny (a.k.a. Janita Haan) Haan was a British-born lady of Dutch descent. She had lived in California during the 60's and became enamored with the blues, jazz, and rock scenes there and started singing. After relocating to England, Jenny had worked in a boutique, and was a hippie chick that sang in blues and rock bands and honed her skills. She had auditioned for the band, and the band was quite impressed with her, and she was in as the lead singer.

The group had at first called themselves Shacklock, after Alan's last name, but then changed their name to Babe Ruth after the baseball player of the same name. Some of the band members liked baseball, and they thought the name sounded cool for a band.

It was during this time that the band played the club and college circuit until that led to the band signing with the Harvest label, a subsidiary of Capitol/EMI (who had some great acts on that label such as Pink Floyd, Be-Bop Deluxe and The Little River Band just to name a few). Although the lineup cut a single called Elusive , It was during that time that Jeff Allen was replaced by Dick Powell (brother of Slade drummer Don Powell), and the band hit the studio to record their debut which I'm discussing now.

First Base:

Originally released in 1972, First Base is a tough hard-rock LP with plenty of blues, jazz, classical, and funk influences. There's some great originals mixed with interesting covers on this LP. It also set into place what the band was about: Alan would write, arrange, and produce (this one with Nick Mobbs) the band's material, while leaving the spotlight on Jenny, where it belonged. The band is also joined by guest players such as oboe player Harry Mier, percussionist Gasper Lawal, and saxophonist Brent Carter.

The first side of the album starts off with Wells Fargo . This song ain't about the bank of the same name, but it's about the company who transported money around during the Old West via the stagecoaches and doing what they could to avoid robberies. As Jennie sings, Days spent riding shotgun on the Mexican border/Shotgun moving to the rhythm of the rage/Just to keep law and order/sits right back down just taking it easy/drinks a shot of whisky/and it makes it mighty easy/you come hard one/you come hard twice/neglecting keeping watch/don't mind the sheriff's advice/riding shotgun/riding over land to the Rio Grande now , it's like watching an episode of the TV show Gunsmoke. Music-wise, this is a cool mix of funk and hard rock, which sounds like The Isaac Hayes Movement meets ZZ Top. Alan does a fast guitar solo like it ain't nobody's business, while Brent does some great sax solos, giving the song a great soulful edge.

Next, the band goes and does a nice mellow piece with the track The Runaways , featuring Jeff Allen on drums. This is a song about a downtrodden man who is homeless and running away from reality with a bunch of young runaway kids. The song itself deals with running away from home as well as the reality stating that you can't run from yourself as well. Perhaps it's the best song I've heard about the subject since the Temptations' Runaway Child, Running Wild . Music-wise, this is a nice quasi-classical piece with some nice piano work from Dave, along with some mournful oboe playing from Harry. I like how it starts out slow with cellos (arranged and conducted by Alan of course), but then the tempo builds up and Dave and Jeff come in followed by Alan's fuzz guitar, having played acoustic at first. Interestingly enough, the end of the song is really nothing but the band and cellos playing the same melody over and over again until you hear nothing but cellos playing that melody, albeit arppegiated.

Closing out side one is a great cover of Frank Zappa and the Mothers Of Invention's King Kong . Now I heard the Jean-Luc Ponty version of this song (which is good too), but this will blow that version out of water. I also heard the original version of that song (It's on the Uncle Meat album), and they do it justice as well. Although the original version of this song was a bit jazzy (much like Dave Brubeck's Take Five ), this one is a bit rockier and bluesier. I like how Dave plays some great electric piano on the song (a Wurlitzer electric piano through a fuzz box), and Alan also plays some nasty fuzz guitar, showing that he’s pretty soulful on guitar as well.

Opening up side two is the song Black Dog . No, this ain't the Led Zeppelin song of the same name, but rather a cover of folksinger Jesse Winchester's song about a person who will steal, kill, and destroy in order to survive, and analogizing him as a dog. That kind of reminds me of the dogs in Jack London's Call Of The Wild . Music-wise, where the original was more of a country-rock pastiche, this is more of a tough hard-rocker. Dave does a nice piano solo, reminiscent of Donald Fagen's piano solo that he did on Steely Dan's song Fire In The Hole . Alan also does some excellent riffing and leads on guitar, as well as providing some gospel-chorded organ.

Next, there's my favorite track on this album, The Mexican/For A Few Dollars More . This particular track deals with a Mexican renegade known as Chico Fernandez who wants stability in life and to leave the cowboy life behind by going to California. As Jenny sings, He's called Fernandez/Living On A Gun/Dreams Of Santa Ana/Fighting In The Sun/Drums So Loud From Outside/Makes It Hard To Dream/A Rain is Falling Hard So Fast/Makes It All Seem Real/Morning, Come Morning/He has got to have it share/Morning, sad morning/said he must be there , it's like something from a Sergio Leone Western. Music-wise, I like how it starts out with flamenco guitar playing, and then it turns into a strange mix of funk, hard rock, and Mariachi music with Dave and Alan doing lead harmony lines throughout the song. I also like how in the song how the band lifts Ennico Morricone's main theme For A Few Dollars More in the song as well.

Closing out side one is the song Joker . This is about trying to score drugs for a low price, only to be played for a fool by the dealer. Both Jenny and Alan share lead vocals on this one. Alan's singing leaves a lot to be desired, as he sounds like Joe Cocker on laughing gas. As they both sing in one verse, I told this Joker that you looked quite easy/Why did you try to score again?/That's what I did/but all I found was a $5.00 deal/But you only ever wanted/wanted him I said to this Joker man/You got to be stealing/A quarter ounce for a $1.00 bill/He said if that's how you feel/Then you better not pay/It's all right/I'll pay on Friday/Leave it on the window sill/Joker, don't use me/I've had about enough of you/Joker don't abuse me/I don't know what I can do , you'd think that were getting dope from the Joker from Batman. Music-wise, this is another hard-rocker done Doobie Brothers-style (Tom Johnston era), with some chunky guitar work from Alan and some aggressive conga playing from Gaspar.

Although this is a good album, this album was only a modest success in England and America, but it was fairly successful in Canada. The band had toured throughout the continent, building their fan base as time went on. But then Dick left the group, and he was replaced by Ed Spevock. The group then hit the studio to cut their next follow-up LP, entitled Amar Caballero.

Amar Caballero:

Originally released in 1974, Amar Caballero is another great album by the band. The harder-rock feel of the First Base album is downplayed in favor of an earthier soul-rock blend along the lines of early Rufus, Ike and Tina Turner, and Lydia Pense and Cold Blood. There's also some music with reggae, jazz, and classical influences, so that's a plus right there. During the recording of this album, however, Dave left the band to join a religious cult and was replaced by Chris Holmes (formerly with Mike Patto's band Timebox). There's also a host of guest musicians playing throughout the record, but I'll get to that in a little bit. Well, it's time to talk about the music, so I'll get to it.

The first side of this album starts with the song Lady . Written by Alan and Jenny, it's about a guy trying to get his woman back. On here, Alan and Jenny harmonize the lead vocal. As they sing, Maybe better move on/Down to try and coax her back/And maybe she found another cat/And that ain't where it's at/Oh God won't you tell me what can I say/To bring that lady back to stay/Lady won't you bring it on home/You love after a while/Lover don't be shy , you got a feel for the guy trying to shoot his game. Music-wise, this is a jazz-funk pastiche with some nice grooving electric piano and drums from Dave and Ed, and some swank horns, woodwinds, and strings arranged by Alan. He also does a nice bluesy guitar solo as well.

Next, there's the track Broken Cloud . This is about a Native American who relocates to a peaceful land after fighting battles. This is another beautiful track with Jenny's plaintive vocals, but we get some nice tympani playing from Ed and nice acoustic guitar from Alan with another lush orchestral arrangement from him.

Now there's the track, Gimme Some Leg . Written by Alan and Jenny, this is a track about a female hitchhiker who hitches a ride only to be subjected to getting raped (yeah, you heard me right-rape!). Now I think that's touchy subject matter for 1974 if you ask me. Music-wise, this is the only real hard-rocker on here. It's got reggae overtones with Gaspar playing percussion and speaking part of the main chorus in a thick Jamaican accent. Alan really wails on this track, and Chris does some nice organ fills. I usually skip this song since I don't want to hear about rape.

Closing out side one is the track Baby Pride . Written by Alan and Jenny, this is about having dignity when you feel unloved. As Jenny sings, I feel cold and warm/Things I find are gone/We make it so very hard/To be loved for what we are/We're string puppets/Dancing past forgotten smiles/forget the cold and wintery lie/Baby pride , you feel her pain and heartache. Music-wise, this is a solemn pop song with jazz chords featuring Chris on electric piano and Alan does some great jazz guitar work evoking Wes Montgomery and Charlie Byrd. Chris Bushen provided the choir at the end (whoever he is), which is just his voice overdubbed numerous times.

Side two starts off with a cover of the Capitols' Cool Jerk . Now I know some of you folks have heard the Go-Gos' cover of that song, but this version will blow that one to pieces! These guys turn it into high-powered funk number with blasting horns, and it's got a groove that could be described sounding like a cross between the JB's and Blood, Sweat, and Tears.

Next, we are treated to a nice classical-influenced instrumental from Alan entitled We Are Holding On . On here he is joined by violinist Ray Vincent, whose violin playing on here could make Satan cry. There's also some haunting flute and tambourine from Duncan Lamont and Nick Mobbs. Alan is the real star on here though, and he shows a definite Segovia influence in this classical guitar piece.

Next, there's the track, Doctor Love . This particular track deals with a girl trying to figure out a guy she don't know nothing about. As Jenny sings, Baby/Better Watch Out/Is He Gay/Ain't He Just/He's In Between One/He's Turning Up My Life/Making Me Real Shy/If He Told You Some Of The Things He Tried Mama/He'd Make You Shudder At Night/I Want To Tell You Now/You're Doctor Love , you'd think he was the ultimate freak or player. Music-wise, this is some grooving, meaty funk (ala Sly Stone), with some nasty horns! Steve Gregory does a nice sax solo, followed by Alan who rips it up! Now there's some slamming white funk if I ever heard it!

Closing out side two is the title track Amar Caballero (Sin Ton Ni Son) , which means Love Horseman, Without Rhyme Or Reason. Since this track is divided into three distinct parts, I'll discuss them here:

a. El Caballero De La Reina Isabella-This track means Horseman of Isabella's Reign. Written by Alan and Jenny, on this part you hear only Alan and Jenny. She sings about how this knight during Queen Isabella's reign fights but doesn't really want to fight at all. The next few seconds is just Alan playing acoustic guitar.

b. Hombre De La Guitarra-This of course means guitar man. This is definitely a great track in which Alan shows off his flamenco skills while Dave and Ed back him up, while being joined by Angelito Perez on percussion. You hear chanting for the horseman in Spanish, while the band lays down a tight Latin groove. It's perhaps the best Latin track I've heard done by non-Latinos (other than the band War).

c. El Testament De N'Amelia-That just means Amelia's Testament. This is a traditional folk song Alan arranged for classical guitar, and he plays it with such emotion and feeling as if he knew Amelia himself.

This album was only a moderate seller in England and America, but it turned out to be a hit in Canada where it went gold and established Babe Ruth's following there. This was also the only album that Chris played on, and he left following the tour for Amar Caballero to be replaced by Steve Gurl for their next LP.

There's no doubt that those two albums that Babe Ruth did definitely had some high artistic quality to them, and that Alan's creative muse really shone through on these albums. It's a shame that they didn't catch on like they should have, but the band was definitely ahead of their time.

Editor's Note: All songs written, arranged, conducted, and produced by Alan Shacklock unless otherwise noted.


Great Music to Play While: Driving

Babe Ruth/Stealin' Home - Babe Ruth - - A rave review from stonefish9 at Epinions
Led by guitarist/songwriter/multi-instrumentalist Alan Shacklock and fronted by lead singer Jennie (a.k.a. Janita)Haan, Babe Ruth had burst onto the music scene a few years earlier with two albums of interesting British rock. First Base (1972), which was a hard-rocking album with jazz, blues, funk, and classical leanings. Next to come was Amar Caballero(1974), which downplayed the group's harder-rocking side in favor of more funk and classical-influenced tracks. While there's no doubt that the band's albums pod high musical quality, they were only moderate sellers. However, the band's real audience was in Canada, where both albums went gold and established their following there.

However, 1975 was a pivotal year for the band. Why? Well, the group would release two great albums that year: the self titled Babe Ruth and Stealin' Home, both of which were released on Capitol/EMI's Harvest label. They are now here as a twofer on CD, and I will discuss them both now.

Babe Ruth:

Originally released in 1975, Babe Ruth's self-titled third album has shown the band returning to a more harder-rocking sound like they had on First Base, but it's much more louder and guitar-heavy than First Base. Alan didn't produce the album this time, but rather the job went to noted American producer Steve Rowland (The Pretty Things, P. J. Proby, Thompson Twins, etc.). Besides that, the group also got another keyboard player with ex-Wild Turkey member Steve Gurl replacing Chris Holmes. With bass guitarist Dave Hewitt and drummer Ed Spevock in tow, the band seems to be going in a more commercial direction, but Alan still has some musical tricks up his sleeve.

The first side of the album starts off with Dancer . Written by Alan, this is about a person who loves being a professional dancer, but hates dealing with the hardships that come with it. As Jennie sings, Ginger/To imitate Ginger/Now is my sole ambition to date/Bolero with Raft I could share/But with Blair I could never have faced/But it's a cruel mean old world/Of the true Moulin Rouge pearls/When somebody's hustling you/Right off the stage/You wouldn't be so dumb to say/I would say , you get the impression that being a pro-dancer is a lot difficult than most people think it is. What is interesting is the references to famous dancers such as Ginger Rogers and Edmundo Ross, for instance.

Music-wise, I like how it starts off with Steve's droning organ and Alan's clean guitars, and then it becomes a bluesy shuffle with Alan providing Tony Iommi style power chords. There's some great synthesizers providing interplay in the middle section (played by both Alan and Steve), and then Alan does a great guitar solo at the end that sounds like a howling dog.

Next, there's the track Somebody's Nobody . Another great track written by Alan, this is a song about a superstar who gets all the fame and applause, but notices how lonely at the top it is. Music-wise, this is another great hard-rocker with a twist, there's a funky interplay with a rap about fame from Alan. Not only that, there's a jazzy midsection with Alan playing the vibraphone (he's no Gary Burton or Lionel Hampton, but he gets the job done), but there's also some great synthesizer work from Steve as well.

Next, there's an instrumental cover of Enno Morricone's A Fistful Of Dollars . Now Enno is nothing new to the group, they had covered part of his song For A Few Dollars More by including it in their song The Mexican from the First Base album. However, this is a full-blown cover.

With Angelito Perez on percussion, the band turns this into a thunderous Latin-rock jam with Alan providing some nasty guitar work. Some have said that this sounds like Santana on steroids, and some have said this sounds like Al Dimeola's late 70's work. To me though, this sounds like Randy Rhoads and Airto Moierta sitting in with the band War.

Closing out side one is another cover, this time it's Curtis Mayfield's We People Darker Than Blue . Here it's a cover with a twist:Where the original version of the song was a song dealing with African-American pride, dignity, and self-respect, here it's basically turned into an antiracism anthem. How? Where Curtis sings the song in the first person, Jennie sings the song in the third person.
Musically, this is turned into a blues-based hard-rocker, You know that uptempo midsection of the song where Curtis pleads to get yourself together? Well, it's here, but shorter and it's just instrumental funk-metal interplay with Dave providing some Cliff Burton-style fuzz bass, while there's some counterpoint between Alan's guitars and Steve's synthesizers. Aside from Jeff Beck's version of People Get Ready and Fishbone's version of Freddie's Dead , this is perhaps one of the best versions I've heard of a Curtis Mayfield song I ever heard.

Side two starts off with Jack O'Lantern . Written by Alan, this song is about a thug who tends to commit crimes on Halloween. One of his schemes, he had dressed up as his father, and his father went to jail for it much to the embarrassment of his family. Music-wise, this is a loud, fast hard-rocker with some great guitar-work from Alan that sounds like a cross between John McLaughlin and Alex Lifeson, and he rips like it's no tomorrow!

Next, the band does a Stax/Volt tune, this time it's the William Bell/Judy Clay song Private Number . Like the original, Alan and Jennie sing it as a duet, and it's done in the same key. Unlike the original which was done in the typical Stax/Volt style with horns and strings, this is Badfinger style power-pop with mellotron strings (played by Alan). Alan's singing is much better on this one too, because his singing on the song Joker (from the First Base LP) was somewhat off-key and flat.

Next, there's the track Turquoise . Written by Dave and Jennie, this is a song about finding love and seduction while on vacation at a hotel. Music-wise, this is turned into a flamenco-style tune with Alan playing some supreme classical guitar, and Angelito provides some intricate percussion to give the song a spicy flavor.

Next, there's the track Sad But Rich . Written by Ed, this is about a wealthy couple filing for divorce. As Jennie sings, You can take the things/you gave me when our thing was going fine/but remember this/the can and boat is mine/I'm so sad/Sad you're going to leave me , it's like something from the movie The War Of The Roses. Music-wise, this another straight-ahead rocker done in a Thin Lizzy/Blue Oyster Cult vein, with whining guitar work from Alan and it ends in a mellotron blur.

Closing out side two on this album is the track The Duchess Of Orleans . Written by Alan, this is about a woman of royalty who falls in love with a smalltime hood that's wanted by the cops (talk about a commoner). This sounds like something either from Monty Python or Masterpiece Theater. What's interesting about this is the use of Dickensen terms such as get off the stones , which means to leave London. Musically, this is a power ballad, done in the Queen/Led Zeppelin mode with Alan playing some mean guitar over a wall of piano and mellotron. I find a lot of power ballads bland and boring, but this one is quite different and interesting.

This was another successful album in Canada, and it was also their highest charting album in America, hitting #75 on the charts. That led to more touring, but sad news was about to hit the fan.

Sadly, the Babe Ruth album would be the last one to feature Alan. Alan quit the group following an American tour, because he got sick of touring and wanted to concentrate on writing and producing. Now that was a big blow to the band from which they never really recovered. Keep in mind that Alan was a major component of the group, being the group's chief songwriter/producer. When he left, it was like George Clinton leaving Parliment/Funkadelic.

Despite this, the band continued on, and Alan was soon replaced by Bernie Marsden, another Wild Turkey alumnus who played in UFO. The band went about cutting their next album, and they retained Steve Rowland as a producer for the Stealin' Home album.

Stealin' Home:

Originally released in 1975, Stealin' Home is not like any of the previous albums that Babe Ruth put out. Most of the music is not as esoteric as it once was, but rather it's hard-rock done in a Free/Bad Company style. Bernie also replaced Alan's more diverse guitar style with a more straightforward blues-based rock style. Alan's guitar work on here is sorely missed, but he contributes a song plus string arrangements to two tracks as a parting gift. However, Bernie ain't Alan nor should anybody expect him to be.

With Alan gone, this also meant that the band had to come up with new material, so all five members contributed tracks to the album and one cover.

Side one starts of with It'll Happen In Time . Written by Jennie and Dave, this is about someone who isn't ready to fall in love but let them know when the time is right. Music-wise, this is a bluesy shuffle with some great synthesizer work from Steve, and a raucous solo from Bernie.

Next, there's the track Winner Takes All . Written by Bernie, it's about people who go for all or nothing in any game they play. It's a Rolling Stones style rocker with synthesizer solos from Steve, and Bernie tops with a meaty solo.

Next, there's the track Fascination . Written by Ed, this is about a person who obsess over someone they can't have. Music-wise, this is an interesting hybrid of reggae and rock, very similar to a track the band did called Gimme Some Leg (from the Amar Caballero album). Ed does a great job on the drums, congas, and timbales, while Bernie does some nasty wah-wah guitar on this track that cries like a baby with a toothache.

Closing out side one is the track 2000 Sunsets . Written by Jennie, this is a solemn ballad about someone leaving them. She really sounds tender and fragile on this track. Alan's string arrangement is particularly beautiful, and Bernie does a nice expressive solo as well.

Opening side two is the track Elusive . Written by Steve and Ed, this is about seeing someone to apporach them, but they usually vanish. Music-wise, this is a funk-rock pastiche with stinging guitar work from Bernie, and a great electric piano solo from Steve. My cousin said this sounds like Robin Trower sitting with Rufus and Chaka Khan, and I couldn't have agreed with him more.

Next, there's a cover of the song Can You Feel It. Written by a trio known as Seals/Beetis/Seals (I don't know anything about them or who did the song first), this is a song about missing someone who's absent from their life. Music-wise, this is another reggae-rock track, with a Claptonish guitar solo from Bernie and a fine vocal performance from Jennie.

Next, there's the track Say No More . Written by Alan, it's a song about enjoying life without uttering a word. Music-wise, this is another straight-ahead rocker with some powerful slide guitar work from Bernie. Now there's the first time I ever heard that on a Babe Ruth album!

Next, we have the track Caught At The Plate . Written by Steve, this is just a mellow instrumental consisting of him on a Rhodes electric piano and a Moog synthesizer. It's definitely got a smooth-jazz feel like that of Bill Evans and Bob James.

Closing out side two of this album is the track, Tomorrow(Joining Of The Day) . Written by Jennie, this is about a woman who was saved by an angel from a demon before dawn. This is probably the most progressive track you'll ever hear on hear on this album. It starts out as slow blues with Bernie playing BB King/David Gilmour style lead guitar, and then it gets faster with aggressive strings. Bernie plays faster and wickeder, and then the song goes slow again with the strings droning in and out. Bernie keeps on soloing until the song stops. Now there's some real blues for you!

This album was also fairly successful too, selling well in America, Canada, and Britain, and the group toured behind it. Sadly, this would be the last album to feature Jennie and Dave. They both left after the Stealin' Home album to form Lion, and the band was now left with no original members.

The group replaced them with Ellie Hope and Ray Knott for the Kid's Stuff album (1976). That album is just bland commercial AOR pop/rock, and it's really not that great. They probably figured that if they could survive Alan's defection, the same could be said for Jennie and Dave. Well, it didn't work. It backfired, and it killed the band.

Since Babe Ruth broke up, the band members have all gone on to do different musical things.

Alan went on to become a successful producer. He has produced Steve Gibbons, Roger Daltrey (the Who), the Alarm, Denny DeYoung(Styx), and Meat Loaf (among others). He now lives in Tennessee, where he has since become a born-again Christian and has produced Christian artists such as Phil Keaggy of Glass Harp but still does secular work.

Jennie formed Lion with Dave, but it wasn't successful as Babe Ruth. She later went on to cut a solo single, before she started singing in commercials and sessions (the Waterboys). She now owns a classical record shop in England.

Dave also played with Jennie in Lion, and he later played with Aerosmith's Brad Whitford and Derek St. Holmes(Ted Nugent Band) in the Whitford-St.Holmes band. He now lives in Atlanta and does sessions.

Steve returned to session work, and so did Ed. He went onto play with Chicken Shack as well.

Ray and Ellie later formed the disco group Liquid Gold and had hits in England (No, I hadn't heard them and don't want to-I hate disco).

Bernie later went on to play with Paice, Ashton, and Lord before playing with Whitesnake and Alaska. He now plays in a band called the Company Of Snakes.

Though Babe Ruth had long since disbanded and their LP's were out of print, their cult following had refused to die.

Hip-hop breakdancers and DJ's continued to sample their records, most notable The Mexican, and Jellybean Benitez did a remake of that song with Jennie singing on it.
Their cult status prompted them to reunite for the British breakdancing championships in 2002 and perform there. They went over with the crowds so well, that by 2005 Jennie, Alan Dave, Ed, and original keyboardist Dave Punshon announced they would reunite for some recording and touring. So it should be a blast!

In conclusion, Babe Ruth was a British band who truly avoided doing what everybody else did at the time. The conspicuously avoided doing standard rock and roll in favor of doing music that was not categorized, nor were they as wildly self-indulgent as many progressive rockers were at that time. They just followed their own muse, and they deserve my respect for that.

Plee my review for First Base/Amar Caballero:


Great Music to Play While: Driving