Dr. Buzzard’s Original Savannah Band emerged in the mid-1970s, captivating audiences with their unique blend of big band jazz, disco, and Latin rhythms. Their self-titled debut album in 1976 quickly established them as innovators, and their subsequent releases further explored their distinctive sound. Let’s delve into a retrospective look at their discography, examining each album’s merits and evolution.
Dr. Buzzard’s Original Savannah Band (1976)
Their debut album, released under RCA Victor, was initially met with mixed reactions by some critics. One reviewer confessed to initially disliking it, only to realize it was a “clear, uncompromising and dangerously seductive expression of a vision of life” that was initially unfamiliar. Described as “disco-sophistico,” the album presented a nostalgic yet fresh take on the past, celebrating a bygone era with a warmth and sophistication that set them apart. Despite some reservations about their dismissal of hard R&B influences, the reviewer ultimately acknowledged the album as a “fresh pop hybrid” with a unique rhythmic integrity, praising its sophistication as more vibrant and genuine than much of the contemporary rock music scene. This debut was a bold statement, introducing the world to their signature sound and establishing them as a force to be reckoned with in the pop landscape.
Dr. Buzzard’s Original Savannah Band Meets King Penett (1978)
Two years later, also under RCA Victor, they released “Dr. Buzzard’s Original Savannah Band Meets King Penett.” This album was considered a “brilliant dud” by the same reviewer. While the lyrics were noted for their cleverness, likened to a softer Ishmael Reed, the music, despite its skillful synthesis, was deemed to lack the same impact as their debut. Interestingly, the reviewer admitted to having similar initial reservations about their first album, which went on to be a dance floor success. This follow-up, while showcasing their continued musical exploration, seemingly didn’t capture the same widespread appeal, despite its artistic merits and intricate compositions.
James Monroe H.S. Presents Dr. Buzzard’s Original Savannah Band Goes to Washington (1979)
Moving to Elektra Records, 1979 saw the release of “James Monroe H.S. Presents Dr. Buzzard’s Original Savannah Band Goes to Washington.” By this point, the reviewer found their music “easy to love,” even more exotic than before, deeply immersed in the Latin rhythms of 1950s dance music and seemingly unconcerned with contemporary disco trends. Cory Daye’s vocal performance was particularly praised, with the reviewer suggesting that her “wit and grace” were showcased even more effectively by August Darnell’s lyrics and Stoney Browder’s music than in her solo work. The album’s lyrical ambiguity was noted as a minor drawback, with a desire for more clarity amidst the “indulgently atmospheric Hollywood romanticism” that August Darnell cultivated. Despite this, the album was lauded for its charming and unique sound, further solidifying their distinctive artistic vision.
Calling All Beatniks! (1984)
After a five-year hiatus, “Calling All Beatniks!” was released in 1984 under Passport Records. This album received the harshest critique. While initially inclined to avoid blaming production issues, the reviewer reluctantly concluded that the album suffered from “uncharacteristically inelegant arrangements and lyrics unworthy of Stony Browder” and a “fuzzy, cavernous mix” that overshadowed Cory Daye’s vocals. Comparing an advance version to the released version revealed significant changes in the remixing process, allegedly orchestrated by Gary Hellman and Rob Paustian, potentially with Sandy Linzer and Stoney Browder’s involvement. This remixing was accused of ruining a previously “crisp, spare, inelegant-on-purpose rock and roll album,” burying the singer in “artificial fog.” Furthermore, two strong songs from the advance version were removed, and even the “featuring Cory Daye” subtitle on the original cover was gone. This album, marred by production choices and questionable alterations, was a disappointing entry in their discography, leading to a lowered rating and a call for a boycott from the reviewer.
In conclusion, Dr. Buzzard’s Original Savannah Band crafted a fascinating and diverse body of work. From their groundbreaking debut to their later, more challenging albums, they consistently pushed boundaries and defied genre conventions. While their journey had its ups and downs, their legacy as innovators of a sophisticated and rhythmically rich sound remains undeniable.
