Los Angeles’ Ambrosia were that rarest of all things–a prog-yacht band. When their vessel set sail in 1975, the owner of the California Yacht Marina told reporters, “Frankly I’m concerned the SS Ambrosia will founder under the weight of its heavy progressive rock cargo. You don’t run that risk with the SS Christopher Cross.”
But Ambrosia (ingredients include mini marshmallows and a number of fruits such as pineapple, maraschino cherries, coconut, and mandarin oranges) didn’t go down with all aboard, because it ultimately off-loaded its prog rock load and tacked towards commercial waters. Granted this wasn’t too radical a departure, given Ambrosia’s prog was relatively pop friendly in the first place. No eight-part songs about the water sprites in Poseidon’s beard from these guys; you tend not to manufacture such mythical claptrap when you’re soaking in a hot tub in Southern California.
If anything, Ambrosia were the predecessors of Asia, who drastically reduced the prog quotient in search of radio play and bigger sales. While Ambrosia never came close to achieving Asia status, they did score five Top 40 hits, the best known being “Holdin’ on to Yesterday,” “Biggest Part of Me,” and “How Much I Feel.” If you worship at the altar of soft rock, you love all three and will want a copy of. 2002’s The Essentials. Its 12 songs make it the perfect compilation for all but those diehards who simply can’t imagine life without such nonentities as “Cowboy Star” and “Mama Don’t Understand,” both of which (should you happen to be such a diehard) can be found on 1997’s Anthology.
A quick rundown of the songs, the better ones first. The catchy “Biggest Part of Me” is Hall & Oates without the mustache. The airy “Holdin’ on to Yesterday” has a Pink Floyd/Alan Parsons vibe, thanks in part to David Pack’s Roger Waters-school guitar. “How Much I Feel” is watered down blue-eyed soul and perfect FM radio fodder.”Nice, Nice, Very Nice” is a Yes-lite/Steely Dan hybrid with Chicago horns on which David Pack inexplicably pretends to be a rasta living in England singing about Central Park. Recommended primarily for its weirdness quotient.
The passable “And… Somewhere I’ve Never Traveled” has the merest touch of prog, and vocals and horns that bring Chicago to mind. ”How Come You Love Me” is pure Flashdance with what sounds like the Doobie Brothers providing backing vocals. Ambrosia also does a pretty good Doobies imitation on “You’re the Only Woman (You and I).” “Life Beyond L.A.” is soft rock hard rock for people who like their hard rock soft. Similarly, “For Openers (Welcome Home)” opens on a found-sound Pink Floyd note before giving way to a throbbing heartbeat bass and big guitar riff. Think sub-par Foreigner, which is a horrible thought indeed.
The rest of the songs are pure chaff. “Cryin’ in the Rain” is generic pop twaddle. “Time Waits for No One” is a a weird Mexican jig complete with Arriba! Arriba!’s and lyrics of deep philosophical import should you happen to be an 8th grade glue huffer. Then again if you’re an 8th glue huffer the last thing you’d be caught doing is listening to Ambrosia. Finally, “We Need You Too” is over-earnest and guaranteed to nauseate everyone in the Jacuzzi.
I don’t hate Ambrosia. Far from it: I have rather a soft spot for them, They’re four unassuming guys who neatly skirted the progressive rock pretensions and excesses that make most prog rock so insufferably pompous, and instead went the pop route. There are no truly essential songs on The Essentials, but Ambrosia possess humility by the bucket loads. Their yacht may be a small one, but it’s a sound vessel for the occasional pleasure cruise.
GRADED ON A CURVE:
C+
