They were signed in 1970 to Atlantic Records, and released their eponymous debut that same year. At this point, the J.Geils Band was born. “Magic Dick” on harmonica, going under the guise “'Snoopy and the Sopwith Camels”īy the late 1967 the band decided to switch up their approach, changing to electronic guitars and adding a drummer, Stephen Jo Bladd, an organist, Seth Justman, as well as a new vocalist and frontman in Peter Wolf. Geils Band, you may also like our posts on Steve Miller, Southside Johnny, and The Who.The group was originally an acoustic trio during the early 60’s, featuring original front man and guitarist John Geils, Danny Klein on bass, and Richard Salwitz a.k.a.
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And while it’s not easy to follow, the LP fittingly closes with what may be the band’s signature tune “ Lookin’ for a Love.” Originally cut by The Valentino’s with a young Bobby Womack singing (and Sam Cooke producing), this song achieved a whole other level of genius when Peter Wolf turned it into a soul-stirring shout. Produced by Geoffrey Haslam with some beyond-noteworthy sound mixing and concert production from legend Dinky Dawson, Full House stands a time-tested testament to a working man’s band that, in its prime, revived American music by celebrating its roots in song after song after song. That said, perhaps no song exemplifies the energy and the attitude of the band as powerfully “Serves You Right to Suffer.” Clocking in at nearly ten minutes, this hypnotic take on John Lee Hooker’s standard is a sexy, righteous showstopper that revels in Seth Justman’s B3, Daniel Klein’s bass and Stephen Bladd’s drums.
The LP is chock-full of such successes - from the great jump blues number “Pack Fair and Square” to Seth Justman’s barrel-house piano-driven “ Hard Drivin’ Man.” Even “ Whammer Jammer” is like an advanced course in rockin’, showcasing as it does JGB’s incredible, not-so-secret weapon Richard Salwitz, who somehow manages to channel an entire horn section through his harmonica. The opening cut, “ First I Look at the Purse” conjures up a bad-ass “I Don’t Need No Doctor” while their minor-key cover of Otis Rush’s “ Homework” is a note-for-note primer in Chicago Blues.
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By this point in their career, JGB clearly knew how to listen to each other and it shows. The resulting album Full House is a mix of obscure R&B (“ Pack Fair and Square”) and blues standards (“ Serves You Right to Suffer”) and throughout, the arrangements are tight, mean, and tough as nails. And you knew exactly what you were gonna do when Peter Wolf shouted out, “Are you gonna get it crazy tonight?” Hell yeah, Peter! But if you were lucky enough to be at The Cinderella Ballroom for one of those two Motown concerts, you saw their efforts paid back in spades. You could say they worked their asses off for the privilege of working their asses off. Geils spent the time leading up to this gig just trying to keep the lights on and the wolves from the door. Geils Band did those two nights in April ‘72 required surviving some lean years playing to half-empty bars, working with lazy managers, and dealing with crooked promoters. Only one of the LP’s eight tunes, “ Hard Drivin’ Man,” is officially credited to the band itself, but that doesn’t stop these guys from owning the other seven songs like an R&B revue upholding the finest traditions of American music.
Clocking in at just over a half-hour, Full House somehow manages to be both potent and to the point. Cut over two nights at Detroit’s Cinderella Ballroom, this record catches the band at the height of their powers and shows why, even if they hailed from Boston, Detroit claimed them as one of their own. Geils Band so great can be found on their “Live” Full House album - a blast furnace of R&B, soul, and some red-hot rock ‘n roll. All you really need to know about what made the J. Geils, let’s take a moment to celebrate his legendary rock band.
In the light of the passing of guitarist and front man J.
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