line up 1 (1972-73)

- Michael Frass -- keyboards, vocals

- David P. Hoffman -- rhythm guitar, vocals

- Samuel F. Johnson -- drums, percussion

- Barbara Lopez -- vocals

- Douglas Welbaum -- lead guitar

- Steve Selberg -- bass, oboe, vocals

- none known

Genre: blues-rock

Rating: *** (3 stars)

Title: Brownstone

Company: Playboy

Catalog: PB 110
Year: 1973

Country/State: Galveston, Texas

Grade (cover/record): VG+/VG+

Comments: gimmick gatefold sleeve; promo sticker on front cover

Available: 1

Catalog ID: --

Price: $40.00

This is one of those obscure bands where there simply isn't much online biographical material to be found.  Similarly there are not many online reviews of their eponymous 1973 album.  

I stumbled across a cheap copy and bought it based on a couple of brief reviews that categorized Brownstone's sound as being psych-soul (one of my favorite musical genres).  Let me warn you that, at least to my ears, that description isn't even close to the mark.

With Galveston, Texas being their homeport, this six piece group seemingly came together in the early-'70s.  By the time they were signed to Playboy's short lived record label the band line-up featured keyboardist Michael Frass, rhythm guitarist David P. Hoffman, drummer Samuel F. Johnson, lead singer Barbara Lopez, lead guitarist Douglas Welbaum and bass player Steve Selberg.  Recorded at Hollywood's Devonshire Studios, their debut teamed the band with producers Jerry Hudgins and Russell Schmitt. Powered by Lopez's powerhouse vocals, these guys sounded similar to women led blues-rock bands like Maggie Bell and Stone the Crow, Elkie Brooks and Vinegar Joe, or Barbara O'Meara and Punchin' Judy.  Powered by Frass' Hammond organ, Welbaum's guitar and Lopez's big, growling voice, tracks like "Free And Easy", "Poor Soul" and a cover of Ike Turner's "Too Much Woman" were all firmly in the blues-rock arena.  And like Janis Joplin and those previously listed singers, Lopez had a tendency to occasionally power her way through a song ("Everything's Changing").  Interestingly the ballads "Needs" and "Hard Road" demonstrated the band were also a capable country-rock outfit.  In fact, those two tunes were among the album highlights.  Again, "Brownstone" wasn't particularly original or groundbreaking. but as demonstrated by performances like their cover of Free's "Be My Friend" and "Sweet Lullaby"  the results were almost always enjoyable.  Bet they would have been a blast to see in a small bar.   Unexpectedly enjoyable and you can still find cheap copies.

There was a late-'60s band by the name of Fair Befall who operated in Southern California, attracting some attentiob opened for a slew of bands including The Bagatelle, Quicksilver Messenger Service, Love, The Strawberry Alarm Clock, Sweetwater, Harvey Mandel and Moby Grape, but I have no idea if it's the same entity mentioned below.  Otherwise this won't give you much insight into Brownstone.  The narrative is taken from the mirco-font liner notes on the inner sleeve: "Consider the Family Brownstone six years after Fair Befall went electric and turned a corner.  "It's in the Sharing." Mike [Frass] begins.  "Whichever one of us points in a certain direction, if it looks good we no (sic) the way for a while." "Our music's our love made visible."  Steve [Selberg] picks up the story.  "and audible! Music you'd want to share with friends." And how!  Steve well remembers struggling to stay alive, which is to say "... to keeping playing the music we love so much."  Doug [Welbaum] stops to remind everybody about simple, basic rock 'n roll, the tenement strong beat behind this most solid of brownstones and Sam's [Johnson] drums explode in accord!  Dave inspired, listening to Steve Selberg flirting inside his oboe and English horn, foresees the day when there's new material to work on, his greatest delight,  Perhaps even a classic-styled drama in which all the instruments, including vocal, play a pantomime of characters.  "Friends, that is a groovy word.  Us and we, you and me, everyone everywhere ...  Such a generalization deserves an explanation" admits Barbara [Lopez], "but I have to mellow first."  "See what I mean," says Mike about his friendly voices.  This way so many more doors are opened."

"Brownstone" track listing:
(side 1)

1.) Free And Easy (Bárbara López - Steve Selberg) - 3:16 rating: *** stars

Very much in the vein of Maggie Bell and Stone the Crow, Elkie Brooks and Vinegar Joe ,or Punchin' Judy's Barbara O'Meara, powered by López's powerful Joplin-ish voice, "Free and Easy" was a taunt blues-rocker.  There wasn't anything particularly original about the song, but combined with Michael Frass Hammond fills and Douglas Welbaum's funky lead guitar riff, it was a fun way to start the album.

2.) Sweet Lullaby (Randi Jacobs) - 2:57 rating: *** stars 

Recalling one of Delaney and Bonnie's more commercial tunes "Sweet Lullaby" found the band adding a touch of Southern-rock/Gospel to their sound.  Complete with catchy backing vocals and Lopez's enthusiastic vocals the track that was quite catchy. Easy to see why Playboy floated it as a single.

The track was released as a promotional 45 in the US and a stock single in Holland.

  US pressing

- 1973's "Sweet Lullaby" (mono) b/w "Sweet Lullaby" (stereo) (Playboy catalog number P 50021)

  Dutch pressing

- 1973's "Sweet Lullaby" b/w "Hard Road" (Playboy catalog number 144 464)

3.) Poor Soul (Bob Gisonno - David P. Hoffman - Patt Richardson) - 3:53 rating: **** stars

Opening with some interesting Steve Selberg bass and showcasing Michael Frass' Hammond B-3 fills, "Poor Soul" was actually more commercial than the single "Sweet Lullaby".  The song also showcased one of Welbaum's best guitar solos.  On the down side, at the end of the song López took the chance to showcase some of her more Joplin-esque "power moves".  Still, the overall performance was great.

4.) Needs (Douglas Welbaum - Michael Frass) - 5:42 rating: **** stars

"Needs" was the first track to feature a male singer, though the slim liner notes didn't tell you whether it was Frass (who co-wrote the tune), or rhythm guitarist Hoffman.  Musically the pretty ballad found the band dipping their collective toes into country-rock.  While the lead singer lacked Lopez's talents, the ballad sported a pretty melody with some of Welbaum's best work and suitably wistful lyrics. By the way, when Lopez made her presence felt towards the end of the track she basically swallowed her singing partner.

5.) Party Music (Steve Selberg) - 3:26 rating: ** stars

One of three tracks written, or co-written by bassist Selberg, "Party Music" was a patented slice of bar band boogie rock.  Give it a C- for the dumb lyrics.  It was docked a star for including "got to keep playing that rock and roll music till my soul is satisfied" lyrics.  Give it a C+ for the decent boogie-rock performance.

(side 2)
1.) Everything's Changing (Bob Gisonno - Bárbara López) - 3:22 rating: *** stars 

Co-written by Lopez, "Everything's Changing" added horns to the mix.  And while the song had a catchy edge, it also found Lopez given free reign to unleash her Joplin demons.  The results were on the shrieky end of the spectrum.  Nice anonymous sax solo.

2.) Be My Friend (Andy Fraser - Paul Rodgers) - 4:48 rating: **** stars 

Their remake of Free's "Be My Friend" proved the album's must interesting tune.  Their arrangement stayed fairly true to the original.  Not a shocker when you remember what a great tune Andy Fraser and Paul Rodger wrote. This was the one tune that didn't  suffer from hearing Lopez turn on the afterburners.  Wonder what a Rodgers-Lopez collaboration would have sounded like.

3.) Too Much Woman (Ike Turner) - 5:37 rating: **** stars 

Adding a blues-rock edge to Ike Turner's "Too Much Woman" proved surprisingly enjoyable.  Adding some Latin percussion and giving Selberg a chance to stretch-out the instrumental mid-section of the song was great.

4.) Hard Road (Bob Gisonno - David P. Hoffman - Steve Selberg) - 4:48 rating: **** stars

The ballad "Hard Road" found the band returning to country-rock.  The album's prettiest composition, the track was also worth hearing for Lopez's most restrained performance.  Darn, the lady had a wonderful voice when she didn't push it.  You also got some killer lead guitar from Welbaum.  Southern rockers like Marshall Tucker and The Outlaws would have approved.  (Always wondered what keyboard instrument Frass was playing on this one.)

 © Scott R. Blackerby January 2026