Carol Grimes
Band members Related acts
|
line up 1 (1974-) - Carol Grimes (aka Carol Freeman) -- vocals
supporting musicians (1974) - Roger Ball – alto and baritone saxophone - Graham Bell – harp, backing vocals - Kenny Buttrey – drums, percussion - John “Rabbit” Bundrick – organ, backing vocals - Tommy Cogbill – bass - Ron Cornelius – acoustic and electric guitar. - Malcome Duncan – tenor saxophone - Tommy Eyre -- keyboards - Mack Gayden – acoustic and electric guitar, banjo - Archie Leggit -- backing vocals - Gaspar Lowell – African drums and percussion. - Henry Lowther – trumpet - Sam “Snazzy” Mitchell – dobro - Jess Roden -- backing vocals - Bob Wilson – piano, organ, vibraphone.
|
- Babylon - Delivery - Carol Grimes & The Crocodiles - Carol Grimes And The London Boogie Band - Carol Grimes Band - CDAWN - Eyes Wide Open - Simon Plug and Grimes - Something Secret - Sweet F.A. - Uncle Dog - Vortex Foundation Big Band
|
|
Genre: blues-rock Rating: *** 3 stars Title: Warm Blood Company: Caroline Catalog: CA-2001 Country/State: London, UK Grade (cover/record): VG+/VG+ Comments: still in shrink wrap (opened); UK pressing Available: 1 Catalog ID: -- Price: $30.00
|
Born and raised in the London suburb of Lewisham, Carol Grimes has been a professional musician since the mid-1960s. Born into a trying family situation, she dropped out of school at fifteen and by the time she was twenty she was pregnant, living a nomadic life and paying her bills working as a street musician (what is called a "busker" in England). Discovering music as a potential path out of poverty, she was a member of groups like The Race, Delivery, Babylon, The London Boogie Band and Uncle Dog. She's recorded at least a dozen albums, but never achieved any true commercial success or made an impression on American audiences. I don't think she's ever had one of those albums released in the States.
Signed
by Virgin's newly formed Caroline imprint (her album was the label's first
release), 1974's Bob Potter produced "Warm Blood"
marked Grimes debut solo album. Coming four years after the release of
her debut with the band Delivery, the twelve songs were recorded at sessions
in Nashville's Ray Stevens Studios and London's Island Studios. The
collection featured backing from
It wasn't a great album by any stretch of the imagination, but exemplified by songs like "That's What It Takes" and her slinky cover of Bill Withers' "Don't Want You On My Mind" there was enough of interest here for me to explore more of her recording catalog.
"Warm
Blood" track listing: 1.) That's What It Takes (McLintan) - rating: **** stars Not meant as a criticism, but from start to finish "That's What It Takes" sounded like a mash-up of Janis Joplin and Bonnie Raitt. Powered by some nice horns the song was surprisingly funky, helped in part by drunken backing vocals from Graham Bell, John "Rabbit" Bunderick and the late Archie Leggit. One of the album highlights and would have made a better single than the track Caroline picked. 2.) High Hill Country Rain (Jerry Jeff Walker) - rating: *** stars I'd heard the Jerry Jeff Walker original before acquiring this album (which is relatively rockin' for Walker), so let me warn you Grimes' remake is quite different. Again backed by horns, her "rock" version wasn't bad, but the arrangement seemed to stress her voice. Grimes certainly had power, but on this one she sounded strained and uncomfortable. 3.) Taxes on the Farmer (Feed Us All) (traditional - arranged Ry Cooder) - rating: ** stars The traditional "Taxes on the Farmer (Feed Us All)" was way too country for my tastes ...Sam "Snazzy" Mitchell on steel guitar 4.) All for One (Mack Gayden) - rating: ** stars Penned by guitarist Mack Gayden, and showcasing some nice Rabbit Bunderick Hammond B-3, the ballad "All for One" was pretty enough. Unfortunately Grimes multi-tracked vocals came off as fragile and shrill. 5.) Ray, Ray, Ray (Bob Wilson - Alan Orange) - rating: *** stars Another horn-powered rocker, "Ray, Ray, Ray" was an improvement over most of the earlier tunes. Grimes vocals remained harsh, but this time out she at least sounded comfortable with the material and seemingly was having a bit of fun with the material. A nice guitar solo didn't hurt the song. 6.) Lost My Faith (In Everything But You) (Ron Cornelius) -rating: *** stars I've always wondered what Grimes' connection was to the American band West. The first of two songs association with West, the ballad "Lost My Faith (In Everything But You) " was written by former West guitarist Ron Cornelius. It was a rarity given Grimes kept her vocal power and excess in check. One of the standout performances.
(side
2) The second West related cover, the title track was penned by West drummer Lloyd Perata. Well, I certainly liked the opening slide guitar and the bouncy, sing-along arrangement wasn't bad - kind of reminding me of the Americana styled of country-blues Delaney and Bonnie were known for. 2.) You're The Only One (Bob Wilson) - rating: ** stars Written by Nashville studio musician Bob Wilson, "You're The Only One" was the album's most overtly poppy song. With a bubbly melody, nice horn charts and a catchy chorus the only thing holding the song back were Grimes' stilted vocals. Always wondered why Caroline released the song as a UK single:
- 1974's "You're The Only One" b/w "Warm Blood" (Carolina catalog number VS.109)
3.) Somebody Sleeping In My Bed (Bettye Crutcher - Allen Jones) - rating: *** star Johnnie Taylor had a hit with his 1967 cover of "Somebody's Sleeping In My Bed". Complete with spoken word segment, Grimes' cover remained true to the song's blues-soul roots. 4.) Southern Boogie (David Skinner) - Written by former Uncle Dog musical partner David Skinner, "Southern Boogie" was an enjoyable slice of country-blues. Nice melody; nice guitar solo; decent Grimes vocals. 5.) Don't Want You On My Mind (Bill Withers) - rating: **** star Found on 1972's "Still Bill", her cover of Bill Withers "Don't Want You On My Mind" was easily the album's standout performance. Withers' original was a dark, blues number. Grimes' version lightened up the sound, adding some infectious Gaspar Lowell percussion, tasty keyboards and electric guitar. 6.) Wait For Me Down By The River (Bob Johnson) - rating: ** stars Straight forward country tune with the standard "he done me wrong" lyrics.. The banjo was nice, but not really my thing.
Grimes has a website at: https://carolgrimes.com/c/the-singers-tale/
Directed by Barry J. Gibbs, YouTube also has an interesting short documentary on Grimes' life - 2020's The Singer's Tale: https://www.youtube.com/watch?v=AXRZe1BOm0U
© Scott R. Blackerby June 2025
m/ |
BACK TO BADCAT PAYMENT INFORMATION
an impressive list of supporting musicians, including members of the
Nashville-based super group Area Code
615, keyboardist John “Rabbit” Bundrick and Jess Roden. To my ears
one of the problems with the album was
the label showed no interest in Grimes originals, instead pushing her to
record outside material; in this case a mixture of traditional songs like
"Taxes On The Farmer
(Feed Us All)" and newer material,
some of written by her supporting musicians like guitarist Mack Gayden
("All For One")
and Ron Cornelius' "Lost My Faith (In Everything But You)").
Exemplified by the funky opener "That's What It Takes" Grimes'
certainly had a powerful voice, but occasionally she didn't seem to know
what to do with it. The default was to lapse into Joplin-styled power
moves that made her come off as imitative and occasionally shrill.
Grimes certainly wasn't the first singer to confuse vocal power with
quality, but on songs like the title track and a cover of Bettye Crutcher's
bluesy "Somebody
Sleeping In My Bed"
those Joplin-esque moves just weren't very enjoyable. Recording the album in
Nashville and London studios with different backing support also gave the
album a split personality. With the exception of "Wait
For Me Down By The River" and "Taxes
on the Farmer (Feed Us All" nothing here was overtly country,
but the Nashville influence was clear on songs like
"Southern Boogie". The London
tracks reflected a more urbane sound.
