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Empty Rooms
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| Empty Rooms | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | March 1970 | |||
| Studio | De Lane Lea Studios, London; Advision Studios, London; Broadway Recording Studios, New York; Larrabee Sound Studios, Hollywood | |||
| Genre | Blues | |||
| Length | 46:29 | |||
| Label | Polydor | |||
| Producer | John Mayall | |||
| John Mayall chronology | ||||
| ||||
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [1] |
Empty Rooms is a studio album by English blues musician John Mayall, released in March 1970 on Polydor. It is a follow-up to the live album The Turning Point, released earlier in the year with the same musicians: Jon Mark on acoustic guitar, Johnny Almond on saxophones and flute, and Stephen Thompson on bass. John Mayall sings, plays harmonica, guitars and keyboards (including a Moog synthesizer). Former Canned Heat bassist Larry Taylor guests as second bass player on one track, "To a Princess," improvising with Thompson on an unusual bass duet. The absence of a drummer leaves the rhythm rather fluid and the resulting sound is unusual, even for a John Mayall album. The songs, all written by Mayall, mostly addressed his romance with photographer Nancy Throckmorton, a theme he would pursue further on USA Union. The album is dedicated to her.
Empty Rooms was the only known set of studio recordings by the Turning Point lineup, which broke up shortly after the album was recorded. Larry Taylor, however, would join Mayall as one of three American musicians (electric guitarist Harvey Mandel, also a former member of Canned Heat; and, electric violinist Sugarcane Harris would complete the new lineup) to join him for USA Union.
Track listing
[edit]All songs written by John Mayall, except where indicated.
- "Don't Waste My Time" (Steve Thompson, Mayall) – 3:10
- "Plan Your Revolution" – 2:38
- "Don't Pick a Flower" (Jon Mark, Mayall) – 3:53
- "Something New" (Jon Mark, Mayall) – 4:40
- "People Cling Together" – 2:53
- "Waiting for the Right Time" (Jon Mark, Mayall) – 5:36
- "Thinking of My Woman" – 2:29
- "Counting the Days" – 5:33
- "When I Go" – 4:46
- "Many Miles Apart" – 2:56
- "To a Princess" – 3:34
- "Lying in My Bed" – 4:21
Charts
[edit]| Chart (1970) | Peak position |
|---|---|
| Australia (Kent Music Report)[2] | 6 |
| United Kingdom (Official Charts Company) | 9 |
Personnel
[edit]- John Mayall – vocals, harmonica, lead and 12-string guitars, bass Moog synthesizer
- Jon Mark – finger-style and 12-string guitar
- Johnny Almond – saxophone, flute
- Larry Taylor – bass
- Steve Thompson – bass
- Technical
- Barry Ainsworth, Eddie Kramer, Eddy Offord, John Judnich – engineer
- Bob Gordon, Kevin McCarthy – photography
Jon Mark and Johnny Almond would leave the group just after the recording of this album, to form the duo Mark-Almond.
References
[edit]- ^ "allmusic ((( Empty Rooms > Overview )))". AllMusic. Retrieved 16 June 2010.
- ^ Kent, David (1993). Australian Chart Book 1970–1992 (illustrated ed.). St Ives, N.S.W.: Australian Chart Book. p. 195. ISBN 0-646-11917-6.
External links
[edit]- "John Mayall – Empty Rooms (LP) at Discogs". www.discogs.com. March 1970. Retrieved 16 June 2010.
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Empty Rooms
View on Grokipediafrom Grokipedia
Background
Context from prior work
Empty Rooms was conceived in late 1969 as John Mayall's first studio album following the success of his live recording The Turning Point, which was released in September 1969 and peaked at number 11 on the UK Albums Chart and number 32 on the US Billboard 200.[4][5][6] The live album's critical acclaim stemmed from its intimate, acoustic presentation without electric amplification or drums, marking a significant shift from Mayall's earlier electric blues rock era with the Bluesbreakers.[6] This new project aimed to translate the band's evolving folk-blues sound into a controlled studio environment, building on the subdued and personal style that resonated with audiences during The Turning Point tour. Recording for Empty Rooms commenced shortly after the tour concluded in late 1969, solidifying Mayall's acoustic-oriented direction. The album featured the same core lineup of Mayall on vocals, harmonica, and guitar, alongside Jon Mark on guitar, Johnny Almond on saxophone and flute, and Steve Thompson on bass.[2][6] The impetus for this work traced back to the 1969 disbandment of Mayall's previous electric Bluesbreakers lineup, which had included guitarist Mick Taylor until his departure that summer to join the Rolling Stones, allowing Mayall to assemble a fresh, unamplified ensemble focused on nuanced, introspective blues.[6] This transition emphasized a gentler, more organic approach, capturing the band's chemistry in a studio setting to preserve the live album's acclaimed warmth and immediacy.[2]Band lineup and dedication
The core lineup for Empty Rooms consisted of John Mayall on vocals, harmonica, guitars, and Moog synthesizer; Jon Mark on acoustic and electric guitars; Johnny Almond on saxophone, flute, and alto saxophone; and Steve Thompson on bass guitar.[7] This stable quartet marked a continuation from Mayall's previous live album The Turning Point, which had achieved commercial success and prompted him to retain the same personnel for studio work to preserve their established chemistry.[2] The band formed in 1969 when Mayall assembled these musicians, drawing from his evolving interest in a drummer-less configuration to emphasize fluid rhythms, a approach carried over from their live performances.[8] Notably, no drummer was included, aligning with the quartet's dynamic from The Turning Point.[2] The album is dedicated to Nancy Throckmorton, a photographer and Mayall's romantic interest at the time, as stated in the liner notes: "I dedicate this album to Nancy and the start of something good."[9] Empty Rooms stands as the only studio album recorded by this exact lineup, which disbanded shortly after the sessions, with Jon Mark and Johnny Almond departing to form the duo Mark-Almond.[2]Recording
Studio locations and sessions
The recording sessions for Empty Rooms commenced in late 1969 at De Lane Lea Studios and Advision Studios in London, immediately following the band's tour supporting the live album The Turning Point. These initial sessions captured the core quartet's acoustic blues style in a familiar UK environment.[2][10] To infuse diverse atmospheres, the band traveled across the Atlantic for additional recording at Broadway Recording Studios in New York and Larrabee Sound Studios in Hollywood, reflecting John Mayall's growing ties to the U.S. music scene from recent tours. This multi-location process took place in late 1969 and emphasized capturing energetic, performance-oriented takes in varied studio acoustics.[1] The core lineup—Mayall on vocals, harmonica, guitars, and keyboards, alongside Jon Mark on guitar, Johnny Almond on reeds, and Stephen Thompson on bass—drove the recordings, with guest bassist Larry Taylor contributing on one track.[2][10]Production techniques and challenges
The production of Empty Rooms emphasized a sparse, acoustic aesthetic, achieved through minimal overdubs to capture the band's intimate, live-like performances. This approach preserved the raw emotional depth of the folk-blues material, allowing the core quartet—John Mayall on vocals, harmonica, guitars, and keyboards; Jon Mark on guitar; John Almond on reeds; and Steve Thompson on bass—to shine without excessive layering. Natural reverb from the studio environments contributed to the album's ambient, organic sound, enhancing the unpolished folk-blues vibe without artificial effects.[2] Recordings took place across multiple international studios, including De Lane Lea and Advision in London, Broadway Studios in New York, and Larrabee Sound Studios in Los Angeles, necessitating coordination between different engineering teams. John Mayall served as the primary producer, overseeing sessions with assistance from engineers Barry Ainsworth (on tracks like "Don't Waste My Time" and "Don't Pick a Flower"), Eddie Kramer (handling the majority, including "Plan Your Revolution" and "To a Princess"), Eddy Offord, and John Judnich. The use of analog tape throughout provided the warm, vintage tonal quality characteristic of late-1960s recordings, prioritizing fidelity to the acoustic instruments over polished studio gloss. These multi-location sessions necessitated coordination between different engineering teams.[10][11] Mayall incorporated his Moog synthesizer sparingly to add subtle atmospheric layers, notably as a bass Moog on select tracks, marking an early experimental touch in his blues-oriented work without overshadowing the acoustic focus. The absence of drums—a deliberate continuation from the prior live album The Turning Point—posed a rhythmic challenge, resolved through innovative interplay between Thompson's bass lines and Mark's fingerstyle guitar, creating a fluid, propulsive groove that emphasized space and dynamics over conventional backbeats.[1][12] To maintain production restraint, guest bassist Larry Taylor (formerly of Canned Heat) appeared only on the track "To a Princess," duetting with Thompson in an unconventional bass interplay that added texture without complicating the album's minimalist core. This selective augmentation underscored Mayall's commitment to simplicity, avoiding the denser arrangements of his earlier Bluesbreakers era.[11][2]Musical content
Style and instrumentation
Empty Rooms represents a shift in John Mayall's musical style toward acoustic blues rock infused with folk and jazz elements, moving away from the high-energy electric blues of his Bluesbreakers era in the 1960s. The album's sound is characterized by a softer, more introspective tone, blending traditional British blues with acoustic chamber folk and subtle jazzy timbres provided by woodwind instruments. Spanning 12 tracks with a total runtime of 46:09, it emphasizes emotional depth over aggressive rhythms, creating an intimate atmosphere that prioritizes melodic interplay.[10][7][13] The instrumentation features a drummer-less quartet, consisting of Mayall on vocals, harmonica, lead and 12-string guitars, keyboards, and bass Moog synthesizer; Jon Mark on finger-style and 12-string acoustic guitars; Johnny Almond on saxophone, flute, and organ; and Stephen Thompson on bass guitar. This setup highlights Mark's intricate fingerpicking on acoustic guitars for rhythmic foundation, Almond's flute and saxophone delivering melodic fills with a jazz-like fluidity, and Mayall's harmonica and guitar leads providing expressive solos. The Moog synthesizer contributes subtle psychedelic undertones, particularly in bass lines, adding a modern texture to the otherwise organic ensemble. Larry Taylor guests on bass for select tracks, enhancing the propulsion without drums.[7][2] Sonically, the album relies on bass-driven fluid rhythms and unamplified intimacy, echoing the live acoustic feel of Mayall's prior The Turning Point but refined with studio polish for a cohesive, airy quality. The sparse arrangements allow ample space for vocals and instrumental breaths, fostering a sense of emotional vacancy that mirrors the album's thematic core of introspection and solitude. This contrasts sharply with the amplified, band-driven intensity of Mayall's earlier electric work, marking an evolution toward a more personal and contemplative blues expression.[2][12]Lyrical themes and influences
The lyrics of Empty Rooms predominantly explore themes of romance, introspection, and social change, reflecting John Mayall's personal experiences during a transitional period in his life. Central to the album is Mayall's relationship with photographer Nancy Throckmorton, who served as the primary muse for several tracks expressing longing and emotional vulnerability, such as those evoking separation and affection across distances. This romantic focus is intertwined with introspective elements, where Mayall delves into isolation and personal reflection, as symbolized by the album's title, which captures the emptiness following romantic disconnection and aligns with broader blues sentiments of solitude. Complementing the album's overall acoustic style, these lyrics emphasize poetic simplicity, using straightforward imagery to convey raw emotion without ornate complexity.[2][14][15] Social themes emerge prominently in songs addressing societal upheaval, drawing from the 1960s counterculture milieu of Vietnam War protests and hippie ideals, with calls for thoughtful activism rather than impulsive action—for instance, urging restraint in the face of conflict and environmental disregard. Tracks like "Don't Pick a Flower" embody anti-war sentiments through metaphors of preserving natural and human harmony, while "Plan Your Revolution" advocates for constructive social change amid revolutionary fervor. These elements highlight Mayall's engagement with the era's turbulent politics, blending personal narrative with broader commentary on peace and reform.[2] Mayall's songwriting on Empty Rooms marks a mid-career shift toward greater vulnerability, influenced by personal losses, including the dissolution of his earlier electric Bluesbreakers lineup in 1969, which prompted a more exposed, acoustic-oriented expression. All tracks were written or co-written by Mayall, often in collaboration with band members like Jon Mark and Stephen Thompson, prioritizing evocative, minimalist verse that echoes folk-blues traditions. This approach was shaped by early influences such as Jesse Fuller, whose one-man-band performances in the early 1960s profoundly impacted Mayall's appreciation for unadorned, heartfelt blues storytelling, alongside figures like Big Bill Broonzy, Lead Belly, and Woody Guthrie, who informed his fusion of personal introspection with social awareness.[16][6][2]Release
Commercial launch
Empty Rooms was released in March 1970 by Polydor Records in the United Kingdom and Europe, with the U.S. edition appearing on the same label in February 1970.[1] The UK LP bore catalog number 583 580, while the American pressing used 24-4010.[1] Positioned as a studio follow-up to the 1969 live album The Turning Point, Empty Rooms targeted blues and folk enthusiasts with its acoustic-leaning sound, continuing the drumless quartet format from its predecessor.[2] Initial vinyl editions featured a gatefold sleeve with inner photography by Barrie Wentzell, including lyrics and band imagery.[17][18] The release occurred during a period of rising U.S. interest in Mayall, built on his 1960s Bluesbreakers tours and the crossover appeal of The Turning Point.[10] No singles were extracted from the album, with marketing emphasizing full LP purchases amid the era's growing album-rock focus.[10] Following completion of recording sessions in Hollywood, the album was promoted primarily through Mayall's extensive live appearances in North America and Europe that spring, including U.S. dates in Atlanta and a UK tour in May.[10][19][20]Formats and reissues
Empty Rooms was originally released in March 1970 as a stereo LP by Polydor Records across multiple countries, including the UK (catalogue 583 580), US (24-4010), and various international markets such as Germany, France, and Japan.[1] Additional early formats included an 8-track cartridge and reel-to-reel tape in the US, as well as cassette versions in the UK and US, but no compact disc edition appeared until the 1990s.[1] In the 1970s, the album saw a repress on LP in Spain (Polydor 23 91 286) and was bundled with Mayall's preceding live album The Turning Point in a UK double LP reissue featuring combined artwork and 19 tracks total.[1][21] The first official CD reissue came in 1996 from Polydor (Europe: 527 457-2; US: 31452 7457-2), preserving the original 12-song tracklist without bonus material.[1] Some later CD editions, such as a 2010s reissue, included liner notes penned by Mayall reflecting on the album's themes of personal search and the short-lived tenure of its acoustic quartet lineup.[22] By the 2010s, Empty Rooms became available digitally on major streaming platforms like Spotify and Apple Music, enabling widespread online access to the full album.[23][24] In the 2020s, high-resolution audio versions emerged on services such as Qobuz, offering enhanced fidelity while maintaining the unaltered original sequencing and no added tracks.[25]Reception
Chart performance
Empty Rooms achieved moderate commercial success in several markets following its March 1970 release. In the United Kingdom, the album debuted on the Official Albums Chart on 11 April 1970, peaking at number 9 and spending a total of 8 weeks on the chart.[26] The album performed strongly in Australia, entering the Kent Music Report on 6 July 1970 and reaching a peak position of number 6.[27] In the United States, Empty Rooms entered the Billboard 200 at number 121 on 14 March 1970, climbing to a peak of number 42 by late April and charting for at least 4 weeks.[28]| Chart (1970) | Peak Position | Source |
|---|---|---|
| UK Albums Chart (OCC) | 9 | Official Charts Company[26] |
| Australian Albums (Kent Music Report) | 6 | Kent Music Report[27] |
| US Billboard 200 | 42 | Billboard[28] |
Critical reviews and legacy
Upon its release in 1970, Empty Rooms received mixed critical reception, with some reviewers praising its intimate acoustic arrangements while others felt it lacked the raw energy of Mayall's earlier electric blues work.[2] The album's drummerless lineup and folk-blues leanings were noted as a departure from Mayall's Bluesbreakers era, creating a more subdued and experimental sound that divided opinions.[10] In retrospective assessments, Empty Rooms has been viewed as a transitional album that highlighted Mayall's versatility in blending blues with acoustic and jazz elements, earning praise for its strong original songwriting.[10] AllMusic awarded it 3 out of 5 stars, describing it as solid folk-blues but unremarkable compared to Mayall's more dynamic releases.[10] Critics have since appreciated its emotional intimacy and subtle beauty, particularly in tracks that evoke a sense of personal reflection.[2] The album's legacy lies in marking the end of Mayall's 1960s experimentation phase, solidifying his reputation as a bandleader who nurtured emerging talent.[2] Guitarist Jon Mark and saxophonist/flutist Johnny Almond, key contributors to Empty Rooms, departed shortly after to form the Mark-Almond Band, an acoustic jazz-blues duo whose work extended the album's innovative approach into the 1970s soft rock scene.[2] This influence is evident in their subsequent acclaimed albums, which echoed Empty Rooms' emphasis on atmospheric, drumless arrangements. Overall, the record endures for its emotional depth and has been reappraised in 2000s blues compilations as a pivotal, if understated, chapter in Mayall's discography.[2]Track listing
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1 | "Don't Waste My Time" | Mayall | 3:11 |
| 2 | "Plan Your Revolution" | Mayall | 2:35 |
| 3 | "Don't Pick a Flower" | Mayall | 3:52 |
| 4 | "Something New" | Mayall | 4:15 |
| 5 | "People Cling Together" | Mayall | 2:50 |
| 6 | "Waiting for the Right Time" | Mayall | 5:28 |
| 7 | "Thinking of My Woman" | Mayall | 2:27 |
| 8 | "Counting the Days" | Mayall | 5:23 |
| 9 | "When I Go" | Mayall | 4:00 |
| 10 | "Many Miles Apart" | Mayall | 2:50 |
| 11 | "To a Princess" | Mayall | 3:25 |
| 12 | "Lying in My Bed" | Mayall | 4:20 |
Personnel
- John Mayall – vocals, harmonica, keyboards[2]
- Jon Mark – guitar[2]
- Johnny Almond – saxophone, flute[2]
- Stephen Thompson – bass[2]
- Larry Taylor – bass (guest on one track)[2]