Zeitungsartikel, englische Musikzeitschriften

Fumble (sovereign) 1972

Fumble (1972)Some people dislike the oldies trend, while some people find the current groups playing oldies sacriligeous. Me? I think there're good songs being written now but that doesn't make those written in the late fifties and early sixties any the worse. And, dammit, I like hearing them - if they're done "lovingly." Fumble do Presley, Holly, Nelson, Vee, Sedaka, King and Everlys songs and do them "lovingly." That doesn't mean to say they all stand up well. For instance, I shall never be able to take a guy singing Carole King's "It Might As Well Rain Until September" and I don't think lead singer Des Henly has the vocal aggression to do Presley's "One Night", justice. His voice is, however, superbly suited to Rick Nelson, Bobby Vee, Buddy Holly and Everly Brothers' tunes. "Ebony Eyes" is gloriously maudlin. Henly, surprisingly, does come to grips with Little Richard's "The Girl Can't Help It" and Barry's "Let It Rock" and "Rave On" proves a perfect foil for his style. But it's on side two Fumble are at their best. It opens with "Hello Mary Lou," which has a rather fine guitar solo. "Take Good Care Of My Baby," poses the question is Des Henly the new Bobby Vee? He certainly has a penchant for Vee material. I get the feeling that if Des had come along in about 1958-59 he could have been very, very big. He might even be able to fulfill his promise in the 70's. "Breaking Up Is Hard To Do" shows how important the piano was to the era's songs and rounds off a thoroughly enjoyable and singable album. I reviewed Fumble's act recently and apparently credited them with "The Night Has A Thousand Eyes," a song they didn't do. They'd do well to include it in the act in the near future. It'd be perfect for Henly. Still, the last thing I want is a rumble with Fumble. All together now . . . "come - a - come - a - down - doobie - doo - down - down..."
G. B.
Melody Maker - 21. Oktober 1972

Fumble 1974Poetry in Lotion (RCA) 1974

disc magazinDisc Magazine- Jan 18, 1975
Disappointing really. An album containing a mixture of old rock numbers and brand new tunes written by the band. Most of the new songs have very limited instant appeal, while the older material is interpreted in a very unsatisfactory manner.
Perhaps I would be more excited about this work if the band concentrated on one type of music instead of trying to jumble up the past with present.
Of course these are all very personal opinions. Millions of you out there will doubtless hear this LP and weep warm tears of joy at its sheer spiritual intensity. Sadly I can only manage cold crocodiles.

melody makerMelody Maker - Jan 18, 1975
A brand new year dawns and with a brand new album from Fumble, the frantic five from Weston-super-Mare whom I fancy for big things in '75. Their first album, released two years ago, saw them in a strictly nostalgic mood recreating oldies from the fifties and sixties. And it was fine as far as it went. However, they needed to show themselves as something more than mere adaptors - it's taken two years to get this down on vinyl but the wait was worth it. "Poetry" is quite a good album and provides a useful pointer to the direction which Fumble may take. They haven't cut themselves off from their roots, witness such oldies as "Not Fade Away," "Break My Mind," "The Letter," "Runaround Sue," "Gone Gone Gone and "Keep A Knockin'," but sharing the grooves with these are five fine numbers written by lead vocalist Des Henly (four) and pianist Sean Mayes which display Fumble at their best.
They're an unashamedly lightweight band but on "Poetry" nowhere do they descent into the mindless sort of music which so dominated the charts in '74. There are couple of slow songs, "Marilyn" and "Don't Take Love," written respectively by Mayes and Henly which are probably the stand-out tracks. They make a good contrast with the faster ones. Their flop single "Not Fade Away" is included which offers some hope that this great treatment of a great song won't disappear without trace. The main criticism is that the album has altogether too clean a sound. I realise that their music demands a clean sound but it's carried a bit too far here by producer Shel Talmy. Otherwise it's just fine. Incidentally, I loved the piano solo on "Keep A Knockin'."