![]() ![]() It also helps that Rafferty was hipper than your average album rock journeyman– a fact well-evidenced by his employing Fairport vet and by then legendary guitar picker Richard Thompson on Night Owl ’s biggest hit, “Take The Money And Run”, crucially not to be mistaken with the earlier Steve Miller number with the memorable drum intro. In fact, it’s that selfsame gravitas that ballasts most of the album, and what makes Rafferty a compelling figure whose music still resonates, despite its sometimes near-bland AOR trappings. The opening funk-lite of the intro threatens to undo the plaintive melodicism of the verse and melody, but Rafferty’s gravitas- probably his greatest, if most ineffable gift as a songwriter and performer- rescues it from being a throwaway on the order of your typical Eagles album cut. “Days Gone Down”’s muted melancholy stumbles into the title track, a behind-the-beat groove with locking, harmonizing bass and guitar riffage recalling slightly Michael McDonald Doobies or Steely Dan over which Rafferty opines effectively on the lonesome grace of the sleepless and obsessive. Gerry Rafferty Night Owl, United Artists 1979 The album opens with “Days Gone Down,” a slightly sour days-passed lament that manages to channel latter-day Jackson Browne without being too slick about it- though the album- with its muted but crisp drum sound, fluid bass, and tight arrangements is indeed state-of-the-art for 1979. Plus, looking back on its 40 th birthday, it’s aged considerably better than City To City, many would say. Recorded and released a full year after the mega-selling City To City, the album wasn’t quite the success that City was, but it still managed to go gold in both America and Britain, and platinum in Canada. Then came Night Owl in the summer of ’79. Both the song and the album it was on, City to City, were gigantic hits, with the album knocking–of all things–the Saturday Night Fever soundtrack off the #1 spot. Yet when Rafferty finally returned in 1978, he finally hit pay dirt with the instantly-recognizable moody sax showcase “Baker Street,” a song which probably deserves screenwriting credits in half a dozen ’80s cop action flicks. But there was a problem–both Rafferty and Egan each were contractually barred from releasing any new music for three years- a lifetime when you’re a modestly successful pop artist trying to sustain a career trajectory. Stealer’s Wheel broke up somewhat acrimoniously in 1975. Rafferty then joined up with fellow Scotsman Joe Egan to form Stealer’s Wheel- eventually nabbing a hit with the Dylanesque, Tarantino-tainted “Stuck In The Middle With You.” Rafferty and Egan followed it up with “Star” to modest chart success, but that would be their last taste of the Billboard hot 100. ^ Shipments figures based on certification alone.AUDIO: Gerry Rafferty’s first band, The Humblebums with “Shoeshine Boy”Īfter the Humblebums disbanded in 1971, Rafferty released his first solo album- the well-liked but poor-selling Can I Have My Money Back? John Patrick Byrne – front cover paintingĬertifications Certifications for Night Owl Region.Barbara Dickson – backing vocals (1, 3, 7).Richard Harvey – penny whistle (6), pipe organ (7), recorders (7), synthesizers (8, 9).Raphael Ravenscroft – Lyricon (2), saxophone (5, 6, 9, 10).Frank Ricotti – percussion (1, 2, 5, 6, 8, 9).Richard Thompson –mandolin (4), electric guitars (7, 8).Hugh Burns – electric guitar (1, 4), rhythm guitar (1, 9), guitar solo (1, 9), guitars (2, 5).Richard Brunton – electric guitar (1, 3, 6, 7), lap steel guitar (1, 4, 10), acoustic guitar (3, 4, 7–10), guitar solo (7), guitars (10). ![]()
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