England Dan & John Ford Coley Albums (8)
'Just Tell Me If You Love Me'
Release Date 1/1/1980
Tracks 9
Label Big Tree
See Album Tracklist and Review
'Dr. Heckle & Mr. Jive'
Release Date 1/1/1979
Tracks 11
Label Big Tree
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What The Critics Say
The sincerity of their days on A&M Records has turned to total formula by the time Dr. Heckyl & Mr. Jive came around -- and Robert Louis Stevenson expert, author Ray McNally, makes it clear in his book on Mr. Hyde that the true pronunciation is Dr. Jeekill (as in, "I Kill and Hide"). It is quite a paradox that this justified attack on the Hollywood system uses the mispronunciation of this famous title which Hollywood forced upon the world. Were these singers that clever to have slipped this in as a sly parody? Probably not -- because the sentiment in the poem here is right on, but the execution of the title track, is as musically contrived as it sounds. This album shows the worst, and the best, of this productive duo. "Running After You" falls into the former category, but their hit rendition of the Todd Rundgren tune "Love Is the Answer" is up there with "I'd Really Love to See You Tonight" as among their very best work. Their finding this little gem on Utopia's 1977 release Oops! Wrong Planet is commendable. In the same vein as "Love Is the Answer," "What's Forever For" is also extraordinary, featuring excellent vocal work, skilled musicianship, and top notch production by former bassist for this duo Kyle Lehning. He leaves the bass chores to Elton John's sideman Dee Murray along with Leland Sklar, John Leland, and Wilton Felder. Murray's sole contribution is on "Caught Up in the Middle," which sounds like England Dan and John Ford Coley fronting Toto, which is not a bad thing. Steve Porcaro is on synth, Steve Lukather on electric lead guitar, and Richie Zito on electric guitar. Although two songs of heartbreak are included: "What Can I Do With This Broken Heart" and a version of what became a monster hit for Anne Murray this same year, 1979, "Broken Hearted Me." These two songs identify the problem with this album -- John Coley's piano and touching vocal in "Only a Matter of Time" have the passion that is missing in "Broken Hearted Me" and "What Can I Do With This Broken Heart." Some of the tracks have that extra something on this album, and some don't have much of anything. The solution can be found in their final hit, "Love Is the Answer," a departure from the Parker McGee formula this act became so accustomed to. Had they dipped into the songbook of Utopia co-hort Moogy Klingman and his partner, Buzzy Linhart, they would have found lots of great hit material to followup "Love Is the Answer" with. "Children of the Half-Light" is the best example of the dilemma; the song can't decide if it is in their old format, or if it wants to follow Toto and Rundgren into progressive pop. All things being equal, they should've taken the plunge. Still, this album has some great moments, despite its inconsistency. ~ Joe Viglione, All Music Guide
'Some Things Don't Come Easy'
Release Date 1/1/1978
Tracks 11
Label Big Tree
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What The Critics Say
Sustaining radio airplay through most of 1977 with the two hit singles from their album Dowdy Ferry Road, both 45s hovering just above the Top 25 (although "It's Sad To Belong" topped the AC charts where these guys ruled), this project is the most bleak in the repertoire of England Dan and John Ford Coley. The front cover is dark, with the two men looking very serious, while the back of the album has them in a very affectionate pose -- much happier. "It's Sad to Belong" was written by Randy Goodrun who would hit two years later with Anne Murray's version of "Broken Hearted Me." Dan Seals and John Coley recorded "Broken Hearted Me" as well for 1979's uneven Dr. Heckyll and Mr. Jive, and it would have fit perfectly in this melancholy setting. Outside of Parker McGee's "Where Do I Go From Here" and the aforementioned "It's Sad to Belong," the Dowdy Ferry Road album was entirely written or co-written by the singers. Just about everything on this collection has minor keys and sad voices: "Soldier in the Rain," "Love Is the One Thing We Have," and "Don't Feel That Way No More" are rife with lines like "time has brought me here with empty hands" or "the way to my heart is a closed door." Depressing stuff. Even John Ford Coley's hit "Gone Too Far," a song about not wanting to, but falling in love, makes the good fortune almost feel like tough luck. The album would have benefited from the addition of more outside material -- imagine if they took on Tommy James "Sweet Cherry Wine," or an Elton John and Bernie Taupin song, something uplifting and cheerful. Given Kyle Lehning's production and these strong voices, smarter song selection would have added another, very necessary dimension. Although it is the most up track, "Gone Too Far" is the beginning of this pair getting into a rut of formula folk rock. Despite the down emotions, and that the pleasant sounding and listenable Dowdy Ferry Road breaks no new ground, it is an interesting chapter which continued their succession of hits. Perhaps this is where Seals and rofts should have paired up with England Dan and John Ford Coley. Now that would have been a very interesting event and could have sustained the careers of all involved. ~ Joe Viglione, All Music Guide
What The Critics Say
Nights Are Forever was the breakthrough album for Dan Seals and John Coley after some sincere and excellent work on A&M Records in the early '70s. Two of their biggest hits were the title track and the beautiful "I'd Really Love to See You Tonight." Those songs are a good indication of the fine performances this 1976 album contains. The duo's originals like "Long Way Home" and the Dan Fogelberg-ish "Westward Wind" could have been hits as well displaying superb musicianship and delicate vocals. This album is very much a companion piece to the Parker McGee album recorded around the same time, on the same label, with pretty much the same musicians. Producer Kyle Lehning has the sounds so similar a survey panel would probably not be able to figure out which song came from which album. What Nights Are Forever has that the Parker McGee album does not is "There'll Never Be Another For Me," a song co-written by Parker McGee, England Dan, and John Ford Coley -- it is a rare look at what a perfect synergy these musicians have, and it is an exceptional song. You can feel how cautious and serious the two singers are here. By the time Dowdy Ferry Road was released in 1977 they were settling in to a formula, and 1979's Dr. Heckle and Mr. Jive has low points that feel like fatigue offsetting the highs. Nights Are Forever does not suffer that hit or miss dilemma; it captures the band while in between the magical folk minstrel material they espoused earlier and while developing the refined sound that brought them into the Top 25 a half a dozen times. "Lady" is a collaboration by McGee, Coley, Seals, and producer Kyle Lehning. They all seemed motivated to put out a highly commercial and sincere recording. "It's Not the Same," "Prisoner," "Showboat Gambler," and "Everything's Gonna Be Alright" are all high-grade material, making Nights Are Forever perhaps the finest album produced by these talented vocalists. ~ Joe Viglione, All Music Guide
What The Critics Say
The first track on Fables, "Simone," got some airplay on underground radio -- a paradox for Top 40 staples England Dan Seals and Jon Ford Coley, who found fame four years after this pleasant and well-constructed album on A&M was released. "Simone" is one of the more original titles on a disc that draws from the many influences in vogue at the time. "Matthew" nicks the melody right from Elton John and Bernie Taupin's "Country Comforts," though the chorus takes a different turn, and is quite stirring as well as appealing. Maybe it is that familiarity that makes "Matthew" as memorable as "Simone," and though there is nothing here as striking as "I'd Really Love to See You Tonight," the album is an important and entertaining document of a talented duo before they fell into the confines of commercial formulas. One can hear the similarity to England Dan's brother Jim Seals' successful Seals & Crofts on "Free the People," which isn't the Delaney & Bonnie minor hit from this same time period. Seals & Crofts hit in 1972, when Neil Young had "Heart of Gold" and when Carole King reigned supreme -- England Dan & John Ford Coley slip right into the mix with no problem. A song like "What I'm Doin'" shows the duo at their best. In fact, it more closely resembles almost any track off of America's 1972 debut -- piano, guitar, harmonies, and a very appealing collection of melodies with words that aren't abrasive. "Casey" is absolutely uplifting -- its conclusion is haunting, with echo on the voices and tasteful strings. Their lyrics repeat themselves -- they talk about yesterday and tomorrow in "What I'm Doin'," then carry the theme further with a song titled "Tomorrow." America sang "Don't Cross the River," but England Dan & John Ford Coley advise to "Stay By the River," while "Candles of Our Lives" would be a nice cover for Dan Fogelberg. Every track has that mature folk-pop attitude so important in the post-Everly Brothers/Simon & Garfunkel radio world. The album has a classy texture to the touch, and portrays the two young musicians as minstrels. Despite the derivative nature of the project, Fables stands as a sincere and very satisfying musical work by two men whose voices would become highly recognizable through the six Top 25 hits they would accumulate between 1976 and 1979. ~ Joe Viglione, All Music Guide
'England Dan & John Ford Coley'
Release Date 1/1/1971
Tracks 10
Label A&M
See Album Tracklist and Review
