Before we dive into this killer new box set from one of yesteryear’s most undervalued bands, I wanted to just call out one relatively minor detail that’s worth a little mention nonetheless. You happen to be reading what amounts to the 50th installment of this little column. A labor of love from day one, I’ve always appreciated all the notes and insightful feedback I’ve gotten from readers that have a special place in their hearts for some of the long-lost stuff of yore. As one of the few long-standing, truly independent music rags based in the Bay Area, I couldn’t think of a better entry this time out than the region’s own Gamma.
But before we dive into this offbeat and somewhat strange rock-meets-new wave combo from the San Francisco area, let’s talk a bit about its mastermind, guitarist Ronnie Montrose. Originally cutting his teeth as the back-up axe-slinger for the likes of Van Morrison, Boz Scaggs and Edgar Winter Band in the early ‘70s, the guitarist and songwriter struck out on his own to form the quintessential American proto-metal band, “Montrose.”
Scoring a deal with Warner Bros. the man and the band released one of the most impactful, iconic and ear-shredding hard-and-heavy records ever, in its eponymous debut. Produced by future Van Halen studio wiz, Ted Templemen, the album was epic, infectious and innovative all at once. It had it all—the killer Ronnie Montrose riffs, the driving grooves and some stealth hooks and vocals by a young fellow Bay Area resident Sammy Hagar eons before he’d embark on his own solo career and later join Van Halen himself. The Montrose album kickstarted the American heavy metal movement and should—and sometimes is—spoken in the same breath as the top releases from Led Zeppelin, Deep Purple, and Black Sabbath. After Montrose, Ronnie would go solo for a spell before forming Gamma.
Always revered for his outstanding abilities and progressive approach to his craft, Montrose was inspired by some of the fresh sounds and possibilities that had emerged post-punk and looked to follow his muse into a new musical frontier. On the other side of the world, early MTV hitmakers, the Buggles, were doing something interesting by mixing campy new wave hooks with progressive rock stylings. Gamma would ultimately prove far heavier but follow a similar path. Montrose soon teamed up with Scots vocalist Davey Pattison, who possessed a soulful, bluesy voice reminiscent of Paul Rodgers and David Coverdale, with a brawny style that preceded the trends by several years. Drafting Alan Fitzgerald on bass, Jim Alcivar on keyboards and Skip Gillette on drums, Gamma was formed and quickly scored a deal with Elektra Records.
In actuality, the band’s first album, Gamma 1 is the happy medium between its second and third major label albums. A heady mix of aggressive riffs, keyboard flourishes and sound effects, it’s a hybrid of past and future sounds. It also has a few unexpected twists, such as the vocoder nuances of the opening track “Thunder And Lightning” which competes directly with Pattison’s deep and earnest tones. The combo of all this makes for a unique listening experience. The rest of the album follows suit—with Montrose mixing experimental sounds while not straying too far from the hard rock template he helped to forge several years earlier. Single “I’m Alive” is a cover version of ‘60s hitmakers The Hollies, adding a modern sheen with some computerized effects and guitar-hero histrionics, making it a true oddball, Think Electric Light Orchestra with Eddie Van Halen on guitar.
Gamma 2 was released in 1980. With a semi-new lineup, now including Glenn Letsch on bass and original Montrose drummer Denny Carmassi. The album features a heavier, more straight-ahead rock approach, but still dabbles in some modern and more high-tech instances. Opener “Mean Streak” pummels with a searing Montrose riff that harkens back to his early days. “Four Horseman” is technical speed metal, a couple of years before Metallica graced Bay Area stages. “Voyager” is a lengthy, proggy ballad that showcases the smooth vocals of Pattison in a dramatic, atmospheric setting.
Another highlight is the band’s cover of the late ‘60s hit by Thunderclap Newman called “Something In the Air.“ This song about peace and revolution, is an interesting choice for the band and was perhaps an acknowledgment of the changing of the guard taking place in the music scene. While not doing much in terms of chart mobility, the band’s colorful take on the track makes it a stand-out.
1982 saw the release of the band’s final album of the era, the aptly titled Gamma 3. By far the band’s most experimental output, it’s evident that at this point in his career, Montrose was less concerned about overall sales and chart placement in favor of following a specific vision; one that was decidedly more modern, in its machine-like, techy feel. To help him realize said vision, Montrose enlisted modern music pioneer Mitchell Froom on keyboards. Long known as a trailblazer in electronic and progressive music, Froom adds a very slick, dense, and electronic feel to the music, even sidelining Montrose’s iconic six-string bits to some degree.
The drums, keyboards, and overall polished production make this album feel quintessentially early 80s. There are ample sound effects, Volkoder meanderings, and glossy atmospherics to enhance the core material. In spite of all the modern affectations, opener “What’s Gone Is Gone” strikes somewhat of a balance between old and new, as Montrose’s guitar and the driving beats compete with the synths from verse to chorus. But in the end, it’s the synths that ultimately win out with a chorus that heavily relies on vocal effects and a computerized choir of sorts backing up Pattison.
Single “Right the First Time” bucks the trend a bit within its commercial grooves. Packed with sugary-sweet hooks and a moderate shuffle beat, the song is reminiscent of ’80s era Genesis where that band had all but abandoned its progressive pedigree for pop superstardom. But Pattison’s dynamic delivery adds a bit of earthiness and authenticity to the proceedings. However, the combination doesn’t always work. “Moving Violation” mixes new wave nuances with a sped-up T.Rex groove culminating in an overly synthetic and campy chorus. “Mobile Devotion” adds further confusion to the mix with a busy, synth-driven riff that works in tandem with a heavy, guitar refrain and solo break, plus some spoken-word elements for a completely oddball experience. But in a strange way, it’s entertaining and begs for further listening. Overall, this high-tech affair is a unique take on the melding of progressive rock and the new wave stylings that would also pop up in bands, such as Rush and Asia during their ‘80s tenure.
While none of the core Gamma albums would set the world on fire in terms of sales or chart action, they definitely made an impression on both Montrose fans and those who appreciated the various different elements of the burgeoning music scene at the dawn of the 80s. For hard rock aficionados, Gamma still had some driving numbers and intricate riffs. For those interested in the more progressive, experimental side, the band’s idiosyncratic album covers and willingness to charter new ground made them appealing as well. Thus, in a way, Gamma’s catalog has something for everyone.
What’s Gone Is Gone: The Elektra Recordings 1979-1982 (HNE Recordings) features all three albums, masterfully revamped in custom sleeves to replicate the original album artwork. Each sounds crisp and revived in this new package. In terms of bonus tracks, there’s not a ton to be found, except for a few single edits and mono editions, which is a bit odd to include for a band known for exploring a deeper sonic palette.
After the break up of the original Gamma, Ronnie Montrose would still make appearances sporadically and put out more recorded output featuring a fair amount of experimental noodling. Many years later, at the dawn of the century, a Gamma 4 album would appear on an independent label and further showcase some of Montrose’s forward-thinking sounds. Montrose would also reunite with former bandmate Sammy Hagar here for reunion shows.
During the mid-2000s, Ronnie Montrose was diagnosed with prostate cancer. Then on March 3, 2012, he would commit suicide by gunshot at age 64. It was disclosed after the fact that he had been battling clinical depression all his life and never felt he deserved the success he had truly earned. It’s a sobering reminder that many musical geniuses are also stricken with wellness issues. But the legacy remains and this box set does a fantastic job of furthering it.
For questions, comments, or something you’d like to see, hit me up at @JimKaz1.
