Chris Farlowe may very well be the most under-appreciated vocalist in rock and roll. His eccentric style is striking for its extreme suppleness, as agile as a sax or guitar. Though his foundation years, back when he was vying with Long John Baldry and such, never much caught my ear, he later joined Atomic Rooster and then Colosseum, fusion outfits with out-of-the-box thinking, and I quickly took notice. All I had to do was hear the pyrotechnics on Skelington and Lost Angeles (Colosseum Live, 1971) and that was it, I was a hard-core Farlovian. Up to that point, I had never imagined I'd be able to hear a singer in rock and roll who could pull up alongside Leon Thomas (a killer jazz vocalist), but here he was. From that point on, whenever Farlowe showed up on an LP, I got it.

    Miller Anderson, however, has always ranked very low on my regard for stringpullers. His solo work (Bright City), groups (Dog Soldier, Broken Glass, etc.) and sessions haven't ever been inspiring, barely even noticeable. For decades, the guy was a Bernie Marsden, but something's happened, probably this alliance with the fiery singer. On the opening cut, Crazy About My Baby, he's hotter than hell, ripping out incandescent blues riffs, and Hard to Get Along With has him pulling up tasty slide ornamentation, with the esteemed Chanter Sisters singing the background. Thus, Eingang presents not only Farlowe's powerful voice losing not an iota since he showed up 40 years ago but also Miller Anderson's epiphany. Nestling in perfectly with them are Sarah Jory's easy-on-the-ear pedal steel licks, grrrreat stuff...  A review written for the Folk & Acoustic Music Exchange by Mark S. Tucker