Ambrosia – A Kaleidoscope of Sound

Kipp Lennon

The music of the 1970s was immensely dynamic and diverse. I had the good fortune of spending my formative years immersed in the symphonic artistry born during this era, which ultimately left me with an unabated love and insatiable thirst for music. Naturally, I jump at the chance to see live performances from just about any band that commenced during this eclectic decade.

On Wednesday, I was at the Belly-Up Tavern in Solana Beach, California, to see the band, Ambrosia. The Pop/Prog-Rock ensemble formed in Los Angeles in 1970 and had 5 top 40 hit singles between 1975 and 1980. Although Lead Guitarist/Vocalist David Pack exited the band in 2001, three original band members remain. Bassist/Vocalist Joe Puerta, Keyboardist Christopher North, and Drummer Burleigh Drummond, with the addition of Guitarist Doug Jackson, Keyboardist Mary Harris, and Singer Kipp Lennon.

The band kicked off their sold-out live show with the track “Kid No More” off their Road Island album. Singer Kipp Lennon handled the lead vocals, effortlessly delivering fast-paced lyrics that left me breathless just listening to them. Joe Puerto joined in on the harmonies while briskly plunking out the driving rhythm on his bass guitar. A perfect song choice to start the show. It highlighted the band’s expert chops and gave the audience a glimpse of what was to come.

Burleigh Drummond

Even more impressive was their next song, “Nice, Nice, Very Nice,” featured on their 1975 debut self-titled L.P. Although it was not one of their more popular songs, it demonstrates a more progressive side of their music. Puerto took over and sang lead, accompanied by Lennon. I love the sound of the Hammond, and keyboardist North demonstrated brilliant skill with his sublime organ motif. The combination of keyboardist Mary Harris’ synth and Christopher North’s Hammond created a stunning network of harmonic interaction. Drummer Burleigh Drummond added intricate drumming patterns accentuating the song’s layered complexities. The instrumentation is befitting to the song’s lyrical content, taken from a poem in the satirical postmodern novel Cat’s Cradle by author Kurt Vonnegut.

In a complete change of pace, the band followed up with their 1980 popular yacht rock ballad “You’re the Only Woman (You & I ) which reached no. 13 on the Billboard charts. Drummer Burleigh Drummond Jr. took over the kit, and his father handled percussion. Puerto’s warm tone and expressive cadence matched the romantic narrative of the song. He effortlessly moved in and out of the falsettos and was joined by Lennon on the impeccable harmonies. Once again, I was in Hammond heaven enjoying North’s glorious organ soloing.

They played a few more of their originals and then ventured outside of their catalog and performed the Gary Wright hit “Love Is Alive” Puerto introed the song mentioning that they played with Wright several times over the years. In fact, it was Ambrosia that backed him on his last performance before he retired. Keyboardist North and Harris played the synth keys perfectly, echoing the beefy riffs while Lennon’s strong vocals filled the venue with visceral power. It was an engaging rendition that didn’t deviate much from the original.

Doug Jackson

The crowd roared when they broke into their 1978 hit “How Much I Feel.” It was their first gold single, which landed at no.3 on the charts. Puerto sang the R&B classic with a smooth, soulful tone. Lennon took on the bridge singing with conviction and drawing out the emotional undercurrents of the song. Towards the end, Puerto did some vocal improv, then glided into a sweet falsetto.

Mary Harris

Their next song, “Time Waits for No One,” off their first album, spotlights the band’s complexity with multiple time changes and complicated song structure. Guitarist Doug Jackson’s expertly shaped solos were speckled with moments of breakneck fretwork with a jazz-infused edge. Keyboardists Harris and North masterfully blended their instruments, which resulted in an exhilarating auditory journey. The vocal interplay between all the band members added to the song’s intricacy. Drummond Sr.’s precision with timing and technical skill was mesmerizing. By the end, I was dizzy from the mercurial rhythms and nuances of this fascinating progressive rock tapestry.

Another cover Ambrosia performed was Bruce Hornsby’s “The Way It Is” In 1982, four years before his rise to fame, Hornsby joined Ambrosia, and in 1985 Joe Puerta became a founding member of Bruce Hornsby and the Range. Puerto specified that they were doing the song as a tribute to Hornsby and Puerto’s time with the Range. Keyboardist Harris began with the familiar piano solo displaying her talent on the keys. Puerto sang lead, and their rendition was so spot on it was hard to believe I wasn’t hearing Hornsby himself on stage. Harris shined throughout the song, exhibiting her virtuoso, meticulously crafting each note, impeccably mirroring the original.

Reaching further into the bag of cover songs, they treated the audience to a Beatles song that Ambrosia recorded in 1976. I was impressed with their version, which had the energy of the original with a few variations that worked well.

They returned to their originals, including two of their chart toppers. “Holding On to Yesterday” off their first album, in which they performed dazzling harmonies and masterful guitar work. Then came their 1980 iconic hit “Biggest Part of Me” Lennon sang the lead with a vocally disarming intimacy and lyrically weaved a little of the Chi-Lites “Oh Girl” into the mix. I looked around and saw many couples holding hands, and some were even slow dancing to what I would coin one of the top romantic songs of all time.

Ambrosia at the Belly Up 2022

For their Encore, they brought the energy back up with “I’m Crying,” the upbeat R&B song the Animals released in 1965. Lennon started with the Ahh Ahhs, urging the crowd to join in. Keyboardist North sang lead, belting out a compelling guttural cadence while banging out a sweltering organ riff. Their version was done splendidly and is another example of this band’s diversity.

They kept the high intensity going with their final song, “Magic Carpet Ride.” Lennon showed off his chameleon vocalese matching the grit and potency of Steppenwolf’s John Kay. Keyboardist North added whirling psychedelic mania with his Hammond. Guitarist Jackson let loose on his Strat while Puerto played some funky bass lines. It was a sweet track to end the show.

Tonight Ambrosia performed a spectacular show. Their compelling instrumentation and refined harmonies offered their audience a captivating kaleidoscope of sound.

BackStage360 extends our gratitude to the Belly Up Tavern for their gracious hospitality, and we also thank Ambrosia for a fantastic show.