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Dennis Lambert

Songwriter and manufacturer Dennis Lambert enjoyed an effective run doing work for the ABC-Dunhill label through the ’70s, where he and partner Brian Potter helmed strike information for the 4 Tops, Dusty Springfield, and Glen Campbell, amongst others. Lambert started his profession as something of the folkie, developing a poppy folk-rock duo with fellow vocalist/guitarist Craig Nuttycombe in LA in 1968. The initial Lambert & Nuttycombe record, At Home, premiered on A&M in 1970, and also was documented in the duo’s Sausalito, CA, living area. For the time being, Lambert had produced a songwriting relationship with Brian Potter, with whom he agreed upon a publishing cope with ABC-Dunhill in 1969. Lambert trim a solo record, Bags and Stuff, in 1972, and came back for another and last Lambert & Nuttycombe record, As YOU MIGHT, in 1973. Nevertheless, Lambert’s songwriting and creation just work at ABC-Dunhill was starting to explain that his genuine fortune place behind the moments. He and Potter got their first flavor of success composing for the Lawn Origins in 1969, and struck precious metal penning Coven’s antiwar protest strike “One Tin Soldier” that yr. Some more strikes adopted, including Gayle McCormick’s “It’s a Cryin’ Pity” and Hamilton, Joe Frank & Reynolds’ “Don’t Draw Your Like (Out).” 1972, nevertheless, was their accurate breakout year, because of their focus on the Four Tops’ post-Motown LP Keeper from the Castle; the group continued to score strikes using the Lambert/Potter-penned name monitor and “Ain’t No Female (Just like the One I ACQUIRED),” which revived their profession. In the wake of this achievement, Lambert and Potter had been teamed with fresh ABC-Dunhill signee Dusty Springfield for 1973’s Cameo LP, and the next yr they helped provide R&B group Tavares their 1st significant chart achievement. Lambert and Potter’s biggest smash as makers arrived in 1975 with Glen Campbell’s Rhinestone Cowboy LP, that they also composed four music. By this aspect, Lambert and Potter acquired formed their very own label, Haven, that was the middle-’70s home from the Righteous Brothers. Haven’s most significant commercial success emerged in 1978 with one-hit question Player’s “Baby KEEP COMING BACK,” produced however, not compiled by Lambert and Potter. Lambert’s songwriting and creation activity tailed off considerably in the ’80s, but he sometimes resurfaced to utilize famous brands Natalie Cole as well as the Commodores.

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