The MFTBC
Blog is taking a two-week break at the start of 2026 to regroup, but we will be
back with a vengeance with a lot more material!
The layout
of the blog page will be changing this week, we have had the same look since
2014 and it’s time for an upgrade, overdue, this image share is to remind you of the
past.
Not much
more to say, let’s hope 2026 is even better!
I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums.
Stevie Wonder: Journey Through “The Secret Life Of
Plants” (1979)
***3/4
Producer: Stevie Wonder
Musicians: Stevie Wonder, Syreeta Wright, Bill Wolfer, Ben
Bridges, Michael Sembello, Rick Zunigar, Nathan Watts, Henry Franklin, Ron
Kersey, Dennis Davis, Earl DeRouen, Joe Johnson, Ibrahim Camara, Lamine Konte,
Josie James, Tata Vega
Music and Songs: Earth’s Creation, The First Garden, Voyage
To India, Same Old Story, Venus’ Flytrap and The Bug, Ai No, Bonio, Seasons, Flower Power, Send One
Your Love (music), Race Babbling, Send One Your Love, Outside My Window, Black
Orchid, Ecclesiastes, Kesse Ye Lolo De Ye, Come Back As A Flower, A Seed’s A
Star / Tree Medley, The Secret Life Of
Plants, Tree, Finale
Reviewed By Matthew Anthony Allair
After over a two-year gap, the long awaited follow up to
Stevie Wonder’s Songs In The Key Of Life is here, and it probably won’t
be what many expected, it will probably depend on how one sees the album, a new
proper release? Or the soundtrack to a lesser known documentary? A little a
both I’d say, and one will have to accept it on the album’s own terms. Wonder’s
evolution as a keyboardist, and his progression with the use of the synthesizer
has already changed how many use these musical devices, from the mere
coloration and novelty of the early
years, to tools that can approximate a live orchestra. Wonder’s use of this
technology is very orchestral in nature, his gifts as a composer have become
pretty self-evident. Key Of Life was nearly the culmination of everything
Wonder had strove for. This past decade Wonder has enjoyed a phenomenal
creative and commercial streak with each album. He was bound to want to grow
and experiment before the decades end as he has nothing yet to prove. The
instrumentals offer a range of feelings and the songs all play along with the
themes of the documentary.
My best way of accessing this is to focus on the instrumentals, the source cues, and then the proper songs. An ominous synth sets up the tone for “Earth’s Creation” and a synth or processed guitar leads the melody, the orchestral synths give it a lush quality. This even hints at Progressive. Animal noises set up “The First Garden”, before a music box chime establishes the mood with Stevie’s harmonica. The second half shift gears and this is the first track with a montage quality. There’s an ambient feeling to “Voyage To India” before the melody sets in, while there are sitar drones, this doesn’t follow any of the cliches you’d expect, but a travelog quality, which morphs into Stevie’s rich melodic sensibilities, even if melancholy, the second half of the piece features more exotic drones. The added percussion and strings built it up as the pace shifts and a vocalist gives it a cinematic element.
“Seasons” opens with a music box chime that quotes from “If
It’s Magic” while a mother tells a child a bedtime tale. A wind sound segways
into the playful theme, the colorings build up into some sounds that remind me
of Bowie’s keyboard textures from Low or “Heroes”, yet it also underscores how
adapt Wonder’s instincts are as an arranger. It becomes fairly self-evident as
to why with the instrumental of “Send One Your Love” the song featured later on
the album as the single. This version features some spoken dialogue as an
undercurrent. The piece “Ecclesiastes” features a church organ, orchestration
and an approximate opera vocalist, somber yet sweet. “Trees” begin
impressionistically before the main body of the instrumental eases in. There’s
also some interesting colorings included on the piece. The closing instrumental “Finale” summarizes
the main themes as a kind of culmination. There’s a certain bombast and
progressive tone that features in the closing moments.
Regarding the afford mentioned ‘source music, “Ai Mo Somo” was a Japanese koto motif with a child’s choir. The African based “Kesse Ye Lolo Da Ye” has a range of exotic instrumentation and percussion, with a choir, whimsical and light. As far as the proper songs, pieces like “Same Old Story” has the comfortable format of Paino, synth upright, Harmonica, and nice guitar work. “Venus’ Flytrap and the Bug” has a playful midnight jazz feel with some vocal scat, a child like explanation as to how such a plant works. The style of “Power Flower” has the flavor of a Jazzy RNB groove that might influence the direction of how such might go in the next decade. The first half of “Race Babbling” has an up-tempo feel and a certain life to it. The bass player really leans hard on the number. Stevie’s vocal is processed which gives it an otherworldly element. The song seems to be entirely built on vibe.
The perennial single “Send One Your Life” has an easy accessibility. The vibrant “Outside My Window” has a certain life and fresh tempo, and use of some interesting percussion. The ballad “Black Orchid” will likely harken back to material from The Key of Life for some people. “Come Back As A Flower” features Syretta Wright on lead vocals, and this isn’t the first time that Mr. Wonder has been generous in highlighting other talents in his band, good work. The track “A Seed Is A Star / Tree Medley” must have been a live recording, very up-tempo and probably the second most lively track with some nice bass work. The final vocal is “The Secret Life Of Plants”, very much a number that has the kind of rich musical skill you’d expect from Stevie as a songwriter.
Fans that were expecting another pop or soul record might be
frustrated, for those who have an interest with soundtrack music, or
instrumentals, they may find this a fascinating and bold effort. Wonder
continues to push the boundaries of musical technology and song craft, it
leaves one curious as to what to expect from him in the next decade.
I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums.
The J. Geil’s Band – Love Stinks (1980)
***
Producer: Seth Justman
Musicians: Peter Wolf, J. Geils, Magic Dick, Seeth Justman,
Danny Klien, Stephen Jo Bladd
Songs: Just Can’t Wait, Come Back, Takin’ You Down, Night
Time, No Anchovies Please, Love Stinks, Tryin’ Not To Think About It, Desire
(Please Don’t Turn Away), Till The Walls Come Tumblin’ Down
Reviewed By Matthew Anthony Allair
This northeastern band has spent the 70s putting out some
solid records, but their great strength has been as an electrifying band live,
their last album Sanctuary was a well-done recording, it also pretty
much felt like a product of that era. They have been well regarded by peers for such albums as Bloodshot - there's a lot of goodwill. Their new release, Love Stinks has
a few surprises. Singer Peter Wolf still has his Jagger mannerisms and remains more a
party vocalist, but some tracks feel like they are stretching out. While the
band’s namesake is guitarist Geils, it has often been Keyboardist Seth Justman
that drives the direction of the band. The rhythm section of Klien and Jo Bladd,
and the varicosity of Magic Dick (Richard Salwitz) has always given the band
it’s color. The addition of synths has not just been done for coloring but has
opened their sensibilities into new wave; and the bludgeoning post punk.
This has helped them to find a new focus and leaves one
curious about the new decade for them. The band had used a roster of Producers
from the prior decade, but now that Justman is behind the board, it feels
different. There’s a story that when musician Prince was singed to Warner Bros,
there was a condition he would produce and have full control – it’s a smart
move, and Justman and the band may have seen that now. This might pay off.
The opener sets the tone - a fun rocker, “Just Can’t Wait”,
the follow up “Come Back” has an even more new wave dance feel. “Takin’ You
Down” has a clever false start before shifting into another up tempo number. “Night
Time” has a RNB ‘Cool Jerk’ feel to it with a great harmonica lead. The spoken
“No Anchovies, Please” opens like a Springsteen ballad, be shifts to an old
radio, comedy narrative, with nice saxophone leads. The title track became the
perennial single, “Love Stinks” has a darkly humorous, pop post punk vibe. The
surprisingly guitar heavy opening to “Tryin’ To Not Think About It” shifts to
more dynamic blues RNB feel, where there is an interesting drum breakdown
towards the heart of it. “Desire (Please Don’t Turn Away” has the most
contemporary feel as a moody ballad. The closer “Till The Walls Come Tumblin’
Down” has a swing blues feel to it, it also might remind people of Ray Charles
‘Hit The Road Jack’.
There’s the old adage; ‘you can’t teach an old dog new
tracks’, yet in their case with the band, these ‘old dogs’ have managed to add
some new tricks. There’s nothing more to add, it’s all pretty straightforward. While
none of this is particularly profound, it is a fun spin.
I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums.
Bob Marley and The Wailers – Uprising (1980)
****
Producer: Chris Blackwell, Bob Marley
Musicians: Bob Marley, Aston “Family Man” Barrett, Carlton
Barrett, Carlton “Santa” Davis, Tyrone Downie, Alvin Patterson, Junior Marvin,
Earl Lindo, Al Anderson, Rita Marley, Marcia Griffins, Judy Mowatt
Songs; Coming In From The Cold, Real Situation, Bad Card, We
and Dem, Work, Zion Train, Pimper’s Paradise, Could You Be Loved, Forever
Loving Jah, Redemption Song
Reviewed by Matthew Anthony Allair
Since the early to mid-Seventies, Bob Marley ascension on
the America and global stage has been significant in the field of Jamaican or
Reggae music, after the juggernaut that was Exodus from 1977, he has
put equally solid releases as Kaya, and Survival. While past
producers like Lee Perry have helped, Chris Blackwell has given Bob a massive
platform. There had been other stars prior to Marley in that field, Jimmy Cliff
and Desmond Dekker come to mind. But few artists have reached the consciousness
have reached the public in the way that Bob was able to and popularize this
music genre in the same way. Much of Bob’s vibe reminds me of Stevie Wonder,
another figure who’s music can transform the most hardened of people. Most of
the original line up of the Wailers have long since moved on, but Bob has
managed to draft a circle of equally talented players. Now that we are entering
this new decade, What does Bob have to say about the current state of the
world? Does the album have any fresh insights?
The tone is set up with the easy groove of “Coming In From
The Cold”, and some playful keyboard interplay, after stripped down opening
guitar, one feels like that are in assured hands. Bob’s spiritual and social
comment comes into play with “Real Situation”, a song that offers a spoonful of
sugar to the anti-war sentiment, the B-3 is especially playful on this. There’s
almost a gospel aspect that opens “Bad Card”, which touches on domestic bliss.
The next track, “We and Dem” seems to have a slightly similar take to Pink
Floyd’s “Us and Them”, with his own appeal about ‘working this out’, There’s
also some nice scat vocal and guitar that floats seamlessly on the track. The
track “Work” manages to be the darkest and most dramatic number to round out
side one, there’s also some nice lead and acoustic interplay on it, and the
keyboards give it a more contemporary sound.
The second half opens with the equally dynamic “Zion Train”,
which seems to harken back to the theme of “People Get Ready”, Bob’s vocal is
especially impressive on this. “Pimper’s Paradise” feels like the first track
to take a non to the earlier Wailer’s line up. The next track is the obvious
perennial single, “Could You Be Loved”, is the most memorable and has a catchy
energy. “Forever Loving Jah” has a strong showcase for the I Threes. But the
closing acoustic number, “Redemption Song” is magical and channels the spirit
of Dylan, but in Marley's own way, easily the biggest surprise on the album, and
probably will be regarded one of Bob's more memorable songs.
Overall, a good case to what Bob Marley might bring to the new decade.
I decided to launch a new series to imagine myself as a
critic at the end of the 60s and start of the 70s, and to rectify certain
reviews from Rolling Stone magazine and Creem. This not meant to be contrarian,
but to offer a more balanced perspective. All the albums reviewed are indeed
classic albums.
***3/4
Producers: Don Dixon, Mitch Easter
Musicians: Michael Stipe, Peter Buck, Mike Mills, Bill
Berry, Don Dixon, Mitch Easter
Songs: Radio Free Europe, Pilgrimage, Laughing, Talk About
The Passion, Moral Kiosk, Perfect Circle, Catapult, Sitting Still, 9-9, Shaking
Through, We Walk, West Of The Fields
Review By Matthew Anthony Allair
As this decade is unfolding, it is difficult to know where
the music scene is headed, or where we might be in ten years. A few trends seem
to be codifying, for example, the Metal scene seems to be trending into a
formula, the progressive elements with metal from the seventies seems to be
waning. The impact of punk is still being felt, but we seem to be in a post
punk phase, the evolution of what is not considered new wave seems to be
morphing into it’s own formula, and the exciting trends pf synth music seems to
also codify into a set form. Right now, the UK band, The Cure seems to be
offering the most exciting type pf music that feels fresh. Yet, the US, a new
band from Georgia, might be the band that offers more new ideas and
alternatives – if they can find their audience. The last years E.P. Chronic
Town, revealed R.E.M. to be full of promise, their single from the year
before that, “Radio Free Europe” was another delight. Their debut album, Murmur
offers up the beginning of fulfillment of such promise. There’s a new
rerecording of “Radio Free Europe” and the forth song, “Talk About The Passion”
feels like the other perennial single.
I can’t say that the re-recording of “Radio Free Europe” is
any better, it’s still a great song, and there seems to be some new piano
colorings with this new take, but for the uninitiated, the song is a good tone
setter. “Pilgrimage” opens with a eerie vocal before the core of the band sets
in, the verse section is a little unsettling before the pop lift of the chorus
shift the tone. The McGuin influence with Buck is pretty self-evident a few
fracks in. “Laughing” has an interesting bass and drum opening before Buck sets
the tone. The afford mentioned “Talk About The Passion” has an almost transcendent
quality to it. “Moral Kiosk” feels like it’s following the same tone as “Europe”.
The first half closer “Perfect Circle”
is a lovely piano number where the keyboard gives it a haunting quality.
“Catapult” is an interesting tone opener for the second half
with a lifting chorus. “Sitting Still” is catchy but not very consequential and
sounds like something they would have played in the clubs. “9-9” has some interesting
musical passages but doesn’t distinguish itself. Things come back to life with “Shaking
Through”, and there’s a certain whimsy with “We Walk”, the album closer with “West
Of The Fields” is amid tempo, moody number with some good organ textures. I’d
have to say that the sum of parts with the first half of the album is stronger,
it’s not prefect, but this does reveal more of what they are capable of, and
the next R.E.M. follow up looks promising. This band may offer something different for
those who hunger for it – if they can find an audience. That remains to be
seen.
Chronic Town (1982)
***1/2
Producers: Mitch Easter, R.E.M.
Musicians: Michael Stipe, Peter Buck, Mike Mills, Bill Berry
Songs: Wolves – Lower, Gardening At Night, Carnival Of Sorts
(Boxcars), 1,000,000, Stumble
Reviewed By Matthew Anthony Allair
After last year's refreshing, technically post punk single
debut “Radio Free Europe”, this new band based from Georgia, has put out their
first E.P. and it’s of an exceptional quality. Normally I don’t write reviews
on E.P.s, but this was so well executed, and such a bell weather with how this
decade might shape up to be. Rumor has it that their demo caught the attention
of the heads at IRS records. A sort of ominous carnival organ opens “Carnival
of Sorts (Boxcars)” and some odd drumming segways into the main body of the
song, it has a similar college club vibe as “Europe”, the mix of Stipes vocals are a little buried by a
fraction, but it builds into something unsettling. “Wolves / Lower” has the
spry vigor of Byrds guitar work, but there’s an uneasy tension with the number
even without following the lyrics. “Gardening At Night” is easily the most
accessible track, and likely the single, there’s a nice layering of guitars and
Mills bass work jives. The opening of “Stumble” has a nearly new wave feel
before it shifts into the body of the song. The middle section, with it’s
talking and ambient noises makes one feel like you are listening to a British
band. The up tempo track “1,000,000” rounds out this set, but it’s merely
pleasant and the least interesting. Five tracks in and I am left curious to see
what their debut album will have to offer.
I decided to launch a new series to imagine myself as a
critic at the end of the 60s and start of the 70s, and to rectify certain
reviews from Rolling Stone magazine and Creem. This not meant to be contrarian,
but to offer a more balanced perspective. Some of the albums reviewed are lesser
known titles.
John Coltrane - Meditations (1966)
*****
Producer: Bob Thiele
Musicians: John Coltrane, Pharoah Sanders, McCoy Tyner,
Jimmy Garrison, Elvin Jones, Rashied Ali
Music: The Father and the Son and the Holy Ghost,
Compassion, Love, Consequences, Serenity
Reviewed by Matthew Anthony Allair
Expressions of spirituality is a challenging thing, whole
swaths of past Classical composers dedicated themselves to expressions of faith
via music. Duke Ellington less than a decade before built Black, Brown &
Beige around the issue of faith. John Coltrane had explored similar themes with
A Love Supreme in sixty-four, yet this new album might be the spiritual follow up. John’s
direction and new album isn’t a surprise if you have followed his work with
Impulse. Even in his time with Atlantic, John was dropping hints he was
searching for something new. John’s association with Eric Dolphy, a figure who left
us far too soon, had an impact on him and he been a session player on Ole and
African / Brass in Sixty-One, in spite of the fact that John had recorded more
conventional material for Impulse, namely his Ballads and his collaboration
with Johnny Hartman, he was interested in expanding his expression. Earlier in
the year we saw Ascension a large ensemble with the theme of the resurrection
of Christ. This is merely the culmination of where Mr. Coltrane is.
The opening moments of “The Father and the Son and the Holy
Ghost” is a litmus test, John and Pharoah’s horns sound like some eastern trial
chant at the outset, moments later John states the melody, but it sounds like
cries for peace in an unstable world. Some of what John is doing is no
different from what he was doing in 1959 with “Giant Steps”, but the form and
medium have changed, and it might be difficult to digest for some. The piano
and percussion have almost no relation to what John is playing. Everything I am
writing is just within the first two minutes, it slowly morphs into sounding
like chaos – like the big bang, creation, like those terrifying moments of existence
in the swirl of fire before the gases form into suns, a reminder that violence
is part of any creation. John and Pharoah’s playing turns into squeaks and wails,
but this is an intentional device.
Often new players have no Embouchure or breath control,
hence why you often get the squeaks and flat notes. John is using these issues
to evoke an emotion. At times, it sounds like human screams, or like the guitar
feedback I have been hearing from some rock musicians. This carries on for the
bulk of the number, it is unsettling, as much as structure falls in and out of
the number. This isn’t for the faint of heart. Which is why the next piece is a
welcome change of pace. There’s a kind of more formal quality behind
“Compassion”, with McCoy Tyner laying down the structure with his piano, but
often shifts to atonal chords and scales. John’s lead has a searching yearning
desire. This is music more focused on painting an image. The title of the album
is deceptive as John doesn’t sound settled, but working through some spiritual
disquiet.
Jimmy Garrison’s bass sets the tone for “Love” on the side
two opener. There’s almost a Spanish structure behind his set up. John sounds
more calmer, and reflective, as he comes in. Yet again that longing edges in as
Tyner adds to the disquiet, there is a love within here, but it sounds like a
mournful love. This all segways into “Consequences” where Pharoah takes on a
more prominent role. The chaos of “The Father” reverts back on this number,
Pharoah’s playing almost sounds industrial in places. The picture painted
sounds like the terror of consequences for a soul that has failed. We haven’t
even talked about the drum and percussion work between Elvin Jones and Rashied
Ali. Jones sounds like he plays the main kit, while Ali’s percussion adds the
coloring in-between Jones. Tyner’s more abstract playing helps to resolve the
last half of this. However, any resolution is unsettled. This segways into the
closer, “Serenity”, John’s initial playing is reflective and almost altruistic,
the album closes quiet but unresolved, The album isn’t about offering answers
but raising questions. The soft-focus photo of the cover captures what you'll experience with the album.
Too many critics or jazz scholars focus on the technical
things, for example, time signatures, or Jazz Harmony, scales and chords, but I
am much more interested in how a piece of music makes one feel. There is three
types of music, pure music for its own sake, music that evokes an emotion or
image, or music that tells a narrative. Coltrane is much more interested in
evoking a feeling these days, and less about the intellectual aspect of music. This is an album you’ll have to accept on its
own terms, for the uninitiated, it could be overwhelming and advise to follow
his prior work before you tackle this, this is not casual listening but more a
journey.
If A Love Supreme was about praising and acknowledging God, and Ascension was another step, this is the other side of that equation, the need to have doubt within faith. You can’t have one without the other. Recommended for those who are ready or patient.
I decided to launch a new series to imagine myself as a
critic at the end of the 60s and start of the 70s, and to rectify certain
reviews from Rolling Stone magazine and Creem. This not meant to be contrarian,
but to offer a more balanced perspective. Some of the albums reviewed are lesser-known titles.
Pink Floyd - Relics (1971)
***
Producers: Norman Smith, Pink Floyd, Joe Boyd
Musicians: Syd Barrett, David Gilmour, Roger Waters, Richard
Wright, Nick Mason
Songs: Arnold Layne, Interstellar Overdrive, See Emily Play,
Remember A Day, Paint Box, Julia Dream, Careful With That Axe, Eugene , Cirrus Minor, The Nile Song, Bike
Reviewed by Matthew Anthony Allair
Compilations are always a dicey proposition until there’s
some value for your dollar. On one hand, since the release of Atom Heart
Mother, this is fine primer compilation for the uninitiated, it is a
welcome place to see the “Arnold Layne” and “See Emily Play” singles in one
place, and interesting to see such b sides as “Paint Box” and “Julia Dream”,
the rest of the tracks are culled from The Piper At The Gates Of Dawn, A
Saucer Full of Secrets and More soundtrack. “Bidding My Time” is an
unleased track, and an interesting, dark music hall number. But considering the
baffling omissions with the singles, “It Would Be So Nice, Point Me At The
Sky”, or “Apples and Oranges”, or even the Syd era “Candy And A Current Bun”
track, and there’s other issues based on rumors.
While, “Interstellar Overdrive” is a fine track, due to its
run time, it’s omission could have allowed “Astronomy Domine” or a few other b
sides included. There have been rumors of two Syd era Floyd tracks, “Vegetable
Man” and “Scream Thy Last Scream” that Barrett fans would have clamored to get.
There’s also the rumor of a recording for “Embryo” that could have made a fine
addition. Record companies are always redescent to finance double album
compilations, but it has been done. If a double album had been realized, they
could have included a few tracks from Ummagumma, namely “Grantchester
Meadows” or a segment from “The Narrow Way”, or from Atom Heart Mother
“If” and certainly something else from Saucer, such as “Jug band Blues” or “Set
The Controls For The Heart of the Sun”. The album art was drawn by Nick Mason.
Of course, this is all second guessing, but for the casual
listener, this would be an interesting find, or for completists.
