Retro Reviews: Herbie Hancock: Headhunters

 

    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. 

Herbie Hancock: Headhunters (1973)

****1/2

Producers; Herbie Hancock, David Robinson

Musicians: Herbie Hancock, Bennie Maupin, Paul Jackson, Harvey Mason, Bill Summers

Music:  Chameleon, Watermelon Man, Sly, Vein Melter

Reviewed by Matthew Anthony Allair

    Herbie Hancock has been a seminal jazz and keyboard player since the early 60s, for anyone who doesn’t know, after getting his start on smaller jazz labels, he was hand picked by Miles Davis to be a part of Davis’s second great quartet, and Hancock helped Miles usher in his jazz fusion period. Recently Herbie had fronted a set of albums that were more experimental, with Mwandishi, Crossings and the Sextant albums and now he’s decided to go in a completely new direction that I have little doubt will appeal to fans of dance and the Parliament mode of music. There were hints of the change with the electronica on  ‘Rain Dance’ from Sextant, or the African rhythms of ‘Sleeping Giant’ from Crossings.  One track is a reimaging of an early 60s composition, and the rest is all new material.

    Herbie is using electric piano, various clavinet’s and APR synthesizers to get a range of sounds and soloing. The first track “Chameleon” sets up the grove with a synth bass line, and claves to approximate guitars, there’s a playfulness between the drummer and percussionist, Jackson and Maupin step in to elaborate the theme. Herbie’s electric piano solos shine through. Herbie’s use of the ARP brings up the orchestral tone. ‘Watermelon Man” opens with various African flutes and light percussion before it shifts into the main piece two minutes in. He had recorded the track in 1962 and this update is a refreshing change, probably the likely single for the album.

    “Sly” is an obvious nod to Sly Stone, the musical complexity and shifting signatures make this compelling material, when it doubles up in tempo, Maupin’s soloing is wonderous. As a keyboardist Herbie has never wavered in his inventiveness as a soloist as illustrated in the track. “Vein Melter”, the closing track features an irregular march from Mason that sets the tone. Hancock’s playing at moments features the kind of abstract chording he was using with Miles Davis in 1969, Maupin’s support playing is quite good. While relying on Electric Piano, Herbie uses APR synths to overwhelm the track with sting ensembles, flutes and horns that wave into the arrangement, leaving the listening with euphoria and doubt, before the track ends as the album began – with a funk groove. Miles Davis always had high praise for Herbie, there were few players as adaptable to changing styles, Herbie has an instinct and touch few players can match and the team assembled are wonderful players. Recommended if you want something to dance to and make you think at the same moment.

Retro Reviews: Rodriguez: Coming from Reality

 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. These albums are lesser-known titles.

Rodriguez: Coming From Reality (1971)

****

Producer: Steve Rowland

Musicians: Sixto Rodriguez, Chris Speeding, Tony Carr, Phil Dennys, Jimmy Horowitz, Gary Taylor, Andrew Steele

Songs: Climb Up On My Music, A Most Disgusting Song, I Think Of You, Heikki’s Suburbia Bus Tour, Silver Words?, Sandrevan Lullaby – Lifestyles, To Whom It May Concern, It Started Out So Nice, Halfway Up The Stairs, Cause

Reviewed By Matthew Anthony Allair

    Rodriguez’s second album has come out and it has left me pondering the fates, if you’ll indulge me, the other Latino rock act that has enjoyed a great deal of success is the band Santana, which is a mixed race group, while they aren’t directly a social comment or political band, it makes their music more palpable to the public. That doesn’t take away from the merits of that band, or their success is less deserved, it just means that the risk that Rodriguez is putting forth is greater. He is just as socially penetrating as he was with “Cold Fact” from last year. He has a new producer and the record feels more focused and there’s a fuller sound in some respects. It also feels more conventional in places which is a trade off.

    The opener, “Climb Up On My Music” feels like a mission statement. Aside from the lead work, Rodriguez stretches out on acoustic. The keyboard work from the start is a good edition, the rhythm section with the drum and bass really catches fire.  “A Most Disgusting Song” will probably be the most provocative track, a blues number that feels like it’s channeling a contemporary like Gil-Scott Haron. “I Think Of You” is the first ballad on the album, nice backing support, and rich string arrangement. “Heikki’s Suburbia Bus Tour” is the albums rock tune, and mirrors “Only Good For Conversation” from the last album. ‘Silver Words” is the other pop leaning ballad with good acoustic lead support, and string quartet.

    “Sandrevan Lullaby – Lifestyles” is a two section medley, ‘Sandrevan’ is a somber, wistful instrumental with good playing by Rodriguez and quartet, and ‘Lifestyles’ is a more pointed, penetrating piece, the most Dylan like number examining the desperate facades that people front, with great lines such as ‘she laughed when I tried to tell her, hello only ends in goodbye’. Or ‘America gains another pound, only time will bring some people around, idols and flags are slowly melting’. This track is probably the albums tour de force. “To Whom It May Concern” takes a break with a prominent piano and orchestral arrangement for a song that advocates against relationship victimization and self-empowerment. “It Started Out So Nice” is a lovely blues ballad, which is either about the about the end of a relationship, the loss of innocence, or both. “Halfway Up The Stairs” is the closest to a pop number on the album. The closing number, “Cause” is a stunner, Raw and bleak with stanzas like “because my heart has become a crooked hotel full of rumors, but it’s I who pays the rent,’, the profiles various people and continues with lines like ‘cause they told me everybody’s got to pay their dues, and I had overpaid them.’, it all simply illustrates the toll of our class struggles, and the road that leads to self-destruction. Brillant closer.

    His honesty might not be for everyone, but I hope he continues. While the material might be a fraction less than what was on ‘Cold Fact’, that margin is by very little, this holds up well. We need truth more than lies anyways - his reality is pretty deep.

Retro Reviews: Black Sabbath: Sabbath Bloody Sabbath

 

    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. This is in tribute to John Michael Osbourne. Rest In Peace, sir. All the albums reviewed are indeed classic albums. 

Black Sabbath: Sabbath Bloody Sabbath (1973)

****

Producers: Black Sabbath, Patrick Meehan

Musicians: Ozzy Osbourne, Tony Iommi, Geezer Butler, Bill Ward, Rick Wakeman, The Phantom Fiddlers; arranged by Wil Malone

Songs and Music: Sabbath Bloody Sabbath, A National Acrobat, Fluff, Sabbra Cadabra, Killing Yourself to Live, Who Are You?, Looking For Today, Spiral Architect

Reviewed By Matthew Anthony Allair

    If ‘Vol 4’ showed development, this album is another demarcation with them taking further risks and showing that Sabbath’s not a one note band. Again, I don’t see why my peers are so dismissive of this band, Lyrically they focus on more than just the darkness, but a range of emotions.

    The opening title track begins with an incredibly strong riff and strong vocal melody before shifting to a jazz flavored verse. This feels like a clear statement of intent, which would make sense, and demonstrates that Sabbath isn’t lacking in substance – if you really listen. This closes with several interesting shifts. “A National Acrobat” opens with a nice harmonized riff, some great interplay between Bill and the band, and a very urban grove populates the second half where you can hear the Hendrix influence. The oddly titled ‘Fluff’ manages to be a better attempt at an acoustic instrumental than ‘Laguna Sunrise’, with several layered acoustic guitars, tasteful acoustic leads, Piano and Harpsicord from Rick Wakeman. Moody guitar opens this up-tempo rocker with ‘Sabbra Cababra’, a tempo shift brings in synths and other dynamic piano textures, and Wakeman manages to channel his inner Nicky Hopkins on the second half of the number. The interplay with Butler is quite note worthy as well on this.

    ‘Killing Yourself To Live’ nearly has a garage rock quality towards it with a dramatic second half that is about as inventive as some of Page’s work with Zeppelin. The opening moody synths in “Who Are You?’ are biggest surprise, nice harmonies from Osbourne, the heavy groove doesn’t really change though, an orchestra and piano section is an interesting orchestral shift, this is mostly an Osbourne composition, one of his few. The closer ‘Looking For Today’ brings a rousing shift with various sections, the orchestral accompaniment nearly hints at The Moody Blues but with a heavy accent, The closer, ‘Spiral Architect’ has more nice acoustic introduction, the driving main piece with Tympani drives home the symphonic element of the piece, and dire I say a progressive rock feel, why not? They are just as capable as any of their peers. The Orchestral build up brings this home. This album illustrates they are as important as anyone else in the current pantheon of rock.

    Too many focus on the surface of Sabbath, and while they might not for everyone, they have focused on the dark as well as the light, be it false religions, sadness, depression, war, or a celebration of life. What most critics miss is that they resonate with the public and for fans of the band, there’s a shared secret for people who feel they belong. To his credit Lester Bangs has changed his attitude about the band. The hippie movement focused for too long on a Pollyanna view of the world and it’s not realistic. One can recognize the dark without fully embracing it. In some respects the album cover taunts at the perceived image of the band. There’s more to the image than people assume, it’s truthful, recommended.    

Retro Reviews: Black Sabbath Vol 4

 

    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. This is in tribute to John Michael Osbourne. Rest In Peace, sir.  All the albums reviewed are indeed classic albums. 

Black Sabbath: Vol 4 (1972)

*** ¾

Producers: Black Sabbath, Patrick Meehan

Musicians: Ozzy Osbourne, Tony Iommi, Geezer Butler, Bill Ward

Songs and Music: Wheels of Confusion / The Straightener, Tomorrow’s Drean, Changes, FX, Supernaut, Snowblind, Cornucopia, Laguna Sunrise, St. Vitus Dance, Under The Sun

Reviewed by Matthew Anthony Allair

    Sabbath’s fourth album has dropped - and in some ways - this is a real evolution. This album doesn’t exactly fall back on cliches, but tests out and explores some interesting ideas. Many of my critical peers have been highly negative about this band, to the point of it being boring at this point. Why they tend to bag on them is a mystery for me. Any act that tried to emulate and move forward from what the band Cream had established, tends to catch people’s ire, but this band doesn’t sounds like Cream and is trying to. Part of the reason as to why the hostility exists is due to the impression that Sabbath is too simplistic in their approach, the problem with that impression and comparison is the fact that Cream were three soloists on any given song. I don’t hear so much simplicity as focus when I hear this band, they trim out the embellishments.

    Yet Sabbath is very able to switch things up on various songs, and keep what they do interesting. It won’t be for everyone, but then again, they aren’t trying to appeal to everyone – they are trying to connect to those whom matter. I suspect they have been following what Zeppelin has been doing as there’s more range of this album, and risks, as well as two instrumentals. The bass work and drumming by Butler and Ward is excellent throughout and Iommi’s guitar work is often incendiary.

    With ‘Wheels of Confusion” the album opens with a bluesy feel before shifting into a driving rhythm and a real swing feel from Bill Ward. Ozzy’s vocal are melodic and strong, some clever switch ups before it shifts to ‘The Straightener’, good leads and chordal work. “Tomorrow’s Dream’ is another heavy number that is the single. But appearances can be deceptive when it comes to this band. ‘Changes’ will probably be a surprise as it’s a nice piano ballad, good piano work from Iommi and an eerie String mellotron. ‘FX’ is a brief odd, guitar sounds and percussion experiment.

     ‘Supernaut’ is a soon to be classic, driving number with a surprising middle breakdown. Some people complain that Ozzy can sound monotone, but he is perfectly capable of delivering some strong melodies. ‘Snowblind’ is another number with some good contrasts. ‘Cornucopia’ musically one of the darker numbers.

    ‘Laguna Sunrise’ is a semi acoustic number with an orchestral backing -, the acoustic lead is a nice addition. Rumor has it that Rick Wakeman was somehow involved on it., the track reminds me of Neil Young dalliances with Jack Nitzsche from a few years earlier. ‘St. Vitus Dance’ is the closest thing to a rave up rocker. The opening riff on ‘Under The Sun’ reminds me of the "Mars theme" from Holst; The Planets before the shift into a solid faster groove. King Crimson had dabbled in a similar reference on their second album In The Wake of Poseidon. The very closing section feels very orchestral.

    This album feels like an answer to the skeptics of Sabbath that argue they lack any range. They do a good job of proving the doubters wrong. Geezer’s Lyrics are always interesting, Tony’s work still can surprise, Bill’s drumming should never be underestimated, and Ozzy’s delivery as a singer has not diminished. Recommended,

Next Up, Part 2: Sabbath Bloody Sabbath

Retro Reviews: Neil Young: After The Gold Rush

    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. 

Neil Young: After The Gold Rush (1970)

**** ½

Producers: Neil Young, David Briggs, Kendall Pacios

Musicians: Neil Young, Danny Whitten, Nils Lofgren, Jack Nitzsche, Billy Talbot, Greg Reeves, Ralph Molina, Bill Petersen, Steven Stills

Songs: Tell Me Why, After The Gold Rush, Only Love Can Break Your Heart, Southern Man, ‘Till the Morning Comes, Oh Lonesome Me, Don’t Let It Bring You Down, Birds, When You Dance I Can Really Love, I Believe in You, Cripple Creek Ferry

Reviewed By Matthew Anthony Allair

    After the demise of the seminal Buffalo Springfield, Neil went off and marched to the beat of his own drum with his 1968 debut with Jack Nitzsche, and last year put out the phenomenal second album with Crazy Horse, an album that blended heavy garage rock with rich harmonies. The new album is a bridge to what he has done before, and a step forward. I am amazed at my peers that are critical of this one. When Neil plays the piano pieces, there’s a delicacy present, and yet he can also be rough the tumble with an electric. This album coincides with the launch of the Crosby, Stills, Nash & Young Déjà Vu album and seems to reflect another side of him.

    The opening track, “Tell Me Why” has a little of that CSNY sensibility in the vocals, the pensive, yet bouncy country flavor sets the tone. His first piano ballad, “After The Gold Rush” is an astonishing piece the blends a narrative of the past and future with a tasteful flugelhorn not out of place on a Beatles record. “Only Love Can Break Your Heart” is another ballad with a lifting chorus. The dramatic, “Southern Man” is the first true, mid-tempo rocker and a scathing critique of American’s history. The brief and whimsical “Till The Morning Comes” is as about as pop ass you can expect him to get. The only cover not written by Neil is “Oh, Lonesome Me”, a folky blues with harmonica.

    The dark and pensive “Don’t Let It Bring You Down” is another slower tempo number that helps to reveal other layers to the man. “Birds” is another piano ballad played by Neil that makes one suspect he’s been listening to Joni Mitchell, at least in capturing the bravery of her writing. Crazy Horse feels like it was truly brought back for “When You Dance I Can Really Love”, another great number and Nitzsche’s piano can be felt. The same is true with “I Believe In You” a track peppered with vibes and extra piano by Neil. The brief “Cripple Creek Ferry” brings things to a satisfying close. The Whitten, Talbot, and Molina line up is magical, But Nils Lofgren and Reeves are strong players. Nitzsche's brief presence is self-evident. If people expect Neil to stay static, they need to break that expectation and I say this to my peers. As the adage states, ‘a rolling stone gathers no moss’, Neil Young is going to keep moving, dear reader. Man, I love him for that. 

Retro Reviews: Gábor Szabó: Dreams

 

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. These albums are lesser known titles.

Gábor Szabó – Dreams  (1968)

****

Producer: Gary McFarland

Musicians: Gabor Szabo, Jim Stewart, Louis Kabok, Jim Keltner, Hal Gordon, Tony Miranda, Ray Alonge, Brooks Tillotson, Julius Schacter, George Ricci, Gary McFarland

Music; Galatee’s Guitar, Half The Day Is Night, Song of Injured Love, The Fortune Teller, Fire Dance, The Lady In The Moon, Ferris Wheel

Reviewed by Matthew Anthony Allair

    European Jazz Guitarist Gabor Szabo has assembled a lovely instrumental album, that is both gentle, introspective, and daring. He had been building a reputation with a number of prior albums, but this might be his best and feels like it arrived at the right moment. In terms of a lead player, he sounds like someone that has been influenced by the contemporary scenes he has observed. He far removed from the influence of a Wes Montgomery, or Charlie Christian and has his own sound. Most everything is originals, except for two pieces from Manuel de Falla, and a Donovan piece. His last two albums “Bacchanal” or “Wind, Sky and Diamond’s” before then had relied on more covers so it’s refreshing to see a focus on originals.

    The album opens with the freeform section of “Galatee’s Guitar”, some lovely playing before it shifts to the rhythm and some very prominent Latin percussion, there’s both a subdued feeling and a quiet burn to the proceedings. There’s a raga feel to his playing as well as alternating notes. “Half The Day Is Night” has a more somber, introspective mood, some nice supportive violin playing on the track. “Song of Injured Love” is one of the first de Falla pieces. They manage a wistful quality to the recording. “The Fortune Teller” is one of the most lively tracks on the album with some great interplay between Gabor and the violin player. The structure bends and blurs as he falls into some open note riffing.

    “Fire Dance” is the second de Falla piece, another Latin shuffle adds to the mysterious quality of the piece, the string and horn coloring adds to it’s feel. Gabor’s overdrive and volume pedal – I am guessing – adds to the second half of the piece, while it all builds with a slow intensity. 2^nd Guitarist Jim Stewart adds rhythm support or almost mandolin fills to Gabor’s lead / rhythm as is evidenced by “The Lady In The Moon”, the inventiveness of Jim Kelter really comes through on this track. His take on Donovan’s “Ferris Wheel” has another Latin feel with some nice support of the horn section. Some tasteful violin and Jim’s acoustic lead help to bring this home before Gabro wraps up the proceedings. I could see many guitarists lifting ideas from Gabro’s work, his controlled use of volume is tactical and tasteful. The album is another hybrid between Jazz, pop, Gypsy, Indian and Asian influences, all of which is fused beautifully.

    This is an album I could see Hippies and members of the counterculture putting this on, burning some incense, toking or dropping and relaxing to. It has a lovely feel throughout. Very much worth your time.

Retro Reviews: The Jimi Hendrix Experience: Are You Experienced?

 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 Jimi Hendrix Experience: Are You Experienced? (1967)

*****

Producer: Chas Chandler

Musicians: Jimi Hendrix, Noel Redding, Mitch Mitchell

Songs: Purple Haze, Manic Depression, Hey Joe, Love Or Confusion, May This Be Love, I Don’t Live Today, The Wind Cries Mary, Fire, Third Stone From The Sun, Foxy Lady, Are You Experienced?

Additional Songs: Stone Free, 51^st Anniversary, Highway Chile, Can You See Me, Remember, Red House

Reviewed by Matthew Anthony Allair

    What can be said about this guitar playing wunderkind that hasn’t already been said, he’s already a revelation in the short time he broke onto the scene. But I am surprised by some fellow critics and peers that are critical about his debut album. Of course, ex Animal’s bass player Chas Chandler discovered him in the US and brought him onto the British scene. Why the criticism, I can only guess, but my impression is that the skepticism is based on his flamboyance and stage theatrics, that his theatrics substitutes musical depth, but I hear a lot of musical depth, if you separate the fuzz volume and guitar feed back, I hear someone who not only has technical proficiency but real song craft as well. There’s some musical sophistication I don’t hear very often from others, and it even rivals Eric Clapton. Hats off to engineers like Eddie Kramer that has helped pull off those sounds. But make no mistake, Hendrix is responsible for those sounds, this is his vision.

    The opening track on the US edition, “Purple Haze”, it’s very opening sounds like a futuristic anthem before the verse even begins. Mitch Mitchell offers some rolling patterns on “Manic Depression” on a song that tumbles along with it’s ode to mental distress. The early single “Hey Joe”, has a full vocal backing that is interesting, and a lead guitar solo that is exhilarating, Once again Mitch offers strong support on “Love or Confusion”, the rhythm guitar is complicated and a second guitar sits on feedback. “May This Be Love” is the first truly lovely number on the album, good vocal and poetic lead guitar. Mitch pretty much carries the atmospheric blues of “I Don’t Live Today”.

    Side two’s “The Wind Cries Mary” might be one of the mostly pieces on the album and one of the better ballads I can recall. “Fire” is a simple fun blues, then again, nothing is exactly simplistic on this album. “Third Stone From The Sun” is Jimi’s take on surf music, but it’s structure is built on several sections. “Foxy Lady” musically struts about with some ebullient leads. The closing title track with it’s psychedelic blues, and backwards percussion manages to triumphantly close the album for the US print.

    But that’s not all, The UK print featured a number of songs that tied into the R and B blues tradition. “Remember” and “Red House” revealed that side of him. Some of the other B sides of the singles, “Stone Free” and “Can You See Me” showed other sides of his background. “Highway Chile” is more dramatic, the spry blues of “51^st Anniversary” argues against marriage. Overall many of the tracks on the album explore depression, freedom, seduction and the reality of life for Americans who are of a different race.

    I could be wrong, but this album is the future, many of these songs will be recorded by others, analyzed and appreciated by others in the years to come. Hendrix has changed the rules – and that’s not a bad thing, baby.