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.
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.
The Monks – Black Monk Time (1966)
***1/2
Producer: Jimmy Bowien
Musicians: Gary Burger, Larry Clark, Roger Johnston, Eddie Shaw, Dave Day
Songs: Monk Time, Shut Up, Boys Are Boys and Girls Are
Choice, Higgie-Dy-Piggie-Dy, I Hate You, Oh, How To Do Now, Complication, We Do
Wie Du, Drunken Maria, Love Came Tumblin’ Down, Blast Off!, That’s My Girl
Reviewed By Matthew Anthony Allair
The first album by The Monks, a band on a niche label, is an
interesting contrast in the deception of appearances. They have the trappings
of your typical rave up band, and when several members sing legitimately, they
are quite good, but rhythm and vibe is the core of this band. Often the vocals
are a hook to pull the listener in. While there’s the typical rock instrumentations,
guitar, bass, organ, drums, there’s also the use of an electric banjo, the bass
is often as over driven as the guitar, the approach almost feels like songs are
the vehicle for ideas rather than the desire for commercial songs, but make no
mistake, there’s some catchy songs to be found. Burger, Clark and Shaw are
talented singers indeed, yet the whimsy seems deceptive in a good way. They are
out to blow people’s minds without the audience being aware of it – and this
sets up a challenge over how they might be received.
With the opener “Monk Time”, Clark’s gothic organ set’s the tone, the vocal is inviting while the rolling rhythm and organ dynamics keep this interesting. The irregular rhythm of “Shut Up” and the dynamics ease into some very free form guitar and organ leads. There’s almost a hybrid country and blues shuffle to “Boys Are Boys and Girls Are Choice”, but it’s all highly idiosyncratic, it’s also the first time we can hear the banjo in effect. With “Higgie-Dy-Piggie-Dy” there’s a surf, Bo diddley shuffle with some outside guitar leads, one can hear the experimental influence of British bands in this venture. The lyrics seem nonsensical and that might be entirely the point. “I hate You” is delivered with a wink and it’s all about the rhythmic vibe. Burger’s lead guitar is pretty loose. The banjo acts like a second percussion instrument. The banjo and lead guitar have an off-kilter quality with “Oh, How To Do Now”, the vocal chant has a playful, urgent element to the proceedings.
The insistent drive of “Complication” might make it one of the better tracks, with very direct lyrics and a free form organ solo. Very concise. The punchy bass and drums drive “We Do Wie Du”, outwardly silly but fun track. There’s something oddly vaudevillian about “Drunken Maria” as well as great brief bluesy organ solo. The banjo and drums drive “Love Comes Tumbling Down”, while the organ and guitar act as a counter rhythm, again, the vibe takes priority. The mood is set up long before the vocal sets in. A heavy and loud vibrato guitar sets up the tone for “Blast Off” with a carnival organ and surf guitar shuffle. The banjo and drums seems to blur together, there’s a manic quality to the track that set’s it apart. “That’s My Girl” brings it all back home at the soul rave opening with an ironic twist.
I have seen publicity photos of the band where they dress in
all black with ropes for ties, and wear friar monk haircuts, there’s a very
conscious image with this band that enhances the theatrical flavor. This is a
band that has managed to find a way to push the envelope with juggling accessibility,
it will be interesting to see if they connect. I hope they do.
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.
%20front%20back%20album%20cover%20download.jpg)
****
Producer: John Cale
Musicians: Patty Smith, Lenny Kaye, Ivan Kral, Jay Dee Daugherty,
Richard Sohl
Songs and Music: Gloria (part1: In Excelsis Deo, Part II:
Gloria), Redondo Beach, Birdland, Free Money, Kimberly, Break It Up, Land
(Part1 Horses / Part 2; Land of A Thousand Dances / Part 3 La Mer(de)), Elegie
Reviewed by Matthew Anthony Allair
Patti Smith is a new singer who has assembled a sympatric band,
is some respects this feels revolutionary, on the other hand, this feels like
an continuation of a cross between Jim Morrison and the Doors and Gil Scott
Heron’s recent work. To add credence to the album Horses is producer John Cale
from the Velvet Underground. The keyboard player Richard Sohl and drummer Jay Dee
Daughery offers solid support. The duel guitar work of Lenny Kaye and Ivan
Kral, whom also plays bass guitar, gives the backing material a kind of real
life, and all the players follow the lead of Patti. The album seems to dabble
into the avant-garde, and free jazz association, but it a rock or pop setting.
None of this in a literal sense, but in the spirit of experimental music, hence,
this won’t be for everyone, but this will reward anyone looking for anything a
little different.
The opening track “Gloria (Excelsis Deo)” basically vamps
off of the Them and Van Morrison song, and build into a spirit of deification. But
it’s really the words that are a revelation as she opens with “Jesus died for
somebody’s else’s sins, but not mine.”, which feels like a shot across the bow
that this is something different. The Reggae infused “Redondo Beach” has a lite
feel, the musical setting is a little deceptive as it deals with a dark subject.
The piano is often a key feature as demonstrated by the epic “Birdland”, a
cross between a narrative and vocal, for the first half the guitar interplay is
light, In some respects Patti’s vocal attempts may be more successful than some
of the things that Morrison was attempting, the problem with the Doors was that
they tempered their sound by 68 for something more accessible. By the halfway
mark, Kaye is really playing off what Patti is doing, her confusion builds up
as it progresses. The mental images she is invoking becomes provocative. The
song was inspired by Peter Reich’s ‘A Book Of Dreams’ and deals with parental
loss. Sohl’s piano work on “Free Money” feels rather introspective before the
full band shifts gears. Daugherty’s drumming gives this extra life. Many of
these may be three or four chord vamps, but they feel sophisticated in their
approach.
The second half opens with the rhythmic pulse of “Kimberly”,
probably one of the most pop feeling tracks, but the content is indeed deep. Another
New York peer, Tom Verlaine, helped co write “Break It Up”, a song with a eerie
setting and some drama within the band., the drama also reminds me of some of
the material from Springsteen’s Born To Run several months earlier. The other
epic “Land: Horses / Land Of A Thousand Dances / La Mer(de)” offers the same
vamps, but seems to be build on instinct, The connection between Rock and RNB
of the past runs very profoundly with some of the numbers, the song seems to be
about longing, the build up of creative energy, and the euphoria of
relationships, the idea of tearing something down that is old, to allow for something
new. The album closer and dark, “Elegie”
sums of the feeling of the album, I believe an upright bass is used for the
ambiance of the track. All of these portraits don’t offer any easy answers to
the human condition, but she does channel the feeling of another New York peer,
Lou Reed, and the Velvet’s connection starts to make more sense.
Why this would only have a select audience is baffling to me, as musically it is quite accessible, and most people could gloss over the lyrical content, but we shall see.
She seems grounded in the real. Recommended.
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 Velvet Underground: White Light / White Heat (1968)
****
Producer: Tom Wilson
Musicians: Lou Reed, John Cale, Sterling Morrison, Maureen
Tucker
Songs: White Light / White Heat, The Gift, Lady Godiva’s
Operation, Here She Comes Now, I Heard Her Call My Name, Sister Ray
Reviewed by Matthew Anthony Allair
After the departure of Andy Warhol as a creative presence,
and the departure of Nico, The Velvet Underground stand at an interesting
cross-roads, can they manage a follow up to their debut from last year? What
other interesting ideas do they have to offer. For that small percentage of
people who listened in 67, their debut album was a shock to the system, it
didn’t have the sensibility of California and it didn’t have any aesthetic like
the British rock scene, it was unique. It is ironic that Verve Records, a label
known for jazz innovation, would risk supporting bands like the Velvet’s or
Zappa’s Mothers of Invention that stand in stark contract to their past, and
yet both acts are truly innovative.
For the bulk of the opening track and name sake, “White Light / White Heat” it manages to be accessible until it trails off at the very end, and should be the bell weather that this is going to be different, if not aa little difficult. The lyrics to “The Gift” is delivered as a spoken tone people behind a heavy two chord riff that evolves, the prose sounds like it’s taken from some semi experimental novel. “Here She Comes Now” is probably the second most accessible track alongside the title track, and it’s probably too short.
The second half opens with the frantic “I Heard Her Call My
Name”, parts of it sound like some R&B rave up. Yet Sterling’s feedback laced
lead guitar jumps into some strange atonal and modal jumps. The final track “Sister
Ray” opens with a heavy groove, and due to it’s sprawling ambition moves into
interesting directions, Cale’s viola is about as distorted as the guitars, he
also jumps to a Vox Organ to add coloring. Sterling’s guitar wails and trades
with Cales Organ, the instrument’s distortion blurs into another. Before you
are even half way through the organ sounds even more out there than anything Manzerek
has attempted with the Doors, and that isn’t meant to diminish The Doors, just
that the Velvet’s are reaching something that the Doors has been striving for. The
lyrics are indeed gritty and crass and they don’t reflect person’s who are to
be idealized. Once you are past the half way point “Sister Ray” sounds
unrelenting. The noise of the organ and Sterling’s lead is chaotic. Something
should be said about Maureen Tucker’s drumming, which while never elaborate, is
steady and she serves the goals of the other players.
This album isn’t as shocking for me as it might be for others,
if you have followed the evolution of the free jazz movement from Ornette
Coleman to John Coltrane. Or even the work of artist Gutav Metzger, there’s
merit in the idea of noise as its own form of expression. The album seems to be
attempting to break down the barriers of what is possible with rock music, and
Lous Reed is such an astute lyric writer and observer of human nature – even when
that nature is on the darker side. I could see the Velvet’s being a significant
band for those who are receptive to it, and I could see others following their lead
moving forward. This won’t be for everyone, but worth a few listens, and for
the patient, something that could be captivating. Recommended.
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.
Mahavishnu Orchestra – The Inner Mounting Flame (1971)
****1/2
Producer: John McLaughlin
Musicians: John McLaughin, Rick Laird, Billy Cobham, Jan
Hammer, Jerry Goodman
Music: Meeting Of The Spirits, Dawn, The Noonward Race, A
Lotus On Irish Streams, Vital Transformation, The Dance Of Maya, You Know You
Know, Awakening
Review By Matthew Anthony Allair
After Mr. McLaughlin has enjoyed a nearly two year association
with Miles Davis’s band, he’s decided to branch out. A man who has followed
Indian culture, and a practitioner of Sri Chinmoy, his spiritual faith has
become a component of his work and approach - the faith aspect will become
important in a moment. Unlike John Coltrane’s spiritual faith which lead to the
more abstract free jazz approach in the later half if his life. Mr. McLaughlin’s
approach is more structured and focused, and his new band is building a new
subgenre that will appeal to many rock fans. The path towards the fusion trend
has been happening for awhile now. This album may be the apex of that direction.
To say that John’s lead guitar work is incendiary would be
an understatement: but he has put together a team that is equal to his skill
and talent. Billy Cobham has been on the scene for awhile now, including stints
with Miles, and his ferocity as a drummer is just about unmatched. Keyboardist
Jan Hammer is a phenomenal new talent, and he keeps this material interesting
and alive. Violinist Jerry Goodman is on par with the rest of the band, there’s
some breathtaking moments. Bassist Rick Laird is another solid asset to the ensemble.
This band is an important new step as demonstrated by the material.
The mystery of the opening chords on “Meeting Of The Spirits”
sets up the template, and a complex chord and rhythm pattern allows Goodman and
McLaughlin free reign. John’s dexterity from the outset is unmatched, which
switches to a slower melodic moment before the intensity resumes. Things scale
back with the moody groove of “Dawn”, there’s a yearning introspection as
McLaughlin and Goodman play in unison in the opener. John’s fire comes through
as it progresses with the tempo shifts. It quiets down as it ends. There’s a
heavy funk aspect to John’s playing on “The Noonward Race”, there’s a processed
effect on Goodman’s playing. Hammer’s electric piano solo has another electronic
texture at times that gives it an unreal element. Things are brought down with
the lovely “A Lotus On Irish Streams” with some nice acoustic piano, acoustic
guitar and violin interplay, a needed shift after the intensity of the prior
tracks. Goodman’s violin has an Asian or Indian feel with the approach.
Regarding the second half, Billy Cobham is allowed to be
showcased at the opening of “Vital Transformation”, there’s a juxtaposition
between the groove and the musical longing. Hammer’s organ ambiance takes on an
unearthly, cosmic quality. The ominous chords set the mood for “The Dance Of
Maya” with some great interplay with Cobham. It all shifts into a classic, and
playful, blues shuffle in the last half. It becomes self-evident with further
listening that McLaughlin may rival several rock players as you dig deeper into
the album. “You Know You Know” opens with an introspective quality, basically a
dark blues number. Hammer is allowed another showcase on the track as well as
Cobham, a gradual slow burn. To say the least with the fiery “Awakening”, the
band is at full throttle.
Similar to the spirituality of Coltrane’s “A Love Supreme”
and “Meditations”, McLaughlin’s approach shares the same unsettled searching for
a connection of a deity, but he has put on his own stamp, and there’s simply
some exhilarating playing throughout from everyone else on this album. There's more than one way to seek something greater than yourself. Recommended.
Perspectives: About that “Real Love’ 2025 mix…
By Matthew Anthony Allair
Expectations and opinions have been all over the place and
the new Anthology remastering’s and Anthology 4, after the significant
success of “Now And Then” in 2024, and the reveal earlier this year of the
“Free As A Bird” remix, the developments of the new mix with “Real Love” is a
little baffling. I don’t have the same venom that some fans do over the new
mix, in fact, I am not particularly invested in this. But I felt I had to
address this as I have some insights into the issue.
I feel a little like Michale Corleone from Godfather III: "I was out, and they pulled me back in." I didn't plan to write about this.
To begin with, remixes always get a strong reaction for fans
who are familiar with an original track, and there’s always diminishing returns
with doing such remixes, not everyone is going to be happy. The digital trickery
of the A.I. that helped to separate John’s vocal from the piano on that demo
used, was a great feat. It allowed more nuance and detail to be found in his
vocal, and Paul with Ringo was able to realize a track that was intended for
1996, but the remaining band members back then just didn’t feel it worked, hance why it was
absent from Anthology 3. People expected the same techniques would be used with
the remix polishing of “Free As A Bird”, a track where’s Lennon’s vocal / Piano
had a compromised edited quality, and John didn’t exactly feel like he was in
the room. That 2025 remix was supervised by Paul and Ringo with only mild enhancements
of the backing tracks from 1996, and overall, it felt like John was more
present.
With the success of two tracks, it was assumed that the same
exact format would follow the new remix of “Real Love”, a song that some fans
prefer over the others, and a song who’s 1977 Demo has a real fan following. But
the results have been a mixed bag, indeed John’s vocal feels more present, but
it also feels a little off. There is also the mixing down of some of George’s
12 string acoustic guitar parts. As well as changes to Paul’s ghost vocals,
which felt mixed down for the sake of emphasizing John’s vocal.
Now, in the past heyday of The Beatles, it wasn’t unusual
for Paul and John to sing the same line in unison to thicken up the sound. In
effect, Paul’s vocal on “Real Love” in 96, where to mimicked John was following in
that direction. One of the complaints about the new mix is that John’s vocal
sounds too thin or artificial, this is due to Paul’s absence with this mix.
Now, many fans liked it when John would sound more vulnerable and stripped down,
bhut there’s an argument to be made, in this case, it was a creative
miscalculation. Also, Ringo’s drums feel a little more present, but the bass
feels like it lacks some punch on this remix. Some people feel that they subtracted
more than added, and that wasn’t really the mission statement.
How did we get here as far as who signed off on this? Apparently, nor Paul or Ringo approved or supervised the mix, and Giles Martin wasn’t involved with this. There was a mis conception that Jeff Lynne was involved due to his recent remix of “Real Love”, but he wasn’t involved. The one person who was involved with approving the mix was Sean Lennon, and it was also reported that Dhani Harrison was involved, but that seems baffling that he was sign off on the tweaks to Geroge’s guitar parts, we’ll get back to that in a moment.
This is where I can conject on the behind-the-scenes
politics of certain decisions, but I have no proof, just an impression. When
the game plan developed for the “Now and Then” project and the refurbishing of
the Anthology enterprise in 2023, There may have been a agreement that Paul with Ringo
would supervise the remix for “Free As A Bird” and Sean would supervise the
remix for “Real Love”. Again, I heard
that Dhani was involved, but it’s possible his input was limited, or his
suggestions were ignored. I can’t say.
Sean has some peculiar ideas about how his father should be
remixed, as evidenced by some choices in the Gimmie Some Truth set. The other
figure that has not been involved with these projects is Julian Lennon, and in
this case, I think his absence was a mistake. Julian was known for being good
friends with Paul, and I suspect his perspective would have been, and offered,
helpful input to the remix process. Why is there so much possible politics have to do with Yoko
Ono, as much as she is in retirement, and in the gradual decline expected in
the winter of a person’s lifespan, she still may have some influence, or due to
polite circles, a reluctance to alienate her, as it is pretty evident that Sean
is seem as the defector heir to the Lennon estate, and almost always presented
by some in the media as the sole son of John Lennon, some argue that Julian’s
presence is inconvenient. It should also be noted that Sean and Julian get on
quite well, and there’s a media construct to divide them that simply bears no
relation to reality.
I don’t want to pile on about Sean, I have no issues with
him, and it does seem that the bile and bias against Yoko Ono, has shifted over
to Sean in some circles. He seems like a very nice man. I feel that the racism
and misogyny against Yoko has been so over the top for decades, that people
lose their objectivity over her, as much as I don’t always agree with his past
decisions. Nearly all of the baggage against Yoko has nothing to do with Sean,
he inherited a history that has almost nothing to do with him, but fair is
fair, and if he had a hand in the creative choices of the “Real Love” remix, it was a misstep,
and an example of the ‘emperor has no clothes’, there’s valid criticism over if
the best choices were made this time.
The Beatles were a democratic band; all decisions were voted
by them. We are edging to the point where the offspring of The Beatles should have
an equal vote, and signing off, on all future projects, either remixes or A.I. projects.
It will be interesting to see why the dynamics shifts once Yoko passes. Many of
the Beatles siblings are musicians and producers in their own right. This is
true with Julian, Zack Starkey, James McCartney and Dhani. All family members should
have veto power regarding these decisions, as the original members fought for
the legacy of their children and great grandchildren.
It does not really matter if the widows of John and George would displeased by such a democratic decision, be it Olivia Harrison, or especially Yoko Ono, it is irrelevant to a greater good. No one person should have a single say for the sake of diplomacy.
On one hand is it just a mix of another song,
one of many, and who cares. But a day is coming when Paul and Ringo will no longer
be here as well, and if this was a ‘test case’ to see how certain decisions
were made, I feel there may need to be a sober discussion over how many people
should sign off on these matters.
Personally, in the greater scheme of things, I don’t really
care, and I am indifferent to the arguing over the mix of a song, but old and new
fans still care about the details, and I can’t really discount that.
I'd like to add a comment about that new mix of "I am The Walrus" which just focuses on the strings and horns in the new set. The backing track is just a quiet reference, and you can really hear certain details about George Martin's arrangement. Mr. Martin may not have been the 'fifth Beatle', no one was, but his instinct and imagination as an arranger brought forth some great things. The strings have such a heavy, almost metal vibe to them, be it instructions over how the cello and strings players were supposed to attack or brush the strings, there's an abrasiveness to the sound that adds to the finished product. That could also be how it was engineered and recorded as well. I have always been an advocate for Martin's original composing skills, both the orchestral score for Yellow Submarine and his score for Bond's Live and Let Die, his instincts carried over to how he arranged for The Beatles. He was imaginative in his own right. Pardon the digression.
There might be more information that may come out about
this, and so this piece is fluid, we shall see. Nevertheless, it is still a miracle
that we got three more Beatles songs in our lifetimes, be it the mid-90s or
2024. Futrue generations won’t be able to make the claim they lived through that.
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.
Todd Rundgren: Something / Anything? (1972)
****
Producer: Todd Rundgren
Musicians: Todd Rundgren, backing on various tracks, Rick
Valentte, Randy Reed, Collie Reed, Mark Klingmen, Rick Derringer, John Siegler,
John Stomos, Randy Brecker, Michael Brecker, Barry Rogers, Hope Huff, Vicki
Robinson, Dennis Cooley, Cecilia Norfleet, Amos Garrett, Ben Keith, Jim
Colgrove, Billy Mundi, Robbie Kogele, Ralph Walsh, Stu Woods, Bugsy Maugh, Gene
Dinwiddle, Rick Vito, Charlie Schoning, Tony Sales, Hunt Sales, Jim Horn, John
Kelson, Brook Baxes, Anthony Carrubba, Henry Fanton, Edward Olmos
Songs: I Saw The Light, It Wouldn’t Have Made Any
Difference, Wolfman Jack, Cold Morning Light, It Takes Two To Tango (This Is
For the Girls), Sweeter Memories, Intro,
Breathless, The Night The Carousel Burned Down, Saving Grace, Marline, Song Of
The Viking, I Went To The Mirror, Black Maria, One More Day (No Words), Couldn’t I Just Tell You, Torch Song, Little
Red Lights, Overture-My Roots: Money (That’s What I Want), Messin’ With The
Kid, dust In The Wind, Piss Aaron, Hello It’s Me, Some Folks Is Even Whiter
Than Me, You Left Me Sore, Slut
Review By Matthew Anthony Allair
This is a sprawling, if not a little indulgent, album by Mr.
Rundgren that may act as a calling card for an interesting recent past
catalogue. His prior two bands, The Nazz, and then Runt, had managed to put out
several albums, and had a few moderate hits with Nazz. This album feels like a
creative purge of material that Todd has been sitting on for awhile, both
focusing on the present, as well as looking at the past. Each side has a
humorous description, side one: A Bouquet of Ear-catching Melodies, Side two:
The Cerebral Side, Side Three: The Kid Gets Heavy, Side Four: Baby Needs a New
Pair of Snakeskin Boots (A Pop Operetta). All of which gives the listener a
vague idea over what to expect, this also gives the listener the freedom to pick
and choose what to try out. This pouring of material reminds me of George
Harrison’s All Things Must Pass, another situation where he had a backlog of
ideas. Nevertheless, this is a bold move for a little-known artist in certain
circles, but I have a feeling that is about to change.
The opening track “I Saw The Light” is already a perennial
favorite on the radio, catchy, with some nice harmonized guitar leads, and
tuneful background vocals. The next track, “It Wouldn’t Have Made Any
Difference”, has the potential to be another single. “Wolfman Jack” has the
feel of an RNB rave up, of course, the figure mentioned is a famous radio DJ
from the 50s and 60s, this plays on a universal nostalgia. “Cold Morning Light”
takes things down a little as a pleasant ballad. “It Takes Two To Tango (This
Is For The Girls)” is a musically rich and rhythmically complicated number that
may take a moment to get one’s bearings. “Sweeter Memories” is a mid-western
soul ballad with some good jazz flavored vocal harmonies.
Side two opens with the odd, and helpful introduction that
segways into the instrumental “Breathless”, a synth heavy number that seems to
be taking a nod to the evolving Progressive rock movement. It takes a playful
shift into tango blues. “The Night The Carousel Burned Down” has an odd waltz
time feel, as well as a art pop sensibility within the carnival guise, as well
as having a little of the invention of Brian Wilson. “Saving Grace” has a truly
bizarre opening before it shifts into some comfortable pop with Rundgren’s rich
vocal harmonies. The art pop spirit continues with “Marline”, the Wilson
influence creeps in again with layers of melodic bells. This is followed by the
tuneful and idiosyncratic “Song Of The Viking”. The side closes with the
somewhat disjointed and experimental “I Went To The Mirror”. This side seems to
be playing with the form of what music could be.
Side three opens with the dynamic, heavy, gospel infused
“Black Maria”, some good brash guitar interplay within. The ballad “One More
Day (No Word)” has a missing for the holidays longing, nice harmonies, it also
demonstrates Todd’s natural song craft. “Couldn’t I Just Tell You” is the
closest thing to the kind of powerful pop that Badfinger has been producing. “Torch
Song” has an ambient mood as a ballad that will harken back to Brian Wilson.
“Little Red Lights” has a Hendrix like opening before it settles into a modern
RNB number with some clever drumming. This side lives up to it declaration as
well as holding some of the more experimental ballads.
Side Four is dedicated with looking back at the past. The
garage rock of the medley, “Overture: My Roots: Money (That’s What I Want /
Messin’ With The Kid” has a raw , bootleg quality with it, of course, The
Beatles had recorded ‘Money’ back in 1963, the track has a collage feeling. “Dust
In The Wind” wasn’t written by Todd, but this RNB cover has a gospel feel and
accented by some nice horns and solos. “Piss Aaron” is a whimsical, pop blues
number with a dobro country accent. The afford mentioned “Hello, It’s Me” is an
older Nazz number has been retooled, more up-tempo, with a real vibrancy beyond
the dirge approach, and it’s not surprising it’s the other perennial single. “Some
Folks Are Even Whiter Than Me” is a more up-tempo pop rocker with a whimsical
edge., and some great horn soloing, and guitar leads. The next track begins
with some studio banter and false starts before “You Left Me Sore” begins,
another accessible ballad. The closer “Slut” is another mid-tempo rocker that
rounds out the whole affair. The bulk of the studio banter on the final side
helps to make you feel like you are eavesdropping as well as adding to a
controlled live feeling. The entire experience will leave you feeling
entertained and one of left with the sense that Todd Rundgren is going to be an
important force in the decade, while highly excentric, rewarding as well.
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.
Bobbie Gentry: Ode To Billie Joe (1967)
****
Producer: Kelly Gordon
Musicians: Bobbie Gentry, James Burton, Mike Deasy, Jesse
Ehrich, George Fields, Harold Diner, Barrett O’Hara, Jack Sheldon, Norman
Serkin, Joseph Saxon
Songs: Mississippi Delta, I Saw An Angel Die, Chickasaw
County Child, Sunday Best, Niki Hoeky, Papa; Won’t You let Me Go To Town With
You?, Bugs, Hurry; Tuesday Child, Lazy Willie, Ode To Billie Joe
Reviewed By Matthew Anthony Allair
In places, this is an astonishing debut, and Bobbie wrote all but one song, and she has a range with her vocals, raspy, gritty, sensitive. Of course the single has been generating a lot of attention, there’s a surface, yet subtext to “Ode To Billie Joe” that is indeed tragic. There’s a candor to some of these songs that separate them from some of the typical country fare you hear these days. The opener “Mississippi Delta” Is an up-tempo country blues with a rock accent. The harmony vocals give it an extra grit, the horns give it an extra ominous flavor, there's also some clever word play. “I Saw An Angel Die” is a sensitive, jazz pop flavored number, and shows a little of her vocal range, the melodic harmonica is surprising, there’s a sadness that makes you feel Gentry might be an old soul. “Chickasaw County Child” is another blues, there’s some good guitar support, and the arrangement even features either steel drums or xylophone, there’s some high strings near the end that give it an unsettling feeling. The lovely “Sunday Best” had a laid back feel and some further musical sophistication. “Niki Hoeky” is the album cover, and has a faster blues feeling with some honky Tonk electric piano, and Bobbie is able to sing in a higher register, an impressive
“Papa, Won’t You Let Me Go To Town With You” is another
narrative blues with a rich arrangement, although the arrangement almost
overwhelms her vocals, but not quite. The whimsical “Bugs” is pretty self explanatory
with some nice arrangement accents the illustrate the mood. The jazz flavored
ballad “Hurry, Tuesday Child” has a relaxed feeling and Gentry’s delivery
reminds me of some of Sarah Vaughn’s vocals. She may have come from the south,
but there’s a certain depth I hear that is refreshing. “Lazy Willie” has a
bleak quality to it, in spite of the country blues setting, yet to does evoke an
effective mental setting, and it does seem to prelude into the album closer and
title track. “Ode To Billie Joe” is something of a wonder, it paints a bleak
picture of rustic, small town life, dressed in a table conversation, the mournful
strings just add to the unsettling quality.
While it is subtle with its execution, there’s some real
artistry with the arrangements and Gentry’s delivery, she sits on a lot of
blues seventh chords, but she does it well. Some of the finer points of her
work may get lost for some listeners, she may be marketed as a country artist,
but there’s a relatability to her songs that move her little above some peers, along with a new
artist like Dolly Parton, Gentry is one of the freshest singers and writers I
have heard thus far. Recommended.
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.
Jefferson Airplane: After Bathing At Baxter’s (1967)
**
Producer: Al Schmitt
Musicians: Grace Slick, Paul Kantner, Marty Balin, Jorma
Kaukonen, Jack Cassidy, Spencer Dryden, Gary Blackman, Bill Thompson
Songs and music: The Ballad Of You and Me and Pooneil, A
Small Package Of Value Will Come To You, Shortly , Young Girl Sunday Blues, Martha, Wild Tyme
(H), The Last Wall Of The Castle, Watch Her Ride, Spare Chaynge, Two Heads,
Won’t You Try / Saturday Afternoon
Reviewed By Matthew Anthony Allair
It’s pretty surprising that some peers are praising this
album, perhaps it has to do with Northern California geography, I can’t say.
But after the success of Surrealistic Pillow, this feels like a letdown. That
album had two Bonafide hits with ‘White Rabbit’ and “Somebody To Love”, as well
as interesting instrumentals like Embryotic Journey”, as well as balanced mixed
of songs where everyone contributed. The one notable absence is Marty Balin who
only co-writes one song on this, and you can really feel the difference. Now,
Kantner is a fine song writer, but his commitment to experimenting with the
structure of songs can be a great risk, and it doesn’t pay off. However much
The Beatles experimented with Sgt. Pepper, there was a cohesiveness with the
writing, as much as the embellishments broke from the norm. I have no problem
with experimenting with the form of music, but there has to be some real craft
and focus, you can see my prior review about John Coltrane’s Meditations
to see when the experimental risks pay off. Too much of this album, feels
aimless and not focused, aside from the risk of breaking from the commercial.
The weak material sabotages the good material that can be found herein.
“The Ballad Of You and Me and Pooneil” is the perennial
single, as well as the album opener, but it’s an odd opening statement - it sets
the tone but it leaves the impression that the album will amble. The short piece,
“A Small Package of Value Will Come to You, Shortly” has some free jazz drums
and vibes, that just don’t work, and conversations that just spout cliches. The
only Balin co-written number “Young Girl Sunday Blues” is the first strong number
with some good harmonies between Balin and Cassidy. “Martha” is the first
acoustic number with some clever drumming, and the kind of harmonies between
Slick and Balin that seem like a natural fit. “Wild Tyme (H)” starts off for a
moment promising, but the instrumentation and vocals seem to tumble over each
other, and it seems to lack focus. “The Last Wall Of The Castle”, like the
prior track, feels aimless, but the middle section tries for something heavy,
but it doesn’t work.
At least the side two opener, Slick’s “Rejoyce” has some
interesting moments between the atmospheric piano and horns, and it seems to
grow in strength as it evolves. “Watch Her Ride” reminds me of the vide of The
Rolling Stone’s “Have You Seen Your Mother, Baby, Standing In The Shadows?”,
but this simply doesn’t work. The long “Spare Chaynge” just opens with aimless noodling
for the first two minutes before it get’s focused. It feels like a band
struggling to find an idea, and it’s in stark contrast to the focus of Pink
Floyd’s “Interstellar Overdrive”. It does double up in the second half, but it
needed some good editing. “Two Heads” has a good Slick vocal and some
interesting harpsicord embellishments, but it meanders. There’s some fleeting
promise with the album closer, “Won’t You Try / Saturday Afternoon”, but it
ends up feeling as aimless and unfocused as other tracks. The Airplane are as much as jam band as the Grateful Dead, but something has to translate in the studio verses the live performance. Looks like they forgot that.
I take no pleasure in not caring for this album - the prior
album held such promise for the future. Rumor has it that there was some other
material they scrapped to go in this direction, perhaps that was a mistake.
This feels like an album that began with the best of intentions, but it doesn’t
translate into anything focused enough the grip the listener. I hope this album
doesn’t cast doubt into the relevance of the band. Perhaps they were embarrassed
by the success of the prior album, I can’t say. Only for the merely curious.
