Ike and Tina Turner: Workin' Together (1970)

 

Article and review by Matthew Anthony Allair

 The personal impact

    This is one of those albums, along with less than a dozen, that I have a deep connection with as a child before adolescence – it just became part of my consciousness – not withstanding the iconic single, “Proud Mary”, but we’ll get to that in a little bit, I just have a sense memory about this album. When I was young we lived on D Street, in San Rafael, CA. The two-level house seemed massive, the lower building house a flower shop, and the huge back yard held a massive tree. This was one of a stack of records my mom loved, and the interest carried over to me. I wasn’t surprised when Tina Turner broke big in late 1983, it was long overdue, I remember my mom picking up the Private Dancer album for me before the end of the summer of that year. 

    Tina herself was an uncommon talent, she had a voice suited for RNB and Rock, it could be gritty yet sensual, she had enough of an instinct as an actor that she could be a great vocal interpreter, she had broad tastes and loved signing Rock N Roll. She may have started out as a Soul and Rhythm and Blues singer – but she wasn’t going to be defined by any limitations. The thing that held her back was Ike Turner. It’s also complicated because Tina has been on record saying that she often felt more a sibling relationship with Ike than a romantic one, plus it was entangled with a business partnership.

The History

    As far as Ike Turner is concerned, he was an important figure in the development of early Rock N Roll. Jackie Brenston may have been credited as the singer for “Rocket 88” in 1951, but it was Ike Turner’s band, the band credited as the “Delta Cats” on the single which was actually Ike’s “Kings Of Rhythm” as the backing unit. The actual song was inspired by the 1947 number by Jimmy Liggins, “Cadillac Boggie”. But this 12-bar blues, “Rocket 88” set up many elements that would be used by everyone else. That slightly over driven rhythm guitar played Willie Kizart, and the piano played by Ike Turner. That track was produced by Sam Phillips for the Chess label. Why is all of this important is because its success on the Soul charts gave Ike Turner clout he would take advantage of. “Rocket 88” was the third-biggest rhythm and blues single in Jukebox plays of 1951. The impact of the single even reached Little Richard, Ike’s piano fills were lifted for “Good Golly Miss Molly” in 1958. 

    Ike would continue to be a session musician and talent scout for Chess from 1951 until 1954 under Sam Phillps. Ike co-wrote other music for Sam Phillips he wouldn’t be credited for during this period, Ike started off as a piano player, and even sat in on a few Howlin’ Wolf sessions during those years, and acted as a in house Producer for Chess. Willie Kizart would teach Ike the rudiments of guitar a few years later on. Ike’s Kings of rhythm played on many recordings for the Bihari’s Modern, RPM and Flair labels. Ike’s tenure in Saint Louis from 1954-1959 saw a new line up with the Kings along with Ike’s wife Annie Mae Wilson in vocals and piano – she’ll become important in a moment.

Bill Wyman observed from Tina’s book:

“Ike was a brilliant piano player, but he didn’t like to talk about those early records he’d done. He said he always used to get screwed up in those days, no credits or anything, and he always had a chip on his shoulder about it. That’s probably why he was such a bad guy to deal with later.”

    In 1956  Ike had another hit with “I’m Tore Up” featuring Billy Gayles. In 1956, Ann Bullock first saw the Kings of Rhythm at the Club Manhattan in East St. Louis. Ann’s sister was working as a barmaid in the club, and Ann tried several times to sing on the stage for Ike. She got hold of a microphone and sang B.B. King’s “You Know I Love You” for Ike and he was impressed with her. In March 1960, Ike allowed Ann to record a demo for his self-penned song “A Fool In Love”, the original singer was a no show, and when a local DJ suggested Ike send the record to Sue Records, label head Juggy Murray insisted on releasing the track as a single with Bullock’s vocal. The track was released in July 1960 and “A Fool In Love” was a massive, national hit, selling over a million copies. That was the start, the success of “A Fool in Love”, which reached number 2 in the RNB Billboard charts, necessitated a follow up, “I Idolize You” – another hit, which lead to their second million seller, “It’s Gonna Work Out Fine”.

    But like many other acts in the “chitlin circuit’, they toured a grueling set of one-nighters through the United States. The origins of the ‘Chitlin circuit’ lay in the racialized vaudeville performance circuit of the 1920s, and this carried over for decades, in the circuit, each act would be billed with other “black acts’, and would include rhythm and blues acts, gospel performers and comedians. The scourge of Segregation was a unifying force for performers on the circuit, Black performers were prevented from stayi8ng in most hotels and had only option available to them in most areas, these performers stayed at the hotel, this lead to fraternization, collaboration and cooperation. Often Ike would have a white employee, road assistants ensure they stay at such hotels, keeping up a ruse. The reality is that, for many, singles were just promotions to get people to live shows in the American market of the time. But the duo would jump from one record label to another through the 60s, aside from Sue Records, they recorded for Teena, Prann, Innis, Sony, and Sonja. Ike was a hustler - not the sense of drugs or prostitution - but getting bookings and signing with labels. Their tours were brutal, and they had to deliver at every live show.

    By 1962, Ike and Tina got married in Tijuana, Mexico and moved the entire band to Los Angeles, the struggles in the south may have been over but new issues were on their way. Ike had a history of marrying and divorcing women, he was married 14 times, some of the events in “What’s Love Got To Do With It” (1993) was an amalgamation of several relationships. When Annie Mae Wilson left Ike for a police officer in 1958, Ike presented a petition to the East St Louis Board of Police Commissioners, claiming abuse to get the officer fired. Another early marriage did lead to a wife being institutionalized, his marriage to Marion Louis Lee (Bonnie Turner) in 1952 lead to several singles and collaborations that could be seen as the template to his partnership with Tina. Bonnie and Ike divorced in 1955. Ike had a knack for cultivating drama, but we’ll get into that soon. 

    By 1964, the revue had more hits with the biggest being “Two Is a Couple”, peaking at 15 on the Cashbox RNB chart. Throughout 1965 they appeared on American Bandstand, Shindig! And Hollywood A Go Go, then Phil Spector seeked out Tina for something special. Spector even negotiated a deal to get the duo out of their contract with Lorma Records, with their manager, Bob Krasnow, to sign with Spector’s label Philles Records, so Phil could record with the duo, and namely Tina on the single “River Deep – Mountain High” in 1966, a track that became regarded as a cinemascope feat, yet only charted at 88, while Ike was technically involved in the sessions, he was actually paid to stay away during the recordings with Spector. As pointed out by critic Robert Palmer in 1993:

“There was never any doubt that Tina Turner was the star of the Ike and Tina Turner revue, the electrifying performer audiences came to see. Ike kept his own stage presence deliberately low-key, avoiding flamboyant moves and directing the band with underplayed economical gestures. His songwriting, production and music direction were geared towards showcasing Tina.”

    In spite of it’s American reception, “River Deep – Mountain High” was a pivot point for Tina, a moment that demonstrated that she could transcend her partnership from Ike and have worth on her own as a marketable talent. It also may have set the seeds towards Ike’s jealousy and control moving forward, but that is just sheer observational speculation from this writer. Tina’s nature was nurturing, and she documented that ways of her for Ike, doing manicures, pedicures, messages, advising him on his dress and hair style changes.

     In 1968, a new deal with Bob Krasnow lead to two chart topping albums, Outta Season with the single, Otis Redding’s “I’ve Been Loving You Too Long” and So Fine released that same year, whose title track ‘So Fine’ charted. After Tina and Ike had married, They had one son, and they adopted Ike’s other children, Ike’s drug use and promiscuous behavior lead to a suicide attempt by Tina in 1968 while overusing valium pills, in a way, it was a wakeup call. Tina herself had explained:

“It was my relationship with Ike that made me the most unhappy. At first, I had really been in love with him. Look’s what he’s done for me. But he was totally unpredictable.”

    In 1969, Ike released an instrumental album, “A Black Man’s Soul” that earned a Grammy nomination for Best R&B Instrumental performance. While headlining the International Hotel’s Casino Theatre in Las Vegas, Ike, who had been living a drug and alcohol-free life, started to use Cocaine, which would only make matters worse and enable his volatile moods. It’s been pretty much documented that it was Tina that pushed for recording more Rock N Roll covers. It was Tina who pushed to open for the Rolling Stones in their 1969 tour. Ike resisted the direction, he didn’t care for “Proud Mary”, the changes would help build their fortunes. She had an uncanny ability to read trends. Close to the middle of 1969 while Ike and Tina were in Seattle, they went to a record shop as recounted by Tina, she heard The Beatles "Come Together", The Rolling Stones "Honky Tonk Woman", and got Ike to agree to perform them, which in turn lead to the studio recordings, more on that in a moment. 

    Let’s address the elephant in the room, not only Ike’s drug abuse, or his numerous infidelities but his domestic abuse. Let’s be clear, any form of physical, mental, or verbal abuse is never acceptable. If anything, the violent incidents depicted in “What’s Love Got To Do With It” is watered down, based on accounts I have seen. At various points, Ike could have killed Tina with the severity of some of the incidents. It was not only exclusive to Tina, there were other female assistants he was known to have hit. In the age of “MeToo” and younger generations being far more attuned and intolerant towards abuse, I can admire Ike’s accomplishments without admiring the man himself, which I don’t. I cling to Bruce Springsteen’s ethos of ‘trust the art, not the artist’. Why did Ike abuse her? Hard to say, he had his own abuse as a child, not only physical, but sexual, there’s two directions an abused person can go – either repeat the patterns and abuse as an adult, or recoil from violence and go the opposite direction and be non-violent, unfortunately, the later seems to be the aberration statistically. But we’ll get back to that later.

    1969 also saw the release of a more blues-based record with “The Hunter” with guest guitarist Albert Collins. As well as A&M rereleasing the “River Deep – Mountain High” which was released in the US for the first time. At the start of 1970, their cover of The Beatles “Come Together” reached number 21 on the RNB charts. The success of the album with the same name, reached number 21 on the RNB charts, as well as their cover of “I Want To Take You Higher” which charted even higher than the Sly Stone original and this led to Liberty agreeing to another album. That album, “Workin’ Together” would almost be the apex of their career. The Revue’s performance fee went from $1,000 to $5,000a night following their successful run. They had turned a corner, after jumping from label to label, they had enough momentary stability to hold them. Their tenure at the United Artists label ran for about seven years until their marriage dissolved.

    Of course, success brought further avarice, Ike’s drug problems would increase, as well as the pressures of keeping the touring band together. Ike had been diagnosed with a Bipolar Disorder, but I suspect there’s another issue to explain his behavior, as much as I am not a clinician, he may have been a Narcissist. Now, Narcissism is an overused term, but there are definitions that help fit the criteria of this personality type. Many entertainers with huge egos are not narcissists, but there are many traits described with this type, a grandiose sense of self-importance, a lack of empathy and a constant need for admiration. Often these types of people will manipulate, gaslight, and triangulate friends and family against one another.

    For example – Ike did manipulate Tina’s mother and her sisters to almost always side with him as tensions grew in the 60s - they all probably ignored the abuse or rationalized it.  Aspects of this would be mentioned in the “What’s Love Got To Do with It” film. Ike’s staggering number of marriages and divorces could be an example of this Narcissistic behavior. Plus, Ike had made comments later in life, upon reflection, that “Sex was power” for him. This is all conjecture on my part, but the clues suggest that he was a malignant Narcissist. This doesn’t excuse his behavior, but it enlightens it.

    There’s no band credits on the album, but the likely players were: Ike Turner: Guitar, Vocals, Jackie Clark or Johnny Wright: Guitar, Warren Dawson: Bass, Soko Richardson: Drums, Edward Burks: Trombone, McKinley Johnson: Trumpet, J.D. Reed: Saxophone and, or Mary Reed. The possible keyboard players were Jerry Peters or Clearance McDonald. The likely background Ikettes singers were Robbie Montgomery, Venetta Fields, Jessie Smith and, or Jean Brown. It’s possible that bass player Jesse Knight Jr. and Saxophone player Eddie Jones were involved in the band, Several of the Ikettes became session singers away from the band, and they sang backgrounds of The Pink Floyd Wish You Were Here album.

The Album

    Now, we can get to the album, Workin’ Together might just be their most cohesive album, for an act that was known for just treating albums like a collection of songs. It may have been Tina that suggested the rock covers that populated the Come Together album. Selections from The Beatles, The Rolling Stones, and Sly Stone, all done with a soul sensibility to appeal to the African American marketplace. It worked, and as much as Ike was writing original material, it gave commercial grounds to go further. That included a cover of the John Fogerty and Creedance Clearwater Revival song. What galvanized Tina to perform and record it was that she felt “Proud Mary” represented “Freedom” for her.

Tina commented from her book:

“We made that song our own, I loved the Creedence version, but I liked ours better after we got it down, with the talking and all. I thought it was more Rock N Roll.”

    The John Fogerty song was recorded by Creedence Clearwater Revival on their Bayou Country album at the start of 1969. “Proud Mary” peaked at number 2 on the singles charts. The song was written after Fogerty was discharged from the National Guard in 1967. John would later comment on Tina Turner’s work after her passing at an public concert:

“We have lost the queen of Rock N Roll, Tina Turner, I toured with Tina way back in 2000, Of course Tina recorded my song, “Proud Mary” way back in 1971, and it was a breakthrough song for her. Also a signature song. Man, I saw her on TV every week in that red dress on and the Ikette girls dancing in the background…she was amazing…This is the first good song I wrote.”

    Now, let’s get onto the album: There have been few songs that have helped to crystalize a duo’s career like “Proud Mary” for Ike and Tina. The other exception I can think of is Sonny and Cher with “I Got You Bade”, Her monologue at the opening of the track had become so iconic it had been parodied over the years, and she continued that arrangement through her solo career. Ike’s harmony vocal and that deep register added to the more laid-back grove in the first half of the arrangement. The band delivered on the promise of the rough section when it shifted into high gear. Hearing it on record was one thing, but to see the live performances of the song was entirely something else. Soko’s drums are incredible on the track. The guitar interplay between Turner and Clark is delightful. The piano work from either Peters or McDonald is quite solid, and the Ikettes support vocals are iconic.

As noted in video, in compliance with "fair use".

    The album opener and title track “Workin’ Together” might be one of Ike’s better songs, and a good fusion between pop and soul. The opening riff seems to be a nod to Bob Dylan’s “I Want You”, there’s some tasteful fills with the second guitar and the horns help lift the track. Tina’s plea for racial harmony and tolerance is heartfelt, and it’s a little bit of a surprise that she never included it into her live solo setlist in the 80s or 90s. “(As Long As I Can) Get You When I Want You” is the Jackson / Moore number that has a good opening riff with some strong bass fills and good support from the horns, the arrangement keeps this interesting. Tina’s vocal is strong.

    After the success of “Come Together”, they were bound to tackle some more Beatles material. “Get Back” is a pretty faithful attempt. Tina manages to stretch out the vocal melody and make it her own. The Lesslie flavored guitar solo feels like a nod to Harrison. After another verse, the second guitar solo has more of a Lennon feel, which repeats in another variation after the final verse. Tina’s sounds like she’s enjoying this and is playful. Soko’s rhythm shuffle and fills really spotlight the last half. Ike’s “The Way You Love Me” reverts back to their soul influences from the early 60s, the blues piano acts as the centerpiece of the number. Tina’s improvisation at the end is delicious.

    “You Can Have It” is a more laid back blues soul ballad is another Ike number that seems to support Tina’s nuance as a singer. The Ikettes vocal support is especially good, and Chitlin’ soul guitar work give it some flavor. Soko could really pull back as a drummer and support the material when needed. “Game Of Love” has a murky, soul menace that sets up a mood, and rationalizes how infidelity works both ways. The horns accent the rhythm guitar as it progresses. Tina’s vocal is cutting. At this point, I don’t want to read into a Fleetwood Mac “Rumors” situation, but there is something a little autobiographical with some of the songs, and Tina sounds like she could be making some very pointed comments towards Ike.

    “Funkier Than A Mosquita’s Tweeter” is the straight up early funk number with some great three way interplay between the bass and duel guitars. There’s some initial vocal interplay between the Ikette’s and Tina before she takes over, the title seems to a slang term for a less than endowed male and the song is a great take down. Soko’s percussion sits in the groove until the chorus and then really comes to life. A few things of interest, the song was written by Tina’s sister, Aillene, we’ll get back to that in a moment. The grove of the track predates The Temptations “Papa Was A Rollin’ Stone” by nearly two years. Furthermore, Nina Simone did a recording of the song for her album, It is Finished from 1974 that featured a more afro centric percussion feeling.

    Regarding the opening piano fanfare, played by either Peters or McDonald, is dynamic on “Ooh Poo Pah Doo”, a hybrid of Spanish and classical before Tina kicks in on a fun vocal that harkens again back to their earlier days. “Goodbye, So Long” may have already been recorded in the earlier years, but it’s one of the stronger tracks, with some good interplay with the band, Tina and the Ikettes. The closing track is ironically the weak link, and the second Beatles number on here. The musical arrangement of “Let It Be” is good, faithful, and some nice piano work, but the altered lyrics undermines this take. It is understandable at the height of the Black pride empowerment, and so appeal to the soul market, I don’t know if the changes were Tina’s idea of Ike’s, but it undercuts the original spiritual point of McCartney’s lyric. It hinders the album by only a small margin. In fairness, it was common for Blues and RNB acts to alter lyrics to another artists song, that appropriation was happening long before the accusations against Led Zeppelin.

The social impact

    I’d like to go back to a few points with Bullock. “Funkier” is a strong piece, and she was credited with several other songs, she was credited with writing “Love Is A Game, Baby (What You Want Me To Do), Pick Me Up (Take Me Where Your Home Is), Happy But Lonely,” and “Bootie Lip, D.M.Z” which might be instrumentals. It strikes me as a little odd that her writing career ended after just over two years, and it left me with a question. Could Ike have written these songs and credited them to her? I don’t want to be Misogynistic, and if she did, more power to her. But one of the standard traits of Narcissists is to triangulate and set family on one another, Ike could have given her credit as another way to control the sister and then control Tina. It has been documented that Tina’s mother and sister sided with Ike as the problems grew. On the other hand “Funkier” does seem to come from the perspective of a woman. Yet even by the mid-seventies, Aillene was afraid of Ike. *

    In fairness to Tina, she too started to write material for several years, by the time of 71, Tina started to co write material with Ike. The 1972 album “Feel Good”, she was credited with writing nine songs alone, on their 1973 album “Let Me Touch Your Mind”, Tina wrote two songs. And her seminal 1973 “Nutbush City Limits” album, she wrote the title track and four other songs. “Nutbush” was no aberration, she had been writing or co-writing songs for a couple of years. How she wrote is an interesting question as she was not known for playing any instrument. But if you have followed Michael Jackson’s creative process, he would vocalize his ideas to other musicians, and Tina may have done exactly the same thing. She continued to write in 1974 up through 1977 when she helped co-write “Pick Me Up”.

    This enters into a thorny subject, as it would reveal of generosity of spirit for Ike to encourage her writing songs, and some fear that complimenting Ike would cancel out his negative actions, I am sensitive to this, Ike did some historical important things through he life, and that should be acknowledged, even as I recognize his failings as a person. Most people are neither angel or a devil - but a little of both.

    Tina’s life, her conversion to Buddhism, her bravery in her divorce with Ike, her wildness years in the late 70s, and her decision to rebrand her career to appeal to white audience in the early 80s and the road that lead to Private Dancer is another incredible tale we will explore. She was candid, but she never saw herself as a victim, there never seemed to be an ounce of self-pity in her demeanor about the past. She exuded a sexy attitude that was built on confidence, her sexuality didn’t come from a tawdry space but from a strength that was very enticing to many.

    Ike seemed to let his demons overtake him, and perhaps he had an inability to adapt and grow from the scene he knew from the 50s. Ike should have seen Tina as the gem she really was, but it seemed like his fears of her moving on may have led to the only choice he understood, which was to abuse her and keep her in her place. He, and he alone, is to blame for his self-sabotage. But there could also be a deeper meaning behind his attitude. One point raised with Alice Walker’s book The Color Purple was how institutional slavery, even post, and Jim Crow laws carried over to how African American men treated their women through abuse from the late 1800s until the 1950s. Some have pointed out - those scars were generational. Any abuse has ripple effects.

    As a white male, I can’t really to understand their known experience -  I won’t pretend to. One cannot underestimate the hurtles Tina faced in the early eighties, it took David Bowie’s early support that swayed the Capitol records executives to sign her, circa 1983. Many African American women understood the importance of Tina’s talent and work ethic. Even the abuse that the west sadly enabled. She was always more embraced in Europe even after her success in the 80s, that is a sad comment, but many African American artists felt the same way, writer James Baldwin and Musician Miles Davis come to mind. Ultimately music is music, if a black woman wants to sing rock or pop, it should not matter, while some feel we have made progress, I remain guarded about our present moment.

    I hope the reality of the situation as people diminish the merits of the album, it was built around a circle of immensely talented persons.

    Regardless of the debates raised, Workin’ Together should be one of those must listen albums before you die. Aside from how iconic ‘Proud Mary’ has become, the album is filled with some solid, enjoyable material. In 1970, it was a flashpoint, the apex of an already fascinating career with that duo. Both of their talents should remind us of what is possible, and what could happen, in a positive sense, if we allow people to be who they are. We may never see the kind again. Recommended.

 *I have reviewed several books, and there’s no information, even by Miss Turner about Aillene’s song writing.

Producer and arranger: Ike Turner

Composers: Eki Renrut (Ike Turner), *George Jackson, *Raymond Moore, **Aillene Bullock, ***Jessie Hill, ****John Fogerty, *****John Lennon, Paul McCartney

Engineer: Brent Maher

Cover: Herb Kravitz, Ron Wolin

Side One:                              

Workin’ Together                                           

(As Long As I Can) Get You When I Want You*

Get Back *****                     

The Way You Love Me                      

You Can Have It                                

Game Of Love

Side Two:

Funkier Than A Mosquita’s Tweeter**

Ooh Poo Pah Doo***

Proud Mary****

Goodbye, So Long

Let It Be*****

Additional book research thanks to Tina Turner, Kurt Loder, Ralph H. Craig, and Fred Rothwell.

Please check out on Spotify, ITunes, Vinyl, or CD if available. 

Coming soon: The Jimi Hendrix Experience – Axis: Bold As Love

 

Retro Reviews: Kiss - Ace Frehley / Paul Stanley solo

 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. This is in tribute to Ace Frehley, Rest In Peace.

Kiss: Ace Frehley (1978)

***1/2

Producers: Eddie Kramer, Ace Frehley

Musicians: Ace Frehley, Anton Fig, Will Lee, Carl Tallarico, David Lasley, Susan Collins, Larry Kelly, Bill Scheniman, Bobby McAdams

Songs and music: Rip It Out, Speedin’ Back To My Baby, Snow Blind, Ozone, What’s On Your Mind, New York Groove, I’m In Need Of Love, Wiped-Out, Fractured Mirror

Reviewed By Matthew Anthony Allair

It’s not all that surprising that “New York Groove” is the single from this album, but we will get to that in a moment. All four members of Kiss have put together solo albums that link together to the Kiss brand. The results are pretty mixed but Ace and Paul are the strongest ones, the less that is said about the other two is probably for the better. To be honest, Kiss is usually off my radar, but I do appreciate the dedication of their fanbase, Kiss’s output pretty much offers up something straight forward, and there isn’t much profound on most of the albums. Yet I get why Kiss were successful a few years ago, there was too much of an over intellectualization with most rock music without the spirit of fun, there needs to be a balance. Yet it's true now the band is often at risk of oversaturation, quantity doesn’t always equate to quality, but these albums could be a benchmark for what they might do after the band is over. It seems as though that something has lit a fire under Ace, and it was incredibly smart for Ace to bring in Producer and Engineer legend Eddie Kramer to exert quality control on this collection.

There’s an rumor that Eddie Kramer produced the early demos that got the band their recording deal with Casablanca records, therefore it is baffling to me that Kramer didn’t produce their crucial early albums, they needed it, and while it was nice to have Kramer on last years Rock N Roll Over album, they needed a notable producer long before Bob Ezrin, and I don’t know if such a failure was a decision of the band or their label Casablanca not financing the services of such a producer before the Alive album, Kramer’s steady hand makes a difference.

Ace seems to understand the assignment, this is unpretentious, direct, and while Ace isn’t a great vocalist, he is a party vocalist and it suits the material well. You’ll have to accept this for what it is, and I pretty much suspect the average fan will embrace it. Lester Bangs has said that Rock n Roll was meant to be gloriously silly anyway. Ace’s guitar work throughout is solid, he also plays a little bass, and the little bit of keyboard work was played on a synth via Ace’s guitar. I would have liked a keyboard player to have been brought in to add some organ coloring to certain tracks, but I understand the aim of the rawer sound. “Rip It Out” pretty much sets the tone, Anton Fig’s drumming is quite good throughout. Ace offers up some of his classic guitar lead moves. ‘Speedin’ Back To My Baby” offers a good blues lead and shuffle. “Snow Blind” has a catchy mood, either about a certain drug or missing a woman. “Ozone” has an extended opening before the vocal that takes a nod to the structure of Jimmy Page’s sensibility. “What’s On Your Mind?” is a pretty straightforward number with some good guitar work.

The Russ Ballard number “New York Groove” has a fresh arrangement with a stomping tempo and some hints of RNB funk, the most focused number and concise, Ace offers up some good coloring and accents with his playing. “I’m In Need Of Love” is pretty simple piece accented by heavy delay effects. “Whipped Out” opens with a playful nod to the early 60s Surfaris number before shifting into something else. The instrumental closer has a slow opener that sounds like a nod to Rush, the track is more a vibe until the middle when the colors builds into the main melodic riff.

A lot of my peers miss the point that Kiss as a product isn’t designed to be very complicated, this is the kind of work you put the cassette or eight track in the car while cruising, or at a weekend party. You’ll have to take it for what it is. 

Kiss – Paul Stanley (1978)

***

Producers: Paul Stanley, Jeff Glixman

Musicians: Paul Stanley, Bruce Kulick, Steve Buslowe, Eric Nelson, Richie Fontana, Carmine Appice, Craig Krampf, Diana Grasselli, Miriam Naomi Valle, Maria Vidal, Peppy Castro, Doug Katsaros, Steve Lacey

Songs: Tonight You Belong To Me, Move On, Ain’t Quite Right, Wouldn’t You Like To Know Me, Take Me Away (Together As One), It’s Alright, Hold Me, Touch Me (Think Of Me When We’re Apart), Love In Chains, Goodbye

Reviewed By Matthew Anthony Allair

The band Kiss has jointly put out four solo albums under the band name, and the rumor is that a significant number of copies have been printed. Sounds like a pretty audacious move, and of the four, two work and the other don’t quite gel. Paul’s album is one of them that works, along with Ace’s. I will admit, I have been indifferent to Kiss, but I respect the slavish devotion of there fans, so I wanted to give them a chance. There’s a nagging feeling with Kiss, considering they put out two albums in 74 and two in 75, one being the big selling Alive, that quantity surpasses quality at times, and hence why some peers are so eagerly dismissive of the band. In the case of Paul, he is without argument the strongest vocalist in the band, and Paul’s vocal chops are almost on par with Plant, Mercury, Bowie, and McCartney, yet he often can sound a little reserved to my ears. Those other three singers care capable of taking adventurous gambles with their vocals. But Paul seems to need a good producer to push himself to new territories, at times there are certain vocal affectations he falls back on, and this can work against him. Paul has the range to step out of the Kiss brand, and that range allows him to stretch out with some of the writing. There’s the rockers, acoustic passages and piano ballad, but he sounds like he’s capable of even more.

The second guitarist and lead player Bruce Kulick might be his secret weapon on the album, and Kulick seems like a good foil for Stanley. The rhythm sections with the drummers and bassists offers some steady material, and you even have such drummers as Camine Appice on a given track is quite good. This may not work as well as Frehley’s effort, but the production is more straight forward and less ornamental than two of the other albums. Paul does seem to understand light and shade, and while the lyrics are nothing profound, he does seem to be working through some emotional tumult in the songs.

It’s not too surprising that the opening track is likely the single. “Tonight You Belong To Me” has a nice cordial acoustic 12 string opening with some nice interplay before the heavy section comes in. “Move On” opens with the typical flavor of his namesake band, but morphs into some nice colors with piano and acoustics for dramatic flare. “Ain’t Quite Right” has a laid back simple riff that is more about vibe than anything else, there’s some nice dynamics here, Steve Buslowe’s bass work is good on the track.  “Wouldn’t You Like To Know Me” is a pretty typical stadium anthem, fun. The opening half of the semi acoustic “Take Me Away (Together As One)” has a nearly prog rock feel before it shifts into the more brash section, some nice theatrical dynamics. Much of Bruce Kulick’s guitar work on the first half is tasteful and incendiary when needed.

Yes, I admit, “It’s Alright” is another stadium anthem that opens the second half, but Paul wears that mantel well. “Hold Me, Touch Me” had some nice piano and synth work from Doug Katsaros, again, it does show that Paul has some real range as a vocalist, probably the most sonically layered track. The tempo is brought back up with “Love In Chains”, but there’s some good guitar accents and interplay on the track, Bruce’s lead hints at Queen’s Brian May in places. The album closer “Goodbye” manages with it’s lead work to hint at AC/DC and Queen, a fairly solid closer. It is a shame that a Producer like Bob Ezrin wasn’t involved with this project, it would have been interesting to see where he might have taken it. The album certainly fares better than Gene or Chris’s album, to summarize, two out of four isn’t bad odds.

Again, the fans won't care, they will likely love it, for the rest, you will have to take it for what it is. One needs pop art as well as high art.

Retro Reviews: Herbie Hancock: Maiden Voyage

     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.

Herbie Hancock: Maiden Voyage (1965)

*****

Producer: Alfred Lyon

Musicians: Herbie Hancock, Freddie Hubbard, George Coleman, Ron Carter, Tony Williams

Music: Maiden Voyage, The Eye Of The Hurricane, Little One, Survival Of The Fittest, Dolphen Dance

Reviewed By Matthew Anthony Allair

    Herbie Hancock has quickly moved up the ranks of the jazz field since he launch his first album for Blue Note in 1962. By the summer of 1963 he was thrust into attention as the pianist of Miles Davis. While they were mostly live dates, he did appear on a few sides of Miles Seven Steps Of Heaven album of that year, yet he still recorded his own Inventions & Dimensions, and Empyrean Isles last year. That fourth album featured The Tony Williams, Freddie Hubbard and Ron Carter line up, they all seemed in perfect synch to Hancock’s sensibilities, which makes this new album all the more interesting. Hancock has shown an uncanny knack to writing pieces that other players engage with, and while he is still exploring the modal jazz aspect of the scene, one senses that there’s an openness and expansiveness to his approach that one shouldn’t dismiss.

    The new album has plenty of astonishing moments, of the five tracks, there’s something interesting offered with each.  The opening title track has a searching quality, with a good Coleman solo, Hubbard’s solo is a slow burn, but it’s something special. One can hear Hancock playing off of Hubbard’s arpeggio’s as it’s progresses. Hancock’s solo takes a nod to Bill Evans, while also being expansive, Willliams cymbal work opens up at this point and it’s a delight. The more up tempo “The Eye Of The Hurricane” has a brief head before Hubbard is showcased first. The chemistry between Williams and Carter is undeniable as a rhythm section. Coleman ups his game on the number. Once again, Hancock seems to embrace not only modal playing but the free jazz sensibility with his soloing, there’s also a hint of Monk in there. The slower and more pensive “Little One” takes it’s time and closes out the first half.

    The next number “Survival of the Fittest” opens the second half and seems to fall into the spirit of free jazz more. But there’s still a focus and structure that differs from Ornate Coleman. Hubbard takes the first lead, Williams takes an early drumming lead before George takes over. Coleman’s lead might  be his strongest yet with some playful start and stops throughout. The title of the number is reflected with the image of oceanic animals in their struggle and dance to prevail. Hancock and Williams seem to be playing off one another by the mid point. The piece ends on a more outside, cryptic note. The final track, “Dolphin Dance” takes things down a little, after the opening statement, Hubbard again reveals why he is so highly regarded. Once again, Hancock’s solo takes an expansive view.

    It's no surprise that Miles Davis took such a liking to Herbie’s composing and playing, there’s an introspection to his work that Miles likely matched up with. There’s a loose oceanic theme to the material on this album. I don’t know why pop fans are so daunted by modern jazz records, there’s a lot to take in if you have the ears for it. Hopefully others will agree with me that is this Hancock’s most cohesive album yet. Highly recommended. 

Retro Reviews: Genesis: Selling England By The Pound

 

    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. 

Genesis: Selling England By The Pound (1973)

****

Producers: John Burns, Genesis

Musicians: Peter Gabriel, Steve Hackett, Tony Banks, Mike Rutherford, Phil Collins

Songs and Music: Dancing With The Moonlit Knight, I Know What I Like (In Your Wardrobe), Firth of Fifth, More Fool Me, The Battle of Epping Forest, The Cinema Show, Aisle Of Plenty

Reviewed By Matthew Anthony Allair

    First off, I’d like to disagree with some of my peers who suggest that Peter Gabriel is the sole visionary of the band. That he acts like a Svengali who controls the direction of Genesis. What I see from the credits are five immensely talented individuals, that are equals. This isn’t to diminish Peter’s talents as a vocalist or flutist, indeed, he is unique as a stage performer and as an idea man, he keeps the audience engaged. I don’t buy into the idea that Messiers Hackett, Banks, Rutherford or Collins count for very little, I think they do, and the continue to create some of the best Progressive leaning material out there. After Nursery Cryme and Foxtrot, this line up has settled into such a groove, it just leaves you curious with where they will go next.

    The opening track begins with some A Capella by Gabriel that sounds like an English hymn in “Dancing In The Moonlit Knight” before it settles into the soft acoustic number, then shifts minutes later into some playful figures from Gabriel and Hackett, the heavier fast section has some real life with Hackett and Banks’ solos. A lot has happened by the halfway point, and the grandeur of Bank’s choir mellotron and Garbriel’s vocal drives the narrative in the other half. The track does paint a picture of medieval chivalry and quests. It's obvious why “I Know What I Like (In Your Wardrobe)” is the perennial single, after an ominous synth drone, it has a catchy verse with the sitar figure, then strong chorus. In a lot of respects, the piano driven “Firth Of Fifth” is astonishing even before the full band enters for the vocal section, the somber section has a nice Gabriel flute solo, Banks reinstates the opening with the full band and impressive synth leads, Hackett’s reinstatement of the other section features some moody lead work. “More Fool Me” is the Collins vocal showcase, an acoustic ballad, Phil’s vocal approach different from Gabriel, his approach is more soulful and accessible, and it will be curious to see if he contributes further.

    “The Battle of Epping Forest” is less an historical reference and more a satire of British class culture. Gabriel has gotten better at taking on various characters vocally separate from the stage costumes, Banks and Hackett’s lead work in quite good, the opening part offers some fife and drums, with Gabriel playing some clever flute, the main body of the song has some real craft musically. Collins drumming is inventive and interesting in several sections. “After The Ordeal” is a baroque pop instrumental, nice acoustic piano and guitar interplay before the full band comes in at the mid-point. The resolve has some good lead guitar harmony from Hackett and Gabriel’s flute plays off of it nicely, with an album that already has some long features. 

    “The Cinema Show” might be the tour de force of the album, after a lovely, introspective opening, there are moments several minutes in where Gabriel is able to make his flute sound nearly like an oboe. The three-guitar interplay with Rutherford, Hackett and Banks has always been a strong feature of the band, and it remains true here. The Gabriel and Collins vocal blend with the backgrounds remain strong on this one. The last half of the instrumental section is evocative and, once again, some good and clever drumming from Collins. The brief “Aisle Of Plenty” just seems to be a restatement of ideas from the album.

    Overall, the production on the album and the mixes seems significantly better and more present than on Foxtrot and Nursery Cryme. The band has shown some new growth and it all hints at exciting possibilities for the next album. It will be interesting to see where they go next. Recommended. 

Thank you!

 

Thank you from MFTBC

    I want to keep this brief, but to begin with, I want to thank everyone who is following the blog again, I decided over the summer to bring this back with the retro reviews, that is only the beginning…We have a bunch of material in the cue, rest assured. We have hit a small milestone, two blog reviews have hit 100 views, Rodriguez – Cold Fact and Neil Young – After The Gold Rush. Thank you, it’s a slow burn, but we are getting there.

    We started by regaining followers on Facebook, and added some more faces into the Facebook MFTBC group page, thank you!

    The numbers from the Instagram account keep growing, we have a huge number of people who view the Instagram promotions, but don’t follow us, please visit the blog, the numbers there really count. Thank you to all who are following the Instagram page! Spread the word!

    The Threads account is still growing, but I appreciate those who follow it. Thank you!

    I don’t really have any data from the Blue Sky posts, but thank you for those who take a look!

    The long piece about Ike & Tina Turner’s Workin’ Together album from 1970 is almost done, just finishing up book research to fill out details from the on-line work. We will be featuring video sample music with that review.  That is coming soon. The next full album review that will follow up is The Jimi Hendrix Experience – Axis: Bold As Love, but not certain when that will happen. People like Abigail Devoe and LarsLand have really pushed me to ‘do better’, thank you!

    We plan to add in sample video clips to the Billy Joel Round Up reviews and a great, insightful video discussion. We have to be careful to comply with “Fair Use”, so we are limited.

    We want to keep the Retro Reviews going, the ‘old school’ feature reviews, more of the Album Round Up’s and the Perspectives pieces. But the hope is to do video interviews with a talented host, with myself being the writer and Producer behind the scenes, and upload those to YouTube next year!

Retro Reviews: George Harrison - Wonderwall Music / Electronic Sound

 

    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.

George Harrison: Wonderwall Music (1968)

***

Producer: George Harrison

Musicians: George Harrison, John Barham, Tony Ashton, Colin  Manley, Philip Rogers, Roy Dyke, Tommy Reilly, Eric Clapton (alleged), Ringo Starr, Big Jim Sullivan, Aashish Khan, Mahapurush Misra, Sharad Kumar, Hanuman Jadev, Shambhu Das, Indrani Bhattacharya, Shankar Ghosh, Chandrashekhar Naringrekar, Shivkumar Sharma, S.R. Kenkare, Vinayak Vora, Rijram Desad

Music: Microbes, Red Lady Too,  Tabla and Pakavaj, In The Park, Drilling A Hole, Guru Veranda, Greasy Legs, Ski-ing, Gat Kirwani, Dream Scene, Party Seacombe, Love Scene, Crying, Cowboy Music, Fantasy Sequins, On The Bed, Glass Box, Wonderwall To Be Here, Singing Om

Reviewed By Matthew Anthony Allair

    Technically, George’s first side project from the Beatles could be considered a solo project, but it is really more the soundtrack to Joe Massot’s film of the same name. The album focuses on artists from India, and George’s newfound interests with Indian culture and Hare Krishna, it also blends in Western pop and rock sources in the cues to a enough of a degree so that the casual listener will have something to latch onto. But ultimately, this might act as a primer to the rock listener who is not familiar with Indian music. This is a difficult album to assess some if it’s merits unless you are already schooled in classical Indian music tradition. Even with the most western material, there’s a heavy use of experimentation. Earlier in the year, The Beatles “The Inner Light”, a lovely piece, showcased some of the players Harrison has gotten to know. This looks to be a next step.

    The opener “Microbes” basically sets up the tone with its somber Indian instruments, you aren’t going to get just the typical rock or pop sensibilities here, if you are open to what it offered, then it’s an interesting journey.  “Red Lady Too” is a complicated, baroque piano piece with several keyboard colorings. “Tabla and Pavavaj” is layered with several percussion instruments. “In The Park” again features a number of traditional Indian instruments and it makes for an interesting listen. “Drilling A Home” is an easier to grasp piece, a music hall, ragtime number where the speed of the tape has been manipulated. “Guru Veranda” is another traditional piece. “Greasy Legs” has an ominous opening before it shifts to a meditative piano and layers of keyboard. A driving percussion and Sitar drone beds “Ski-ing” with some blues guitar that sounds like Clapton to my ears. This evolves into some dueling guitars where I can’t tell if it’s one player, or Harrison in the mix. “Get Kirwani” has some impressive sitar instrumentation.

    The “Dream Scene” is a fascinating kaleidoscope of different sections, the first has a bed of sitar, what sounds like rolling harps, a male and female Indian vocalist, backwards effects, before it shifts to a treated piano whose melody is accentuated by a guitar or Indian instrument, I can’t tell. This becomes richer until it shifts again to a moody horn, pensive, that builds into a montage of sounds. “Party Seacombe” features a treated acoustic and piano with a strange processed vocal that seems to merge with a Wah pedal guitar, the drums become more emphasized along with a hint of Organ. “Love Scene” has some more traditional Indian arrangement’s that progresses. “Crying” is self-explanatory as it features Indian strings wailing.

    “Cowboy Music” is also self-explanatory with guitars, harmonica, galloping percussion, harmonium and dobro, a musical humorous pastiche. “Fantasy Sequins” is somber. “On The Bed” features some spry Piano and Organ as the bed, and some introspective horn soloing, and what could only be described as insect slide guitar. “Glass Box” is another traditional Indian snippet. “Wonderwall To Be Here” has a dramatic piano and string mellotron arrangement. The album closer, “Singing Om” is another traditional Indian piece with harmonium and prayer like vocals.

    The album seems to have a few purposes, one is to feature Indian musicians that may not be known to western ears, and the other is to allow Harrison to experiment with western instruments, and in interesting ways. For international music, this is a good primer.  While there were things to latch onto here. It will probably mostly appeal to the most intellectually curious. But the intent to blend the West with the West is a bold and fresh idea.

George Harrison: Electronic Sound (1969)

**1/2

Producer and Musician: George Harrison

Music: Under The Mersey Wall, No Time In Space

    George Harrison’s next project will probably be a litmus test for a number of the listeners. George recently acquired a Moog 3 series synthesizer and collaborated with Bernie Krause. With “Under The Mersey Wall” there are moments of musicality along with ominous tones and random textures. Irregular percussion, sounds, voices intermix with the strange synth textures. “No Time In Space” even takes this all further with what sounds like drum beats and firework cracks, then it transitions into wind sounds and noise. This whole effort is taking the extremes of the technology and it differs from Walter Carlos’s “Switched On Bach” album. Tonally, It will probably remind some of the electronic theme from Dr. Who, or the electronic score from 1956’s Forbidden Planet by Bebe and Louis Barron. Yet it lacks some of the finesse of those works. It feels like a noodling by George and hopefully will yield some interesting results in the future, but this is mostly for the curious of exotic sounds. I have no doubt that enthusiast for the odd will find this compelling, yet rock fans should be forewarned about this.

Retro Reviews: Johnny Cash: Orange Blossom Special

     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.

Johnny Cash: Orange Blossom Special (1965)

****1/2

Producers: Don Law, Frank Jones

Musicians: Johnny Cash, June Carter, Luther Perkins, Norman Blake, Ray Edenton, Marshall Grant, W.S. Holland, Bill Pursell, Charlie McCoy, Bill McElhiney, Boots Randolph

Songs: Orange Blossom Special, The Long Black Veil, It Ain’t Me Babe, The Wall, Don’t Think Twice It’s Alright, You Wild Colorado, Mama, You’ve Been On My Mind, When It’s Springtime In Alaska (It’s Forty Below), Danny Boy, Wildwood Flower, Amen

Reviewed by Matthew Anthony Allair

    Following themed releases like Bitter Tears from last year, or the earlier Ride This Train from 1960, Cash has now focused on a collection of songs once again. He had started out in the 50s as an originator of Rockabilly and Rock N Roll, and in spite of his recent association with County and Western, he seems open to youthful song writers. He bridges the gap between the past scene and new voices. Which brings us to one of the more interesting points - Johnny’s recordings of three Bob Dylan songs. I can’t think of two figures who are more in sync with each other creatively, Cash may not write as many songs as he used to, but the pairing of these two talents for the future is exciting to consider. Cash wrote two songs for the album. His affinity for selecting material is nearly unmatched.

    The opening title track has Luther Perkins distinctive driving rhythm, the harp manages to sound somewhere between a train whistle and a fiddle, it is in the tradition of many rail line songs, the saxophone solo is playful. “The Long Black Veil” has become part of the traditional selections in the country scene. The Dylan cover, “It Ain’t Me Bade” features June Carter, and the horn section has the same Mariachi or Banda flavor from “Ring Of Fire”, it’s not surprising this became the single. “The Wall” follows the same tradition of his prison songs like “Folsom Prison Blues”. The next Dylan recording is “Don’t Think Twice, It’s Alright” which features a brisk rhythm grove. The first half closes with a Cash number, “You Wild Colorado”, Cash has always had an affinity of nature and ‘wide open spaces’, a very simple guitar and vocal ballad.

    The second half opens with the third Dylan track, “Mama, You’ve Been On My Mind”, once again a playful horn solo ornaments the number. “When It’s Springtime In Alaska (It’s Forty Below”, June Carter offers vocal support and takes a partial lead on the track, another stripped down piece. Johnny’s second original song is the more socially conscious “All of Gods Children Ain’t Free”, it is interesting that Cash didn’t select any of Dylan’s topical social pieces, but more relationship-built songs. Cash opens “Danny Boy” with a long narration about his father, and his first exposure to the song, before the plaintive acoustic guitar and vocal, supported by background singers and a sparce flute. Cash has an uncanny ability with narratives and addressing the audience to have a broad appeal. “Wildwood Flower” has a poetic narrative behind it. Some good support from the rhythm guitarist on the track. The album closes with the rousing gospel of “Amen” with some spry piano work and a choir. The album manages to feel rather varied, and while it embraces the country sensibility, it manages to be accessible as well.

    As a follow up to last years I Walk The Line album, this is a very, very good record. Recommended.

Retro Reviews: Fanny: Charity Ball

 

    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.

Fanny – Charity Ball (1971)

*** ¾

Producer: Richard Perry

Musicians: June Milligan, Jean Milligan, Nickey Barclay, Alice de Buhr

Songs: Charity Ball, What Kind of Lover, Cat Fever, A Person Like You, Special Care, What’s Wrong With Me?, Soul Child, You’re The One, Thinking Of You, Place In The Country, A Little While Later

Reviewed by Matthew Anthony Allair

    The new album by Fanny, the all-female rock band is a great continuation of what they presented with the first. At first glance, the material may appear less gripping, but further inspection reveals additional growth. The Milligan sisters are a potent duo on guitar and bass, and keyboardist / singer Nickey Barclay and drummer / singer Alice de Buhr continue to astound. They have stayed true to their live, informal, relaxed performances from the first album, but there’s some additional production layering. Even the album cover retains their whimsy. While I can’t agree with my peers this is as strong as the first, I will admit, this is only by a small margin. There's a certain power pop element that could remind the listener of peers like Badfinger.

    The album opens with the good time rock n roll of “Charity Ball”. The New Orleans blues of “What Kind Of Lover” is fun, Nickey’s vocal is fiery and June’s lead is good, it’s possible that Fanny had already heard The Guess Who’s “Albert Flasher” as they have a similar feel. The RNB fused “Cat Fever” has a strong rhythm shuffle from de Buhr. June’s lead guitar, and Nickey’s Piano lead tradeoffs give this some life and builds to a fiery end. The Country fused “A Person Like You” has a nice playfulness. The band wrote all of the material except for the next number, a Buffalo Springfield / Steven Stills cover of “Special Care”, has a good vocal from June and guitar lead.

    Things are brought down by the acoustic ballad “What’s Wrong With Me”, some really strong harmony vocals and the nice touch of a tasteful organ refine the number. The standout moments for “Soul Child” is the bass and the interplay with the B3 Organ, there’s an interesting switch up before a great organ solo, fair to say there's a funk infusion with the keyboards. “You’re The One” has an unexpected slow burn, but moves into playful territory. “Thinking Of You” has a dynamic opening for a ballad, but probably should be the single – there’s some real song craft there. “Place In The Country” is another country blues offering, Nickey, June and Alice are really allowed to shine in the number. The closing ballad “A Little While Later”, musically has a certain whimsy, but there’s a lyrical introspection that keeps it interesting, there’s a baroque pop quality to the second half of the number, building into a fitting conclusion for the album.

    The band and the four women who comprise it, remain a very talented group of players that should not be underestimated. This album leaves me curious within where they will go next. Recommended.

Retro Reviews: Sly And The Family Stone: Stand!

 

    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. 

Sly And The Family Stone: Stand! (1969)

****

Producer: Sly Stone

Musicians: Sly Stone, Rosie Stone, Freddie Stone, Larry Graham, Greg Errico, Cynthia Robinson, Jerry Martini, Vet Stone, Mary McCreary, Elva Mouton

Songs and Music: Stand!, Don’t Call Me Nigger - Whitey, I Want To Take You Higher, Somebody’s Watching You, Sing A Simple Song, Everyday People, Sex Machine, You Can Make It If You Try

Reviewed By Matthew Anthony Allair

    Sly Stone’s first three albums have been moderate successes. In spite of the success and charm of ‘Dance To The Music, and to a degree ‘Life’, so this album feels like they have turned a corner. It is concise, focused, seems to capture the spirit of the band, and seems very candid in it’s social relevance. I would like to offer a rebuttal with peers that have compared this band, The Family Stone, to Frank Zappa’s Mothers. I don’t hear it and I think comparisons seem superficial. Zappa’s brand is built on cynicism and sarcasm, and while it’s all brilliantly executed with The Mothers. The whole vibe with Family Stone feels very different. Sly’s ideals are to blend folks of different genders and races together through music, and demonstrate that unity is possible, and make no mistake, there are several great players in his band. Sly’s song writing has become so adept at taking something catchy yet so present to the now.

    The opening title track, ‘Stand’ is a statement of purpose and offers some pearls of wisdom where things stand, then the track ride out takes things to an entirely new level. ‘Don’t Call Me’ is a very pointed number, a funk tune that perhaps takes the spirit of James Brown to the next stage. “I Want To Take You Higher” has become one of the perennial singles for the album, the opening blues riff jumps into an infectious groove with nods to James Brown. On the surface, “Somebody’s Watching You” appears to be a whimsical pop number with some strong organ runs, but there’s a social comment that drives the number.

    The second half opens with the strong number, “Sing A Simple Song”, a number that allows many members to contribute vocally, and another clever groove. “Everyday People” has become the other perennial single, a simple groove that supports the lyrical point. “Sex Machine” is a funk-based jam that sits around two chord changes with an odd scat vocal processed through effects, Wah and fuzz guitar leads, and saxophone, Greg Errico is allowed to shine especially towards the end, and there’s some nice interplay on guitar between Sly and Freddie. “You Can Make It If You Try” is another fun and apt closer for the album. The whole of Sly’s stance seems to be ‘if you believe in nothing, you’ll fall for anything’, and this is a wise position during tumultuous times.

    Sly Stone’s ability as a songwriter has really evolved, and this album is that needed showcase, the whole band is a revelation and as equally talented as Sly. He’s offering another perspective in the counterculture movement, and it’s just as valid. Recommended.

Sly & The Family Stone: Greatest Hits (1970)

****

Producer: Sly Stone

Musicians: listed on prior albums

Songs: Everybody Is A Star, Hot Fun In The Summertime, Thank You (Falettinme Be Mice Elf Agin)

    This review isn’t going to focus on prior album tracks, but the three singles featured in this compilation. “Everybody Is A Star” is a lovely ballad RNB fused mood that shifts into a steady groove in the vamp. All of the key singers of the band are featured on the track. It has a positive pathos that is uplifting. It has been awhile since I have heard something as infectious as “Hot Fun In The Summertime”, or as well crafted, while Sly has most of the vocal focus, the other members manage to hold their own vocally. As a guitar and bass line up, Larry Graham, Sly and Freddie Stone are the centerpiece of this funk groove with “Thank You (Falettinme Be Mice Elf Agin), the song features some clever lyrical nods to prior songs, and the horns weave around this dance number. Sly continues to evolve and improve as a writer and visionary. I will be curious to see where this goes in the new decade.

Perspectives: Roger Waters and some of his fans, not all of them

Perspectives: Roger Waters and some of his fans - not all of them. 

By Matthew Anthony Allair

    Often there’s three sides to every story, and the truth is somewhere in the middle

    It’s no surprise in some ways, that Pink Floyd’s former bass player, singer, and co-founder, Roger Waters put himself into hot water over insensitive comments about Ozzy Osbourne’s passing, and his dismissal of Black Sabbath as a musical force. Old school Floyd fans have known about his antics since the early eighties. In the past, Roger was blessed with having segments of the public just ignore and dismiss his colorful comments - decades ago.

(To digress, frustratingly, I do have the Saucer Full Of Secrets and Inside Out books, but they are in storage, and so I had to make due at the time of this writing.)

Is There Anybody In There?

    I realize I will do myself no favors by jumping into the fray as this debate can be polarizing for many. All Roger had to do was make a bland public statement such as the following:

    “Ozzy Osbourne was a colorful character in life, and Black Sabbath was an interesting band. My sympathies go towards his family and fans at this moment.”

    There -  a very neutral statement – you don’t have to profess your love for the artist or the band, just show an equal level of respect. For myself, I never considered myself a rabid Sabbath fan, but I liked a number of their albums, and I recognized their massive, musical importance. I have seen for decades that Heavy Metal fans are some of the most fiercely loyal fans out there, and it is precarious to knock the artists and bands they love. In truth, I always leaned towards the first two Ozzy Osbourne solo albums with Randy Rhoads, as I found them musically amazing. Ozzy’s legacy can’t be denied. 

    In that video interview, Roger looked disheveled, -  and one could perceive he looked mentally ill, there’s no proof of that though - the optics looked bad when you compared that final farewell concert with Mr. Osbourne weeks prior to his death. Yet, as far back as the eighties, Roger has been dismissive of other musical acts and artists, that list is pretty far ranging.  

    Roger’s ongoing feud with composer Andrew Lloyd Webber went on for years. The gist of that feud had to do with Roger’s plagiarism accusations with Webber over his “Phantom of the Opera” piece, and a descending and ascending riff from “Echoes” from 1971’s Meddle album. While there’s a basis for the argument in their similarities, as of this writing, neither Gilmour, or Mason have considered, or agreed to legal action against Webber for copyright issues, and I find that odd if there’s a legitimate grievance. I am not going to dispute if there are similarities between the pieces, there are.

    These days, there’s a contingent of Waters fans who rabidly defend any action he takes, some are the next generation of hipster media writers who ignore the bands history, or a sliver are socialists who defend Roger for his noble causes surrounding Palestinians, Gaza, the West Bank, or his screeds against conservatives in British government and parliament.

    While there are writers who glaze over Waters work as a musician and person, not every writer is having it. Some recognize his disconnect with his privilege, a similar problem faced Lennon in the early seventies, and some have seen Roger’s penchant for playing the victim. Or even questions about his anger. I suspect that Roger is a narcissist, a term often misunderstood as Narcissism isn’t a mental illness, but a personality trait. One characteristic of a narcissist has is an unconditional demand for loyalty, even if the participate doesn’t often benefit from the narcissist. You can see this with musicians who, reportedly, played with both Waters and Gilmour. There’s an incessant need to ‘choose sides’; even when players have better experiences with one leader over another.

    As far as some music fans are concerned, Roger has been engaged in a revision of Pink Floyd for the last 15 years. In spite of Nick Mason’s pretty candid book about the history of the band, or David Gilmour’s remarks to clarify matters, Roger has been engaged in a form of gaslighting to appeal to the ignorant. I cannot forgive Roger’s character assassinations of keyboard player, and singer Richard Wright to justify his firing of Rick during The Wall sessions. Or his arrogance and hubris, circa 1986, from Waters to form the opinions about the A Momentary Lapse of Reason album with the public, and the legal fight to stop the band from touring under the PF banner. Those legal arguments lead to Richard Wright role in the recording sessions to be minimized, as well Richard being cropped out of the band photo in early pressings of Lapse to protect him from Roger’s continuing barrage of lawsuits – all of which failed I might add – and the band continued the tour under the Floyd banner. Richard’s picture was added in later pressings of Momentary Lapse.

Embryo

    Most bands are the sum of their parts, Syd Barrett started the band with Roger, Richard was a key contributor to the bands early years, both as a lead and background singer, Nick was a solid drummer, and once David Gilmour was broken in, his guitar work became vital and he developed a signature sound through the years, even if Roger isn’t always willing to admit it, David was invaluable to Pink Floyd. Unfortunately, Roger didn’t see much value with Rich and Nick. Even recently, there was an article about Barrett letters put up for auction and in them, Syd acknowledged in jest and love that Roger could be difficult, it's always been an issue, 

    The early years, post Syd were difficult, their early American tours in the late 60s were a disaster, there were reports of going broke mid tour, or having to rent out musical gear in American due to transportation issues. Plus, during their experimental album phases from 68-72, the soft sales must have affected the magnitude of venue appearances, and I could see how these struggles could weigh on Roger’s desire to see the band survive. I could see how that might explain his relentless drive.

    Back onto the issue: Jack Osbourne’s counter argument about Roger was completely justified, Ozzy’s passing is still very recent, and it just smacks of being tackey and snobbish for Roger to comment in this way, - and so soon. What would be fair game would have been for Roger to wait until next year before he made critical comments about Mr. Osbourne. Ozzy was a very flawed person and the general rule with rock musicians who use alcohol or drugs, they are going to do stupid things, and Ozzy did a lot of stupid things under the influence. Considering that members of Pink Floyd have their own past addiction issues, it did seem sanctimonious and hypocritical for Roger to be so dismissive. In the early years between 1968 to 1972, Roger was said to have smoked Hash, and it made him, some say, a more manageable personality before he went sober.

One Of The Few

    As much as I hate to diminish the role of Roger’s contributions, while he is indeed a great lyricist and idea man. His bass work is uneven. It’s been pretty well known that Gilmour did some of the bass work on The Wall sessions, and Roger is simply not a great singer in comparison to Gilmour and Wright who were. Roger didn’t sing the majority of the songs in Pink Floyd. If you do an actual breakdown, David sang lead on 61 tracks to Roger’s 55 tracks, and Richard sang lead on 15 tracks.

    Let’s look at Roger’s dismissiveness towards Richard in the late 70s, it’s true that Richard was having problems prior to The Wall sessions, a divorce and drug issues – but then again many of them were not innocent as far as drug use at the end of that decade. Roger claimed that Richard was coming up with no musical ideas, but Richard Wrigth’s 1978 solo album Wet Dream does demonstrate that Richard had a wealth of music ideas to offer. Also David Gilmour’s solo album from that year wasn’t too shabby. At least two Gilmour songs from his album, ‘There’s No Way Out Of Here’, and ‘I Can’t Breathe Anymore’ could be relationship songs, or slight digs at Roger, things weren’t well with the band at that time. Richard’s work on Wet Dream is often poignant.

    Here's a brief sampling from David Gilmour and Wet Dream and for you to decide for yourself.

    All video music samples are in compliance with "Fair Use" and are for educational reference.

    Roger simply didn’t seem to like Richard’s keyboard style at that point by 1978 and seemed to think his approach didn’t match what he envisioned for The Wall. Regarding the claim that Richard ‘played almost nothing on the album’, of the 26 tracks, Richard played on 20. It is almost true that Bob Ezrin played piano on the number of the more notable tracks, the Piano on ‘Nobody Home’ was Ezrin - as it’s a very different style from Richard - Bob had played on Kiss’s Beth’ and had played keyboards on various Alice Cooper records, so he was an adept Piano player – just different.

    Let’s address that claim that A Momentary Lapse of Reason was just populated by ‘session players’. You are aware that The Wall was populated by some session players as well? Aside from Bob Ezrin and Michael Kaman, other session players included Fred Mandel, Jeff Porcaro, Lee Ritenour, Joe di Blassi, Joe Porcaro, Bobbye Hall, and Travor Veitch. Never mind the session players that populate The Final Cut sessions from 1983. Roger’s arguments seem disingenuous.

    Now, there’s no argument that The Dark Side of the Moon, Wish You Were Here, Animals and The Wall are brilliant albums. But of the four, Animals is the most blunt lyrically, challenging and for some, less accessible, yet there are Water’s fans who find that bluntness appealing, to each their own. I find the albums between 1968-1972 fascinating for a number of reasons, A Saucerful of Secrets, More, Ummagumma, Atom Heart Mother, Meddle, and Obscured By Clouds may be wildly uneven, but they also felt democratic as a band unit.

    The ugly truth is that Roger destroyed the democracy of the band after 1975 to further his personal vision. He started to see his band mates as mere ‘session players’. What may have appeared to be an aberration with the Animals album in 1977, started to turn into a pattern of Roger being the dominant, tyrannical leader and writer – he just arrogantly presumed he should be the primary song writer – and of course when you take into account publishing royalties, it’s quite a clever racket and gaslight to steer in that direction. Roger’s projected wealth is at around 310 Million and higher than the others – he knew what he was doing. I can’t say he’s a victim by any means.

What Do You Want From Me?  

    While you could argue that Momentary Lapse acts as a Gilmour solo record, by the time of the Division Bell album, the band were truly a democratic band again. Richard had co-writing credit on four songs, and sings lead on ‘Wearing The Inside Out’. By extension, the mostly instrumental follow up and posthumous The Endless River. Richard is credited with co-writing 11 tracks. David also liked Richard enough and regarded him highly to have Richard appear on two songs from his On An Island solo release from 2006 and had him tour with him for the album prior to his passing. Yes, I am aware that you could argue that Endless River are just leftovers from the Division Bell album, in the same way you would argue that The Final Cut are just leftovers from The Wall sessions. But the intents were different, by 1983 Roger assumed the band was over, whereas by 2013, Endless River was released to wrap up unfinished business and honor Richard.

     Many of the above points are simply empirical fact.

    To go further, let’s look at the album chart success of the various Waters vs. Pink Floyd album. Starting in 1984, Roger’s The Pros and Cons of Hitchhiking reached the Billboard 100 at number 31 after its initial release in April 1984. That album did chart higher in the UK at 13. David Gilmour’s About Face was released in March, 1984 and charted in the US at 32. Both were about pretty even as far as sales. In the middle of the squabbles of their respective albums in 1987, Roger’s Radio K.A.O.S. charted in the UK at 25 and the US Billboard 100 at 50, when released in June 1987. The charts for Pink Floyd’s A Momentary Lapse Of Reason, released September 1987, hit number 3 in the UK, and number 3 in the Billboard 100. A significantly larger success. This will be important in a moment. 

    When Roger’s Amused To Death was released in September of 1992. It did significantly better than its prior releases. Charting at number 8 in the UK and at 21 in the US Billboard 100. When Pink Floyd’s The Division Bell was released in March, 1994, It peaked at number one in the UK and US album charts – and it is the most democratic sounding album in a long time. To be fair, if people don’t like the Gilmour era albums, that’s perfectly fine. But if you simply look at the gamble Roger took leaving Pink Floyd by 1984 – with him assuming it was a ‘spent force’ – he misread the room.

Eclipse 

    In contrast in 1975 when Peter Gabriel left Genesis, that gamble paid off and Peter had a more viable solo career, while Genesis continued on to their own fortunes as band, everyone benefited.  There’s the adage, “Pride goeth before the fall,” from Proverbs 16:18, and Roger’s hubris got in the way with reality. Part of me can’t blame him. The 1973 success of Dark Side of The Moon must have been a major adjustment for all concerned in the band, and people react differently to sudden changes in fortune. Once the follow up, Wish You Were Here in 1975 was an equal success, it had to have affected Roger’s confidence and he misread the room. Some of my points are verified by the above article.

    I wish more people would view Pink Floyd and Genesis in a similar light. The guys in Genesis have stated that they view the band as a ‘writers workshop’ to explore various ideas and types of music. In spite of Floyd’s really reputation as ‘space rock’ jam band, Floyd really evolved with an emphasis on song craft even before the mid-seventies. While both bands are very different, they ended up arriving at similar results by the mid eighties, for good or ill. 

    We haven’t even discussed Nick Mason’s thoughts on much of this post 2005. Nick has remained social friends with both David and Roger, and he had some thoughts about the tensions as sited from this article:

“It’s a really odd thing in my opinion. But I think the problem is that Roger doesn’t really respect David. He feels that writing is everything and that guitar playing and the signing are something that, I won’t say anyone can do, but that everything should be judged on the writing rather than the playing…I think it rankles with Roger that he made a sort of error in a way that he left the band assuming without him it would fold. It’s a constant irritation really, that he’s still going back to it. I’m hesitant to get too stuck into this one, just because it’s between the two of them rather than me. I actually get along with the both of them, and I think it’s really disappointing that these rather elderly gentlemen are still at loggerheads.”

    Some of his points make sense, David may have always been seen as the new kid in the band, even by the end of the seventies, so David’s control of the band in later years was a real test. Part of the issue is the differing perspectives between the basic writing of a piece and that arrangements. The core view is that the basic chords, lyrics and lead melody is the writing, but the process is complicated and the ideas of the players can shape the arrangement, David’s view seems to be that Roger is too dogmatic on the finer points.

    Early songs such as “If..” from Atom Heart Mother show there’s a real humanity in there with Roger – and self-awareness, but he seems so doused in this public façade of scorn, you can’t tell, half the time, who the real person is there. Perhaps the ego, hubris or narcissism has won out, and that’s a real shame if true. I can’t speak for that as I don’t know what’s in his heart or head. Only he could answer that.

    I remember that Live Aid performance in 2005 with the full band, as mentioned here. Roger seemed genuinely thrilled to be there, David came across as diplomatically muted, and the sad reality is that the damage had been done long before 1987. I don’t read it as just a jilted ego from David – he seems to truly not like how Roger treats others. 

   It is a shame that Roger could not have been involved with The Endless River as far as playing bass an co-writing several songs, it would have given the album a more final definitive stamp as the album was intended as a tribute to Richard, we will never know. I admit that a few more proper songs could have rounded out the album.

Paranoid Eyes

    There’s also the issue that David seems to treat his band mates better on his tours, and I could argument that ‘character matters’. Roger has a reputation for cultivating tension, he even fired his son keyboardist Harry Waters in 2016, after he had toured with his father for 14 years. Now, it’s common for band leaders to dismiss members at the end of tours, nothing new. But the reasonings seemed cryptic and callous. Perhaps so Roger could prove a point about Nepotism? I don’t know. This was first noted in the late eighties regarding Roger’s solo tours.

    I haven’t even tackled his politics - which I am indifferent to - but some recent choices are illustrative of his inability to read a room. Yes, Roger is a dedicated socialist, it is what it is. Regarding the events circa 2022, when he was fronting another revival of the Pink Floyd The Wall tour, and when certain references of the stage show was interpreted as being Antisemitic regarding criticism of Isreal, the second half of the narrative of the Pink character from the album falls into delusions and hallucinations as a fascist leader until Pink catches himself. Roger ramped up the fascist references due to the context of what was increasingly happening at the time. As much as I feel that the ADL and AiPAC overplays their hands in their rhetoric, I am not certain that Roger is an actual antisemite. But due to his father’s death in WWII, I think Roger has developed such a blind rage against any wars, he has lost his objectivity. It’s one thing for Roger to run concert revivals of The Wall album in 1990, when the political stakes seemed lesser. But the social climate had changed so much by 2022, the themes of The Wall were bound to be misinterpreted in the changing culture.  He doesn’t see that.  

    There’s also his back-and-forth stance on the Ukraine war, where he seemed to pivot against Vladmir Putin and then defend Putin. This lead to the fight between Gilmour’s wife Holly, against Roger, and then by extension David over the Ukraine war. Even David and Nick wrote a song in support of Ukraine, ‘Hey Hey, Rise Up’. I suspect Roger’s blind mistrust towards the West leads him to lose his objectivity. Again, Roger has an uncanny ability to misread situations, even if he stands by his connections, and even if he refuses to censor himself, - traits that many people admire and I am not saying I object to - for such an infinitely intelligent man, he seems to stumble a lot.

Signs Of Life

    In contrast, David Gilmour has been more measured, diplomatic, he seems to be a better band leader, and one has to ask – who is the more intelligent person? Roger keeps having to recycle his Pink Floyd past, since his solo albums can’t sustain him as far as ticket sales. Gilmour retired the Pink Floyd enterprise as an actual unit, and released three solo albums, On an Island, Rattle That Lock and Luck and Strange, all three of those albums have gone number one or top ten in the US and UK album charts. As well as tours for each album that have done well. David has moved forward and is still writing music that resonates today, now that point might seem incredibly unfair to Waters fans. Again, who seems to be the more intelligent person? David has been quoted as saying:

“I have no interest in going on a tour to make money without making new product, new art.”

    People can dismiss chart success as having little to do with quality, and they would be correct, but when a player such as Gilmour has shown the ability to resonate better with an audience, then Waters thesis about having more depth may not be as important as he likes to believe or suggest. I am not saying people should dislike Roger’s solo output, if you do, more power to you, But I am suggesting there should a little more balance in the public perception. I can admire Roger’s musical legacy and input, but I can’t say I admire the man that much as I have gotten older. He just comes across as a bitter old codger these days.

    Criticizing other successful bands and musicians is often a sign of insecurity and weakness. What I mean is the kind of withering criticism that is designed to degrade others, that is my problem with much of the last fifteen years with Roger. Being able to objectively look at the pros and cons in a work is a different matter. A lot of Roger’s razor tongue may have been entertaining in the press in the past, but it has gotten tiring. The arguments about Water’s ‘Genius’ just don’t seem that important anymore.

    Roger seems incapable of moving on – the rest of the world have moved on. 

P.S. If Roger does see this - he will probably argue it's a hit piece from a 'nobody',-  it is what it is. No Roger, I am not a practicing Christian due to quoting a proverb for a point, and don't worry Roger, I don't plan to visit this issue again.