Retro Reviews: Bob Marley and the Wailers: Uprising

 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.

Retro Reviews: R.E.M. Murmur / Chronic Town

 

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.

Murmur (1983)

***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.

    I am a little leery over the deification of this band by some music peers, it reminds me of how Dylan was propped up as a messianic figure in the early 60s, he was just a song writer, as much as he was a great one. I'd advise against any sycophantic adulation of R.E.M. Let them find themselves, they may be around for a while.  

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.

Retro Reviews: John Coltrane: Meditations

 

    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.

Retro Reviews: Pink Floyd: Relics

 

    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.  

Retro Reviews: The Monks: Black Monk Time

 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.  

Retro Reviews: Patti Smith: Horses

 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. 

Patti Smith – Horses (1975)

****

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. 

Retro Reviews: The Velvet Underground: White Light / White Heat

     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.

Retro Reviews: Mahavishnu Orchestra: The Inner Mounting Flame

    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" remix...

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.

     Regarding Sean’s involvement, it isn’t much of a a surprise when you consider his heavy involvement with the remixes on the “Gimmie Some Truth” box set. Sean is a veteran musician and producer at this point, and since he has been appointed control over the Lennon estate and call business ventures related to John’s solo music. It is natural for Sean to want to see his father’s vocals presented in the best possible light, and the “Truth” box set did recontextualize his father’s songs to more moder ears. But Sean may have been so blinded by certain goals, he may not have seen the bigger picture regarding the track, some of the nuances that listeners would have felt. I don’t think Sean did anything with any real malice, just a possible short sightedness.

    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. 

Retro Reviews: Todd Rundgren: Something / Anything?

 

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.

Retro Reviews: Bobbie Gentry: Ode To Billie Joe

     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.

Retro Reviews: Jefferson Airplane: After Bathing At Baxter's

 

    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.

Retro Reviews: The Grateful Dead: American Beauty

 

    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 Grateful Dead: American Beauty (1970)

****

Producers: Grateful Dead, Steve Barncard

Musicians: Jerry Garcia, Mickey Hart, Bill Kreutzmann, Phil Lesh, Ron “Pigpen” McKernan, Bob Weir, David Grisman, David Nelson, Ned Lagin, Dave Torbert, Howard Wales

Songs: Box Of Rain, Friend Of The Devil, Sugar Magnolia, Operator, Candyman, Ripple, Broke down Palace, Till The Morning Comes,  Attics Of My Life, Truckin’

Review By Matthew Anthony Allair

    The Grateful Dead has taken a major step forward this year, and it is likely going to pay off with this album. After the slight psychedelic RNB infusion of their debut, or the psychedelic collage freak out of Anthem of The Sun, or Aoxomoxoa’s blending of the jam with a more focus on songs, meant the band was bound of redirect as they had done earlier in the year with Workingman’s Dead. In reality, the band was always built for the stage as demonstrated by their live album least year, and the epic excursion with “Dark Star”. They already view songs as a vehicle to improvise over, but they needed something more accessible for the public to grasp, which is why the new emphasis on song craft is a pleasure. Perhaps the impact of The Band and “Music From Big Pink” has carried an influence over to more bands than realized.

    The album opens with the country acoustic flavored “Box Of Rain”, Lesh takes the lead, the piano ornaments this with some very full acoustic guitars and electric support, the electric fills sound like an attempt at an electric dobro. Phil’s vocal has a certain vulnerability that works for the context of the song, the harmonies assure you are in familiar territory. Jerry’s “Friend Of The Devil” is another acoustic number that manages to be playful and some nice alternative picking, and Grisman’s mandolin adds extra coloring, there fixation with renegades is interesting. “Sugar Magnolia” is the first Weir number, electric with the more standard sound fans are familiar with, This is also the first track with the two and three part harmony that the public has grown to know. Bob remains the best lead vocalist in the band, but the writer usually takes the lead in the band, some pedal steel ornaments this. It’s difficult to not think that Crosby Stills and Nash isn’t influencing the Dead. Ron’s vocal on “Operator” will probably remind listeners of Johnny Cash or Elvis. The percussion interplay between Hart and Kreutzmann is notable on this track, and a touch of playful harmonica rounds this out. Jerry takes the lead on ‘Candyman”, the vocal and instrumental interplay with the band is good on this one.

    “Ripple” opens the second half; lyricist Robert Hunter has really helped the band’s focus with the types of themes he explores. There’s a sense of community that drives this song, and it’s possible it is about outsiders who feel broken. Various instruments weave around it, and a children’s chorus seems to round it out. Some piano and tack piano is the focus of “Broke down Palace”, Jerry pedal steel is quite nice on this, as he takes the lead again. The more up tempo “Till The Morning Comes” seems to harken back to their past work. A guitar through a Leslie and the rich three part harmony drives “Attics Of My Life”. It’s no surprise with the album closer, “Truckin’” became the perennial single, the track seems to sum of the electric folk and country flavor of the album, Howard Wales’s organ is especially strong on the track. Bob’s lead vocal really anchors the track and the bridge seems to take  knowing nod to the band’s history thus far, “What A Long, Strange trip it’s been.” Indeed.

    Phil’s lead bass work is strong throughout, and his bright tone cuts through. The guitar interplay between Garcia and Weir manages to stay fresh and interesting. Hart and Kreutzmann’s drumming takes a back seat often to serve the material, but they manage to showcase themselves at various points. McKernan’s harmonica work, although a little sparse, is tasteful and interesting. This is another nice step forward after Workingman’s Dead. The 70s might treat this band well, hard to say, we shall see. Recommended.

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