Retro Reviews: Black Sabbath: Sabbath Bloody Sabbath

 

    I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. This is in tribute to John Michael Osbourne. Rest In Peace, sir. All the albums reviewed are indeed classic albums. 

Black Sabbath: Sabbath Bloody Sabbath (1973)

****

Producers: Black Sabbath, Patrick Meehan

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

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

Reviewed By Matthew Anthony Allair

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

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

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

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

Retro Reviews: Black Sabbath Vol 4

 

    I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. This is in tribute to John Michael Osbourne. Rest In Peace, sir.  All the albums reviewed are indeed classic albums. 

Black Sabbath: Vol 4 (1972)

*** ¾

Producers: Black Sabbath, Patrick Meehan

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

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

Reviewed by Matthew Anthony Allair

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

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

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

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

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

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

Next Up, Part 2: Sabbath Bloody Sabbath

Retro Reviews: Neil Young: After The Gold Rush

    I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

Neil Young: After The Gold Rush (1970)

**** ½

Producers: Neil Young, David Briggs, Kendall Pacios

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

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

Reviewed By Matthew Anthony Allair

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

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

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

Retro Reviews: Gábor Szabó: Dreams

 

I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. These albums are lesser known titles.

Gábor Szabó – Dreams  (1968)

****

Producer: Gary McFarland

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

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

Reviewed by Matthew Anthony Allair

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

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

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

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

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

 I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

The Jimi Hendrix Experience: Are You Experienced? (1967)

*****

Producer: Chas Chandler

Musicians: Jimi Hendrix, Noel Redding, Mitch Mitchell

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

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

Reviewed by Matthew Anthony Allair

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

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

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

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

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

Retro Reviews, Rodriguez: Cold Fact

 

I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. These albums are lesser-known titles.

Rodriguez: Cold Fact (1970)

****

Producers: Mike Theodore, Dennis Coffey

Musicians: Sixto Rodriguez, Dennis Coffey, Mike Theodore, Andrew Smith, Bob Pangdon, Bob Babbit, Detroit Symphony, Carl Reatz

Songs: Sugarman, Only Good For Conversation, Crucify Your Mind, This is Not A Song - it’s an outburst or the Establishment Blues, Hate Street Dialogue, Forget It, Inner City Blues, I Wonder, Like Janis, Gommorah (A Nursery Rhyme), Rich Folks Hoax, Jane S. Piddy

Reviewed by Matthew Anthony Allair

    Why isn’t anyone paying attention to this artist? Rodriguez is a Mexican Troubadour song writer, a folk and rock stylist whose candid and incisive lyrics might be on par with Dylan. He also has a stronger and more accessible singing voice than Mr. Zimmermann, the support players and orchestral arrangements simply augment and add coloring to his performances I haven’t heard in a while a singer who has been this compelling. He feels authentically street in a manor that other singers merely feign to be street smart. Rodrieguez wrote all of the songs except for two written by his producers. Dylan has cultivated such a mystique about his origins that it’s difficult to gauge his class background, but Rodriguez observations make one suspect he’s seen some squalor. 

    The opening track, “Sugar Man” is obviously about a pusher, but it resolves into a psychedelic deluge at the end, the keyboards and orchestrations have an eerie quality. “Only Good For Conversation” opens with some heavy guitar that sets up the mood for a tale of a manipulative person. “Crucify Your Mind” along with the open track is probably one of the better tracks and most accessible for radio, it’s penetrating honesty is haunting. “This Is Not A Song, It’s an Outburst: Or the Establishment Blues”, while self-explanatory is a scathing comment on what he sees and covers some broad points. “Hate Street Dialogue” is one of the few songs not written by Rodriguez but stays true to the tone of the material. “Forget It” is the disillusionment song but also reveals musically he is a very sophisticated writer.

    “Inner City Blues” features some more intense lyrics and good acoustic lead blues support, the atmospheric string arrangement reminds me of Bobby Gentry’s ‘Ode To Billy Joe’. The next track is again one of the stronger ones, “I Wonder” has a very spry drum and rolling bass figure that quickly pulls you in. “Like Janis” has a pop sensibility but lyrically it is about someone who sees through the façade of another. “Gommorah (A Nursery Rhyme)” is another song written by the producer, while it’s shifts are interesting, it doesn’t quite work for me. Things are back on form  with “Rich Folks Hoax” which feels very honest and real to me. The closer “Jane S. Piddy” is a satisfying revolve with lines like ‘You’re a loser, a rebel, a cause without’, about the resignation of a person who gave up on their potential. The guitar work from Coffey and Keyboard work from Theodore is quite strong. The band simply enhances the material. An outstanding debut from a man who seems to look past the surface and seems to insist on breaking down the facades of society.

Retro Reviews: Led Zeppelin II

 

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. 

Led Zeppelin II (1969)

*****

Producer: Jimmy Page

Musicians: Robert Plant, Jimmy Page, John Paul Jones, John Bonham

Songs or music: Whole Lotta Love, What Is And What Should Never Be, The Lemon Song, Thank You, Heartbreaker, Living Loving Maid (She’s Just A Woman), Ramble On, Moby Dick, Bring It On Home

By Matthew Anthony Allair

    After the launch of Zeppelin’s debut, they have created a lot of excitement, and especially during the North American summer tour where they have connected more than in Europe. I am not surprised, this new band just excites the average record buyer, and the new album might just solidify it more. The Jeff Beck Group’s second album, “Beck-Ola” went in a different vibe, and there is less comparison between the two acts now. The new album takes the best elements from Zeppelin’s debut, and improves on it, and it makes for one exciting listen. Failure offers a million explanations, but success rarely needs explaining.

    After a stutter, the album opens with the swagger of “Whole Lotta Love”, a fairly simple track as a song, but it makes for a great record, and a psychedelic middle section of percussion, sounds and shrieks, before building into a crescendo. “What Is And What Never Should Be” starts off with a laid back fusion jazz nod of a groove, before heading into overdrive with the choruses. “The Lemon Song” plays with every standard blue cliché, yet keeps it fresh. Let’s address the complaints I have seen that the band borrows from a lot of blues sources and doesn’t credit them, perhaps valid, but then again, the band seems to want to reshape what the blues actually means. Let’s also address the other issue, the repetitive nature of some songs from the last album, it looks to me that the method is to place the listener into a certain state, good or for bad, it’s up for the reader to decide. The next track, the lovely “Thank You” opens with some nice organ and layered guitars, and one of the most heart felt vocals from Plant.

    Side two opens with the sonic fire of “Heartbreaker”, and a pretty dazzling middle showcase section. “Living Loving Maid” seems to be the heavy pop number on the record, and probably the lightest track. The acoustic “Ramble On” has some spry percussion, before jumping into another heavy chorus. The drum show case “Moby Dick” opens with a nice grove before Bonham can dazzle with his light and share style of drumming, this track might even rival Cream’s “Toad”, which for some might seem unthinkable. Plants Harmonica is back for the slow blues groove of “Bring It On Home” that morphs into the raunchy groove that will leave you exhilarated. Great playing and vocals throughout.  Bonham’s drumming is outstanding overall, for example John swings like mad on “Whole Lotta Love”, you can tell when a drummer has a jazz influence, or influenced by players like Clyde Stubblefield, such players can often lift up a rock arrangement

    This band is quickly shaping up to be what might be the defining sound of the next decade, no wonder why certain music critics and industry peers are shook up. Ignore the bad notices you read, this has surpassed the promise of the first record. Incidentally, the track listing on the audio cassette is slightly different. This is as great of an album as you will ever get – all hail the new sound, Man.

A very special Raspberry to John Mendelsohn. 😏

Retro Reviews: John Lennon / Plastic Ono Band - Live Peace in Toronto 1969

 

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. 

John Lennon / Plastic Ono Band: Live Peace in Toronto (1969)

***

Producers: Lennon / Ono

Musicians: John Lennon, Yoko Ono, Eric Clapton, Klaus Voormann, Alan White

Songs: Blue Suede Shoes, Money (That’s What I Want), Dizzy Miss Lizzie, Yer Blues, Cold Turkey, Give Peace A Chance, Don’t Worry Kyoko (Mummy’s Only Looking For Her Hand In The Snow, John John (Let’s Pray for Peace)

Reviewed By Matthew Anthony Allair

    Man, I don’t know what to make of this live album, the recording is beautifully done, and while it’s a little ragged, it manages to work – for the most part. Apparently, John was asked to appear at the ‘Rock N Roll Revival Festival’ at almost the last minute in Canada, and drafted not only Yoko, but Clapton, Voormann, and Mr. White. That festival also featured Chuck Berry, Bo Diddley, The Alice Cooper Band, and Chicago Transit Authority, with John ending up with top billing. They had only two brief rehearsals before going on stage, all things considered, they managed pretty well.

    John has always had a deep love for early rock and roll, and it makes sense he would open with the iconic “Blue Suede Shoes”, The guitar interplay between Lennon and Clapton is good, btu we’ll get back to that in a moment. The next number “Money” had been recorded by the Beatles and had featured in the UK ‘With The Beatles’ in 63 and the US ‘Beatles 2^nd Album’, my big complaint is I wish Alan had leaned into some Ringo fills on it. The next number “Dizzy Miss Lizzie’ featured some good back and forth on guitar, but at times the mix suffers from the guitars being uneven.  They do a somewhat different version of “Yer Blues”, rumor has it Clapton played on two ‘White Album’ tracks as a guest. John drops in a new song, “Cold Turkey” which isn’t bad, and they close his set with “Give Peace A Chance” where John improvises some words in the verses. To his credit, John does admit at the opening they, the band, had never played together.

    Yoko’s work opens the second half and John does reveal ‘she’s going to lay something all over you’, or something to that effect. “Don’t Worry Kyoko” manages to have a pretty heavy groove, and the experimentation does meander towards the end. They morph into “John, John (Let’s Pray for Peace)”, the track builds into a layer of guitar feedback that hums into an industrial roar, which may have been the point of her segment. Yoko can sing, which is why it was baffling that her song “Remember Love” wasn’t included into set to ease the audience in. The two tracks had been featured on a single and their ‘Wedding Album’. I have never bagged on their three experimental albums as they are Avant Garde documents of their relationship, and just seem like oddities. Those last guitar feedback moments sound like aural representations of the horrors of Vietnam, and that might be the point. War is futile and pointless, and there must be better ways to deal with politics, land disputes and trade disputes. I hope we wise up to this someday.

    The packaging is nicely done, and the calendar is a nice touch. I do suspect that the last half might influence others in the future – it feels like something new. But overall, while there’s some terrific performances, the rest is just interesting. I can’t say this is a consequential album.

Retro Reviews: Paul and Linda McCartney: Ram

 

    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 Crème. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

Paul and Linda McCartney: Ram (1971)

**** ½  Stars

Producers: Paul McCartney, Linda McCartney

Musicians: Paul and Linda McCartney, David Spinoza, Hugh McCracken, Denny Seiwell, Marvin Stamm, New York Philharmonic

Songs: Too Many People, 3 Legs, Ram On, Dear Boy, Uncle Albert / Admiral Halsey, Smile Away, Heart Of The Country, Monkberry Moon Delight, Eat At Home, Long Haired Lady, Ram On (Reprise), The Back Seat Of My Car

Reviewed by Matthew Anthony Allair

    After the consternation over The Beatles breaking up, more details emerge over the how’s and why’s, but I have been pretty redescent to jump in on speculations as I suspect there’s more than meets the eye. Thus far, Paul seems to be getting the bulk of the blame, but that should be irrelevant over the issue of his personal post band output, and indeed Paul does have a new album out and it’s a pretty great one.

    While Paul will, likely, never escape his time with The Beatles, he does seem to be trying to move forward and find a new statement. While the first album, McCartney, was uneven, with several random experiments, and several songs that felt like informal vignettes, when it was good, there was an informal charm to it. It’s also true that it  nearly closed with a gem of a song like “Maybe I’m Amazed”.

    Paul seems like he listened to some of the complaints of the prior album. While Ram retains that charming informal feeling of McCartney, there is a mix of more polished and developed songs of these dozen tracks. Several tracks have the unmistakable influence of Brian Wilson and The Beach Boys. Paul is rounded out by several guest musicians, Danny holds a steady groove support, while Hugh and David offer some excellent guitar work. But make no mistake - Paul still carries the bulk of the playing. Linda’s vocal support rounds out the sound. 

    Earlier in the year, Paul released his charming single “Another Day” backed with the quirky blues of “Oh Woman Oh Why”, which hinted that something was coming out. Now we know. So, what to expect? If given the chance, this should raise expectations. The opening track “Too Many People” has an odd start, but pulls together quickly, it seems to be pointed at his Beatles peers, at least one, and the last half has some outstanding Guitar leads from ether Spinoza or McCracken. “3 Legs” is a quirky blues number that seems to be about betrayal. The pleasant “Ram On” has some false starts, similar to the first album, but quickly has a relaxed charm. I can’t tell what “Dear Boy” is about, perhaps an ex-partner, but it has the most Brian Wilson like quality yet vocally. “Uncle Albert / Admiral Halsey” is the second strongest song, and the closest to what the Beatles might have sounded like had they continued. “Smile Away” is simply a pleasant up-tempo number to round up side one.

    “Heart of The Country” is a pleasant number that is a more developed version of what McCartney tried to do on his first album. “Monkberry Moon Delight” will probably be the more polarizing track on the album, it’s goofy qualities ask you to take it with a grain of salt, but some great rolling guitar is featured. “Eat At Home” has some of the catchiest, driving guitar figures on here. “Long Haired Lady” is one of the more adventurous tracks on here with it’s multiple sections and it’s everything I wish Lennon’s “Well Well Well” had been, The reprise of “Ram On” will likely mirror the “Sgt Pepper” reprise and it serves as a fitting tie in to the final track, “The Back Seat Of My Car”, another track that has the inventiveness of Wilson, the closing chants of ‘We believe that we can’t be wrong’, could be seen the defiance of Paul and Linda through a difficult year, after a false end, it closes with a final crescendo that brings it all home.

    While the album has some uneven brief moments, it doesn’t take away from the overall impact, it mixes the informality of the first album with greater studio polish and playing. I will be looking forward to see what Paul and Linda come up with next, yet this album feels significant and like something that will influence others, in time. Forget what my peers are saying about this album and Paul, it’ s a fantastic album.  

Retro Reviews: Cream: Goodbye

 

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 Crème. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

Cream: Goodbye (1969)

** ¼ Stars

Producer: Felix Pappalardi

Musicians: Eric Clapton, Jack Bruce, Ginger Baker, L’Angelo Misterioso, Felix Pappalardi

Songs: (Live) I’m So Glad, Politician, Sitting On Top of The World, (Studio) Badge, Doing That Scrapyard Thing, What A Bringdown

By Matther Antony Allair

    Man, what a drag! it is so frustrating for the sake of the paying public to have to address these problems. Cream was, for a time, the pre-eminent Blues power trio, and there’s no disputing that they are three of the most gifted players and singers on the scene. Clapton often rose to the occasion as a guitarist and singer in that band, Jack Bruce is a phenomenal bass player and lead singer, and no one can dispute what an incredible drummer Ginger Baker is. At the start of 66, they looked like they would be the dominant power trio of the era, then Jimi Hendrix came along and met the challenge.

    After two studio albums, “Fresh Cream” and “Disraeli Gears”, the band shifted to focusing a little less on building new material, and recorded their live performances, treading on the good will their first two albums, one disc of “Wheels Of Fire” was live material. This is the final album and first post Cream release, the single “Badge” is the best ticket on the album. “Crossroads” was a great performance and great idea for a single, but perhaps the trend towards live recordings was a little much.

    I can predict the scowls - Yes, I am aware that the band is following the idiom of the blues tradition, I am aware the band is following the spirit of jazz improvisation, the establishment of a head, then follows into an improvisation before it reverts back to the head. The problem is most traditional jazz players listen to each other, but it can feel like with Cream it’s about one upmanship.

    Regarding side one, something about the live material just doesn’t sit will with me. “I’m So Glad” and “Politician” are nicely done, phenomenal playing, but it feels like treading water. I know I am supposed to like the live stuff - I appreciate the skill - but it just isn’t connecting with me. What’s more frustrating is the fact that the charming single “Anyone For Tennis” could have padded out the side one run time. This carries over into the opening live track for side two, “Sitting On Top Of The World” which again is nicely done, but just didn’t connect with me and it’s hard to define why. Perhaps it’s because the band doesn’t seem to serve the songs, but their prowess.  The track “Badge” is the strongest number on the album, and it is said that a Beatle contributed to the song – I’ll Leave you to guess which one.

    Jack’s “Doing That Scrapyard Thing” is just idiosyncratic, while his closer “What A Bringdown” is stronger but could have been more, yet the track’s title is ironic, if not apt, considering the situation. This is a slight drag, all things considered. Once again, the prior single from 1966, “Wrapping Paper” would have been a more satisfying album ender as ‘Goodbye’ acts as a coda. Considering the half hour run time of the whole thing, this feels like a cheat and an odd piece for a final statement. This just came out a month after Led Zeppelin’s debut, and you can see the stark contrast as far as the presentation of quality between the two albums. It’s up to the reader to decide what they connect with more.

    “Badge” is the strongest piece overall as much as some fans won’t want to admit it. The rest is a mere curiosity.  A very mixed legacy.

Retro Reviews: Led Zeppelin first album

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...

Led Zeppelin (1969)

**** ½ stars.

Producer: Jimmy Page

Musicians: Jimmy Page, Robert Plant, John Paul Jones, John Bonham, Viram Jasani on track six.

Songs: Good Times Bad Times, Babe I’m Gonna L:eave You, You Shook Me, Dazed and Confused, Your Time Is Gonna Come, Black Mountain Side, Communication Breakdown, How Many More Times

Review by Matthew Anthony Allair

    Jimmy Page known for his recent work on The Yardbird’s 'Little Games' album has launched a new project with Bass and Keyboard player John Paul Jones, both had done session work for the likes of The Who, Donovan, The Jeff Beck Group and other’s. They are joined by two players from the Black Country, singer Robert Plant, whom has phenomenal range and power and is on par with contemporaries like Terry Ried, and drummer John Bonhan, a phenomenal player on par with Ginger Baker and Mitch Micthell. A number of peers are comparing them to The Jeff Beck Group, but this seems superficial for me, as this sounds like a very different band. It is also unescapable to compare this effort to the band Cream, but again there isn’t a comparison. This band might just be using the blues as a means to an end – it’s hard to tell at this early stage.

    What separates this at first, before hearing a note, is the fact that Jimmy Page was the producer which gives the band greater control and freedom. The fact differs from a George Martin, Micky Most, Robert Stigwood, or Shel Talmy at the helm, and it really shows. There’s no Svengali controlling the material on this. The Engineer, Glyn Johns does an outstanding job indeed. There’s a wide-screen quality to the sonics of the album that envelops you quickly.

    The album opens with the jackhammer thrust of “Good Times Bad Times”, a sort of hard rock, pop number with some phenomenal drumming work by John. Next up is the folk number “Babe, I’m Gonna Leave You”, a number that Joan Baez had performed in her early years. This acoustic number has a push and pull, loud and soft quality with nods to flamingo that leave it compelling. The next number is a song that Jeff Beck recorded, “You Shook Me’, but this has a very different feel. Beck’s track opened with s sick Wah pedal, and Page switches it up with a very fuzzed slide guitar, Jones throws in some fun electric piano and organ, and Plant throws in some fun harmonica. There are three fun solos that drive “You Shook Me” You start to see here that Zeppelin may be reinventing the blues for the next generation. Jones’s organ soloing is a delight, Plants Harmonica solo seems to channel Sonny Boy Williamson, and Page’s lead guitar is incendiary, plus, there’s some great interplay between Page and Bonham on that solo.  Side one closes with the ominous “Dazed and Confused”, the bass and drums hints at a laid-back feel until Rage kicks it in with heavy guitar.

    Side two easily could have opened the album. The rich, gothic organ by Mr. Jones on “Your Time Is Gonna Come” pulls the listener in before the organ switches into pop riffing in this psychedelic folk number. Page is then introduced solo showcase with “Black Mountain Side” featuring a table player. The savage “Communication Breakdown” feels like something entirely new and fresh while keeping a tonally raw spirit. “I Can’t Quit You Babe”, the second Willie Dixon number on the album is the most live feeling number, stripped down to the essentials. The album closer “How Many More Times” opens with a bass and drums swing feel that shifts into the heavy guitar groove. This is some impressive work that morphs into a Bolero groove in the middle point on this song, the longest track, this is also a track that takes a nod to the Page written “Beck’s Bolero” from his ‘Truth’ album from 68.

    The interplay between the band members feels rather magical, Plant seems to have unmistakable chemistry with the guitarist. Page's guitar work and Jones's bass work is outstanding throughout.  There’s already rumors that there’s high interest in America for the band and it’s no surprise. They are likely to be the most important band to launch at the start of 1969. Highly recommended.

A special P off to John Mendelsohn. 😏

Retro reviews: John Lennon Plastic Ono Band

 

    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. 

John Lennon / Plastic Ono Band (1970)

3 ¼ Stars

Producer: Phil Spector, Lennon, Ono

Musicians: John Lennon, Klaus Voormann, Ringo Starr, Billy Preston, Phil Spector

Songs: Mother, Hold On, I Found Out, Working Class Hero, Isolation, Remember, Love, Well Well Well, Look At Me, God, My Mummy’s Dead

Review by Matthew Anthony Allair

    Upon the breakup of The Beatles close to the middle of the year, most were left with speculation over what would happen next, and what the statements would be of the ex bandmates. Would John’s album be like Icarus, flying to close to the sun and falling, or like the rise of a Phoenix? It’s a little of both. Paul’s solo album in April came out at the ill timed news of the breakup, and perhaps the assessments of my peers with a little unfair. The most significant next release has been George Harrison’s “All Things Must Pass”, a sweeping three album box set that is populated with an unusually high ratio of strong material. So much so, that is still a little difficult to take in the album fully, then there’s extra ‘Apple Jams’ disc set. John has finally released his first solo album to a huge amount of anticipation, but does it measure up?

    This isn’t first salvo of solo singles. The compelling “Give Peace A Chance” was released in the summer of 1969, and his follow up, with some excellent guitar, the harrowing “Cold Turkey” was released near the end of that year. A year that ended with the Live At Toronto album with Clapton and friends. The start of this year, the John issued the excellent “Instant Karma” prior to the official break up news. All of which sets up expectations about the new album. I won’t follow the trend of peers who mentioned John and Yoko’s recent Primal Scream sessions, as I want to focus on the merits of the album, both good and bad. There is no argument about John’s lyrical goals or the aims of a very ‘stripped down’ album, but how is it as a listening experience – it’s kind of a mixed bag, with some brilliant tracks interlaced with songs with unmet potential.

    The album opener, after the ominous funeral bells, is a solid, steady track with a moving vocal, “Mother”, but uneven nature of the album creeps in by the second track, “Hold On” is a pleasant enough track and not much different from some of McCartney’s songs from his also. It has an interest jazzy flavor, but just doesn’t seem to develop very far beyond it’s length. “I Found Out” is the first mid tempo rocker, and while candid lyrically, the groove wears slightly thin in the ride out, and I will go later about my thoughts about the electric guitar tone. Another acoustic number “Working Class Hero” is very candid and probably one the next strongest tracks. “Isolation” is a moving ballad, that while candid, feels like a little more could have been done with it. I should mention that Ringo Starr and bassist Klaus Voormann are the main support players, with extra guest help from Phil Spector and Billy Preston.

    The side two opener, “Remember” is a solid mid tempo piano number with a clever nod to Guy Fawkes at the tail end. The ballad “Love” is the most melodically memorable piece on the album and just about matches McCartney’s musical sensibility, supported by Phil Spector. Some of the real problems begin with the next set of tracks, considering it’s nearly six minute length, “Well Well Well” sort of wears out it’s welcome soon after the cleaver guitar and vocal blurs motif, it simply becomes disappointing as it never develops further. Considering the lyrical subject, this could have jumped into several directions and stayed compelling. For example, John’s Beatles track “Happiness Is a Warn Gun’ jumped into four distinct sections, in contrast, this song doesn’t justify it’s nearly six-minute length. The next track “Look At Me’ pretty much uses the same picking pattern as The Beatles “Julia”, while a little interesting lyrically, the playing feels a little lazy. The next to last track “God”, is a provocative number with a gospel piano feel, and Billy Preston’s playing really helps to enhance a strong number. The one minute “My Mommy’s Dead” feels like a vignette, simple, with John just sitting on a chord with an alternate bass note, and ties into the opening number.

    The four strongest numbers remain, “Mother, Working Class Hero, Love” and “God”, followed by “Hold On” and “Isolation”. The problem with the remaining electric tracks, is not so much the steady support of Starr or Voormann, but I don’t care much for electric guitar tone, a strange hybrid of clean and overdriven that undermines the heavy vibe of certain songs. Ironic, but John’s guitar work on Yoko’s album might be better.  

    Producer Phil Spector supports the stripped down sound throughout. While the candor may make a compelling statement, it doesn’t always make for a accessible experience you may want to revisit. Yoko’s companion album is also is a challenge that may try people’s patience if you are unwilling to pay attention to its ideas. Yoko’s “Remember Love” illustrates she can sing, but she uses her voice here for effect and as another instrument,

    George Harrsion may have won the year with the best of the post Beatle solo albums. Time will tell.  While “Plastic Ono Band” is a good album, it just doesn’t reach its potential that some expected at the start of the year.

Yoko Ono / Plastic Ono Band 1970

** ¾

Producer: Ono, Lennon

Musicians: John Lennon, Klaus Voormann, Ringo Starr, George Harrison (on track three) , Ornette Coleman, Charlie Haden, David Izenzon, Ed Blackwell (on track four)

Music: Why, Why Not, Greenfield Morning I Pushed an Empty Baby Carriage All Over The City, AOS, Touch Me, Paper Shoes

As I mentioned beforehand - and Ironically - in the companion album, Yoko Ono / Plastic Ono Band, John’s guitar on “Why” and “Why Not” sounds fierce, unhinged, and rougher, Also the Starr and Voormann backing sound more liberated. It’s difficult to assess the second half of Ono’s album, as you would have to compare it to John Cage, Karlheinz Stockhausen, or their contemporaries. There is a collaboration with free Jazz legend Ornette Coleman that might interest some. Yoko’s wordless vocals are being done to literally treat her voice as another instrument, and this seems fitting for a woman whose conceptual art seems more interested in ideas than obvious feelings. Still, an album for the just curious.