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.