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.