Retro Reviews: Yes: The Yes 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. 

Yes – The Yes Album (1971)

*****

Producers: Yes, Eddie Offord

Musicians: Jon Anderson, Steve Howe, Chris Squire, Tony Kaye, Bill Bruford, Colin Goldring

Songs and Music: Yours Is No Disgrace, The Clap, Starship Trooper (a. Life Seeker b. Disillusion c. Wurm), I’ve Seen All Good People (a. Your Move  b. All Good People), A Venture, Perpetual Change

Reviewed By Matthew Anthony Allair

    As a follow up to the prior years’ Time And A Word or the first album from 1969, The introduction of Steve Howe as a player is very different from Peter Banks, but his inclusion reflects real growth for the band, the prior album’s use of an orchestra seemed too self-conscious of The Moody Blues, or Pink Floyd’s Atom Heart Mother for my taste. The band has gone back to basics and this feels like a reset. In addition, the change of producers from Colton to Offord has helped to give them a new focus. To say that the playing between Howe, Squire, Bruford and Kaye is exceptional would be an understatement. Often the vocals between Anderson and Squire have a synergy to them that distinguishes this band. While the album only features five songs and one instrumental, it indeed packs a wallop and doesn’t’ wear out it’s welcome. Welther or not this band are the denizens of King Crimson is hard to access, but I can say it’s possible.

    The dynamics of “Yours Is No Disgrace” establishes an impressive tone. The opening rock section has a lifting quality, the band sits back with the vocals before the propulsive support with the verses, when you think you have reached a comfort zone, there’s a laid-back swing grove that reframes it. Although the core of it repeats, it manages to find interesting variations. The breakdown takes it to another level with some expressive guitar work from Howe, that swing section is represented with a folk a flavor. It all resolves with an ascending quality. Recorded live, “The Clap” is a showcase for Howe with an acoustic bluegrass excursion. “Starship Trooper” opens with a nod to the late sixties with some dexterous guitar and bass work, the first section “Life Seeker” seems to set up a narrative, the shift with the light bluegrass folk of “Disillusion” before another band shift again. The closer “Wurm” has a meditative anthem quality, Tony Kaye builds up some nice support before Howe rides out the solo. 

    The second half also moves at a brisk pace, the Two part “I’ve Seen All Good People”, opens with “a. Your Move”  the acapella establishes the feeling before a bright folk feel of the number, as well some tasteful recorder work, in the midst of the Organ, there’s a nice quote to Lennon’s “Give Peace A Chance”. The old school rock of “b. All Good People” has a bright rockabilly sensibility with some fine piano work, Howe sounds liberated at this moment. The gothic organ takes over in the resolution. A track that is definitely in the running for radio attention. A moody piano eases into the pensive pop of “A Venture”, the interplay between the guitar and piano is compelling. But Squire and Bruford opens up the second half up as well. The closer, “Perpetual Change” has a dynamic opening before the lighter pop tone of Anderson’s vocal settles, but like a creative mirror to “Yours”, manages to shift into an introspective jazz feel by the mid-point, and offers up surprises. A shift towards a rhythmic RNB shuffle riff allows some more work from Howe and Kaye solos. This is a track that could manage to stumble, but the manages to execute an uplifting ending.

    Yes, with its new line up, has managed to arrive, and I will be curious to see what they offer up next. 

Retro Reviews: Nancy Sinatra: Boots

     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 a lesser-known album.

Nancy Sinatra – Boots (1966)

****

Producer: Lee Hazelwood

Musicians: Nancy Sinatra, Nick Bonney, Al Casey, Jerry Cole, Louis Morrell, Billy Strange, Tommy Tedesco, Carol Kaye, Don Randi, Hal Blane, Jim Gordon, Eddie Brackett, Frank Capp, Emil Richards, Plas Johnson, Richard Perissi, Don Bagley, Chuck Berghofer, Roy Caton, Lew McCreary, Ollie Mitchell

Songs: As Tears Go By, Day Tripper, I Move Around, It Ain’t Me Babe, These Boots Were Made For Walking, In My Room, Lies, So Long Babe, Flowers On The Wall, If He’d Love Me, Run For Your Life

Reviewed By Matthew Anthony Allair

    Frank’s Daughter, Nancy Sinatra has debuted as a singer, after several attempts that were never released. She manages to exude confidence, a sense of fun, and has managed to navigate in an area that has high expectations considering whom her father is. Two things have really helped launch this effort, musician and song writer Lee Hazelwood helmed the project as producer, and arranger and conductor Billy Strange has helped her to find a middle ground between finding a pop sound that isn’t abrasive and should appeal to fans of Frank’s work. I can’t really assess her range, she has examples of vibrato on a few tracks, her vocals are mostly plaintive and direct, but I suspect this is tactical on their part. She tackles covers of some big acts, such as The Beatles, The Rolling Stones, Bob Dylan to good effect, as well as Lee Hazelwood originals.

    She opens with a jazz infused cover of “As Tears Go By” shifting away from the original acoustic presentation, settling into a bossa nova tempo. She manages to offer an interesting take on “Day Tripper”, a swinging rocker with a wink. These choices may have been to set the tone that she was contemporary figure, but with a dose of sensitivity and sass. Lee’s “I Move Around” has a good sense of popular dynamics, Her cover of Dylan’s “It Ain’t Me Babe” has a pop jazz accent, and not bad. One of the Dylan songs that is of the biggest draws for other singers. The single “These Boots Are Made For Walking”, written by Lee, is a clever turn around that could empower women, with it’s clever descending bass, and it’s playful horn accents. The Dynamic “In My Room” with its Spanish narrative closes the first half. 

    “Lies” is a jaunty little number that opens the second half, the horns play up the attitude. The other single “So Long, Babe” was written by Hazelwood sounds a little Dylan flavored with its strings and 12 string guitar at moments, with a little freedom on the drums. I believe The Sattler brothers have already recorded “Flowers On The Wall” has some good guitar and horn trades, she does a good read on the number. The other string-based ballad “If He’d Love Me” demonstrates that Nancy can have some real range. I have had a problem with The Beatles “Run For Your Life” and as much as I understand the idiom of the blues tradition of betrayal and revenge tales, lyrically the Misogyny of the song feels odd at this time. Which is why it’s interesting how Nancy has turned the table for women – it cuts both ways as far as jealousy. It makes for a fine album closer.

    As far as how the album differs from her father’s sound, there’s a certain room tone to the drum and rhythm tracks, there’s a brashness to the grooves and the horns merely act as texture. They have managed a certain swagger to the material, Nancy sounds confident, and charismatic, and as much as she’s an outwardly attractive lady, she sounds self-aware and playful with her read as a vocalist, she forging ahead with a sensibility that is her own and I will be curious to see where this goes next. 

This is a fairly illustrious debut and Nancy and Hazelwood's chemistry is undeniable.  

Retro Reviews: Brand X: Unorthodox Behavior

   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 a lesser-known album. This is part two of three. This is a three-part living tribute to Mr. Collins, in light of his growing health issues, and possible RNRHOF attention. 

Brand X – Unorthodox Behavior (1976)

****

Producers: Brand X, Dennis Mackay

Musicians: Phil Collins, Robin Lumley, John Goodsall, Percy Jones, with Jack Lancaster

Music: Nuclear Burn, Euthanasia Waltz, Born Ugly, Smacks of Euphoric Hysteria, Unorthodox Behavior, Running On Three, Touch Wood

Reviewed By Mathew Anthony Allair

    This is an impressive jazz fusion debut, co-founded by Genesis drummer Phil Collins, as far as the rest of the group -  the Keyboard player, Robin Lumley had already worked with David Bowie, guitarist John Goodsall had already worked with Atomic Rooster before he joined this band. Percy Jones had already briefly worked with Soft Machine before he joined this project. What has resulted is a strong sum of its parts. Much of this material is similar to Mahavishnu Orchestra’s work, but they offer their own fresh stamp to the genre. All of the players are equal to the others, something that you need to work in the fusion field, the quality offsets any doubts one might have.

    Phil’s work here is exceptional, but that is no surprise for Genesis fans. Collins heads off the effort with his drumming on “Nuclear Burn’, but John Goodsall sets up the standard with playing that has a hint of Steve Hacket while also retaining something original, Jones and Lumley hold up their end as well. Things settle back a little with “Euthanasia Waltz”, the track manages to build to a slow burn where Jones is allowed a showcase. “Born Ugly” is a lively funk excursion that showcases Lumley and the piece takes several interesting turns. The second half has a free form open tone before the fiery build back that even manages to hint at early 70s Miles Davis. The more mid tempo “Smacks of Euphoric Hysteria” has a slight blues shuffle, and some outside lead guitar from Goodsall. Phil’s playing makes him almost on par with Buddy Rich, which is saying a great deal.

    The second half opens with the title track, a number with a slow, moody groove that eases into itself with little hints of funk, its keyboard lead has a staccato feeling, there’s a playful hint of Marimba that drops in here, this very much feels like interplay is essential to the number, and while Robin isn’t Tony Banks, he can channel a little of that feeling. “Running On Three” quickly morphs into a fast tempo with Lumley and Goodsall stating the melody, in what might be one of the more satisfying moments with Goodsall pulling off his best McLaughlin flavored lead. “Touch Wood” is a slow burn as an album closer, with impressionistic acoustic guitar and a supportive saxophone from Jack Lancaster, Phil role is sit back on this. A fitting, yet odd closer, this leaves you pondering questions. Overall, quite a good release to start off 1976 and leave one hopeful about the year. Recommended.

Retro Reviews: Queen: Jazz

   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.

Queen – Jazz (1978)

****1/4

Producers: Queen, Roy Thomas Baker

Musicians: Freddie Mercury, Brian May, John Deacon, Roger Taylor

Songs: Mustafa, Fat Bottom Girls, Jealousy, Bicycle Race, If You Can’t Beat Them, Let Me Entertain You, Dead On Time, In Only Seven Days, Dreamers Ball, Fun It, Leaving Home Ain’t Easy, Don’t Stop Me Now, More Of That Jazz

Reviewed By Matthew Anthony Allair

    First off, let’s address the comments by some peers that Queen is a ‘fascist band’, this is an utterly ridiculous comment that helps to drop the intelligence of certain critics. This all stems from the prior single ‘We Are Ther Champions / We Will Rock You.’ The ‘Champions’ track was a message to every misfit and outsider who didn’t belong or won very often. One could say that Queen are a band of misfits, too self-aware, smart, and willing to take a joke over their flamboyance. Their humor has always been one of the more refreshing aspects of the band at a time when there’s too much self-importance, this may be one reason why some in the punk community as less hostile to Queen.

    The optimum word here is ‘We’ as in a collective, not ‘I’, for people who understand the textbook and historical definition of ‘fascism’ would know that Queen represents the very opposite of that notion. The use of “I” is a dicey proposition, even John Lennon had enough sense to give “I Am The Greatest” to Ringo Starr. The members of Queen don’t seem any more ego centric than any other band.  Let’s get onto the album. Roy Thomas Baker was brought back as the producer, and some press kits describe this as a ‘European Flavored’ album, whatever that means. Every queen album is always a reaction to the prior album, this takes the striped down sensibility of News Of The World, and adds a little more flamboyance to the proceedings.

    The album opener “Mustafa” is playful and dynamic and takes a nod to Freddie’s Persian origins. The next perennial single, “Fat Bottom Girls” is a country ho down with a hard rock edge, they haven’t lost their ability to wink. Freddie’s lovely ballad “Jealousy” features an acoustic sitar flavor. The other perennial single “Bicycle Race” is about as camp as you can take. John’s “If You Can’t Beat Them” shies away from his RNB and into pop rock. Freddie’s “Let Me Entertain You” is not the number from the musical Gypsy, but a spry rocker that is designed for the stage.

    The strong second half opener, Brian’s “Dead On Time” has a fast and lifting groove that will remind one of “Stone Cold Crazy” from days of old, the song is also a biting comment on the pace of the corporate sector. John’s “In Only Seven Days” has some lovely piano and acoustic guitar interplay, and the song sounds like a Stevie Wonder pastiche – but in a good way. The music hall flavor of Brian’s “Dreamer’s Ball” has a whimsical vibe with Brian mimicking a swing jazz ensemble via the guitar. Roger’s “Fun It” has a surprising nod to disco and dance, but in their own way. Brian’s country flavored ballad “Leaving Home Ain’t Easy” has a nice brief exchange with Freddie. Then Mercury brings it back with his well- crafted ballad then up-tempo number, “Don’t Stop Me Now”, with a rousing brief guitar lead, this will probably be the other single from Jazz. Then Roger closes it out with his grove rocker “More Of That Jazz”, a track that features a collage of songs from the album, why? I don’t know - probably to just sum up the experience.

    The last two albums haven’t reached the heights of A Night At The Opera, but then again that album would be difficult to duplicate, they haven’t tried to. This is a solid entry that offers some entertaining material, but there is the feeling that they are going to have to expand the parameters of what they are capable of. Freddie, Brian and Roger are three of the best rock singers out there when they sing in unison, and the band as a unit does some very good work as players, even great moments. They are all steady song writers, and I suspect the production embellishments are there for coloring, there’s a good share of substance within the jest. Ignore the critics on this one – it’s a good time.

Retro Reviews: Herbie Hancock: Maiden Voyage

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

Herbie Hancock: Maiden Voyage (1965)

*****

Producer: Alfred Lyon

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

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

Reviewed By Matthew Anthony Allair

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

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

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

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

Retro Reviews; Miles Davis: Nefertiti

     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.

Miles Davis: Nefertiti (1968)

**** ½

Producers: Teo Macero, Howard Roberts

Musicians: Miles Davis, Wayne Shorter, Herbie Hancock, Ron Carter, Tony Williams

Music: Nefertiti, Fall, Hand Jive, Madness, Riot, Pinocchio

Reviewed by Matthew Anthony Allair

    Nefertiti is an incredible jazz record, the fourth of Miles new quartet with Shorter, Hancock, Carter and Williams. The blend of Davis and Shorter as horn players compliment each other well, Hancock’s playing has a fresh harmonic complexity, and the Carter and Williams rhythm section has an astonishing inventiveness. While Davis did not compose any of these titles, his assured presence drives the tone throughout. Sorcerer went into some interesting directions, but this new record has an additional confidence. All of the players who composed for the album seem to have the talent to present to Davis the kind of material that reflects his introspective nature. The album is another example of his continued explorations into modal playing. 

    The title track, written by Wayne Shorter is a wonder, a mournful piece where Davis and Shorter states the melody on horn while the shifts come from Hancock and the rhythm section, a haunting piece. The next piece written by Shorter, “Fall” is another introspective piece and another wonder, Hancock’s piano soloing is beautiful on this. The next piece, “Hand Jive” is the one Williams composition and seems to connect back to Miles hard bop tradition. The piece allows Williams to stretch out as a player.

    “Madness” is another fast tempo piece written by Hancock, another fast tempo piece that allows Davis to shine as a soloist. Ironically, Hancock sits out during the Davis solo, and comes in during Shorter’s section. There’s an element of self-discovery as this progresses. The next piece, the all too brief “Riot” finds a fitting tone and the other Hancock composition. The final piece, written by Shorter, “Pinocchio” simply illustrates what an adept composer he is, the interplay between the three of them is so satisfying, but Hancock manages to bring it home with his solo before the resolve.

    Davis has managed to assemble such a blend of players with this quartet, that I hope it never ends but it probably will, it is indeed exciting, and he has managed to move forward from John Coltrane’s free jazz expressions and find his own way, his own sound, to explore that ideas that Coltrane was so bravely willing to examine. This album hints at the direction Davis may go in the next decade.  This moves forward from Davis’s past work in the fifties and it’s a wonder to behold. Recommended.

Retro Reviews: Frank Sinatra: Strangers In The Night

 

    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. 

Frank Sinatra: Strangers In The Night (1966)

****

Producer: Jimmy Bowen

Musicians: Frank Sinatra, Arranger: Nelson Riddle, Ernie Freeman, Band: Artie Kane, Bill Miller, Michael Rubini, Chuck Berghofer, Ralph Pina, Al Viola, Al Casey, Bill Pitman, Glen Campbell, Tommy Tedesco, Hal Blane, Irvin Cottier

Songs: Strangers In The Night, Summer Wind, All Or Nothing At All, Call Me, You’re Driving Me Crazy, On A Clear Day (You Can See Forever), My Baby Just Cares For Me, Downtown, Yes Sir That’s My Baby, The Most Beautiful Girl In The World.

Reviewed by Matthew Anthony Allair

    Frank Sinatra’s new single, the title song, is doing very well, you can take that for what it is the only track arranged by Ernie Freeman. But it bodes well for an album when it has three potential singles, along with “Summer Wind” and “All Or Nothing At All”. This is a solid album and Sinatra sounds assured here, he is managing to contemporize his sound, while keeping the big band swing elements he is known for. His most notable album with Gorgon Jenkins, September of My Years had another memorable hit with “It Was A Very Good Year” in 65 and hinted at the possibility he could still compete with the likes of The Beatles. In a lot of respects Frank Sinatra and Miles Davis embody cool, and while their styles are very different, they also embody the rock n roll spirit that others have carried forward. Never forget that in the 50s, during the rise of Elvis Presley, Little Richard and Chuck Berry, Sinatra was holding his own with a group of albums from Capitol that defined quality, and he set up the blueprint for the ‘concept album’ before it was an idea.

    “Strangers” is a lush sweeping, following ballad and he does it well. The B-3 Organ, probably played by Artie Kane on “Summer Wind” adds to the relaxed swing of the tune, and Sinatra owns the piece. ‘All Or Nothing At All” is a perennial standard, and the swing setting is quite apt, he had recorded it before, and the organ makes another appearance in the horn breakdown, nicely done. “Call Me” is a more contemporary number, but Frank puts a nice swing accent to it. The interplay between the Organ and horn section on “You’re Driving Me Crazy!” is quite fun, and Frank sounds playful.

    While a somewhat known musical, Frank’s arrangement of “On A Clear Day (You Can See Forever)” is quite good, this selection fits Frank well. “My Baby Just Cares For Me” is another Gus Khan standard. Something should be said about the bulk of Nelson Riddle’s arrangements, he has not lost his simpatico with Sinatra as a creative partner. “Downtown” is another more contemporary pop number, originally done by Petula Clark, a very self-conscious attempt at a pop number, and Sinatra’s read is, to say the least, quirky. Frank’s read on “Yes Sir, That’s My Baby” is back to more comfortable territory. The album closer, “The Most Beautiful Girl In The World” is a very brisk arrangement and not something you’d expect for a track that could have been given the lush ballad treatment. The album manages to find a covert way to stay true to Sinatra’s swing inclinations. The title track has already managed to keep Sinatra relevant in the singles market, I will be curious to see where he goes next with these new opportunities on the charts. A Very satisfying edition to the Sinatra cannon.