Perspectives: In Defense of Animal Logic

Perspectives: In Defense of Animal Logic

Piece and media by Matthew Anthony Allair

    Around ten months ago, when I was a participate of a music reaction channel with a host who is a very person. There was a reaction to the Animal Logic single “There’s A Spy (In The House of Love) 1989, and to say it was muted, if not negative, was an understatement. I actually felt sorry for the person who made the suggestion. To preface this, all music opinions are subjective, some things you like and other’s you don’t, I don’t mind that, furthermore, I don’t expect people to agree with my opinions here with the reviews or the articles, in fact, I am always prepared to get disagreement. You can’t please everyone. My issue with less with the host and more with the commentators that I felt reeked of an elitism or snob like disposition, and the reactions just seemed too kneejerk or ignorant, without understanding the intent behind the project.

    Now, I understand that most progressive rock and fusion fans have very high standards, and some tend to sneer at anything that is ‘pop music’, which I understand, but I also don’t understand as all forms of music have different intents and aims, and they should be judged on their own terms, and not based on what you wish something to be. There was a history that lead up to the formation of Animal Logic, as well as information that is little known. The Wikipedia entry for the band is woefully inadequate, and therefore it takes more work. Plus their two albums are out of print which makes this all harder. Plus, the Spotify account only covers one album as of this writing. But there are archived pieces that explain the origin of the albums and their real intent to be pop albums with a rock edge.

    Let’s look at the core players. Stanley Clarke had become a legend by the eighties. Clarke’s tenure with Chick Corea’s Return To Forever from 1972 until 1977 had produced some incredible work, during this period, Stanley had also done side projects, but his1976 album School Days had gotten him notable attention. The final Return To Forever line did reunite to record’s Corea’s 10 minute track “Compadres” for his album. During these period’s Clarke performed with Jeff Beck in the 70s and helped co found the brief New Barbarians with Ron Wood, and Keith Richards. Clarke was already leaning towards more rock and pop material at the time he collaborated with George Duke on the Clarke / Duke Project. Whose first album in 1981 did have a fusion and pop accent - they did two albums. 

    Later on, aside from Clarke playing with Paul McCartney for his Tug Of War and Pipes Of Peace sessions, Clarke did keep releasing solo albums that featured elements that kept up the tradition of his jazz fusion era, but he was open to interpreting pop material as well. As much as their future collaboration were already underway, Stewart Copeland already had played drums on a track on Stanley’s 1988 album, If This Bass Could Only Talk.

    As far as Stewart Copeland is concerned, after his run with The Police had technically ended. Stewart worked on some innovative projects, most notably his soundtrack to Coppola’s Rumble Fish in 1983, an album that featured the unusual single “Don’t Fence Me In” with Stan Ridgeway - from Wall Of Voodoo. Yet it was the instrumental material that is compelling, hybrids of reggae, off kilter pop, and jazz, was a continuation of the more idiosyncratic original material he brought to the Police. This led to other scoring work on other films, Namely Wall Street, Talk Radio, Taking Care of Business, She’s Having A Baby, and television shows like The Equalizer, and the pilot for Babylon 5. His 1985 album The Rhythmatist was a result of a pilgrimage to Africa where he worked with African players, featuring local drums and percussion as well as vocals. Stewart did session work for Peter Gabriel on his So album a year later.  But the desire to find and form a new pop rock project was there by the time of the preliminary collaborations in 1987 with what would become Animal Logic. 

    The intent was very much stated in the press kits and few interviews available. Clarke and Copeland shifted through hundreds of audition packages, when a two song demo from Deborah Holland, an L.A. based Piano teacher and singer stood out and that began the collaboration. Keep in mind that for the stature of Clarke and Copeland to help elevate this lady to notable attention is pretty significant. Many singers and musicians may be excellent and talented, yet never catch any professional breaks to platform their work. Their choice of Holland for the project was a real vote of confidence on their part. Even for their first set of shows in Brazil, Andy Summers was briefly in Animal Logic, but Andy wanted to just focus on jazz music not pop. 

Let’s look at the players, Stanley’s bass work on the first album really pops, and Stewart’s characteristic high hat and cymbal work - as well as his unusual fills - creep in on various tracks. Guitarist Michael Thompson’s guitar work, with its clean chorus tones, has a very crystalline bite on many numbers, and he brings the added edge with his over driven leads. Yes legend Steve Howe offers some fine second support especially on a number like “As Soon As The Sun Goes Down”. You also have other players like the music scene iconic L. Shankar on electric violin, and Jazz legend Freddie Hubbard on the closing track. 

The first Animal Logic album is uneven, I admit, but there’s some real gems, especially with the last half of side one, and the first half of side two. The first single “There’s A Spy (In The House Of Love)” is not the best impression, but it did manage to chart well enough. You have to find the gems amongst the dross with most bands.

Generally, singles are not a best representation of an album, just the intended gateway. 

The first several tracks are a slow burn, which makes it all a little deceptive, But “I’m Through With Love, As Soon As The Sun Goes Down,” and the side two opener “I Still Feel For You” have real vibrancy. Richard’s banjo work on “Elijah” gives it an extra sheen and lift, “ Someone To Come Home To” builds into something powerful with the chorus and great guitar work and bass leads from Clarke, and Copeland comes to life in the last half, the album closer, the ballad “I’m Sorry Baby (I Want You In My Life)”, is a musically pensive, compelling piano piece with a fine Hubbard solo and tasteful bass lead by Clarke. Deborah’s vocals are strong, aside from the jazz inflections, I also hear a slight county music drawl to her vocal approach, while the lyrics are pretty much in the area of relationships, she can offer a fresh twist of a lyric.

The first album was also a product of its time with the production flourishes. Paul McCartney’s Flowers In The Dirt was very synth heavy in its pop sheen. And even Neil Young had added some synths as extra coloring on his comeback album Freedom. People just didn’t see that a more stripped down, organic approach was just looming in the new decade. Madonna, Michael Jackson, and Tears For Fears were still the predominant forces at that moment and products of the eighties. 

Let’s talk about guitarist Michael Thompson a little, his work on the album was pretty phenomenal. Copeland and Clarke would continue to use Thompson – No relation to the legend Richard Thompson – He would soon work with David Foster, he would work with Babyface and namely additional guitar Clapton’s “Change The World”, and Quincy Jones would tap him to work on Q's Jook Joint in 1995. Thompson would work with Robert “Mutt” Lange on Shania Twain’s Up album. He worked with Michael Jackson, Whitney Houston, Celine Dion, Toni Braxton, Phil Collins, Rod Stewart, Michael Bolton, The Scorpions, Madonna, Mariah Carry, and En Vouge, and so on…all showing his range. He had studied at Berkeley College of Music and had studied under Pat Metheny before branching out. 

A second album would be released in 1991, this would often be characterized as a sophomore slump, but Animal Logic II has a similar yet muscular sound, and some of the material I like better as much as I lean towards the first album, it's worth it. The record label did do press promotion for it.  Aside from the core of Copeland, Clarke and Holland. Guitarist Rusty Anderson was brought in, with extra contributions from Thompson, Piano legend Mike Garson of David Bowie - Alladin Sane stature was brought to add his distinctive sound on two tracks. As well as another notable player, the well-regarded David Lindley, was brought in. Keyboardist Todd Cochran appeared on many tracks, as well as Saxophone from Doug Nowine, George Duke plays on one track and Jackson Browne does backup vocals two others, Deborah and Jackson's chemistry is notable on "Another World". So, there's some steady pool of talent involved.

Again, this album opens with a slow burn, and I can understand the complaints by some about it sounding a little bland. But there’s some life and funk infusion with “Love In The Ruins (Doctor Dear Doctor)” as well as Garson’s Piano work. The single “Rose Colored Glasses” is catchy, and has some exuberant feelings, Often, it’s the deeper cuts towards that are the most compelling. There’s a folk and funk infusion with “If I Could Do All Over Again”, as well as playful saxophone leads, Copeland really cuts loose on this, Clarke drives the bridge section. There’s also vibrant slow burn with “I Won’t Be Sleeping Anymore” with a great chorus, and Holland delivers one of her strongest vocals. “Talking Is Good” has a playful Reggae feeling and George Duke accents the sentiment. Stanley Clarke drives “Stone In My Shoe” throughout as well as some incredible bass leads in the second, and Copeland seems responsive, "Stone" pretty much feels like an improvisational vamp. 

Once again, not a perfect album, but overall, a very enjoyable listen. 

The other problem with the album was the timing. This was released around the same period as the music scene was shifting, Nirvana, The Seattle scene and ‘grunge’ was starting to creep through the public consciousness, for example, another band from the same period Jellyfish had released their first album in 1990, Bellybutton, their follow-up release in 1993, the masterful Spilt Milk would suffer from the commercial changes. A Lot of bands prior to 1990 struggled with the industry shifts. 

Now the history with Rusty Anderson is a little confusing as he isn’t always listed as a guitarist on the album, Rusty went on to work with Paul McCartney’s band, but as a teen Rusty’s band Eulogy opened for countless bands, after the Animal Logic sessions, Rusty worked with a wide range of acts. In 1993 his other band Ednaswap opened for Sublime, Social Distortion, No Doubt and Weezer. He has worked on sessions with Elton John, New Radicals, Willie Nelson, Tim McGraw, Michael Buble, Jewel, Stevie Nicks and Joe Cocker Rusty has continued on as a composer and Producer.

The band broke up after sales were softer, and as Clarke and Copeland were committed to other projects, Animal Logic didn't continue. The story didn’t exactly end there. In 2022, Animal Logic reformed for several dates, and recorded and released two new songs. It’s pretty evident that Clarke and Copeland mjust have liked working with Holland enough to try again. Thet new single “Can You Tell Me” had some inventive drumming from Copeland and featured ex-Flecktones player Howard Levy on Harmonica. The other track, “Ordinary” is merely decent, but whimsical. Holland has not lost her touch as a singer. Debroah Holland did a new interview around that period. I am aware the band may not be for everyone, and if you seek more adventurous fare, you can always check out Oysterhead with Les Claypool, Stewart Copeland, and Phish’s Trey Anastaio. My only complaint about Les is that so many of his outside projects - due to his idiosyncratic vocal sound - sound like Primus adjacent - but they are a good band. 

All video music samples are in compliance with "Fair-Use".

Samples from both albums have been included here, as well as the new single. Only the second album is featured on Spotify, and the titles are out of print. The new songs were featured on Bandcamp before it appeared on Spotify. 

The platform of Animal Logic did give Holland an independent solo career, she released five solo albums, continued to work with Stewart Copeland, she has been involved with the folk trio, The Refuges, she just released I Made It This Far in 2025. She has remained a steady talent that didn’t fall into the cliches of self-destruction and drug use that plagued so many others. She may not have been on par with Harriet Wheeler from The Sundays, another peer from that period, but Holland should not be dismissed. After receiving a master’s degree for CSU Los Angeles, she joined the faculty, running the masters in commercial music program, from 1998 until 2010. 

Again, this is all subjective, not everyone is going to like the same things, which I understand, and I don’t expect anyone to agree with me, all I ask for is some objective fairness. 

Additionally, it was not only Debroah who benefited from the project, but at least two guitarists who ended up with viable careers. That’s saying a lot. Clarke understood one key jazz tradition – to give unknown players the opportunity to be spotlighted and prove what they could do. Clarke and Copeland demonstrated the real spirit of paying it forward, that doesn’t always happen. 

Her time in Animal Logic left her with opportunities for a viable career, and great esteem from the critical community, Clarke and Copeland’s vote of confidence in her paid off back then, and I hope others take that inconsideration when judging the band.

Retro Reviews: James Brown: Hot Pants

      I decided to launch a new series to imagine myself as a critic at the end of the 70s and start of the 80s, 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. 

James Brown – Hot Pants (1971)

****

Producer: James Brown

Musicians: James Brown, Bobby Byrd, Jerone “Jassan” Sanford, Russell Grimes, Jimmy Parker, St. Clair Pinckney, Fred Wesley, Hearlon “Cheese” Martin, Robert Coleman, Fred Thomas, Johnny Griggs, John “Jabo” Starks

Songs: Blues & Pants, Can’t Stand It, Escape-ism Pt 1. Escape-ism Pt 2, Hot Pants (She Got To Use What She Got To Get What She Wants)

Reviewed By Matthew Anthony Allair

    This album looks to be the first title for Polydor, and as a follow-up to the prior album Sho Is Funky Down Here, this seems a retool for more appeal, but the emphasis remains on groove - make no mistake about it. The prior album had elements of psychedelic blues soul, and this has switched back to a more soul and funk infusion.  That album had been an instrumental, but it also validated just how good and tight his current band is. Many of the players have changed and while he still has a circle of players he had in the last decade, he has a new roster that can live up to the past. Often the duel guitar of Coleman and Martin, and their interplay keeps it interesting, while Fred Thomas acts as the anchor. He has always used top tier Horn players, Jimmy Parter and Fred Wesley remain fine soloists, they aren’t trying to have the improvisational flare of jazz players – then again, they don’t need to. James and Bobby Byrd trade organ duties. Often there’s an informal feeling with James as the band leader.

    The opener “Blues and Pants” feels like a warmup. But with a very clever jazz flavored breakdown. The interplay of “Can’t Stand It” has James’s egging on the rhythm section into new heights with allowances for Fred Wesley to really stretch out. The groove of “Escape-ism Py 1” has a little of the sensibility of the instrumental album, but there’s a party feeling that is designed to egg on an audience. “Part 2” reminds me of the two part single of Ray Charles “What’d I Say” from over a decade before. The organ and horn solos stretch out the spirit of the moment; The relatability of his bandmates mirrors the relatability of the audience. 

    The success of “Hot Pants (She Got To Use What She Got To Get What She Wants}” isn’t much of a surprise, it has a steady groove with some inventive section breakdowns This is all designed to put on at a party, and get gusts up and about, and this archives this very well. Brown still understands his audience and makes of good point of satisfying them. 

Retro Reviews: Bee Gees: Main Course

     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 Bee Gees – Main Course (1975)

****

Producer: Arif Mardin

Musicians: Barry Gibb, Robin Gibb, Maurice Gibb, Blue Weaver, Alan Kendal, Dennis Bryon, Joe Farrell, Ray Barretto, Don Brooks, Gene Orloff

Songs: Nights On Broadway, Jive Talkin’, Wind Of Change, Songbird, Fanny (Be Tender With My Love), All This Making Love, Country Lanes, Come On Over, Edge Of The Universe, Baby As You Turn Away

Reviewed By Matthew Anthony Allair

    The Bee Gees have released a new album that may help significantly increase their chart fortunes. They have been in a kind of commercial wilderness over the past three years after the run of their success from the late 60s to early part of the decade. Yet this new album feels focused. Producer Arif Mardin, who helmed Mr. Natural, has come back for this group of songs, but the writing feels more concise here. Their dalliances into Dance, Soul, and funk don’t feel like a substitution for thin material. There’s real song craft here, they have just reframed the arrangements, and adapted so that the listeners focus could be on the songs. Of course, their characteristic three-part harmony cuts through the material, there's a lot of falsetto work on here, but the musicianship is steady. Maurice’s bass work has that rhythmic drive, he understands the assignment. Barry’s rhythm guitar work and Alan’s lead guitar have a fine interplay. Blue Weaver’s keyboard work and his bass synth work have a nice support to Maurice’s bass at various moments.

    I am aware of the assumption that the Bee Gees are a poor man’s version of The Beatles, but I don’t think this is true and now an unfair impression. The band are their own entity. The Beatles ended at the perfect moment, but peers like The Bee Gees are well suited to adapt to the changing trends. This direction isn’t surprising when you consider David Bowie’s new album Young Americans went in a similar vein - considering how European musicians have often been on the vanguard of trends - I am not surprised that such musicians are capitalizing on the East Coast dance scene, but music isn’t built around one type of groove, Funk is amorphic and there’s many approaches to how to build grooves, so how does the album measure up to these standards?

    Side one features a surprising group of strong songs. The first two numbers are stupendous, “Nights On Broadway” sets the tone with some dynamic and dramatic passages. It also demonstrates the craft I had mentioned previously. It’s of little surprise that “Jive Talkin’” is the single, it demonstrates an infectious groove, and some clever keyboard hooks. There’s a certain dance grandeur to “Wind Of Change” with a lifting chorus. The orchestra embellishments enhances this, and there’s a sultry saxophone solo drenched with delay. The ballad “Songbird” seems to channel Elton John with it’s feel, in addition to the standard band vocal sound. The closing ballad “Fanny (Be Tender With My Love)” is probably the third most accessible and strongest number of the album and the Bee Gees show demand of the ballad format. Very well crafted. 

    Side two takes some interesting directions and expands on the format, although there’s debate if it all matches the quality of the first half. “All This Making Love” is an off kilter pop number with a touch of eccentricity. “Country Lanes” is a gospel infused ballad with occasional wisps of counterpoint vocal lines. The stronger “Come On Over” is a pop country blues that is more typical of their standard sound, but with traces of country guitar phrases for good measure. The other strong piece is the mid-tempo pop of “Edge Of The Universe” seems to be about a spiritual awakening. The album closer “Baby As You Turn Away” has Barry shift to his falsetto and wraps with another strong chorus. The album cover work is a clever homage to twenties and Victorian style. 

    The second half may not leave as strong of an impression, but this album is bound to reassess the listener to the merits of the band’s work, there’s some gripping moments with half the album, and the quality overall remains quite high. They have managed to offer up some surprises and I will be curious to see where they go from here.

 

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: The Doors: Waiting for The Sun

      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 Doors – Waiting For The Sun (1968)

****

Producer: Paul A Rothchild

Musicians: Jim Morrison, Ray Manzerek, Robby Krieger, John Densmore, Douglas Lubahn, Kerry Magness, Leroy Vinnegar

Songs: Hello, I Love You,  Love Street, Not To Touch The Earth, Summer’s Almost Gone, Wintertime Love, The Unknown Soldier, Spanish Caravan, My Wild Love, We Could Be So Good Together,  Yes, The River Knows, Five To One

Reviewed By Matthew Anthony Allair

    The Door’s second album, Strange Days, didn’t manage to suffer the alleged sophomore slump, probably due to the fact that they had a wealth of material from their club days, but now their third album is released, and will it suffer a notable drop off, how does it measure up? Well the quality remains quite high, there’s an undeniable chemistry between Manzerek and Krieger, and John Densmore remains a solid player. Morrison remains the thematic driving force of the band as the primary lyricist and influence on the others. Bass players Douglas Lubahn and Kerry Magness fills out the sound, and Leroy Vinnegar plays the upright bass on a number. Paul Rothchild’s production offers up a solid grounding and focus. Let’s address the critique I see elsewhere about the ‘pretentiousness’ of Morrison and the band, much of which is driven by the obvious theatrics of the band’s music. I would argue that band is no more ‘pretentious’ than The Beatles as of late. Morrison has helped to find another form of the fusion between poetry and rock, and it’s not different than Dylan’s aims.

    Many of my peers seem to forget that all rock music since the late fifties has had an element of theatrics, in fact, I could argue - when figures like Mr. Bangs dwell on this pretention of the Doors – that as is intellectually dishonest and pretentious for them to assume early Rock and Roll wasn’t theatrical when it was. To suggest that the band is just treading on similar ground, it ignores a few numbers that take some bold steps. The album works. It is no surprise with the opener, “Hello, I Love You” is the single, in spite of the fact that it seems to nod a little too a Kinks number, musically the Manzarek and Krieger are inventive with their interplay, the instruments nearly blend together. Morrison is in crooner mode for the ballad “Love Street”, close to a vaudeville number that will harken back to “Crystal Ship”. Allegedly, “Not To Touch The Earth” was part of a larger piece, it has a strange quality of being both accessible yet uneasy. “Summer’s Almost Gone” has a pop blues sheen with some slippery slide work from Krieger. “Wintertime Love” is a light pop number that is quite strong and the arrangement may mask it’s strength. The compelling “The Unknown Soldier” may be one of the numbers on par with the prior albums. A mock military trial and execution in the middle just reinforces the anti-military bureaucratic sentiment 

    The second side opener “Spanish Caravan” is impressive for showing off Krieger’s guitar skills, and features some nice acoustic layering before the full band wraps it together. “My Wild Love” is like a Native American chant, or a slaver work song traditional, a real surprise. “We Could Be So Good Together” is another pop number with a brief clever quote from Thelonious Monk’s ‘Straight No Chaser”. The sleeper “Yes, The River Knows” is an impressionistic jazz flavored piece where Ray leans into the Piano, and Robbie offers some nice guitar support. The two prior albums closed with sprawling numbers like “The End” and “When The Music Ends”, and the final track differs yet makes a final statement. The dark blues of “Five To One” may remind others of Hendrix’s “If 6 Was 9” in tone, but it is a rallying cry for the counterculture. Morrison offers a drunken slur in his delivery as well as seduction, the track also feels like it could have been recycled from their club days. Yet there remains a dark under current with the band  that asks more questions than offers answers. To even suggest that the band is just treading water is foolish, tracks like “My Wild Love” and “Caravan” show some real growth and risk appraisal. 

    I believe the reason for the critical hostility towards The Doors, like the mixed assessment with The Mothers Of Invention is that both acts represent the darker side to the southern California scene. All of which runs in contrast to the Northern California hippie counterculture, a view which offers up platitudes about peace and love. Those ideals are very lofty, but that might not be very realistic to how human nature operates, The Doors seem to understand this, and Morrison certainly does. The Doors remain a cohesive band, not just a support for Morrison’s whims. The band offers up a theatrical package for a reason; you must look within before you can look without or change the outside world. My biggest complaint with the album is that it is all too brief, and wish there had some more development and length, then again, it does leave wanting and curious for me.

 Recommended. 

Retro Reviews: Wes Montgomery: Goin' Out Of My Head

    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.

Wes Montgomery – Goin’ Out Of My Head (1966)

****

Producer: Creed Taylor

Musicians: Wes Montgomery, Phil Woods, Jerry Dodgion, Bob Ashton, Romeo Penque, Danny Bank, Ernie Royal, Joe Newman, Donald Byrd, Danny Moore, Jimmy Cleveland, Quentin Jackson, Wayne Andre, Tony Studd, Herbie Hancock, Roger Kellaway, George Duviver, Grady Tate, Candido Cameron, Oliver Nelson, Johnny Pate

Music: Goin’ Out Of My Head, Once I Loved, Boss City, Chim Chim Cher-ee, Naptown Blues, Twisted Blues, End of a Love Affair, It Was a Very Good Year, Golden Earrings

Reviewed By Matthew Anthony Allair

    Wes Montgomery has become a guitar jazz figure of great importance in this decade, he is able to infuse many elements that have come before and most certainly has taken steps from Charlie Christian, but his use of octave lines and his dexterity did set him apart from Kenny Burrell and Jim Hall - all are great players that offer unique flavors. Wes’s run with Riverside represented a post-bop sensibility of exceptional records, with only a few hints of the pop leanings he would traverse with albums like Fusion! With Strings from 63. But things change, and his new tenure with Verve has leaned towards a more mass appeal focus, Producer Creed Taylor has taken things into new territories with how Wes is presented, sometimes with mixed results for anyone who remembers his Riverside years. The new album features a roster of talented jazz players, and arranger Oliver Nelson manages to channel the sensibility of Gil Evans, Claus Ogerman or Neal Hefti. The rhythms do indeed swing, and the orchestral accents manage of big band feel. But for most of the album the pop numbers constrain Wes, while his originals liberate him, which we will get into in a moment.

    The title track has become a popular number as of late. Wes's guitar is accented by the rhythm and some brief freedom near the end. “Once I Loved” is a Brazilian number with a light touch, there’s a hint of the Evans sensibility in the arrangement. When Wes is allowed some expression, it is interesting. The number from Mary Poppins, “Chim Chim Cher-ee” is given a vibrant tempo with the full orchestra, and a baroque oboe section, yet Wes manages a good work out with his passages. Yet it is his three originals that Wes feels like he is at his most free. “Boss City” starts with laid back feel, but once the head has established with the horn accents, Wes’s blues origins shine through and we are back to what people of his earlier work, the piano and drums have a playful aspect to lift this up. “Naptown Blues” is the most full band swing number on the album, the rhythm section holds it together while the horns step out, Wes offers some clever cordial work near the last half. “Twisted Blues” offers another fast tempo and Wes's lead work sounds joyous as he offers some of his best guitar runs on the album. 

    In this, Verve was wise to let him show case his originals once again. The standard “The End Of A Love Affair” has an introspective read and the closest to having an Evans or Ogerman feeling with its backing. His lead work here is more pleasant and easy to take in. Billie Holiday had already done a haunting read on this piece in 59. Another number that had been big for Sinatra, “It Was A Very Good Year” that had been done the year before, this allows Wes to ease back with a more outside percussion line in the middle section. Has a darker resolve near the end. The closer “Golden Earrings” has a more settled, pensive tone with the drums allowed a freer structure, with some more Evans flavored accents with the orchestra. The tempo doubles up in the second and Wes is allowed some more space. 

    Another album - like Bumpin’ before it - that allows Wes to not completely abandon his past, this instrumental album should do well for him – it strikes a good balance.  

Retro Reviews: The Mothers Of Invention: Freak Out!

      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 Mothers of Invention – Freak Out! (1966)

***1/4

Producer: Tom Wilson

Musicians: Frank Zappa, Jimmy Carl Black, Ray Collins, Roy Estrada, Elliot Ingber, with Gene Estes, Eugene Di Novi, Neil LeVang, John Rotella, Carol Kaye and other session orchestras

Songs and music: Hungry Freaks Daddy, I Ain’t Got No Heart, Who Are The Brain Police?, Go Cry on Somebody Else’s Shoulder, Motherly Love, How Could I Be Such A Fool, Wowie Zowie, You Didn’t Try To Call Me, Any Way The Wind Blows, I’m Not Satisfied, You’re Probably Wondering why I’m Here, Trouble Every Day, Help, I’m A Rock (i. Okay To Tap Dance, ii In Memoriam Edgar Varese, iii It Can’t Happen Here), The Return of the Son Of Monster Magnet (Unfinished Ballet in Two Tableaux – i. Ritual Dance of The Child-Killer, ii Nullis Pretii (No Commercial Potential) )

Reviewed By Matthew Anthony Allair

    The Mother’s of invention is a new band that is headed by Frank Zappa, they represent the new self-described freak culture of Southern California. What is so audacious about this is that it is a double album, and outside orchestral session players were brought in to augment the core band. This is a hybrid of bizarre material and very pointed satire, so it won’t be for everyone. The fact that the band was signed by Verve, a label known for it’s jazz releases is revealing, it’s interesting producer Tom Wilson was brought in for quality control, as this will push the bounds of what is considered ‘pop’ or ‘rock’ The styles jump all over the place, from doo wop, psychedelic blues, free form jazz, and experimental orchestral work. I thought The Beatles were being experimental, but this takes things in a less formal direction. The fact that they were given the freedom to do this is impressive. Nevertheless, it may be polarizing for a certain subset of the culture.

    It’s opener “Hungry Freaks, Daddy” is a rhythm and blues flavored number with a psychedelic bent, but its lyrics are very pointed and the use of vibes hint at something very different. The fact that the singing is off key is beside the point, it an ugly feeling and it feels intentional in the context of the number. “I Ain’t Got No Heart” is a more musical number as far as the vocal and horn ensemble, it comments about a woman who may be too square for this man who narrates. “Who Are The Brain Police?” is a tuneful enough number with a barrage of fuzz guitar within its hint of a pop sheen. “Go Cry On Somebody Else’s Shoulder” is the first true satire of 50s Doo Wop teenage angst, but that character’s self-loathing and guilt shaming hints he isn’t really the hero to cheer for. “Motherly Love” almost feels like a satire of the burgeoning California psychedelic scene, if also hints at just how young the female groupie scene is and questions it. “How Could I Be Such A Fool” is another 50s satire with a horn section, yet it suggests the male character brought it on themselves.

    “Wowie Zowie” which opens side two is another psychedelic blues pop with a good dose of xylophone. “You Didn’t Try To Call Me” leans into a pop number with orchestra that leans into a movie score. Another satire where the main character has a desperate undercurrent. “Any Way The Wind Blows” is a guilt-based manipulation with some good electric 12 string work, much of this isn’t to be taken very seriously. Black and Collins seem to be the best vocalists. “I’m Not Satisfied” has another disaffected you, but the horns and flutes edge towards a western movie score. “You’re Probably Wondering Why I’m Here” is another teen, sardonic number with the flavor of Kazoo to lean into the humor. 

    Side three’s “Trouble Every Day” is a very pointed number about the media’s perception on youth culture - “You know people, I’m not black, but there’s a whole lot of times, I wish I could say I’m Not White.”, yes, boys, I can’t say I blame you for feeling that way. But the album takes a very strange turn with “Help, I’m A Rock” featuring “Okay To Tap Dance”, part two “In Memoriam, Edgar Varese” and “It Can’t Happen Here.” opening with an odd guitar figure, the groove settles into a random chant, morphing into the “Varese” section. This is probably some of the most avantgarde material for a pop. The chant “It Can’t Happen Here” seems to mock the paranoia about the freak culture in middle America, before shifting into some free form jazz, it all feels like a challenging taunt. 

    Side four’s “The Return of the son of Monster Magnet” has the taunt of Suzy Creamcheese, before a swing pop groove, with a strange pulse of plucked piano, and strange electronic sounds, the next chant shifts gears into other strange territory, it all starts to sound like a parody of some B movie. It even seems to morph into loops, backwards tracks, and speeded up audio, “America’s wonderful!” it declares and any aware person can sense the irony. 

    I can’t say the double album completely works, there’s a few songs that are thematically repetitive on the first two sides, and the audacity of side three and four won’t be for everyone. It is meant to provoke, to act as a slingshot for the consciousness, and some might not just want to be along for the ride. But this album feels a year or two ahead of everyone else and I have very little doubt that other musicians will be paying attention to what the Mothers have to offer. It’s a fascinating little ride as far as a sonic rollercoaster. Certainly, worth it if you are looking for something a little different.