Retro Reviews: John Lennon: Imagine

    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 and Plastic Ono Band – Imagine (1971)

***

Producers: Phil Spector, John Lennon, Yoko Ono

Musicians: John Lennon, George Harrison, Nicky Hopkins, Klaus Voormann, Alan White, Jim Keltner, Jim Gordon, Ted Turner, Rod Lynton, Joey Molland, Tom Evans, Andy Davis, Steve Brendell, John Tout, King Curtis, Bobby Keys, John Barham, Mike Pinder, Phil Spector

Songs: Imagine, Crippled Inside, Jealous Guy, It’s So Hard, I Don’t Wanna Be A Soldier, Gimmie Some Truth, Oh My Love, How Do You Sleep?, How?, Oh Yoko

Reviewed By Matthew Anthony Allair

    I am struggling to access this album as much as I was when I did the review to his prior Plastic Ono Band, and once again it is not about blaming Yoko Ono for some issues. John is his own man, an adult, and responsibility should be placed on his decisions. The follow up to the stripped-down Plastic Ono Band is filled with an all star cast of players and Phil Spector has brought his full sound to the album, unlike the first one. Yet some of the material feels empty. although John is, mostly, a brilliant lyricist, when John is on his game, it works brilliantly, but this is offset with some material that feels under-cooked with their ideas. The music should matter as much as the lyrics, something that George Harrison understood with his exceptional All Things Must Pass. There are places on this album where it struggles to be edgy, yet accessible, and with any other artist, that could get a pass, but this John Lennon after all, a figure whose past innovation with The Beatles defined the music of the 60s. One feels it should have been a little more.

    There’s little debate that the perennial singles “Imagine” and “Jealous Guy” will remain favorites on the radio for years to come. I believe “Jealous Guy” is built on a number from their India sojourn period in 68. “Crippled Inside” opens with a nice picking pattern before it shifts to a light country number. It almost feels like the arrangement undercuts the lyric, and it’s a little whimsical but that might make feel a little too precious, admittedly a catchy number, but it just makes you wonder. The blues rocker, “It’s So Hard”, opens in the same territory as “Cold Turkey”, the real problem is that it is aiming for a stripped-down sound, yet the added strings feel mildly jarring. The jam based, “I Don’t Wanna Be A Soldier” wears out it’s welcome at about the half way point. For a longer based song, where is the inventiveness of “Everybody’s Got Something To Hide” or “I Want You (She’s So Heavy)”? Where's the rhythmic inventiveness, his ability with play with time signatures in his playing, it's not there, it needed a few more surprises.

     “Gimmie Some Truth” is at least more concise, and George’s slide makes it a little more interesting. “Oh My Love” is one of the prettiest numbers on the album and reveals John is capable of matching Paul’s melodic instincts. Then there’s “How Do You Sleep?” - it has a funky groove, but thematically there’s a drudgery to it, as well as something puerile. Obviously, it’s about his former Beatles bandmate. There’s a line that is revealing, “You live with straights who tell you, you was king.”, Well, wait John, how that’s not apply to you as well? How do we know you aren’t surrounded by sycophants who tell you what you want to hear? Pardon for the following point being crass; I am certain that John’s duodenal movements are as odious as anyone else’s. The lack of self-awareness is a little surprising, 

    The ballads are some of the best things on the album, “How?” is a moving piece that should have been tightened up, the second bridge doesn’t seem needed. The closer is the country flavored “Oh Yoko!”, while it has a similar feel as “Crippled”, at least the tone is more consistent, while the Dylan nod is cute with the Harmonica, this track needed to be shorter. Phil didn’t offer enough of a filter; George Martin might have. There are moments where John sounds a little complacent here, perhaps Jann Wenner has been enabling the discussion, one wonders where is the higher bar. This album is filled with good moments, there’s no arguing that, but it’s also filled with areas where the potential wasn’t realized.

Yoko Ono – Fly (1971)

**1/2

Producers: Yoko Ono, John Lennon

Musicians: Yoko Ono, John Lennon, Klaus Voormann, Bobby Keys, Eric Clapton, Jim Keltner, Ringo Starr, Jim Gordon, Chris Osborne, Joe Jones

Songs and pieces: Midsummer New York, Mind Train, Mind Holes, Don’t Worry Kyoko, Mrs. Lennon, Hirake, Toilet Piece, O’Wind (Body is The Scar Of The Mind), Airmale, Don’t Count The Waves, You, Fly, Telephone Piece

Yoko has released a sprawling double album of mostly ideas, evidently, her husband’s namesake probably helped realize this, it is what it is and she did had a legacy with the Fluxus group, she is just using music to visualize ‘ideas’, There was a helpful press kit and article that explained much of this, she described side one and two as “Songs To dance to, rock songs with a physical beat,” She described  side three and four “Songs to listen to, mind music and mind beat”. She described the long title track, as section one being a Monologue, section two features John’s backward guitar, John’s backwards guitar is more present with section three. The cut is basically Yoko vocalizing certain insect and animal noises, this was the accompaniment to their experimental film. There’s two proper songs with “Midsummer New York” which is a blues, and the ballad “Mrs. Lennon”, this second vocal is actually quite good, she can properly sing when she wants to. “Don’t Worry, Kyoko” is another studio recording with Starr and Clapton along for the ride. I can’t say it’s any better than the 69 B side, or the Toronto performance, just different.

 “You” is probably the most interesting track as it uses multiple random instruments created by Fluxus colleague Joe Jones. Different random percussion builds up as it progresses. “Mind Holes” has some droning acoustic guitars. “Hirake” has a funky groove, and a sort of variation of  the prior “Open Your Box”. “Mind Train” takes some of the prior rock backing ideas from the past album. “O’Wind (Body Is The Scar Of The Mind)” uses tabla, guitar, and what comes across as a Japanese prayer. The piece “Airmale” was used in another Experimental film, this and “You” seem to represent gender opposites. The moody “Don’t Count The Waves” uses delayed percussion and her vocal to leave a strange picture. She has managed to use different venues to explore sound vocal ideas, but I have to wonder if she has exhausted what she can do with her tactics. I hope the proper songs hint at a new direction. This won’t be for everyone, but if you are in the mood for it.

Retro Reviews: Genesis: A Trick Of The Tail

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

Genesis – A Trick Of The Tail (1976)

****1/4

Producers: Genesis, David Hentschel

Musicians: Tony Banks, Phil Collins, Steve Hackett, Mike Rutherford

Songs and Music: Dance On A Volcano, Entangled, Squonk, Mad Men Moon, Robbery Assault and Battery, Ripples…, A Trick Of The Tail, Los Endos

Reviewed By Matthew Anthony Allair

    Genesis has launched a new album with a new mission statement, after the departure of singer Peter Gabriel there was a lot of questions and false assumptions, but the band has just proven they can move forward., in spite of the speculation about who would replace Gabriel, the bend decided to stay within and drummer, Phil Collins stepped up for the role as singer. This was a wise decision. Phil had been singing background on prior albums and he had already taken a lead vocal on a prior track. Genesis was always the sum of it’s part and Gabriel was not just the sole visionary for the band, a point I had made before.

    Phil has managed to pull off not only the softer material vocally, but heavier material as well, and this development is quite welcome. There aren’t many singers who could understand the sensibility of Genesis as well as Mr. Collins. But the real focus is on guitars on the album, Steve, Mike, and Tony play a lot of guitar on here, with Banks keyboards acting as coloring on a few numbers. But the line between the keyboards and guitars blend together on various numbers, it all gets a little blurred with that issue.

    Phil’s drumming remains exceptional, only a month earlier the band Brand X had debuted, for any doubters, Phil’s work remains quite high and he is gifted with the skins. Hackett remains one of the marvels of the band, his range is surprising. Bass player, and 2^nd guitarist Rutherford is a key member as a player and writer, and one has the impression that Banks helps to drive the direction of the band. Hentschel’s production is different from John Burns, there’s a different sheen to it. This album is captivating from beginning to end.

    The opener “Dance On A Volcano” is a mission statement with a clever set of time signatures of 7/8, then jumps to different meters, I just point this out to demonstrate how adept Phil is as a player, the main body of the song is powerful instrumentally, the song has a few surprising shifts. “Entangled” takes things down with a dreamy acoustic number, pensive, there’s added coloring for Tony’s keyboards, while the lyrics are a little dark, this is a lovely and rich number. The up-tempo ‘Squonk” is a fantasy, but with some rich 12-string playing, probably one of the more straight forward numbers on the album, but with a memorable and lifting section, you will see it when you hear it. “Mad Men Moon” has a quieter slow burn in the first half, the classic blend of Tony’s string mellotron and Steve’s ambience helps the progression of the number. The life of the tracks section nearly harkens back to “Firth Of Fifth”. Overall, side one is uniformly string, which leaves one guessing if they can manage with the rest, the happy answer is yet. 

     The lively opener of the second half, “Robbery, Assault & Battery” has a playful, complicated, pop sheen, a narrative number that allows Hackett some room, and a little swing with Phil’s drumming. Some good organ work from Tony as well. Rutherford’s bass work is also liberated. “Ripples…” is the other acoustic ballad and the longest number, the chorus has a ascending quality to it. Phil’s instincts as a vocal storyteller might even be better than Gabriel in certain respects. Tony thankfully shifts gears in the second half to keep this compelling, and Hackett offers up some disjointed moods with his playing. This is some well-crafted work. 

    The title track is the most overt pop number on the album and has the greatest Beatles quality, with another vivid narrative that drives it. The closer is self-explanatory, “Los Endos” summarizes several of the main themes of the album, like a closing statement of a Broadway musical, Mike and Steve’s guitars with Tony’s keyboard makes a compelling statement before quotes from “Volcano’ and ‘Squonk’, there’s some impressive percussion work from Collins on this instrumental. Rumor has it that Gabriel visited the sessions and was supportive of what he heard. 

    This album should settle any doubts if Genesis will continue – they will indeed. 

 

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: Phil Collins: Hello, I Must Be Going!

    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. This is part one of three.  This is a three part living tribute to Mr. Collins, in light of his growing health issues, and possible RNRHOF attention, this is part one. 

Phil Collins – Hello, I Must Be Going! (1982)

***3/4

Producers: Phil Collins, Hugh Padgham

Musicians: Phil Collins, Daryl Stuermer, John Giblin, Mo Foster, J. Peter Robinson, Don Myrick, Louis Satterfield, Rahmlee Michael Harris, Martyn Ford

Songs and music: I Don’t Care Anymore, I Cannot Believe It’s True, Like China, Do You Know Do You Care?, You Can’t Hurry Love, It Don’t Matter To Me, Thru These Walls, Don’t Let Him Steel Your Heart Away, The West Side, Why Can’t It Wait ‘Til Morning

Reviewed By Matthew Anthony Allair 

    Phil Collins second solo album has been released, and it acts as a companion to the debut, Face Value. It may not be as eclectic as the prior album, but the Production and musicianship remain consistent. Many of the same players are back, minus a few guests. Guitarist Daryl Stuermer, whom had worked with Jean Luc Ponty before Genesis nabbed him to fill in live, offers good support, session player John Giblin had cut his teeth with the fusion band Brand X, and Mo Foster has such  a long list of artists he has done sessions with, including jazz players and live performance that it is another nod to how respected Phil’s skills are that Fister would be involved. It also doesn’t hurt that the Earth, Wind and Fire horns make another more prominent appearance here. This is less rock, and more pop, lite rock and even a hint of art pop. Phil’s piano skills could never match his peer Tony Banks, but he doesn’t even to imitate him here. Phil works with what he can do as a player, and it works. Of course, Phil’s drumming, even when stripped down for the sake of a song is still impressive.

    The opener is one of the singles, “I Don’t Care Anymore” acts as a kind of sequel to “In The Air Tonight”, a moody and heavy vibe that is propelled by a live kit. Aside from Phil’s keyboards, Daryl adds some moody embellishments. “I Cannot Believe It’s True” is one of the most lively numbers on the album with the full horns. The mild rocker, “Like China” has some good guitar work, and a child like vocal from Phil as a teenage lad who pines for a girl. “Do You Know, Do You Care?” is, in fact the darkest mood piece on the album with an odd outro. The single, a cover of the Supremes “You Can’t Hurry Love”, is a faithful read with a modern sheen., all of which gives side one a certain energy.

    The second half opens up with the thrifty “It Don’t Matter To Me” with the full horn section again, and some playful interplay. The moody “Thru These Walls” acts as a companion to the prior albums “I’m Not Moving”, some marimba fills out Phil’s keys on a number about a deviant voyeur who listens to others lives. The ballad “Don’t Let Him Steal Your Heart Away” could give Elton John a run for his money, as well as some tasteful piano work from Phil. The instrumental “The West Side” gives the flavor of New York with a nice Pop jazz swing, the album closer “Why Can’t It Wait ‘Til Morning?” acts like a companion to the prior “You Know What I Mean” as a ballad. Ending on a stratifying note. This probably won’t appease old Genesis fans, but I don’t this was intended for them. For anyone looking for a pleasant pop record, this will be of interest, in spite of the use of synths and drum machine, there’s a nice balance between live musicians that helps to give this some extra humanity. 

    While not as stellar as Face Value, this is a strong effort for what it aims to do. There’s a constant debate over exceptional musicians going pop, it seems to be a cardinal sin for Progressive Rock musicians especially to go pop, since this the medium that Mr. Collins chooses to express himself with, so be it, I would ignore the naysayers.

Retro Reviews: Gil Scott-Heron: Pieces Of A Man

 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.

Gil Scott Heron – Pieces Of A Man (1971)

***1/2

Producer: Bob Thiele

Musicians: Gil Scott Herson, Ron Carter, Hubert Laws, Brian Johnson, Burt Jones, Bernard Purdie, Johnny Pate

Songs and Music: Lady Day and John Coltrane, When You Are Who Are, Home Is Where The Hatred Is, The Needles Eye, I Think I’ll Call It Morning, Or Down You Fall, Save The Children, The Prisoner, Pieces Of A Man, A Sign Of The Ages, The Revolution Will Not Be Televised

Reviewed By Matthew Anthony Allair

    Gil Scott-Heron is a new major figure, who had already put out a live album, but this is his first proper studio album, a fusion between soul and jazz, but what is notable are two figures, producer Bob Thiele, a long-time associate of John Coltrane duri8ng his later years, and esteemed player bassist Ron Carter. The associations are a great endorsement of this figure, Gil must doing something right to get this attention. There had been one prior album last year, the small venue live A New Black Poet / Small Talk at 125^th and Lenox ,but that album comprised spoken word performances with percussion, and sprinkled with a few piano and percussion vocals near the very end of the disc. That album, seemed very much targeted at the African American market, was a frank, and confrontational piece, that had some very insightful moments. The dedication to vocals with the album seems to aim for cross over appeal, at the very least with the soul market.

    There’s a directness to his lyrical ability that reminds me of another recent peer Sixto Rodriguez, these are difficult times as we edge away from the last decade, there’s a lot of soul searching that is needed and a youth culture that already feels like promises were broken. This is all very prescient for the African American community whom have been watching their heroes be cut down, or imprisoned. You can’t really ignore that truth. There has been a lot of cultural hijacking of African American music, and I suspect Mr. Heron understands this. I can appreciate the importance of Evis Presley, but I don’t respect him. Not in the way I respect Chuck Berry, Little Richard, or Fats Dominoe, much of blues, jazz and soul was hijacked from white musicians, and the machinery behind them, yet I don’t fault white musicians who give credit where credit it due. Perhaps, cultural hijacking isn’t the best, or more academic word, perhaps a phrase such as cultural appropriation, nevertheless, hearing Mr. Heron reminds me of what has been lost at the start of the decade, even with the good intentions of the music industry. Which is why these first two albums feel so important, and such a bellwether for where we are at. 

    The opener “Lady Day and John Coltrane” has a good jazz soul infused groove, the song seems to be about when there’s absence of heroes, when there no spiritual bijous, no one can find their bearings, there’s a malaise. With the bright and jaunty pop of “When You Are Who You Are” is just about being yourself and a playful vocal from Mr. Heron. The lyrically somber “Home Is Where The Hatred Is” has another mid-tempo groove and more excellent guitar work. The secret weapon of this project might just be Brian Jackspon and Burt Jones, the interplay between them remains excellent. Yet Mr. Heron is no slough either as a guitar player. “The Needle’s Eye” is built on a vamp with several chords, but it takes a broader view and hope considering urban sprawl and conditions, yet perhaps we just have to break out of the self-imposed prisons most accept. 

    “I Think I’ll Call It Morning” sounds like a commitment to break out of depression or an affirmation. “Or Down You Fall” is a bossa nova flavored and flute excursion that seems like another warning, to whom I don’t know, or affirmation. “Save The Children” is another Latin beat that is about his awareness of the failure to protect the innocent. “The Prisoner” opens with sound effects and  abstract cellos, a song that seems less about physical incarceration and being situationally trapped, a very dramatic piano drives this but the vocal isn’t as strong - In spite of the message. 

    The title track has some rich Piano work, a self-reflective work that reveals more layers than the listener would assume, this is about as reflective as some of Joni Mitchell’s work. The lovely “A Sign Of The Ages” almost as a resignation to it. The closer “The Revolution Will Not Be Televised” is more developed and refined from the prior live performance. A spoken piece about media and entertainment saturation, about television programs that are there to distract and a new media that hardly matches the reality of most people’s daily lives and surroundings. The soul groove and jazz flute give this some extra color. The main complaint about the album is it could have used a few more spoken pieces as his delivery is excellent, but this was probably designed for a broader appeal. 

    Gil Scott-Heron is an important figure that might be a few steps ahead of everyone else. Some people would see this album as combative - I see it as observational and honest. 

Retro reviews: Rush: A Farewell To Kings

   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.

Rush - A Farewell To Kings (1977)

****1/4

Producers: Rush, Terry Brown

Musicians: Geddy Lee, Alex Lifeson, Neil Peart, Terry Brown

Songs: A Farewell To Kings, Xanadu, Closer To The Heart, Cinderella Man, Madrigal, Cygnus X-1: Book 1 - Prologue, and parts 1,2 and 3

Reviewed By Matthew Anthony Allair

    *sigh* Man, it must be a drag for music fans to deal with my critical peers who are so dismissive of the Canadian band Rush, and I don’t really get the hostility. All three of these players are exceptional, Neil Peart is on par with Bonham, Baker, Moon, or Tony Williams, and Geddy as a player is on par with Chris Squire, John Entwistle, or John Paul Jones. Alex waves his magic as a guitar player and already seems like he could be overlooked. While Geddy as a vocalist may be an acquired taste for some, he does the exact job of what a lead singer is supposed to do, he translates the lyrics and effectively expresses the correct emotion, regardless of his timber of his voice, he does the job.

    While their first two albums traded in on a heavy blues rock sensibility and idiom with the eponymous album and Fly By Night, the third, Caress of Steel was a significant calculated gamble that didn’t always pay off, but it showed real growth. Last years 2112 put the band back on track with a fascinating group of songs. The follow up just validates the faith of several music fans. While they are following in the tradition of their progressive rock peers, Rush is also on par with some fusion rock players. 

    Alex’s classical nylon guitar opens the first statement of “A Farewell To Kings”, before the full band comes in, the bulk of the song is a scathing lament of rulers who seek power for its own sake and not to serve the needs of their people. Alex’s influences can be felt all over the album. “Xanadu” has an opening section that nods to Steve Hackett, or the up coming Allan Holdsworth. The track moves through a number of memorable sections before the main body of music sits in, the use of orchestra and tubular bells by Neil give the material an orchestral scope, another song that comments on the pursuit of power and the futility of immortality. The orchestral aspect of Rush is really no different than King Crimson. 

    The perennial single “Closer To The Heart” has a nice opening statement by Alex before the full band arrives, there’s some nice accessible harmonized leads by Alex, a plea for artist or leaders to be responsible. “Cinderella Man” is a solid number that stays true to the theme of the album. The use of synths and keyboard by Geddy has added new colors as demonstrated by “Madrigal”, this is a simpler, and unpretentious piece. The closer “Cygnus X-1, Book1” is a more science fiction themed track similar in tone to 2112. The bass eases in after an atmospheric introduction. This is about a ship on a doomed expedition to a dangerous star, a probably metaphor about self-destruction, another element of the pursuit of power with a cryptic end. Alex offers up a jagged Wah guitar solo. Neil is a direct and yet incisive lyric writer, and while he may not have Dylan’s eloquence and skills, few do, he does make the listener think. These aren’t just superfluous affair of the heart songs. The bulk of the album works very well; my only complaint is that I just wish the album was longer. Recommendation.  

John Mayall with Eric Clapton: Blues Breakers

  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 Mayall & The Blues Breakers with Eric Clapton (1966)

****1/2

Producer: Mike Vernon

Musicians: John Mayall, Eric Clapton, John McVie, Hughie Flint, Alan Skidmore, Johnny Almond, Derek Healey

Songs and Music: All Your Love, Hideaway, Little Girl,  Another Man, Double Crossing Time, What’d I Say, Key to Love, Parchman Farm, Have You Heard, Ramblin’ On My Mind, Steppin’ Out, It Ain’t Right

Reviewed By Matthew Antony Allair

    John Mayall has assembled a new line up of his dedicated blues band and he has picked former Yardbirds member Eric Clapton. The Organ, Piano, Harmonica work of Mayall is some solid work, and he has been the torch bearer for popularizing blues music in the UK. Yet I believe this is his first official release, barring prior singles. John’s last live album Mayall plays Mayall was a good endeavor. Clapton’s last appearance with the Yardbirds, Having A Rave Up with the live half of material with Clapton had some good moments, but Clapton’s evolution here with Mayall is startling to observe. Clapton’s full throated guitar tone, and the pairing of a guitar with amp, will likely influence other guitarists who are looking for a new direction*. But how does all of this measure up? In truth, Mayall is the glue that holds this together, but he has allowed his guitarist a lot of freedom and even allowed him the vocal show case on one song – but we will get to that shortly.

    The opener “All Your Love”, an Otis Rush number, features Eric's rhythm and lead work, aside from Mayall’s organ, this acts as a mission statement for the band. The double time change allows Clapton to shine. But the track is the prelude to the instrumental showcase of Freddie King’s “Hideaway” allows Clapton to really dig in, jumping between double time and a straight tempo. I should add that Clapton's interpretation feels so fresh that Freddy King's version feels mannered now. Mayall’s Organ really helps to edge Clapton onward. The pop blues of “Little Girl” is not that different from some of Clapton’s work with the Yardbirds, but it’s a nice little acknowledgement nonetheless. Yet Clapton is allowed some more fire on this one. The stripped down “Another Man” with just vocal, harmonica, and percussion reminds the public of another kind of blues. Eric is given a co-writing credit on “Double Crossing Time”, Mayall offers up some full piano blues with the horns and guitar doubling. Clapton’s lead is indeed biting on this one. Mayall doubles the Organ and Piano on their cover of Ray Charles “What’d I Say”, while Clapton has his moments to shine, this really feels like a showcase for Mayall and Flint. Clapton does a cheeky quote from “Day Tripper” on the ride.

     The side two opener “Key To Love, has the full horn section along with Clapton who offers some biting lead work This also seems to take a nod to the Atlantic Records sound. Mose Allison has been a favorite of British musicians for a while, and his “Parchman Farm” as set up a drums, bass, and harmonica trio, Clapton sits this one out and yet it just illustrates the range that Mayall is willing to explore. The haunting “Have You Heard” opens and is carried over by the saxophone solo, before Clapton takes over, there’s a nice interplay between Mayall’s organ and the horn section in support, the rhythm just sits in the back. The simple guitar and piano interplay between Mayall and Clapton allows Eric to take the lead vocal on “Ramblin’ On My Mind” a Robert Johnson staple in blues circles. Clapton is allowed another instrumental show case with the Memphis Slim material of “Steppin’ Out’. The full band with organ and horns blares in with a fun number. The spry, Blues rave up of “It Ain’t Right”, another cover of a Little Walter number allows Mayall to take the Harmonica lead, as well as a fitting closer to the album.

    There’s a certain sympatico between Mayall and Clapton that allows Eric to put his best work forward, he sounds less restrained here. I am reticent to declare Clapton the best blues player, he is equal to other players before him, but I suspect there’s other players we  don’t know about them yet. Overall a fun album for anyone not initiated with traditional blues, which makes for a good gateway album. Highly Recommended.