Retro Reviews: Dolly Parton: The Coat of Many Colors

      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.  In light of the news, Rest In Peace, the legend Dolly Parton, this is part 2 of 2 parts. 

Dolly Parton – Coat of Many Colors (1971)

**** 1/2

Producer: Bob Ferguson

Musicians: Dolly Parton, David Briggs, Jerry Carrigan, Pete Drake, Bobby Dyson, Johnny Gimble, Dave Kirby, Les Leverett, Mack Magaha, George McCormick, Al Pachucki, Hargus Robbins, Billy Sanford, Jerry Shook, Buddy Spicher, Buck Trent

Songs: Coat of Many Colors, Traveling Man, My Blue Tears, If I Lose My Mind, The Mystery of the Mystery, She Never Met a Man (I Didn’t Like), Early Morning Breeze, The Way I See You, Here I Am, A Better Place To Live

Reviewed by Matthew Anthony Allair

    Dolly Parton’s association with Porter Wagoner has led to the opportunity to try her hand with solo releases, and she has tremendous talent as a singer and writer. Earlier in the year, the album and single of “Joshua” and gain her a great deal of attention, that album’s producer Bob Ferguson has been brought back with a similar line up of players. Dolly has written all the songs expect three from Porter Wagoner. Yet, there’s a clear accessibly from Dolly as a writer, and she is showing evidence of being a good storyteller, often the material is spirited with an easy manner. Wagoner’s songs seem tailored for Dolly, but I am not certain if they are needed. Dolly is such a robust singer that she is able to sell her originals well. 

    The opening title track and single has a sincere candor, and reflection of her childhood that is relatable. There’s a poignant quality to the number that feels universal. One could even say that her writing is similar to the more venerated Joni Mitchell, but they came at this from a different sensibility. The energic “Traveling Man” has a nice lyrical twist, with some thrifty bass and guitar twang. “My Blue Tears” has a pleasant feel with some nice harmonizing vocals from Parton. Wagoner’s “If I Lose My Mind” has a darker tale of woe with an entangled relationship. The other Wagoner number “The Mystery of The Mystery” has a more spiritual bent and the big question, but there’s a fatalism behind it that some might argue with the sentiment. Some might say “Gods will” is a cop out, but this reflects a traditionalist mindset. 

    The second half opener, “She Never Met A Man (She Didn’t Like)” is Dolly’s plea to another woman. There’s a fresh contemporary feel with “Early Morning Breeze” that evokes an easy, warm feeling. Wagoner’s “The Way I See You” attempts another more contemporary feeling, merely pleasant. The more robust “Here I Am” has a pleasant tempo, driven by the appeal for friendship, vocally there’s a gospel element that add extra life. The brisk closer, “A Better Place To Live” reflects Dolly’s philosophy with a nice key change.  Dolly has shown a real quality and depth to her work, there’s a purity and boldness to her work that leaves a strong impression, She is evolving and one has to wonder if the day is coming she will move on from the Wagoner partnership, she already has the tools to be on her own. She’s a major force now. 

Retro Reviews: Michael Nesmith and First National Band: Magnetic South

     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.

Michael Nesmith and the First National Band – Magnetic South (1970)

**** 1/2

Producer: Felton Jarvis

Musicians: Michael Nesmith, Red Rhodes, John Ware, John London, Earl E. Ball,

Songs: Calico Girlfriend, Nine Times Blue, Little Red Rider, The Crippled Lion, Joanne, First National Rag, Mama Nantucket, Keys to the Car, Hollywood, The One Rose (That’s Left in My Heart), Beyond The Blue Horizon

Reviewed by Matthew Anthony Allair

    Generally, anything associated with The Monkees is seen as dubious - as to why I don’t know, - as they were not pretentious about who they were. I felt criticisms of The Monkees by my peers felt more pretentious and precious than anything the band were accused of.  Michael Nesmith’s new small quartet is quite refreshing, and Michael’s vocals remain uniformly strong on this release. He was already building a good reputation as a song writer before he joined The Monkees, and his Texas and country influences had already crept through with his Monkees output in the past, so this new project should be of little surprise. While The Byrds had already dabbled in the country field with Sweethearts of The Rodeo a few years ago, this feels like a progression. Michael has assembled a tight unit of great players to augment the album with Rhodes, Ware, London and Ball. Nesmith’s writing manages to be insightful and whimsical. Thus, the album may be a next step between the fusion of rock, pop, and country.

    The driving seventh chords of “Calico Girlfriend” set the tone while Michael’s rich vocal melodies demonstrate his pop instincts haven’t left him. Rhodes Pedal Steel work acts as a glue for this material. The odd moment shifts into “Nine Times Blue”, an apology for a mistreated lady, there’s a kind of self-awareness to the number that is impressive. There’s another shift into “Little Red Rider”, a number with a sweeping chorus, with a nice dynamic end. “The Crippled Lion” has a blues country feel with Nesmith’s rich melody guiding along. “Joanne” has been released as the single, a reflective number with a southern yodel. The first half is closed out by the brief “First National Rag”, a piece that acts as a live set rest, and considering that Michael is ever the showman, the side closer seems apt. The rhythm support is steady throughout.

    The second half opens with the playful “Mama Nantucket”, the country ballad “The Keys To The Car” shifts the pace with a laid-back narrative. The number “Hollywood” is a slow burn and one of the longer numbers on the album, with a good push and pull between the verses, it also allows a little more playfulness between London and Ware, there’s also some unexpected electric piano from Ball, this progresses into the most surprising number on the proceedings. The ballad “The One Rose” brings back some grounding, there’s even a hint of music hall with his approach on this Del Lyon cover. The album closer “Beyond The Blue Horizon” opens with some country blues piano and a kind of mind cinema, before it morphs into the proper number. It evokes pictures of rural farm life, another cover from Richard Whiting, but Michael’s strong vocal builds into a satisfying ending.

    I suspect the album will defy assumptions, and it makes a fitting edition to the country cannon.  

Retro Reviews: Jaco Pastorius: Jaco Pastorius

      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.

Paco Pastorius – Jaco Pastorius (1976)

****1/2

Producer: Bobby Colomby

Musicians: Jaco Pastorius, Don Alias, Herbie Hancock, Narada Michael Walden, Sam Moore, Dave Prater, Randy Brecker, Roon Tooley, Peter Graves, David Sanborn, Michael Brecker, Howard Johnson, Alex Darqui, Lenny White, Bobby Economou, Wayne Shorter, Othello Molineaux, Leroy Williams, Peter Gordon, Hubert Laws, Richard Davis, Horner Mensch.

Music and Songs: Donna Lee, Come On Come Over, Continuum, Kuru / Speak Like A Child, Portrait of Tracy, Opus Pocus, Okonkole Y Trompa, (Use To Be A) Cha Cha, Forgotten Love

Reviewed by Matthew Anthony Allair

    Weather Report’s Jaco Pastorius has released a new solo album that blends a number of approaches with the occasional pop number. The fact that Bobby Colomby from Blood, Sweat & Tears is the producer is revealing as to where the priorities lie and that balance within this work. The album features a number of supporting star players, namely Herbie Hancock and Wayne Shorter, as well as a number of steady players like Don Alias on percussion. This runs the gambit of traditional fusion jazz to more introspective numbers, and a gateway vocal from Sam and Dave. But the focus is on Jaco’s bass work, he also fills in the role of a typical guitarist at times. His range as a traditional and fretless player gives Jaco a flexibility as to what a Bass player can, in the same fashion as to how rock players like John Entwhisle and Jack Bruce demonstrated what has been possible.

    Jaco wrote or co-wrote the bulk of the material. As a rite of passage, Jaco opens by tackling Miles Davis’s “Donna Lee”, the central focus is on Jaco and percussion on the number. The ambition of the album is on display on the one vocal “Come On Come Over”, Jaco sets up the hook before the iconic Sam And Dave provide the vocal, a driving pop funk number that channels the best of James Brown’s sensibility, Much of Hancock’s occasional pop leanings work well with this. The sturdier and melodic “Continuum” offers a contrast had harkens back to Miles’ sound from several years before, Jaco’s fretless makes this compelling. The ambition get’s larger with the string section infused “Kuru / Speak Like A Child”, which is thrusted in with an intricate string passage, Jaco matches the mood while Hancock opens it up. The mood shifts with “Speak Like A Child” as the strings and piano trade off one another. 

    The solo “Portrait of Tracy” is a fine, melodic composition that shows the depth of Jaco’s writing, the playing nearly accents an Electric Piano at times. The Steal drums of “Opus Pocus” is anchored by Jaco’s bass riffs, Wayne Shorter is more than welcome on the piece, it’s always difficult to escape the shadow of Davis as traces of him emerge. With “Okonkole Y Trompa” Jaco acts percussively as a French Horn offers a pensive quality. “(Use To be A) Cha Cha” is probably the most swing like number on the whole album, the flute and piccolo harkens back the most to mis sixties jazz, Jaco takes a traditional lead before the flute takes over.  Yet this manages to go more outside as it evolves. Hancock’s work will remind people of his time with the Davis Quartet. “Forgotten Love” manages to bring things down with Jaco’s bass, piano and large string section, pensive yet full of abstract voicings, it reveals Jaco’s inward thinking as a composer. The accumulative effect of the album is overall impressive, and it takes you on an interesting journey worth your time. 

Retro Reviews: Barry Manilow: Even Now

     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. 

Barry Manilow – Even Now* (1978)

****

Producers: Barry Manilow, Don Dante

Musicians: Barry Manilow, Bill Mays, Paul Shaffer, Mitch Holder, Jeff Mironow, Lee Ritenour, Jay Gradon, Will Lee, Bob Babbitt, Ronnie Zito, Jimmy Young, Alan Estes, Jimmy Maelen, Ginger Blake, Laura Creamer, Linda Dillard, Don Dante, Artie Butler, Dick Behrke, Richard Winzeler, Jimmie Haskell

Songs: Copacabana (At The Copa), Somewhere In The Night, A Linda Song, Can’t Smile Without You, Leavin’ In The Morning, Where Do I Go From Here, Even Now, I Was A Fool (To Let You Go), Losing Touch, I Just Want To Be The One in Your Life, Starting Again, Sunrise

Reviewed By Matthew Anthony Allair

    Barry Manilow’s new album is out, and the follow up to This One’s For You from a few years ago, it’s all pretty much safe, but is it any good? Manilow started out as the accompanying piano player for Bette Midler and produced her first two albums, and after struggling, he found a formula. It appears Barry must have heard Phil Spector’s production on The Beatles Let It Be, especially on “The Long and Winding Road”, and built a template from it. But the album is a pretty varied and mixed collection, with a touch of AOR for good measure. Barry remains a strong singer, and able piano player, he may not have the edge of a contemporary like Billy Joel, but production and the team of players make it fairly immaculate. Yet, there isn’t pretense behind this, if you are looking for light rock or pop, this will be ideal. Besides, Manilow fans probably won’t mind. Barry does seem like he has a knack for writing a catchy melody or finding one. There’s no soloists, so the ensemble playing is pleasant 

    Barry has a dalliance with Disco, and it makes sense, there’s an old Hollywood feeling behind the narrative to “Copacabana (At The Copa)”, it’s fun and good opener for the album. This is followed by the ballad “Somewhere In The Night”, pretty standard Manilow fare, but he is able to articulate an emotional arc. “A Linda Song” is a overlooked romance about a woman who supported an artist who was blinded their need for her, another well executed ballad. The brighter pop of “Can’t Smile Without You” is an obvious single, than manages to modulate keys four times, the spirit of it could be seen as sweet or pitiful depending on your outlook. The guitar pop of “Leavin’ In The Morning” has a touch of the current Neil Diamond sensibility. The ballad “Where Do I Go From here” ends the first half, and he does have a knack for a lovely melody. 

    The title track opens the second half, a regret about a lost love, and apparently the other single issued. Barry has dabbled before with writing American songbook jazz number before and does it again with the light swing of “I Was a Fool (To Let You Go)”. Barry has obviously figured out that ballads are his safe territory, so “Losing Touch” is about the end of a relationship. The slight mid tempo of “I Just Want to be One in Your Life” has a catchy melody with a bridge that has a hint of brief gospel, it’s not earth shattering, but well done with another modulating key. “Starting Again” is an ambivalent number that will feel all to common for many. The closer, “Sunrise” manages to have a haunted quality with a Latin feel, and a good closing statement for the album. Manilow and Marty Panzer wrote most of the songs, along with material from Richard Kerr, Will Jennings, Chris Arnold, David Martin, Parker McGee, and Michael Price, Dan Walsh. 

    Yes, the whole packaging, the production has a very corporate pop feel to it, I admit, nothing really profound per se, and mostly pleasant background music, but Barry does a good job of it, and it will probably help find a broader audience, it serves it’s purpose well.  

* This is one of those albums I have a sense memory with as it was one of my mother's favorites from in the mid-seventies.

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: Black Sabbath: Heaven and Hell

     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. 

Black Sabbath – Heaven and Hell (1980)

****

Producer: Martin Birch

Musicians: Ronnie James Dio, Tony Iommi, Geezer Butler, Bill Ward, Geoff Nicholls

Songs: Neon Knights, Children Of The Sea, Lady Evil, Heaven and Hell, Wishing Well, Die Young, Walk Away, Lonely Is The Word

Reviewed By Matthew Anthony Allair

    After the departure of Ozzy Osbourne from the band within the prior year, there’s been valid questions with how the band could stay relevant in the new decade, but they have retooled a new sound with ex- Rainbow and ex-Elf singer Ronnie James Dio. While Iommi hasn’t mimicking the Van Halen sound, there is a slight change and modernization of his sound. Butler and Ward remain. While Geezer had been the prior lyric writer for the band, Ronnie has taken over the lyrical duties. For a band that had the assumed reputation of somehow being satanic, an idea that was always erroneous as they only tackled the occult a few times. Let’s begin with the title track, an idea that we create our own torment or nirvana. Dio uses metaphor to tackle contemporary issues, and seems to have veered away the fantasy imagery he used with Rainbow.

    The opening track “Neon Knights” is a very strong album opener, a theme about the decadence of nighttime street life. “Children Of The Sea” opens with a classical, chordal guitar movement with vocal before Dio kicks it into high gear with the full band, a number likely about the connection with nature, with a middle section that manages to be fairly dynamic. “Lady Evil” is the closest to an occult number, then again, it could just be about a manipulative woman, nevertheless, it has some incendiary guitar work from Iommi.  The prior mentioned “Heaven and Hell”, an excellent number where the guitars sit back for Dio’s vocals, or add theatrical coloring as it evolves. The track manages several dramatic shifts, and ends with a medieval acoustic movement.

    Side two opens with a nearly pop hard rock number, “Wishing Well”, with some great bass work from Butler. A unique take on a courtship. A pad of synthesizers support Iommi’s guitar on “Die Young” before the full band drives this fast number. This is the closest to Iommi taking a nod to Hendrix with his lead work. Some guitar cordial work and keyboard’s brings up the melody in the middle section before the band shifts into hyperdrive. There’s a heavy swagger to “Walk Away”, another relationship song about a problematic woman. The closer “Lonely Is The Word” is a mid-tempo heavy number, and probably the number that has the most musical surprises. Iommi manages to channel a little of Page’s feel with the soloing, the while keyboards at the resolve builds up a theatrical mood.

    It would be proverbial apples and oranges to compare Dio to Osbourne as they are very different singers. But admittedly Dio has allowed Sabbath to stretch their musical chops more. But also, this Sabbath feels like a different band in some respects. My hunch is that, for most hard rock and heavy metal fans, this will be soon a very important album. 

Retro Reviews: Van Halen: Van Halen II

        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. 

Van Halen II (1979)

****

Producer: Ted Templeman,

Musicians: Edward Van Halen, David Lee Roth, Michael Anthony, Alex Van Halen

Songs and Music: You’re No Good, Dance The Night Away, Somebody Get Me A Doctor, Bottoms Up!, Outta Love Again, Light Up The Sky, Spanish Fly, D.O.A., Women In Love, Beautiful Girls

Reviewed By Matthew Anthony Allair

    Van Halen’s debut was such a significant release in the field of modern rock music, some of my peers have been reluctant to admit it. Much of this is similar with the backlash against Lex Zeppelin in 1969, even though most people privately admitted that that band would define music for the next decade. It is safe to say that Van Halen will define the next decade. Edward’s guitar work is unique and exceptional; the Anthony and Van Halen rhythm section is solid and steady once again. Roth’s vocal, while not perfect, are just full of charisma and he manages to carry the mantle well as a frontman. Ted Templeman has returned and the sound is pretty identical to the prior album, then again, if a formula is working, why change it? While no one could claim this hard rock band has any relation to the Punk scene, it did share similar spirits, keep it short, focused, direct, and give the songs punch, something that the band does in spades.

    The album opener is the sole cover – the Dee Dee Warwick song, written by Clint Ballard Jr. “You’re No Good”, the song had been a hit single for Linda Ronstadt a few years earlier. Michael’s flanged bass solo eases into a grove with Eddie’s guitar swells. Roth plays with the body of the song, Edward displays his dazzling technique with a touch of guitar harmony at the end. It’s not much of a surprise that “Dance the Night Away” is the single, it has an infectious feel along with some nice guitar embellishments. The more muscular “Somebody Get Me A Doctor” has an appealing refrain, and flamingo change, it also demonstrates with the solo that Edward has some real compositional craft. “Bottom’s Up!” opens with a bluesy refrain before a shuffle shifts gears, and Roth has a good call and response with Eddie. “Outta Love Again” opens with buzzsaw guitar feedback on par with Hendrix, Alex’s shuffle work just brings home how good he is, overall, a good dose of swagger. 

    The second half opener “Light Up The Sky” opens with some playful guitar and bass counter point, before moving into a dramatic groove. The instrumental “Spanish Fly” acts as the acoustic companion to “Eruption”, very brief and informal. “D.O.A” is probably one of the more ominous numbers on the album. Roth’s vocal nearly channels Jim Morrison. Things take a lighter turn with “Women In Love..”, Ed’s delay and thick chorus sets up some brighter playing, before it shifts into a melodic tempo, and this is probably another single The album closer “Beautiful Girls” ends the proceedings with an up sentiment, and likely another single, it offers some whimsy and swagger. Yes, I admit, the album art feels like a corporate brand by now, but it’s no different than Queen’s logo or The Beatles drum riser brand, this aspect of rock music has always existed. 

    Peers like Lester Bangs have been dismissive of the band for pandering too much towards its audience, but I don’t read any pretense with Van Halen, it doesn’t feel self-conscious and the band seems to know exactly who they are. The band is designed to appeal with rural and urban kids, it’s designed to have fans play their albums on cassette or eight track, while cruising the weekend streets. Not everything has to be a profound statement. The kids need something to follow or believe in; the critical adults seem to forget that.