Retro Reviews: ZZ Top: Tres Hombres

      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. In light of the recent news about Mr. Beard, this has been in the cue for a spell and we decided to release it. In tribute, Rest in Peace rock legend Frank Beard.

ZZ Top – Tres Hombres (1973)

****

Producer: Bill Ham

Musicians: Billy Gibbons, Dusty Hill, Frank Beard

Songs: Waitin’ On The Buss, Jesus Just Left Chicago, Bear Drinkers & Hell Raisers, Master of Sparks, Hot Blue & Righteous, Move Me on Down the Line, Precious and Grace, La Grange, Shiek, Have You Heard?

Reviewed by Matthew Anthony Allair

    Something interesting is happening with ZZ Top’s third album, this Texas blues and rock band, sounds like they have a deep connection to Memphis. Some peers have compared them to The Allman Bros Band, but for one this seems erroneous, they are a trio that has a boogie accent to their work, this impression has left some unfair expectations by peers who don’t seem to want to assess them truly. Billy Gibbons is not Duane Allman, but Billy has his own unique take on southern blues. Dusty Hill and Frank Beard are quite good support players, and Dusty is a good second lead vocalist. This is largely unpretentious and direct, one can hear traces of various types of blues, John Lee Hooker, even a number that hints at gospel. This is all original material. Billy manages such a gritty sound when he plays in full, but he manages to find the right approach for each number, this album isn’t as loud and brash as some have suggested, but it has it’s moments. There’s a tale that Gibbons jammed with Jimi Hendrix, and Hendrix liked him. That sounds like a ringing endorsement, especially from Jimi’s stature. Therefore, people shouldn’t discount them.

    The obvious single is “La Grange” a number that channels The John Lee Hooker spirit before it comes in full. The album opener “Waitin’ On The Bus” has a blues and funk accent with a fairly blistering harmonica solo, and cutting Wah solo. The way that the number transitions into “Jesus Just Left Chicago”, a six-chord blues ballad that has an emotive ease within, and a blue solo that seems to channel Page. There’s some quiet good vocal trade offs between Gibbons and Hill on “Bear Drinkers and Hell Raisers”. The dynamic “Master of Sparks” has some slinky, southern swamp slide work, as well as incendiary lead guitar work. “Hot, Blue and Righteous” is a more gospel blues ballad where the band is allowed to sit back and focus on Hill and Gibbons vocals. Some of the three part harmonies may remind some of Neil Young’s vocal style.

    Side two’s “Move Me on Down The Line” has a more dual guitar pop leaning, with an interesting breakdown and searing guitar lead. The darker groove of “Precious and Grace” has some inventive drumming, just another aspect of their definition of ‘the blues’. The aforementioned “La Grange” take things to a new level for them. The clean, broken blues accents of “Shiek” makes this an interesting number, with some playful Wah RNB Wah guitar included. The closer “Have You Heard?” is the closest to them channeling The Allman Bros Band, and it’s a fitting closer. 

    This Texas trio has laid down a vision of the blues on their own terms. Some of my peers have been too reactive on their assessment of this promising band, I will look forward to seeing their evolution with interest. 

The Big Four: The Police

The Big Four: The Police

Article by Matthew Anthony Allair

    The three piece British and American band The Police became one of the most important new acts to arrive at the tail end of the UK Punk explosion, they had a massive influence on the eighties alternative music scene, which featured a hybrid of Reggae, world music, and jazz sophistication, all three members had prior jazz, fusion or pop backgrounds and were able to capitalize on a shifting British music scene. Composed of bassist, singer Sting, guitarist Andy Summers, and drummer Stewart Copeland, they had the benefit of Stewart’s brother Miles having management experience and being the cofounder of IRS records in 1979, yet nepotism wouldn’t have saved them if they didn’t have the musical talent to prove what they could do. The success of The Police helped Miles Copeland to convince A&M Records Jerry Moss to finance that record label. 

    Miles wasn’t initially involved with the formation of The Police, Stewart was the drive that formed the band, a man who played and recorded with Curved Air, Stewart found Sting in a local jazz band. They initially recruited Henry Padovani on guitar, they even released their first single “Fall Out” on the independent label Illegal Records – another Miles Copeland venture – but it did nothing. Several side projects lead to Stewart and Sting meeting veteran Andy Summers, there was undeniable chemistry between the three of them and Henry was soon dropped from the band Through Sting’s writing the band evolved quickly, Copeland initially had written songs to get the project started, but most were quickly replaced with Sting’s songs. That first album, Outlandos ‘D Amour felt like the biproduct of their club days, in spite of having three durable singles, “Roxanne, So Lonely” and “Can’t Stand Losing You”, if feels a little self-conscious with the Punk efforts, while it’s an outstanding album, the band would expand shortly into material suited for larger venues, and that would define the New Wave sound. The first album was produced by the band, but Engineer Nigel Gray would become a key player shortly. 

Reggatta De Blanc

    The second album, produced by Nigel Gray, was a real evolution for the trio. Sting’s writing had already come into fruition, Copeland wrote three songs, Stweart co wrote another with Sting, and the three of them co-wrote two songs, but Sting was the primary lyric writer. The band’s Reggae influences were a means to an end, they weren’t really a Reggae band, in the same way they weren’t really a punk band. The title translated into ‘White Reggae’. But the hybrid aspect that always elevated the band was the jazz structure influence, Andy and Sting had a deep understanding of the jazz idiom, it allowed a more ambient feel for the tracks that featured Andy’s echo delay effects, or Stewart’s echo delay effects on various tracks. While the band focused on relationship songs, Sting was starting to look outside of himself. Copeland’s drumming style used world music influences he would accent on different patterns - and not just depend on 4/4 - but the one drop beat which is common with Reggae. Sting’s bass work seemed simplistic but was founded on fusion elements.

    Much of this is self-evident on the first track and massive single “Message In A Bottle”, a very relatable song where one’s feelings of loneliness is universal. Summer’s jazz voicings would expand the palate of new wave and alternative rock music. The instrumental “Reggatta De Blanc” moves quickly with three sections and a vocal improvisation. Stewart plays with delays, while Andy’s chorus effects and ambience gives a statement of purpose. Co-written by Copeland, “It’s Alright For You” features some wild slide guitar work from Andy. “Bring On The Night” might be one of Sting’s other finest early compositions, and Andy’s layered cordial work keeps the verses interesting, a poetic number about disillusionment. With “Deathwish” Stewart’s expansive drums eases into a Bo Diddley beat, that shifts into a regular 4/4 beat. A light sounding number about self-destruction. 

    The second half tells you we are no longer in the smaller venue days. Between the drums and Andy’s guitar “Walking On The Moon” feels epic and expansive. That G7sus4 chord completely opened up players to new territories, lyrically there’s a whimsy and curiosity to the song.  That added synth pad hints to what is to come. “On Any Other Day” is a typical sardonic Copeland number with a punk ethos and a self-pity the feels satirical, and the subject probably deserved his plight. Sting’s “The Bed’s Too Big Without You” has a full Reggae accent with some self reflective admission that the narrator did this to himself. Sting’s instincts to be poetic gave the songs something distinct. Copeland’s “Contact” might be one of his more adventurous pieces, and allows for some real freedom for Andy. Stweart’s “Does Everyone Stare” has some great odd piano work, and Sting delivers the satirical lyrics well. The closer has a vibrant punk feel with “No Time This Time”, a critique about the fast pace, and it does stick the landing as far as a final statement.

Zenyatta Mondatta

    The Police’s third album, again produced by Nigel Gray, was more cohesive and accessible than the prior release. If the prior album had the compromise of Copeland’s writing presence – probably due to band politics -  Sting was given more free reign to bring in the material. Manager Miles Copeland had the uncanny knack to spot the potential singles. Not only for the Police, but other IRS records acts, and Sting had sown oats with his songs charting. Copeland wrote two songs, Summer’s offered one, and Sting brought in the rest. The use of synthesizers was more present, as well as Andy’s dalliance with guitar synths, but Sting really was broadening his thinking with the lyrics, this album took the Reggae, global elements with the jazz flavors, pop sheen and took it all as far as it could go. Copeland explained that the album title meant nothing, just invented words.  The common complaint is that the album feels the most even or safe. But it also may be their most accessible.

    With the opener, and big single “Don’t Stand So Close To Me”, it evolves from a slow burn with the drone to the infectious guitar of Andy, and moody synths. Sting used to be a teacher and so the idea of a taboo teacher and student dalliance makes for gripping stuff. “Driven To Tears” and “When The World Is Coming Down, You Make The Best of What’s Still Around” could have acted as a third and forth single, or double A side, both dealt with the media and public apathy, “Dirven’s” groove has a Motown influence. “Coming Down’s” groove is no less infectious. “Canary In The Coalmine” keeps the pace up with the same energy and a ska accent. The more moody tempo of “Voices Inside My Head” and it’s chant mirrors several things from Reggatta, and Copeland is able to have a lot of freedom with the number.  Stewart’s “Bombs Away” is probably one of his most accessible numbers while retaining that sardonic wit. The synth organ drives the number, but Andy’s middle eastern guitar solo really brings it home, thus building with a layer of guitars.

    Sting’s “De Do Do Do, De Da Da Da” was the other single and a witty view about simplicity, and a critique about over intellectualizing. Andy’s instrumental “Behind My Camel” may be a little simplistic, Sting refused to play bass on it and Stewart just offers a basic beat, but the keyboards have interesting layers. Sting’s “Man In A Suitcase” is probably one of the purer Reggae numbers on here, a comment on a traveling salesman, or business employee who has no home. Sting would later rerecord “Shadows In The Rain” and this is probably the most outside number on the album, aside from piano, there sound like a violin edge’s through at times. Andy’s guitar work manages to be very outside again. Copeland’s “The Other Way Of Stopping” sounds like a keyboard number that was transposed to guitar and bass, and all for the better of it.  A good closer for the album.

    This is the last album where Copeland was given much improvisational room, Stewart never plays the same thing twice, and due to his diminished role with co-writing, there were bound to be problems and tensions with the final two albums, but Sting would bring the band to greater heights soon enough, however much that is debatable.

Ghost In The Machine

    Sting had paid attention by the third album to the outside world, but by the forth, he was looking outside and within in a broader sense. Of course, it’s well known that Sting had a academic background and was a teacher in his pre band days, He had already cited Vladimir Nabokov with “Don’t Stand”, he was about to cite Arthur Koestler for the title of the next album. But the album would add more tension, Stweart’s role as a player would be more limited, and even Andy Summers would be frustrated by the focus on Sting’s songs. This would also be the first album with producer Hugh Padgham, whom was already working with Genesis and the solo album for Phil Collins. Hugh would bring a more sonic polish to the proceedings. Copeland would co-write one song with Sting and bring in another, Andy would bring in one song, but the band was already feeling less democratic. Sting seemed to be using the band as a showcase for his songs, and yet, the album might be their best and greatest achievement  The album featured many more synthesizer parts, and Sting even played all of the horn parts, a trade off the expanded the album, but perhaps at a cost.

    You can hear it with the opening track “Spirits In The Material World”, with it’s jagged synth, complex bass, and playful, yet disciplined drumming. The extra synths practically replace Andy’s guitar fills. The lyrics are pretty dark, and but raises the issue of our spirituality. There was even a hint of Sting’s saxophone. The second track would be their biggest single and a radio staple: “Every Little Thing She Does Is Magic”, a song he had written years before and kept in his back pocket, and it was Miles Copeland who convinced him to use. The demo was recorded in France with keyboardist Jean Roussel, the band used it, overdubbed and tied it together. “Magic” had been covered by Shawn Colvin, Ra, David Bryce, Ali Campbell, Michael Musso, Catherine Porter, The Shadows, Kyle Eastwood, The Flying Pickets, and sampled by De la Soul, Black Eyed Peas and Christopher Manias. “Invisible Sun” was a slow burn, the other single, it was built on a dark mood, Yet a number with a lifting quality in the chorus due to Andy’s guitar. A song and comment about an occupied police state. “Hungry For You (J’aurais toujours faim de toi)” manages some French lyrics, and Sting’s horn section, and layers of Summer’s guitar and a possible synth. There’s a slightly manic quality to “Demolition Man” with several guitars and more horns. Grace Jonce would soon record the number, it probably should have been one of the singles.

    Side two opens up with no less interesting material. A guitar stab opens “Too Much Information”, a driving number with more Sting horns, a comment about media saturation, right at the start of the bludgeoning computer age. Again, the concerns from Koestler were creeping through. The co-written Copeland number, “Rehumanize Yourself” has Stewart’s idiosyncratic sensibility. A keyboard drives it, while Andy’s guitar weaves around it. “One World (Not Three)” sounds like something Bob Marley could have written. A pleasantly defiant number about unity. Andy’s “Omegaman” has a strange opening with some of his most accessible verses. Ambient keyboards set up the mood for Sting’s “Secret Journey” before Andy’s guitar anchors it, and Stewart dances around the rhythm, a track that seems to characterizes a Buddhist sojourn. Stewart’s “Darkness” has a keyboard opening and work that may remind some of Tony Banks, more of Copeland’s sardonic lyrics are masked with depression. Interesting closer to the album.

    The album is sonically impressive, and Sting does manage to expand the format of the band, some consider this a prelude to what was to come, and other’s consider it their best album. But the story doesn’t end there. Sting’s interest with acting lead to a co-starring role in Brimstone and Treacle in 1982, the soundtrack featured standards performed by Sting such as “Spread A Little Happiness”. It also featured three Police numbers. “How Stupid Mr. Bates, I Burn For You,” and “A Kind Of Loving”, yet no one knew the end was near.

Synchronicity

    Sting’s marriage to Frances Tomelty was falling apart and he was on the way to courting Trudie Styler, the end of that relationship, complicated with having two children, prompted the writing of half of the material that would appear on Synchronicity, but there were two other related sources that would shape the songs. The seminal figure, psychologist Carl Jung, and another work from Arthur Koestler’s The Roots of Coincidence, and Jung’s Synchronicity itself; would be the others, Sting was looking further within, as well as questions about God and out own self-destructive nature. Hugh Padgham came back to produce - in spite of the growing tensions within the band -  Padgham would solider on with the project. Andy Summers wrote one piece, and Stewart Copeland wrote another, but Sting was the central guide for the material. In hindsight, the second half feels like a template for Sting’s future solo career. Of course, the album would hit mega status with at least four or five hit singles. This was the time where acts were expected to release albums where nearly every track could be a single, Michael Jackson had already set the template with Thriller. But this tour de force would come at a cost.

    A keyboard sequencer sets the tone with “Synchronicity I”, Andy adds coloring, while Stewart brings the urgency, Sting’s layered vocals had reached a new height, and this would mirror his vocals with the upcoming solo work. The African rhythms of “Walking In Your Footsteps” played by several in the band and Sting’s pan flute gives the track it’s unusual flavor. Sting’s “O My God” has some of the best bass work, a little more of a free drum sound from Copeland, Trevor Horn provides the horn solo filled with Arabic and free jazz improvisation, a mediation directed at the flaws of the deity. Andy’s “Mother” has a Captain Beefheart quality with sitar coupled with a Russian drudge tempo. Stewart’s “Miss Gradenko” is probably the most accessible number with some vibrant cordial guitar work and playful lead from Andy. The side one closer had become a huge single and unescapable number, “Synchronicity II” has great interplay between Andy and Sting, and a venomous vocal from the leader.

    Side two opens with their most known iconic number, Spirits had debuted the first of their two classics, this album debuted the other classic “Every Breath You Take”, s stalker number under the guise of a love song, the structure of it could have easily had been a country song, but Andy’s chord inversions, and patterns give it that necessary creamy tension. The synths and piano give it a majestic quality while Sting and Copeland keep it direct. Artists who have covered the song include UB40, Big Daddy, Everclear, Ian McShane, Juliana Hatfield, Dolly Parton and Violent Femmes. The other single “King Of Pain” opens simply with piano and xylophone before the full band comes in, Andy and Stewart manage to give it an extra lift, basically another perennial classic. The forth single “Wrapped Around Your Finger” with it’s detuned bell had the fitting tone, a philosophical and bitter number, while having some stateful classical guitar and some nice contrasts towards the end. The ambient “Tea In The Sahara” with it’s simple rhythm and strange oboe from Sting, manages to be anchored from Andy’s guitar. It was inspired by Paul Bowles book The Sheltering Sky, on vinyl it made a cryptic ending, but the final track “Murder By Numbers” reconnected their free form spirit and jazz origins, Stewart’s drumming is excellent and Andy’s voicings lures the listener with Sting’s dark, ironic lyrics, all of which brings the album home.

    The album has become such a part of a cultural vernacular on par with The Beatles Abbey Road, or Led Zeppelin IV that it now seems to be taken for granted, but the band would never have been able to top it. Near the end of the Synchronicity tour and at Madison Square Garden, the bend decided not to continue.

    The legacy of The Police is significant Starting with Talking Heads, The Cars, and Elvis Costello, Men At Work, Wang Chung, Rush, The Pretenders, Squeeze, and modern acts like The Expendables, Goyte, Maroon 5, The Nanos, and Warhol’s Theory. They created a fusion of various styles that managed to feel direct and accessible. In spite of skepticism from their peers, the bands feel and Sting intelligent lyrics pointed to new directions and made you think and question the world around you. While the ethos may have been different from other Punk bands, their aim was consistent. Post Police Andy put out a number of interesting solo projects including collaborations with Robert Fripp. Stewart Copeland is renowned as a soundtrack composer, and co-founder for bands like Animal Logic, and Oysterhead. Sting’s solo career was able to recruit some of the best jazz and rock players into a varied catalog.

    But for a brief period, there was an undeniable chemistry with the band, even with all of the arguments, they pulled the best out of each other.

Retro Reviews: Pink Floyd: The Final Cut

       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. 

Pink Floyd – The Final Cut (1983)

**

Producers: Roger Waters, James Guthrie, Michael Kamen

Musicians: Roger Waters, David Gilmour, Nick Mason, Andy Newmark, Michael Kamen, Ray Cooper, Andy Bown, Raphael Ravenscroff, Doreen Chanter, Irine Chanter

Songs: The Post War Dream, Your Possible Pasts, One Of The Few, The Hero’s Return, The Gunner’s Dream, Paranoid Eyes, Get Your Filthy Hands Off My Desert, The Fletcher Memorial Home. Southhampton Dock, The Final Cut, Not Now John, Two Suns In The Sunset

Reviewed By Matthew Anthony Allair

    This is probably one of the most frustrating albums to have had to access. This is an album seems to be 'in name only' as far as the band’s namesake. If it’s viewed as Roger Water’s solo effort then one can view it as a success as far as evoking the emotional goals, but if it’s accessed as a Pink Floyd release, then it feels like a forgery. The absence of Richard Wright is palpable on the album. Nick Mason only plays drums on seven of the twelve tracks, and this means that David Gilmour acts as the emotional glue as a player, when he is given free rein to showcase himself, but that becomes infrequent as it evolves. This feels like Roger is using the flatform to exorcise demons that could be more appropriate with therapy sessions. David, the best singer in the outfit, is only allowed to co-lead one vocal with “Not Now John”, the one song released as a single that manages to sabotage itself with profanity, the use of language I don’t mind, but it does seem like a bizarre choice.  Michael Kamen’s keyboard and arrangements have practically supplanted Gilmour’s role for the band.

    While Roger has moments of being effective as a vocalist, he is simply not a great singer, and it sabotages some of the songs would have been served better from Gilmour, or for them to have brought in outside singers, gone are the days of bringing in Roy Harper as a guest, or Clare Torry, the use of such singers could have helped bring differing perspectives on the themes explored. The album also feels too self-conscious about referencing their prior album The Wall, or the tone of Animals. While James Guthrie is brought back in, the absence of Bob Ezrin is notable. In terms of the production, it is indeed immaculate, and much of the sonic experimentation with the sound effects is there, but it just feels too superficial, if not based on gimmicks. While players like Raphel Ravenscroff do a commendable job, it just feels too imitative of Dick Parry’s past glories and my sympathies go out to the musicians asked to do this. Andy Bown’s Organ work is commendable as far as a mimic of Wright – but it’s an approximation. 

    While The Wall was an uneven album, it had a balance between introspective material, ballads, and up-tempo numbers, this album is top heavy with somber introspective numbers, and the ballads, but not much else, and it makes for a tedious listen. While I have little doubt that younger music fans will be forgiving about the album, the surface depth starts to sound rather hollow from Waters in what was initially probably well intended. The loose theme of the album, described as a ‘requiem for the post war Dream’ is a screed against modern war, the idea of broken promises for those who served in World War II, that society would be living in a utopia that never came to be, much of this feels like a variant over Roger’s past and the death of his father in Anzio when he was an infant. Ideas that were hinted at with The Wall but explored a little too in depth here. Once again, the addition of outside vocalists playing differing characters may have made this a little more compelling. 

    A harmonium drives the orchestral opener “The Post War Dream”, this is one of the few cases where Roger’s vocal fits as far setting up the tone, but it needed more moving forward. “Your Possible Pasts” is one of the few cases where David’s guitar seems present, but the occasional drum and organ accents don’t make a rock song, and some of the arrangements lean too heavy on the 1979 album, still David’s lead transcends at moments, but another vocalist should have handled the material. The brief “One of the Few” acts as preamble to the next number. Some of David’s pulsating guitar work reappears for “The Hero’s Return”, Roger’s unhinged vocal style wears pretty thin soon enough, and starts to feel like a one trick pony. The opening of the ballad “The Gunner’s Dream” acts as a trauma flashback before the core of the material creeps through. But the bombast feels empty in the instrumental section. The ballad “Paranoid Eyes” has a strange self-pity to it that may have been unintentional, due to Roger’s inability to translate the material, again, they needed another vocalist.

    There is a kind of dark humor that opens the second half with “Get Your Filthy Hands Of My Desert”. The next number seems to be told from the perspective of an older veteran, “The Fletcher Memorial Home”, but it needed a different vocal read for it, what is otherwise, a moving piece. The middle section seems to reference modern political policy, as Smedley Butler once said, ‘War Is a Racket’, and very little has changed. This is another case where Gilmour is allowed to cut through in the last half. With “Southhampton Dock” once again seems offer another perspective that needed another singer, perhaps Gilmour. The ballad “The Final Cut” has the last of the truly effective Gilmour guitar leads. Many of these songs seem driven by characters full of anger that have translated into defeated self-pity. The prior mentioned “Not Now John” is the most up-tempo number, Gilmour’s guitar leads bring some life to the number. The spare use of synths seems like an odd choice, other than  on “John”, that choice simply leaves the album feeling a little thinner somehow. The closer “Two Suns in the Sunset” seems to be warning about nuclear winter if we don’t abandon our warring inclinations. Wars are all built about land grabs and extraction of resources without the proper arrangements of trade deals seen in peace time. 

    I must disagree with my Rolling Stones peers on this one. If you want a political or sociological screed; then by all means, pick your poison. But music should partly entertain, and there’s a drudgery to some of the proceedings here.  I hold no ill will towards Gilmour or Mason, but I have serious questions about Mr. Waters now. If the album was Waters’ attempt to validate his argument about his importance within the band, his questionable choices has undermined that very objective, while Waters remains an incisive lyricist, the sum of the other parts have become all too apparent in their importance. In the end Waters manages to undermine some potentially good material, and you are not certain why – Perhaps over confidence in Roger’s omnipotent intellect. That’s for others to conclude*. 

    It isn’t as though I disagree with the sentiments of the album’s ideas, but I just feel the execution leaves a lot of be desired. Rumors are out there’s no intended tour for the album, and if this is final statement from Pink Floyd, a band with such an important legacy, then this is rather unfortunate. Roger seems to have run out of a bag of tricks to illustrate his ideas. This album isn’t really a move forward for the band, maybe Gilmour will have some fresh ideas in the future, but I have my doubts about Mr. Waters. This is an unfortunate listen. 

* In hindsight, we all know what happened after this album. To quote Saphire from Almost Famous, "I mean everyone knows". Roger would likely have a proverbial coronary for anyone to question his intellectual heft. But we have explored that here before.   

Retro Reviews: U2: October

       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. 

U2 – October (1981)

***

Producer: Steve Lillywhite

Musicians: Bono, The Edge, Adam Clayton, Larry Mullen Jr, Vinnie Kilduff

Songs and music: Gloria, I Fall Down, I Threw a Brick Through a Window, Rejoyce, Fire, Tomorrow, October, With a Shout (Jerusalem), Stranger In a Strange Land, Scarlet, Is That All?

Reviewed By Matthew Anthony Allair

    U2 is a post punk band that leans into the new wave sensibility, they have been highly praised for their debut Boy, and they press on with their second album, I am not certain if a fully agree with my peers adulation in certain respects, but they are shaping into a damn good band just on the result of this album. Producer Steve Lillywhite has added a certain ambient sheen to the recordings as he continues on with them. The Edge is an adequate enough guitar and piano player with an ability to work within his skills. The rhythm section of Adam Clayton and Larry Mullen Jr remain a steady team that works around their skills to make it work. Bono tends to be a little overwrought as a singer, but with his sincerity he makes it work mostly. Having raised all of these points, the punk ethos was never about virtuosity but the ability to connect with an audience, a trait that U2 has been able to achieve. But it’s not lost on me that their sound runs counter to the standards of other punks – we’ll get back to that in a moment.

    The album moves at a fairly brisk pace, while having some musical moments of real introspection. The opening number “Gloria” acts as this album’s “I Will Follow” single. The track fades in before the real fire steps, but the track is also their open declaration of faith. It has many of the characteristics one heard from the Boy, the open piano passages give it ethereal quality, before the closing anthem section gives it vibrancy. The Edge’s echo piano textures that open “I Fall Down”, as well as acoustic guitar changes the tone until big full band chorus sets in. This also helps to illustrate the critique from the punk scene. The band’s sound is designed for larger venues, theatres or arenas, not for the club scenes that Punk bands rely upon. Steve’s production adds to the drama of that larger scale. 

    “I Threw a Brick Through a Window”, within the band, has a full-throated sound, The Edge’s slide guitar moments seem tactical. Larry’s tribal drum fills keep this interesting. The lyrics seem a little rudimentary, but the guitar phrases keep it dark. “Rejoyce” drives the album forward, it just reinforces their declaration of faith, and probably one of the most insightful lyrics for the start of a decade full of uncertainty. “I Can’t Change the world, but I can change the world in me.” The next track, “Fire” manages to round out the first half.

    The side two opener, “Tomorrow” begins with Uileann Pipes and a Bobhran, with a bass and acoustic track sets up the tone until the full band settles in the second half. The fact that the band is openly Christian is interesting and unusual, but the other truth is the band is so Quintessentially Irish, it seems intrinsic they would use this as a feature on their music. The nearly instrumental piano piece “October” has a dark and somber tone with a brief lyric in the last moments, making this one of the most introspective and interesting pieces that have offered. Larry’s brisk drums and toms set up the mood for “With A Shout (Jerusalem)” offers hints of echo-based horns in a fairly common number. With “Stranger In A Strange Land” Edge’s short delay fills, and piano colorings allow the rhythm section to come through. Things are scaled back with “Scarlet” as a more freeform vamp off of the spirit of the prior track “Rejoyce”. The more vibrant “Is That All?” is an interesting album closer, with the interplay between Edge, Clayton, and Mullen is full swing. 

    The album cover seems to harken back to the designs of the early sixties and I find that curious and revealing that they would draw parallels to the past. The major drawback with the album is that the lyrics seem a little underdeveloped. This is a typical sophomore release from a good band finding its footing and not quite there yet. The quitter, introspective moments are what stood out for me and will probably keep me coming back. They sound like young players struggling to find their place in the world, the midst of our shifting sands.

I wouldn't say U2 are the great hope of the eighties, but they are an interesting band.  

Retro Reviews: Fleetwood Mac: Then Play On

     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. 

Fleetwood Mac – Then Play On… (1969)

*** 1/2

Producer: Fleetwood Mac

Musicians: Peter Green, Danny Kirwan, John McVie, Mick Fleetwood - Guests: Jeremy Spencer, Christine Perfect, Sandra Elsdon

Songs and Music: Coming Your Way, Closing My Eyes, Fighting For Madge, When You Say, Show-Biz Blues, Underway, One Sunny Day, Although The Sun Is Shining, Rattlesnake Shake, Without You, Searching For Medge, My Dream, Like Crying, Before The Beginning

Singles: Oh Well part 1 & 2, The Green Manalishi (With The Two Prong Crown)

Reviewed by Matthew Anthony Allair

    Fleetwood Mac’s new album is coming off the heels of Mr. Wonderful and the excellent compilation Pious Bird Of Good Omen, and this is a good evolution from the blues structure of the first, then again with a leader like Peter Green, he has redefined what the blues could mean. Danny Kirwin is the other writer on the album, along with Green, with Fleetwood and McVie adding their own contributions as well. This is all original material and another departure of their status as interpreters of others work. Green seems to save his best songs for the singles and so let’s address the two excellent non album numbers first. “Oh Well, Part 1” is a vibrant blues riffing number with a vocal trade off that builds up momentum before settling into the last half and quieter section. Then, it is continued with “Oh Well, Part 2” a more pensive second half with recorders and cellos. The psychedelic and heavy “The Green Manalishi (With The Two Prong Crown)” is a dark and incendiary number full of dynamics. 

    The proper album opener, “Coming Your Way” begins with the heavy trade off between Green and Kirwin on guitar. Mick’s tom drums feel tribal. It shifts to a dramatic tempo as Green and Kirwin are allowed to cut loose. “Closing My Eyes” brings things down with a slower feel and tasteful lead, ironically this was written by Green, while the first number was written by Kirwin, the feel of the number will remind people of “Albatross”, the harmonized guitars almost have a steel pedal feel. Mick’s “Fighting For Madge” has a loose but rhythmic groove, that as an instrumental allows Green and Kirwin a lot of freedom, but builds up a lot of excitement. Kirwin’s ballad “When You Say” has some nice jazz or classical changes and shifts the mood again, with some nice slide work from Green, in spite of the fact it could have been more concise, but that is a minor complaint. Green brings back their roots with “Show Biz Blues”. They ease into the instrumental “Underway”, it’s looseness allows for more freedom, especially with Mick. “One Sunny Day” closes the first album with another heavy blues and another needed shift. 

    Side two’s “Although the Sun Is Shining” opens with a more pensive mood along with a more pop bridge section, and tasteful acoustic solo guitar work. Green’s “Rattlesnake Shake” is a heavy mid-tempo blues excursion that evokes a desert feel. Kirwin’s “Without You” is another blues ballad that manages to feel hypnotic. McVie’s “Searching For Madge” is another instrumental jam that manages some strange false stops and starts, it probably runs a little long but has some great moments. Kirwin’s “My Dream” is the most clear effort at a pop instrumental, pleasant with a trace of tension. The album get’s looser with the Green and Kirwin duet of “Like Crying”, as well as a playful interplay with the number, while John and Mick sits this one out. “Before The Beginning” has Green playing a more minor dynamic feel while Mick offers up orchestral drums to bring the point home. 

    The second half may not have the momentum of the first half, but this is a quite good album, with some real highlights. Peter Green is living up to the promise seen with John Mayall’s band, and he has pointed at a different direction than Clapton’s or Page’s vision, this makes for an interesting listen, even if not perfect, and while some material might just be only for the merely curious, it makes for an fascinating journey. 

Retro Reviews: Chuck Mangione: Land Of Make Believe

    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.

Chuck Mangione – Land of Make Believe* (1973)

****

Producers: Richard Siedel, Chuck Mangione

Musicians: Chuck Mangione, Joseph C. Crupi, Marta Hidy, Gap Mangione, Al Johnson, Joe LaBarbera, Steve Gadd,  Ron Davis, Don Porter, Tom Elliot, John Courtney, David Young, Jack McFadden, Esther Satterfield, Catherine Lehr, Edgar Hayes, Zdenek Konicek, Ned Corman, Paula Elliot, Gordon Johnson, Garry Niewood, Ray Ricker, Joe Romano, Charles Daellenbach, Eugene Watts, Bill Reichenbacj Jr, Janice Robinson, Art Linser, Robert Hansen, Gregory Hustis, Graeme Page, Brad Warnaar, Jon Faddis, Jeff Tyzik, Fred Mills, Ronald Romm, Barbara Hustis, Jaroslav Karlosky, Ann Armir, David Hung, Rudolph Kalup, Christine Haarvig, Beth Gorevic, Natalie Mysko, Margarett Neufeld, Kathryn Wunder, Michel Zaitzeff, Ron Berger, Scott Bump, Jeff Bowlby, Steve Russell, Kathleen Collins, Barbara Hendricks, Terry Lodge, Jan Walp, Russ Cembrinski, Michael Cleveland, Jim Smith, Jeff Wilber, Jim Wilber

Music and Songs: Legend of the One Eyed Sailor, Lullaby For Nancy Carol, El Gato Triste, The Gloria from the Mass Of. St. Bernard, As Long as We’re Together, Land Of Make Believe

Reviewed By Matthew Anthony Allair

    This is probably one of the more unique live jazz fusion concerts I have come across in a while. An event that feature’s Chuck Mangione’s core band with the Hamilton Philharmonic Orchestra, and large vocal choir and Esther Satterfield. Mangione has been something of an anomaly as he wasn’t a part of Miles Davis roster of fusion and jazz players who formed their own projects. There’s at least four vocal pieces and instrumental passages, thus giving the album an accessibility that may draw casual jazz fans who don’t always come on board. It’s to say the least that the playing is exemplary throughout, and vocally there’s some real talent displayed here. Aside the prowess, there’s a positive feeling and sweetness to much of the material. But the closing title track and album closer remains a stunner. The live event is mostly focused on highlighting Chuck’s compositions, thus there are large section of orchestral passages without instrumental soloing. 

    The album opens with a tone setter, “Legend of the One-Eyed Sailor”, a military march guides the opening number before the main theme, and Mangione’s Spanish themed soloing, there’s a freedom to the percussion interplay between Joe LaBarbera and Steve Gadd on this, and it manages some exhilarating moments within. Orchestration supports the sweetness of “Lullaby for Nancy Carol” and Esther Satterfield’s lovely vocal. Another Spanish fanfare opens “El Gato Triste” and is followed by a somber statement, this passage might evoke the feel of material from Davis and Gil Evans Sketches of Spain. A Latin bossa nova eases into the main body with more good playing from Mangione. 

    The second half opens with an overt spiritual, “The Gloria from the Mass Of. St. Bernard”, the entire ensemble is in fine form, once again the LaBarbera and Gadd rhythm section really brings the piece to life. There’s a more laid-back ease to “As Long As We’re Together” while Esther delivers another fine vocal, she’s about the most important figure in these live proceedings. The closer is a slow burn but also a stunner. “Land of Make Believe” has an evocative lyric about what is possible, and the necessary power of imagination. The gradual shuffle drives the number in the midst of the fuller sections. It feels like Mangione has been waiting for this moment to showcase what he can do with the first solo, it’s playful, melodic with some ensemble interplay that heightens it. There’s a lot of push and pull with the piece between the vocal sections, and instrumental passages.  The saxophone work from either Romano or Ricker is pretty stunning, and just as melodic as Mangione’s work. In many respects the number is the culmination of everything that the prior material explored. 

    This is one of the most enjoyable releases I have heard at the start of the year.

* 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: Joni Mitchell: Blue

     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.

Joni Mitchell – Blue (1971)

*****

Producer: Joni Mitchell

Musicians: Joni Mitchell, James Taylor, Russ Kunkel, Stephen Stills, Sneaky Pete Klienow

Songs: All I Want, My Old Man, Little Green, Carey, Blue, California, This Flight Tonight, River, A Case Of You, The Last Time I Saw Richard

Reviewed by Matthew Anthony Allair

    The theme of regret and reflection seems to be the persistent thread on Joni Mitchell’s outstanding album Blue. Four tracks use the dulcimer played by Joni to great effect, “All I Want, Carey, California” and “A Case Of You.” Her piano work remains outstanding, and her angelic voice remains the glue that ties this all together. There may be a little ornamentation as far as horns to flute, but the added percussion, a touch of bass, and extra guitars serve the material well. James Taylor and Stephen Stills make another appearance. There’s an honesty, candor and a sweetness that isn’t built on resentment, but resignation at various points. This is the kind of material one could need when they seek something meditative yet relaxing. Her production, while modest, archives intimacy and a relatability to the songs. The songs seems to run the gambit of friendships and lost loves.

    The aural vibrantly is there with the opener “All I Want”, a track that Mr. Taylor provides second guitar, but the Dulcimer drives the tone of the track. The longing of the lyrics about traveling onward in the midst of an ambivalent relationship latches onto the listener. The piano on “My Old Man” has a rich tapestry and the kind of harmonic complexity you come to expect, about a couple who aren’t bound by the convention of marriage, as well acknowledging the emptiness when separate. The acoustic work of “Little Green” almost hints at “Morning Morgantown”, but it develops into a more bitter sweet tone with a haunting or haunted quality. The bass And light percussion of “Carey”, along with the dulcimer, offers a whimsy over a complicated relationship. The title track, “Blue” closes the first half with some impressionistic piano. This song seems to be about the consequences of too much, too much indulgence, too much need in lieu of a healthy relationship.

    The second half opens with the acoustic whimsy of “California”, and some nice pedal steel guitar that responds to the lyric. There’s already growing mythos over the California folk and country scene that is unfolding and this seems to touch on this. There’s a dark tone musically to “This Flight Tonight”, but there’s an ambiguity and ambivalence to the lyrics, there’s a nice nod transistor radio rockabilly over a few lyrics. “River” is simply magical as a piano driven song, set around the holidays, it’s a kind of thematic hymn to childhood memories of winter adventures. Which is often the case, her best songs are often near the end of an album, “A Case Of You” is such a song, a piece about the deep connection that isn’t going to quite work out. The closing Piano piece, “The Last Time I Saw Richard” is a meditation - a reflection on a past relationship that has given the female partner a reality check, or perhaps they simply knew each other too well, but this paints a very vivid picture. 

    The consistency with Mitchell’s artistry, her work as a singer and musician, has remained impressive with four albums under her belt. Rumor has it, that she is going to sign with another label, and one could view these first four albums as the close of the first chapter, her growth is astonishing and I await the next phase. She is on par with contemporary Dylan, perhaps even surpassing him for the time being. That is a heady statement to make, but it bears fruit to argue it after this release.