Retro Reviews: Lennon / Ono: Two Virgins: Life with the Lions: Wedding 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. This is a group of lesser-known albums.

 Lennon / Ono – Unfinished Music Vol 1: Two Virgins (1968)

*3/4

Producers and Performers: John Lennon and Yoko Ono

Pieces: Two Virgins No. 1-5, Two Virgins No. 6-10

Reviewed by Matthew Anthony Allair

    A new experimental piece has been offered by John Lennon and new partner Yoko Ono, in the midst of the release of The Beatles new album, that has offered quite a deal of controversy over it’s front and back nude cover art, but the issue should be accessing the content itself. This avant-garde work follows the idiom of musique concrete, but none of this is at the level of a Edgard Varese, or a Stockhausen, or Pierre Schaeffer. Both sides were created by John and Yoko, Ms. Ono is part of the Fluxus movement, and a detail that has to be taken into account. Side one “Two Virgins part 1-4” opens with source sounds and some toy flute, the tinkling of pitched, distorted piano. Strange vocalizing, percussion, some odd guitar whaling, There’s a drone towards the end and John and Yoko’s random voices. In great contrast to the other experimental track off of The Beatles album, “Revolution #9” manages to sound more musically concise and with a more thematically focused, this just doesn’t seem to say much of anything. At least it’s brief. 

    Side two opens with a source organ and manages to have more of Yoko’s vocalizing as it continues on with the piano manipulation, as it jumps between source sounds. While I get the humor, as musique concrete works go, this isn’t very good, and fails with its aim. Again, it’s fairly brief. Ideas are not enough in and of themselves, ideas are a start. This reminds me of Marcel Duchamp signing a toilet bowl and calling it ‘art’, it wasn’t. The problem with most Avant-grade work is that it requires a tremendous about of intellectual heft to justify and demonstrate its point, and often it fails. This feels intellectually lazy as presented as a released work. The fact that Ralph J. Gleason, the venerable music and jazz critic, gave this piece high marks, makes one wonder if there was some sort of cohesion involved, or - dare I say it - as there’s no proof - some kind of payola offered for the assessment. That may be a damning point. I think I am more shocked over Gleason endorsement than the album cover art. I am less angry over this than more baffled, in the end this feels hollow, there’s nothing much said, to paraphrase the bard ‘sound and fury signifying nothing’. Only for the curious.

 

Lennon / Ono - Unfinished Music Vol 2: Life with the Lions (1969)

*

Producers and Performers: John Lennon and Yoko Ono

Musicians: John Tchicai, John Stevens, Mal Evans

Pieces: Cambridge 1969, No Bed For Beatle John, Baby’s Heartbeat, Two Minutes Silence, Radio Play

Reviewed By Matthew Anthony Allair

    At least the prior project, the aural happening that was Two Virgins, had musique concrete elements. This manages to feel even less focused, even under the guise of avant-garde, this feels hollow. John and Yoko seem committed to documenting their relationship, which is their right, but it doesn’t make for a very interesting listen. Once again this seems more dedicated to an aural moment, but the message seems more muddied than anything else. Are they arguing that every living relationship is a work of art? Quant idea, but it seems like it could be expressed better in song or the written word. Side one is a live performance “Cambridge 1969” that is comprised of Yoko’s odd vocalizing and John’s guitar feedback, a percussionist and saxophone player come in near the end, which I suppose give a free jazz element under a rock guise, I suppose, but the ideas over stay their welcome after a few minutes. A more concise edit would have left space for other things. Ideas are not enough, just a start. What is maddening is that I have heard an acetate of The Beatles “What’s The New Mary Jane”, an odd number with a disturbing second half that manages to be more concise than anything here. Furthermore, Yoko did record a proper song with “Remember Love”, so she can sing, thus, her whaling vocals is a tactical choice. Odd.

    Side two opens with some proper Japanese styled hymn like vocals from Ono, “No Bed For Beatle John”, as she sings about a press article regarding a hospital visit, John offer’s a counter vocal about the Divorce from Cynthia. I can’t tell if this is mocking a situation, or if it’s mocking the machinery of the written press, but it just doesn’t some across as far as the intent. “Baby’s Heartbeat” is self-explanatory as it’s a recording of a fetus, there may be some tape manipulation as far as the rhythm of the heart, but it’s an idea that wears it’s welcome quickly. Some of this documents Yoko’s miscarriage – and to that, they have my sympathies. “Two Minute Silence” is self-explanatory, yes, John, we get the joke. The idea might have been better if they laid in some vinyl pops or surface noise to add in some irony, hence, it’s just empty. The final piece, “Radio Play” is background chatter of the duo, laced with the audio of either, guitar noises, organ blips, clipped voices, or just radio static, I can’t tell, but I lean towards the later. This feels like they are putting people on; I can’t tell if it’s sincere, or just cynical towards those who follow avant-garde music. Only for the most curious, buyer beware. 

Lennon / Ono – Wedding Album (1969)

*1/2

Producers and Performers: John Lennon and Yoko Ono

Pieces: John and Yoko, Amsterdam

Reviewed By Matthew Anthony Allair

    I will say this, there is more humor and humanity intact with this package, this is more in the field of an aural happening than anything musique concrete, but it tries the patience none the lass. John and Yoko’s third release of experimental documentation begins by overextending it’s welcome with side one’s “John and Yoko”, which seems more like an acting exercise than anything else, John and Yoko emote their names back and forth with different emotional reads, that’s about it, there’s at least some studio reverb to add a little polish. Some propulsive sound drives this, as extra breathing is added in for the last half. It builds into some ecstasy and come downs. The idea has a sea of potential that is undermined by the dross of misbegotten notions. Again, an idea is not the be all and end all, just a start. Craft matters too. 

    Side two opens with Yoko’s Japanese hymn like vocal calling for peace, then, what sounds like some found Buddhist monk chants, and the documentation of their peace tour, While John’s idea about Peace is a commendable one that focuses away from just Vietnam into broader, it seems like a limited slogan. How can one have Peace when people aren’t Peaceful in non-violent ways?  But when Hitler and World War Two is brought up, they tend to evade the atrocities of Japan in that War, aside from the persecution and murder of the Jews, it seems like a naïve oversight. But John’s point that we all have Hitler and Jesus within us is a valid point. “Amsterdam” offers another sound collage before we get some slice of life of John and Yoko, waking up, ordering hotel breakfast, but I can see other’s feeling their lives seem so disconnected from working class people. second document of their bed in interview, while they read letters. While they talk about their nuptials, John offers an acoustic blues to wish Amsterdam well. Yoko sings while John noddles over an acoustic that sounds like a variant from “Because” from the recent Abbey Road release. John offers up an acapella of “Good Night” before the closer. While the sentiment is sincere, the whole aural presentation feels monumentally inconsequential. One feels like again, John and Yoko are just putting people on, but then again, it may have all been for a laugh. Just for the strictly curious. 

Retro Reviews: Nina Simone: Nina Simone Sings the Blues

    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.

Nina Simone – Nina Simone Sings the Blues (1967)

****

Producer: Danny Davis

Musicians: Nina Simone, Eric Gale, Rudy Stevenson, Ernie Hayes, Bob Bushnell, Bernie Purdie, Buddy Lucas

Songs: Do I Move You?, Day and Night, In the Dark, Real Real, My Man’s Gone Now, Backlash Blues, I Want a Little Sugar in My Bowl, Buck, Since I Fell for You, The House of the Rising Sun, Blues For Mama

Reviewed by Matthew Anthony Allair

    This is Nina Simone’s first album for RCA Victor, and it’s an impressive work. The definition of “Blues” is expansive here as the album explores a range of moods. Aside from her vocals, her piano work is impressive, she had apparently been trained at Julliard School of Music, that background gives her a little range from the conventions of most RNB players. Other than the guitar work of Gale or Stevenson, or the occasional horn work from Bubby Lucas, most of the musicians sit back to highlight her vocals and piano, which is pretty delightful. There’s a good balance between pop leaning blues material, more traditional, or more jazz soul material. While she writes her own songs, it features material from the likes of George Gershwin and DuBose Haywaard, Buddy Johnson, Rudy Stevenson, Andy Stroud, and Langston Hughes. Davis’s production seemed to be about recording the room more than anything else, it’s not glossy, but intimate.

    The opening number “Do I Move You?” sets the tone with a languid pace, and some tangy guitar leads, and harmonica. Nina’s piano accentuates the feeling. There’s a lighter touch with the blues pop leaning of “Night And Day”, Nina offers some nice harmonies, there’s a spry spirit with the band on this. Nina’s piano is front and center again with “In The Dark”, as well as some nice organ support, the guitar and harmonica bounce around each other. There’s a more spiritual gospel tinge with “Real Real”, the piano most sits back to let Ernie Hayes breath life into the number. “My Man’s Gone Now” is a Porgy and Bess number that Nina takes in a pensive read, and something of a tour de force on the album. “Backlash Blues” is a Simone original with a pointed edge, this feels like blues for right now. 

    The second side opener, “I Want A Little Sugar In My Bowl” begins with a Scott Joplin ragtime feel. It nods towards Bessie Smith into her style of blues as well as a sultry saxophone lead. “Buck” has a playful soul feel. The song “Since I Fell For You” has become something of a RNB standard since the late fifties, Nina’s read breaks it down into something a little new, along with her strong vocal. “House Of The Rising Sun” has been a traditional for many years, Nina’s approach takes it into a direct, gospel blues, the shuffle is really accented with this one, this often just sits on two chords that allow Nina to play with it. The closer, “Blues For Mama” is partly an Simone original that ties the album together with its blues intent.

    The album is a thoroughly enjoyable experience that should draw in the casual listener who doesn’t follow this genre often. Nina’s vocals are entirely unique, her musicianship as a player makes her even more interesting. I will be curious to see where she goes next. 

Retro Reviews: The Police: Outlandos D Amour

         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. 

The Police – Outlandos D’ Amour (1978)

****

Producer: The Police

Musicians: Sting, Andy Summers, Stewart Copeland

Songs: Next To You, So Lonely, Roxanne, Hole In My Life, Peanuts, Can’t Stand Losing You, Truth Hits Everybody, Born In The 50s, Be My Girl – Sally, Masoko Tanga

Reviewed By Matthew Anthony Allair

    The Police is a new band, comprised of one American and two British citizens, and although they are a trio, they build up a powerful sound. While the band uses some of the trappings of the Punk movement, they really qualify as part of the New Wave movement that has been developing. The bassist, and vocal front man Sting, is also the main song writer, and his work has an incisive quality to the song craft. Guitarist Andy Summers doesn’t follow the format of most guitarists, but seems to throw in more open jazz voicings on occasion. There’s also an expansive element to  his guitar leads that may be outside of what most people are accustomed to hearing. Stewart Copeland may be one of the more exciting drummers I have heard, one needs to note the accents of Reggae are an important component of the band.

    That directness and unpretentiousness is in full display with the opening track “Next To You”, Stewart’s drums gallop, and Sting pines, while Andy offers a blistering slide guitar lead. The proceedings are brought down are brought down “So Lonely”, a light Reggae number with a jilted lover who manipulates his ex-beau, while Andy offers a slow burn of a solo, there’s even a trace of random harmonica. “Roxanne” is the strongest number, a meditative number about a street walker and a mine who pines for her. Its stripped-down nature makes it even more compelling.  “Hole In My Life” opens with a couple of jazz chords, while Stewart drives with interesting patterns. The bridge has a lifting quality; there’s a piano that accents various points, and Sting stretches out his bass work in the final half. “Peanuts” may be one of the better closers for a first side, Andy’s solo manages to be manic. There’s an uncredited brief saxophone that channels Ornette Coleman.

    The side two opener “Can’t Stand Losing You” is another upper tempo reggae number, but the lyrics are some of the darker pieces as it is full of self-pity. There’s even a trace of organ in the mix, this will probably one another single. “Truth Hits Everybody” manages to be rather vibrant. “Born In The 50s” seems to be a mission statement for the generation from that decade, but one has to wonder if this a satire, it seems to see through a veneer beyond the surface – then again it might be very sincere. “Be My Girl – Sally” opens strong and ends up a bizarre satire from Andy. The closer, “Masoko Tanga” is the most globally influenced with some good interplay with the band, a trace of backwards piano, thus it brings the album home with an interesting close. 

    While the half flags a little with the quality, this is a uniformly strong debut, and I look forward, with interest, to what they do next.     

Retro Reviews: The dBs: Repercussion

 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. This is a lesser-known album.

The dBs – Repercussion (1982)

***1/2

Producer: Scott Litt

Musicians: Chris Stamey, Peter Holsapple, Gene Holder, Will Rigby, Andy Clark, Chris Gower, Dick Hansen, John “Irish” Earle

Songs: Living A Lie, We Were Happy There, Happenstance, From A Window To A Screen, Amplifier, Ask For Jill, I Feel Good (Today), Storm Warning, Ups and Downs, Nothing Is Wrong, In Spain, Neverland

Reviewed by Matthew Anthony Allair

    The dBs second album has been released, soon off the heels of the first. It’s hard to access if this will have a niche audience or not. The band is signed and distributed by Albion Records, there’s a great proliferation of smaller, independent labels, but their limited distribution systems can affect of reach of good or great bands. Yet Scott Litt has helmed the project and strikes a balance between their more polished numbers and the raw, unwashed pieces. Chris Stamey and Peter Holsapple are the driving force of the band. The ethos of Punk has always been about adolescent rebellion, but new wave has helped pull back in more nuanced ideas within the song craft, teen age angst can only go so far before one looks around and starts to ask questions.

    The pop instincts of the band are in full force with the opener “Living A Lie” with keyboards and a full horn section, with an honest, self-aware lyric. With “We Were Happy There”, the drums and bass are really accented, and in spite of keyboarding coloring, there’s a rawer feeling yet palatable, while having an odd resolve. “Happenstance” takes a darker direction with a relationship song and parental dependence with an interesting turn, as well as dysfunctional manipulation. Things are brought down with the quieter and atmospheric “From A Window To Screen”, this also has some of the best harmony vocals, and moody lead guitar work. “Amplifier” has a great rhythm that belies the darker lyrics, but one can’t tell if this is based on a true story, or if the self-pity is satirical Either way it has some of the most vibrant playing. There’s some more jagged guitar work on “Ask For Jill”, with a bass that acts like a great counterpoint. The added keyboards and bells give it some sheen with the sarcasm of the lyrics. The challenge is, how does the second half holds up?

    The more acoustic “I Feel Good (Today)” has a lot of coloring, either guitars or cello, and manages to shift in some interesting directions, and ir almost takes a nod to Syd era Pink Floyd at moments. “Storm Warning” takes things in a fresher direction with shifting rhythms and great dynamics. Their ethos returns with the cynical “Ups and Downs”, but the playfulness keeps it interesting which is just enforced from the keyboards. The slower “Nothing Is Wrong” has a kind of lament within the harmony’s, this is the closest they get to a blues dirge in spirit, but not really. “In Spain” crashes in with a dynamic edge, and interplay between the drums the band has a synergy The closer “Neverland” has a true thrift and a great hook and brings the album home. 

    Is the band Punk, New Wave, power pop, or new hybrid? hard to say, but this feels different and maybe a little ahead of the trends. While some of the lead vocal work is a little uneven, and they work best in harmony, the sum is greater than the parts. This could have a great impact on the music scene, possibly in the way that the Velvet Underground held an impact, but time will tell if they find an audience. This is worthwhile for anyone seeking something catchy yet different. 

One Year Anniversary

 One Year Anniversary

    Give or take a week, The Music from the Big Chair was relaunched a year ago, and I wanted to take the time to thank everyone who follows this effort! I follow the demographics, and so I want to thank everyone from America, and Canada who has discovered and follow this blog. I want to thank South America and new fans from that region. I want to thank folks from Europe. Great Britian, France, Germany, Denmark, various regions from China and Russia. Australia, India, Vietnam, The African continent, and so on. I am sorry that the site is only in English, but I hope people have various translators, and I hope to fix this in the future.

    We keep pushing forward, and I try to make the content better. We have not lost the goal to expand the site into broader media and hopefully interviews that will run on YouTube, I have tried to upgrade so that the occasional video sample content can be better. I just thank a few people who have been great supporters of this effort. Lars from Larsland. Justin from JustJP, and our new ally, Mixed Takes.

      I’d also like to thank the webmaster of the Fanny site, and the guys from Glass Houses, A Billy Joel podcast.

    More to come!

Retro Reviews: Charlie Rich: Behind Closed Doors

 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. 

Charlie Rich – Behind Closed Doors (1973)

****

Producer: Billy Sherrill

Musicians: Charlie Rich, Billy Stanford, Dale Sellers, Harold Bradley, Jerry Kennedy, Ray Edenton, Pete Drake, Lloyd Green, Bob Moore, Hargus “Pig” Robbins, Buddy Harman, Kenny Buttrey, The Jordanaires

Songs; Behind Closed Doors, If You Wouldn’t Be My Lady, You Never Really Wanted Me, A Sunday Kind of Woman, Peace On You, The Most Beautiful Girl In The World, I Take It On Home, Til I Can’t Take It Anymore, We Love Each Other, I’m Not Going Hungry Anymore, Nothing In The World (To Do With Me)

Reviewed By Matthew Anthony Allair

    Charlie Rich has been a part of the country and western music scene since the late 50s, and even served for a period at Sun Records, but his music hasn’t connected with an audience until the album. He’s a true seasoned veteran, but his tenacity over the years may have paid off. This is a fine record, with a good collection of songs, and at least one good Rich original. Producer Sherrill has offered a steady hand to enhance Rich’s velvet baritone flavor with the songs. The piano work by Hargus Robbins often anchors the songs, as opposed to the twang of lead guitar, from what one would assume, this feels like a hybrid between pop and country music. Yet Blues and Jazz elements, as well as a touch of Gospel really balance out the work, there’s a darkness and disillusionment to his song selections that makes this different from the standard fare.

    The title track is also one of two singles and I am not surprised, the piano sets the tone for the easy groove, the other single, “The Most Beautiful Girl In The World” opens with one of the more memorable chorus’s I have heard for spell, with a self-reflective lament. The third strongest track is Charlie’s original “Peace On You”, a gospel and soul infused number that reminds me of the feel of Patsy Cline, it’s also one of several numbers that feels like Rich is chasing the heels of contemporary Elvis Presley. This observation also is also true of “If You Wouldn’t Be My Lady”, a number with some rich electric dobro and backing vocal. The blues and soul of “You Never Really Wanted Me” is a liberating number about moving on that feels rather mature. The guitar driven “A Sunday Kind of Woman” has a musically haunting quality that is emotive.

    The country blues of “I Take It On Home” paints a fairly vivid picture of working class traveling, and loyalty of one’s partner. “Til I Can’t Take Anymore” is a catchy number about a relationship that isn’t going to work, that also has an Elvis feel. “We Love Each Other” is the other number that evokes Patsy Cline, and it reminds me harmonically of The Beatles “If I Fell”. There’s a nice trade-off between an organ and dobro with “I’m Not Going Hungry Anymore” with a ballad tempo. The closer “Nothing In The World (To Do With Me)” is a failed romance that is full of rationalizations. A celeste harkens back to the fifties. The drum and bass work is steady, legends like Pete Drake offers some good steel guitar, the album doesn’t fall into the clichés like fiddle or other country trappings such as rockabilly licks, but manages to present a very accessible number of songs. This album should resonate for many.  

Retro Reviews: Love: Love

          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. 

Love – Love (1966)

***

Producers: Mark Abramson, Jac Holzman

Musicians: Authur Lee, Johnny Echols, Bryan MacLean, Ken Forssi, Alban “Snoopy” Pfisterer, John Fleckerstein, Don Conka

Songs and music: My Little Red Book, Can’t Explain, A Message To Pretty, My Flash On Your, Softly To Me, No Matter What You Do, Emotions, You I’ll Be Following, Gazing, Hey Joe, Signed D.C. Colored Balls Falling, Mushroom Clouds, And More

Reviewed by Matthew Anthony Allair

    Love, the new southern California band has launched their first album for Elektra records, and it’s an interesting release that seems to aim to compete with the likes of The Byrds, but the sound has elements that remind me of another European band, The Monks, there’s an underground edge and a slight raw feeling that comes through that makes Love interesting. It’s leader Authur Lee drives the sound with brash vocals or a melodic sense. There’s plenty of 12 string guitar, but pockets of an heavier bass tone than you’d expect from Ken Forssi. The lead guitar work from Johnny Echols is steady and varied on most numbers, as well as rhythm guitar work from Bryan MacLean and Bryan and Johnny blend well together. Lee also plays Harmonica on some of the blues-based numbers. Within the electric folk setting, the album stays interesting, if a little uneven.

    The opening number and single “My Little Red Book” have a playful drive, and sardonic melody, but yet it’s a memorable number. The Byrds influence is evident with “Can’t Explain”, an original that has no relation to The Who. The folk ballad “A Message To Pretty” has a harmonica that will harken to Dylan, but it’s unavoidable, the ease of the number has a good feeling, probably a plea to an ex-beau. “My Flash On You” has a rave up drive to the number and rolling bass. “Softly to Me” has a pop jazz feeling and guitar work that substitutes a jazz organ, Byran takes the lead vocal and he differs from Lee. “No Matter What You Do” is probably the number that has a local club feeling. The instrumental “Emotions” has a surf music feel and textured tremolo guitar.

    Side two opens with the whimsical “You I’ll Be Following”, some good vocal harmonies are undercut with some frivolous lyrics. “Gazing” is another folk ballad and some more nice vocal harmonies. The blues number “Hey Joe” has become a popular one on the scene, and Love offers up their version that isn’t dissimilar to their peers, but I can’t say it’s all that distinctive. “Signed D.C.” is an acoustic blues ballad that is one of the stronger numbers, more introspective that comments on the new drug culture scene. “Colored Balls Falling” brings the tempo up again, and manages to be another strong song. “Mushroom Clouds” is another acoustic ballad with some rich harmonies that take on an unsettled quality. The up tempo closer “And More” manages to wrap up the tone of the album.

    While the bulk of the songs are concise and focused, this album could have used a little editing, as some songs don’t distinguish themselves from others. Still, this is a talented band, and I am interested to see what unfolds next for them.