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.  

Retro Reviews: The Grateful Dead: Live / Dead

       I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

The Grateful Dead – Live / Dead (1969)

***1/2

Producers: Grateful Dead, Bob Matthews, Betty Cantor

Musicians: Jerry Garcia, Bob Weir, Phil Lesh, Tom Constanten, Ron “Pigpen” McKernan, Micky Hart, Bill Kreutzmann

Songs: Dark Star, St. Stephen, The Eleven, Turn On Your Love Light, Death Don’t Have No Mercy, Feedback, And We Bid You Goodnight

Reviewed By Matthew Anthony Allair

    The band, The Grateful Dead is in an interesting place. A bay area psychedelic, and counterculture band, that chasing the heels of their Northern California peers. Jefferson Airplane, and Big Brother, yet those bands may have a slight leg up the dead as far as songs, but that might be changing. Those who have been able to see them live often offer up a different point of view over anyone who is just familiar with their three studio albums. The second, the experimental Anthem Of The Sun, had moments of whimsy, but the quality of the material felt uneven and lacked focus. This years Aoxomoxoa had some more focused material, and the presence of lyricist Robert Hunter has given them a more narrative thrust, however lose it may be. They are trying to put across more songs, while still dedicated to the ensemble sound. Their decision to release a live album, and a two disc set, may have been the most beneficial move yet. Let's acknowledge the album cover, the Dead has been one of the few bands to produce the most vibrant album designs yet, and this is no exception, 

    The principle of jazz and free jazz is to build from the inside out, find the core of a piece and build from there. The opening number “Dark Star”, which was a very short form single previously, encapsulates this notion well. It’s a slow burn, exploration, Jerry Garcia and Bob Weir’s guitars weave together, alternating between lead and rhythm and at moments blur into one. Phil Lesh’s bass work acts as a lead instrument that counterpoints the guitars. The first vocal verse comes in at around six minutes. Then progresses, Tom Costanten’s Organ eggs the band onward, one of the guitars goes out of tune, so they play with that in real time. The drums often take on an ambience in the freer second half.  The guitars hedge out of control until the 21-minute mark when the second verse vocal comes in. A guitar abruptly ends the track.

    Side Two’s “St. Stephen” opens with a laid-back tone, a track from the third album that is allowed to grow here as it moves into its heavy groove. The lyrics have a certain whimsy and the interplay between the band has a certain vibrancy Some of the organ work hints at an Irish dirge, the drums jump from a march to more free form. The shift to “The Eleven” just effortlessly falls into place, the number almost fall into chaos in the beginning, but they fall into sure footing fairly quickly, The chord structure of “The Eleven” will harken back for some people to the late fifties or very early 60s. Way past the five minute point do we get the vocal, but it’s a pleasant ride. 

    Side three dominates with “Turn On Your Love Light”, another RNB cover that has a spirited opening, the guitar interplay manages to substitute for a horn section. There are moments with the Dead that remind me of this other new duel guitar band folks have been hearing about, The Allman Brothers Band. While their vocal channels Bobby Blue Bland, it also channels the spirit of Elvis. Hart and Kreutzmann really stretch things out with the drumming around the mid-point. They manage a fun audience rave up with the number. 

    Side four closes it up by toning it down, their spiritual cover of “Death Don’t Have No Mercy” settles into a slow blues, the number also allows “Pigpen” McKernan to showcase his excellent blues organ work, Phil stretches out the bounds over the bass can do in a blues setting. Like all good blues, the number builds with intensity. Weir’s vocal is quite good throughout. The album takes it’s psychedelic turn with the barrage noises on “Feedback”, this is about as free form as you could expect, with the guitars playing a mournful violin role at moments with the volume swells, but it is all just merely interesting. The brief vocal hymn. “And We Bid You Goodnight” brings it back to some grounding. 

    This all makes for an interesting, if slightly uneven, experience as a album, but then again the journey seems far more interesting than the destination, thus making this an colorful time to be used it you turn it on.