Retro Reviews: Bee Gees: Main Course

     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 Bee Gees – Main Course (1975)

****

Producer: Arif Mardin

Musicians: Barry Gibb, Robin Gibb, Maurice Gibb, Blue Weaver, Alan Kendal, Dennis Bryon, Joe Farrell, Ray Barretto, Don Brooks, Gene Orloff

Songs: Nights On Broadway, Jive Talkin’, Wind Of Change, Songbird, Fanny (Be Tender With My Love), All This Making Love, Country Lanes, Come On Over, Edge Of The Universe, Baby As You Turn Away

Reviewed By Matthew Anthony Allair

    The Bee Gees have released a new album that may help significantly increase their chart fortunes. They have been in a kind of commercial wilderness over the past three years after the run of their success from the late 60s to early part of the decade. Yet this new album feels focused. Producer Arif Mardin, who helmed Mr. Natural, has come back for this group of songs, but the writing feels more concise here. Their dalliances into Dance, Soul, and funk don’t feel like a substitution for thin material. There’s real song craft here, they have just reframed the arrangements, and adapted so that the listeners focus could be on the songs. Of course, their characteristic three-part harmony cuts through the material, there's a lot of falsetto work on here, but the musicianship is steady. Maurice’s bass work has that rhythmic drive, he understands the assignment. Barry’s rhythm guitar work and Alan’s lead guitar have a fine interplay. Blue Weaver’s keyboard work and his bass synth work have a nice support to Maurice’s bass at various moments.

    I am aware of the assumption that the Bee Gees are a poor man’s version of The Beatles, but I don’t think this is true and now an unfair impression. The band are their own entity. The Beatles ended at the perfect moment, but peers like The Bee Gees are well suited to adapt to the changing trends. This direction isn’t surprising when you consider David Bowie’s new album Young Americans went in a similar vein - considering how European musicians have often been on the vanguard of trends - I am not surprised that such musicians are capitalizing on the East Coast dance scene, but music isn’t built around one type of groove, Funk is amorphic and there’s many approaches to how to build grooves, so how does the album measure up to these standards?

    Side one features a surprising group of strong songs. The first two numbers are stupendous, “Nights On Broadway” sets the tone with some dynamic and dramatic passages. It also demonstrates the craft I had mentioned previously. It’s of little surprise that “Jive Talkin’” is the single, it demonstrates an infectious groove, and some clever keyboard hooks. There’s a certain dance grandeur to “Wind Of Change” with a lifting chorus. The orchestra embellishments enhances this, and there’s a sultry saxophone solo drenched with delay. The ballad “Songbird” seems to channel Elton John with it’s feel, in addition to the standard band vocal sound. The closing ballad “Fanny (Be Tender With My Love)” is probably the third most accessible and strongest number of the album and the Bee Gees show demand of the ballad format. Very well crafted. 

    Side two takes some interesting directions and expands on the format, although there’s debate if it all matches the quality of the first half. “All This Making Love” is an off kilter pop number with a touch of eccentricity. “Country Lanes” is a gospel infused ballad with occasional wisps of counterpoint vocal lines. The stronger “Come On Over” is a pop country blues that is more typical of their standard sound, but with traces of country guitar phrases for good measure. The other strong piece is the mid-tempo pop of “Edge Of The Universe” seems to be about a spiritual awakening. The album closer “Baby As You Turn Away” has Barry shift to his falsetto and wraps with another strong chorus. The album cover work is a clever homage to twenties and Victorian style. 

    The second half may not leave as strong of an impression, but this album is bound to reassess the listener to the merits of the band’s work, there’s some gripping moments with half the album, and the quality overall remains quite high. They have managed to offer up some surprises and I will be curious to see where they go from here.

 

Retro Reviews: Nancy Sinatra: Boots

     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.

Nancy Sinatra – Boots (1966)

****

Producer: Lee Hazelwood

Musicians: Nancy Sinatra, Nick Bonney, Al Casey, Jerry Cole, Louis Morrell, Billy Strange, Tommy Tedesco, Carol Kaye, Don Randi, Hal Blane, Jim Gordon, Eddie Brackett, Frank Capp, Emil Richards, Plas Johnson, Richard Perissi, Don Bagley, Chuck Berghofer, Roy Caton, Lew McCreary, Ollie Mitchell

Songs: As Tears Go By, Day Tripper, I Move Around, It Ain’t Me Babe, These Boots Were Made For Walking, In My Room, Lies, So Long Babe, Flowers On The Wall, If He’d Love Me, Run For Your Life

Reviewed By Matthew Anthony Allair

    Frank’s Daughter, Nancy Sinatra has debuted as a singer, after several attempts that were never released. She manages to exude confidence, a sense of fun, and has managed to navigate in an area that has high expectations considering whom her father is. Two things have really helped launch this effort, musician and song writer Lee Hazelwood helmed the project as producer, and arranger and conductor Billy Strange has helped her to find a middle ground between finding a pop sound that isn’t abrasive and should appeal to fans of Frank’s work. I can’t really assess her range, she has examples of vibrato on a few tracks, her vocals are mostly plaintive and direct, but I suspect this is tactical on their part. She tackles covers of some big acts, such as The Beatles, The Rolling Stones, Bob Dylan to good effect, as well as Lee Hazelwood originals.

    She opens with a jazz infused cover of “As Tears Go By” shifting away from the original acoustic presentation, settling into a bossa nova tempo. She manages to offer an interesting take on “Day Tripper”, a swinging rocker with a wink. These choices may have been to set the tone that she was contemporary figure, but with a dose of sensitivity and sass. Lee’s “I Move Around” has a good sense of popular dynamics, Her cover of Dylan’s “It Ain’t Me Babe” has a pop jazz accent, and not bad. One of the Dylan songs that is of the biggest draws for other singers. The single “These Boots Are Made For Walking”, written by Lee, is a clever turn around that could empower women, with it’s clever descending bass, and it’s playful horn accents. The Dynamic “In My Room” with its Spanish narrative closes the first half. 

    “Lies” is a jaunty little number that opens the second half, the horns play up the attitude. The other single “So Long, Babe” was written by Hazelwood sounds a little Dylan flavored with its strings and 12 string guitar at moments, with a little freedom on the drums. I believe The Sattler brothers have already recorded “Flowers On The Wall” has some good guitar and horn trades, she does a good read on the number. The other string-based ballad “If He’d Love Me” demonstrates that Nancy can have some real range. I have had a problem with The Beatles “Run For Your Life” and as much as I understand the idiom of the blues tradition of betrayal and revenge tales, lyrically the Misogyny of the song feels odd at this time. Which is why it’s interesting how Nancy has turned the table for women – it cuts both ways as far as jealousy. It makes for a fine album closer.

    As far as how the album differs from her father’s sound, there’s a certain room tone to the drum and rhythm tracks, there’s a brashness to the grooves and the horns merely act as texture. They have managed a certain swagger to the material, Nancy sounds confident, and charismatic, and as much as she’s an outwardly attractive lady, she sounds self-aware and playful with her read as a vocalist, she forging ahead with a sensibility that is her own and I will be curious to see where this goes next. 

This is a fairly illustrious debut and Nancy and Hazelwood's chemistry is undeniable.  

Retro Reviews: The Doors: Waiting for The Sun

      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 Doors – Waiting For The Sun (1968)

****

Producer: Paul A Rothchild

Musicians: Jim Morrison, Ray Manzerek, Robby Krieger, John Densmore, Douglas Lubahn, Kerry Magness, Leroy Vinnegar

Songs: Hello, I Love You,  Love Street, Not To Touch The Earth, Summer’s Almost Gone, Wintertime Love, The Unknown Soldier, Spanish Caravan, My Wild Love, We Could Be So Good Together,  Yes, The River Knows, Five To One

Reviewed By Matthew Anthony Allair

    The Door’s second album, Strange Days, didn’t manage to suffer the alleged sophomore slump, probably due to the fact that they had a wealth of material from their club days, but now their third album is released, and will it suffer a notable drop off, how does it measure up? Well the quality remains quite high, there’s an undeniable chemistry between Manzerek and Krieger, and John Densmore remains a solid player. Morrison remains the thematic driving force of the band as the primary lyricist and influence on the others. Bass players Douglas Lubahn and Kerry Magness fills out the sound, and Leroy Vinnegar plays the upright bass on a number. Paul Rothchild’s production offers up a solid grounding and focus. Let’s address the critique I see elsewhere about the ‘pretentiousness’ of Morrison and the band, much of which is driven by the obvious theatrics of the band’s music. I would argue that band is no more ‘pretentious’ than The Beatles as of late. Morrison has helped to find another form of the fusion between poetry and rock, and it’s not different than Dylan’s aims.

    Many of my peers seem to forget that all rock music since the late fifties has had an element of theatrics, in fact, I could argue - when figures like Mr. Bangs dwell on this pretention of the Doors – that as is intellectually dishonest and pretentious for them to assume early Rock and Roll wasn’t theatrical when it was. To suggest that the band is just treading on similar ground, it ignores a few numbers that take some bold steps. The album works. It is no surprise with the opener, “Hello, I Love You” is the single, in spite of the fact that it seems to nod a little too a Kinks number, musically the Manzarek and Krieger are inventive with their interplay, the instruments nearly blend together. Morrison is in crooner mode for the ballad “Love Street”, close to a vaudeville number that will harken back to “Crystal Ship”. Allegedly, “Not To Touch The Earth” was part of a larger piece, it has a strange quality of being both accessible yet uneasy. “Summer’s Almost Gone” has a pop blues sheen with some slippery slide work from Krieger. “Wintertime Love” is a light pop number that is quite strong and the arrangement may mask it’s strength. The compelling “The Unknown Soldier” may be one of the numbers on par with the prior albums. A mock military trial and execution in the middle just reinforces the anti-military bureaucratic sentiment 

    The second side opener “Spanish Caravan” is impressive for showing off Krieger’s guitar skills, and features some nice acoustic layering before the full band wraps it together. “My Wild Love” is like a Native American chant, or a slaver work song traditional, a real surprise. “We Could Be So Good Together” is another pop number with a brief clever quote from Thelonious Monk’s ‘Straight No Chaser”. The sleeper “Yes, The River Knows” is an impressionistic jazz flavored piece where Ray leans into the Piano, and Robbie offers some nice guitar support. The two prior albums closed with sprawling numbers like “The End” and “When The Music Ends”, and the final track differs yet makes a final statement. The dark blues of “Five To One” may remind others of Hendrix’s “If 6 Was 9” in tone, but it is a rallying cry for the counterculture. Morrison offers a drunken slur in his delivery as well as seduction, the track also feels like it could have been recycled from their club days. Yet there remains a dark under current with the band  that asks more questions than offers answers. To even suggest that the band is just treading water is foolish, tracks like “My Wild Love” and “Caravan” show some real growth and risk appraisal. 

    I believe the reason for the critical hostility towards The Doors, like the mixed assessment with The Mothers Of Invention is that both acts represent the darker side to the southern California scene. All of which runs in contrast to the Northern California hippie counterculture, a view which offers up platitudes about peace and love. Those ideals are very lofty, but that might not be very realistic to how human nature operates, The Doors seem to understand this, and Morrison certainly does. The Doors remain a cohesive band, not just a support for Morrison’s whims. The band offers up a theatrical package for a reason; you must look within before you can look without or change the outside world. My biggest complaint with the album is that it is all too brief, and wish there had some more development and length, then again, it does leave wanting and curious for me.

 Recommended. 

Retro Reviews: Wes Montgomery: Goin' Out Of My Head

    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.

Wes Montgomery – Goin’ Out Of My Head (1966)

****

Producer: Creed Taylor

Musicians: Wes Montgomery, Phil Woods, Jerry Dodgion, Bob Ashton, Romeo Penque, Danny Bank, Ernie Royal, Joe Newman, Donald Byrd, Danny Moore, Jimmy Cleveland, Quentin Jackson, Wayne Andre, Tony Studd, Herbie Hancock, Roger Kellaway, George Duviver, Grady Tate, Candido Cameron, Oliver Nelson, Johnny Pate

Music: Goin’ Out Of My Head, Once I Loved, Boss City, Chim Chim Cher-ee, Naptown Blues, Twisted Blues, End of a Love Affair, It Was a Very Good Year, Golden Earrings

Reviewed By Matthew Anthony Allair

    Wes Montgomery has become a guitar jazz figure of great importance in this decade, he is able to infuse many elements that have come before and most certainly has taken steps from Charlie Christian, but his use of octave lines and his dexterity did set him apart from Kenny Burrell and Jim Hall - all are great players that offer unique flavors. Wes’s run with Riverside represented a post-bop sensibility of exceptional records, with only a few hints of the pop leanings he would traverse with albums like Fusion! With Strings from 63. But things change, and his new tenure with Verve has leaned towards a more mass appeal focus, Producer Creed Taylor has taken things into new territories with how Wes is presented, sometimes with mixed results for anyone who remembers his Riverside years. The new album features a roster of talented jazz players, and arranger Oliver Nelson manages to channel the sensibility of Gil Evans, Claus Ogerman or Neal Hefti. The rhythms do indeed swing, and the orchestral accents manage of big band feel. But for most of the album the pop numbers constrain Wes, while his originals liberate him, which we will get into in a moment.

    The title track has become a popular number as of late. Wes's guitar is accented by the rhythm and some brief freedom near the end. “Once I Loved” is a Brazilian number with a light touch, there’s a hint of the Evans sensibility in the arrangement. When Wes is allowed some expression, it is interesting. The number from Mary Poppins, “Chim Chim Cher-ee” is given a vibrant tempo with the full orchestra, and a baroque oboe section, yet Wes manages a good work out with his passages. Yet it is his three originals that Wes feels like he is at his most free. “Boss City” starts with laid back feel, but once the head has established with the horn accents, Wes’s blues origins shine through and we are back to what people of his earlier work, the piano and drums have a playful aspect to lift this up. “Naptown Blues” is the most full band swing number on the album, the rhythm section holds it together while the horns step out, Wes offers some clever cordial work near the last half. “Twisted Blues” offers another fast tempo and Wes's lead work sounds joyous as he offers some of his best guitar runs on the album. 

    In this, Verve was wise to let him show case his originals once again. The standard “The End Of A Love Affair” has an introspective read and the closest to having an Evans or Ogerman feeling with its backing. His lead work here is more pleasant and easy to take in. Billie Holiday had already done a haunting read on this piece in 59. Another number that had been big for Sinatra, “It Was A Very Good Year” that had been done the year before, this allows Wes to ease back with a more outside percussion line in the middle section. Has a darker resolve near the end. The closer “Golden Earrings” has a more settled, pensive tone with the drums allowed a freer structure, with some more Evans flavored accents with the orchestra. The tempo doubles up in the second and Wes is allowed some more space. 

    Another album - like Bumpin’ before it - that allows Wes to not completely abandon his past, this instrumental album should do well for him – it strikes a good balance.  

Retro Reviews: The Mothers Of Invention: Freak Out!

      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 Mothers of Invention – Freak Out! (1966)

***1/4

Producer: Tom Wilson

Musicians: Frank Zappa, Jimmy Carl Black, Ray Collins, Roy Estrada, Elliot Ingber, with Gene Estes, Eugene Di Novi, Neil LeVang, John Rotella, Carol Kaye and other session orchestras

Songs and music: Hungry Freaks Daddy, I Ain’t Got No Heart, Who Are The Brain Police?, Go Cry on Somebody Else’s Shoulder, Motherly Love, How Could I Be Such A Fool, Wowie Zowie, You Didn’t Try To Call Me, Any Way The Wind Blows, I’m Not Satisfied, You’re Probably Wondering why I’m Here, Trouble Every Day, Help, I’m A Rock (i. Okay To Tap Dance, ii In Memoriam Edgar Varese, iii It Can’t Happen Here), The Return of the Son Of Monster Magnet (Unfinished Ballet in Two Tableaux – i. Ritual Dance of The Child-Killer, ii Nullis Pretii (No Commercial Potential) )

Reviewed By Matthew Anthony Allair

    The Mother’s of invention is a new band that is headed by Frank Zappa, they represent the new self-described freak culture of Southern California. What is so audacious about this is that it is a double album, and outside orchestral session players were brought in to augment the core band. This is a hybrid of bizarre material and very pointed satire, so it won’t be for everyone. The fact that the band was signed by Verve, a label known for it’s jazz releases is revealing, it’s interesting producer Tom Wilson was brought in for quality control, as this will push the bounds of what is considered ‘pop’ or ‘rock’ The styles jump all over the place, from doo wop, psychedelic blues, free form jazz, and experimental orchestral work. I thought The Beatles were being experimental, but this takes things in a less formal direction. The fact that they were given the freedom to do this is impressive. Nevertheless, it may be polarizing for a certain subset of the culture.

    It’s opener “Hungry Freaks, Daddy” is a rhythm and blues flavored number with a psychedelic bent, but its lyrics are very pointed and the use of vibes hint at something very different. The fact that the singing is off key is beside the point, it an ugly feeling and it feels intentional in the context of the number. “I Ain’t Got No Heart” is a more musical number as far as the vocal and horn ensemble, it comments about a woman who may be too square for this man who narrates. “Who Are The Brain Police?” is a tuneful enough number with a barrage of fuzz guitar within its hint of a pop sheen. “Go Cry On Somebody Else’s Shoulder” is the first true satire of 50s Doo Wop teenage angst, but that character’s self-loathing and guilt shaming hints he isn’t really the hero to cheer for. “Motherly Love” almost feels like a satire of the burgeoning California psychedelic scene, if also hints at just how young the female groupie scene is and questions it. “How Could I Be Such A Fool” is another 50s satire with a horn section, yet it suggests the male character brought it on themselves.

    “Wowie Zowie” which opens side two is another psychedelic blues pop with a good dose of xylophone. “You Didn’t Try To Call Me” leans into a pop number with orchestra that leans into a movie score. Another satire where the main character has a desperate undercurrent. “Any Way The Wind Blows” is a guilt-based manipulation with some good electric 12 string work, much of this isn’t to be taken very seriously. Black and Collins seem to be the best vocalists. “I’m Not Satisfied” has another disaffected you, but the horns and flutes edge towards a western movie score. “You’re Probably Wondering Why I’m Here” is another teen, sardonic number with the flavor of Kazoo to lean into the humor. 

    Side three’s “Trouble Every Day” is a very pointed number about the media’s perception on youth culture - “You know people, I’m not black, but there’s a whole lot of times, I wish I could say I’m Not White.”, yes, boys, I can’t say I blame you for feeling that way. But the album takes a very strange turn with “Help, I’m A Rock” featuring “Okay To Tap Dance”, part two “In Memoriam, Edgar Varese” and “It Can’t Happen Here.” opening with an odd guitar figure, the groove settles into a random chant, morphing into the “Varese” section. This is probably some of the most avantgarde material for a pop. The chant “It Can’t Happen Here” seems to mock the paranoia about the freak culture in middle America, before shifting into some free form jazz, it all feels like a challenging taunt. 

    Side four’s “The Return of the son of Monster Magnet” has the taunt of Suzy Creamcheese, before a swing pop groove, with a strange pulse of plucked piano, and strange electronic sounds, the next chant shifts gears into other strange territory, it all starts to sound like a parody of some B movie. It even seems to morph into loops, backwards tracks, and speeded up audio, “America’s wonderful!” it declares and any aware person can sense the irony. 

    I can’t say the double album completely works, there’s a few songs that are thematically repetitive on the first two sides, and the audacity of side three and four won’t be for everyone. It is meant to provoke, to act as a slingshot for the consciousness, and some might not just want to be along for the ride. But this album feels a year or two ahead of everyone else and I have very little doubt that other musicians will be paying attention to what the Mothers have to offer. It’s a fascinating little ride as far as a sonic rollercoaster. Certainly, worth it if you are looking for something a little different.  

Retro Reviews: Willie Nelson: Red Headed Stranger

    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.

Willie Nelson – Red Headed Stranger 1975

****

Producer: Willie Nelson

Musicians: Willie Nelson, Paul English, Jody Payne, Bee Spears, Bobbie Nelson, Mickey Raphael, Bucky Meadows, Billy English

Songs and music: Time Of The Preacher, I Couldn’t Believe It Was True, Time Of The Preacher Theme, (Medley) Blue Rock Montana / Red Stranger, Blue Eyes Crying In The Rain, Red Header Stranger, Time of The Preacher Theme, Just As I Am, Denver, O’er The Waves,  Down Yonder, Can I Sleep In Your Arms, Remember Me (When The Candle Lights Are Gleaming), Hands On The Wheel, Bandera

Reviews By Matthew Anthony Allair

    Willie Nelson's new album feels like a marked change and evolution from his prior couple of albums, Phases and Stages and Shotgun Willie, it’s already been receiving a lot of platitudes from other critics, and for good reason, so I am not certain what I can add other than this might appeal to the circle of country rock fans who have followed The Byrds or Graham Parsons. There’s a recurring theme to the first half that makes this appear to be a loose concept record, in essence, it is about a killing and loosely explores the ramifications of that event, but it does so in a deceptive fashion, it’s a slow burn of an album. It willfully strips things down with the arrangements, it doesn’t depend on ornamentation like strings, or heavy amounts of honky-tonk piano, electric dobro, or fiddle, when instruments come in they are judicious and tactical, artistic, it is more about setting a tone and evoking an emotion. The tone is good at evoking a sense of place and time.

    Allegedly the opening track Nelson had performed live previously, “Time Of The Preacher” acts as  a thematic glue to ties the first half together. The stripped-down approach acts as a mission statement, the support creeps in and out. Wellie Nalson’s vocals are good throughout the album, his range may be limited but adaptable, but je’s better than Dylan as a singer.  “I Couldn’t Believe It Was True” is brief but some good guitar. “The Preacher” theme is brought back as a counter rection to the prior track. The medley of “Blue Rock Montana” and the first variation of “Red Headed Stranger” demonstrates the storyteller aspect of Nelson. 

    The cover of Fred Rose's “Blue Eyes In The Rain” is tasteful and simple and acts as another reaction to the prior piece. The proper track of “Red Headed Stranger” is laid back with an effective read from Nelson as the tale unfolds. The “Preacher” theme is briefly brought back as a link that the Preacher and Stranger as likely the same person. The instrumental closer “Just As I Am” acts as a reflective closer, in some ways, the level of reflection from Nelson is astonishing, but it shows someone who thinks like an artist. 

    The second half of the album may have a less focused theme, the brief “Denver” and “O’er The Waves” link together, with ‘Waves’ quoting from Juventino Rosas, with the instrumental ”Down Yonder” giving a reprieve. But the weariness of these characters comes through with “Can I Sleep In Your Arms” with some tasteful harmonica and pensive guitar. The next number has a slight shift in tempo and reprieve with “Remember Me (When The Candel Lights Are Gleaming)”, a number with the best guitar lead work and piano. “Hands On The Wheel” is another reflective ballad, that may be playing with the lores of the past while connecting with contemporary times. The instrumental “Bandera” acts as a palate cleanser while reflecting on the meaning of the tale.

    Willie Nelson has managed to evoke the mythos of the west without falling into cliches – this is refreshing. There are traces of harmonic sophistication throughout the album, and Nelson sounds like he has an adaptability to his talent and approach, I suspect this outlaw country figure has a depth that reminds me of Johnny Cash – there certainly is an introspection with how the material is presented that is rather impressive. I think the second half of this decade should be an interesting one for Mr. Nelson. He is transcending the field of country into something more. 

Retro Reviews: Bob Dylan: Blood on the Tracks

     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. 

Bob Dylan – Blood On The Tracks (1975)

****

Producers: Phil Ramone, Bob Dylan

Musicians: Bob Dylan, Chris Webber, Kevin Odegard, Eric Weissberg, Charles Brown, Buddy Cage, Peter Ostroushko, Gregg Inhofer, Thomas McFaul, Billy Peterson, Tony Brown, Bill Berg, Richard Crooks

Songs: Tangled Up in Blue, Simple Twist Of Fate, You’re a Big Girl Now, Idiot Wind, You’re Gonna Make Me Lonesome When You Go, Meet Me In The Morning, Lily, Rosemary and the Jack of Hearts, If You See Her, Say Hello, Shelter From The Storm, Buckets Of Rain

Reviewed by Matthew Anthony Allair

    Over the past couple of years Bruce Springsteen has not only been compared to Dylan, but has been perceived as surpassing him. Yet Dylan’s new record may be nipping at the heels of Springsteen’s acclaim. Dylan’s last album, Planet Waves, brought back members of The Band, while also trying to update his approach, he dabbled with a new record label on Asylum, it was good, it was stripped down, but for some it felt slight. Bob has rejoined Columbia for this album, and has put out a record with a different set of priorities. Let’s start with the title. At first glance, one could look at it as a comment about a death on a rail train track, a murder or accident, but the real meaning is more the purging of one’s soul on this group of songs, these tracks. They appear to be far more personal that he has expressed as of late, and look to be explorations of failed relationship, hence, ‘the blood’. Those personal aspects on Waves felt like prelude, this feels like the next step after several stumbles at the start of the decade. While the album isn't perfect, it does flag at moments, this is a notable album. 

    There’s very little argument to be made about the album opener and single, “Tangled Up In Blue”, a narrative song about the search for an ideal female muse, whether he finds that muse is unanswered, but it’s one of the most gripping songs from the album. Half of the album was re-recorded apparently soon before release. Rumors are that Lester Bangs heard an early pressing and was dismissive. Even the final draft Bangs described this as a “Crying Towel” of breakups, and I can’t really agree with him.  The other thing that raises my hackles is the claim by Bangs that Dylan has betrayed his sixties legacy*, which isn’t true, but the attitude from Lester reminds me of “Judas” accusation in sixty-six at the Manchester Free Trade Hall. Or even the Pete Seeger and Newport incident from that year. There’s a sense of entitlement about Dylan from certain figures I find frustrating. Let’s be clear, no one owns Dylan, no subset, he is his own man and artist. He’s not obligated to anyone. 

    Dylan sounds like a man who is a little older and wiser, and meditating on the troubled waters with connecting with others. He has faced so much adulation that he has been given a permission to indulge for so many years, it sounds like it is taking a toll. The track “Simple Twist Of Fate” has a more developed sense of melody and chord changes that you don’t always hear from him, another more in depth tale of a woman and a missed connection. “You’re A Big Girl Now” is probably one of the most accessible ballads Dylan has written in many years. It has a slight Latin feel and modal sense, an appeal to his muse that he can change, but we aren’t really left for certain.  Nevertheless, the narrator is left pleading. The deeper you go into “Idiot Wind”, the more you realize how scathing it is, the scale of it is similar to “Like A Rolling Stone”, but this probably one of the most dismissive songs he has written about another. The more direct “You’re Gonna Make Me Lonesome when You Go” is a welcome change, and the voice will remind some of his Nashville Skyline album.

    The blues folk of “Meet Me in the Morning” has some good lead guitar work, but otherwise is just kind of there, as much as it manages to be a slow burn, it’s just interesting. The ambitious “Lily, Rosemary and the Jack of Hearts” is a country romp that is musically repetitive, but the emphasis is on the lyrics, it just depends on if you are willing to go along for it’s journey. The other acoustic ballad “If You See Her, Say Hello” has the nice wash of the organ, and the occasional surprise with the changes. The song is the recognition in the relationship with the woman has changed and she’s moved on – there’s a sad resignation to it. “Shelter From The Storm” might have a certain curability as it’s quite accessible and relatable. Very stripped down with just his guitar. The track also seems to sum up the tone of the album. The closer “Buckets Of Rain” is another folk blues that acts as a coda. 

    Years ago, Dylan described himself as a ‘song and dance man’, and this album seems consistent with his philosophy, others read so much into him as a messianic philosopher, it was always out of proportion, and not realistic, and Bob had to move on from that legacy, he’s just another flawed man. Bob has denied that the album is autobiographical, but it’s difficult not to hear an emotional purge unfold, it feels awfully personal, and there is blood, sweat and tears in the grooves of the album. This album does feel more focused and I am pleased by the change. 

* Editor's note: That accusation of betrayal would make more sense in the 80s with albums like Infidels or Empire Burlesque but seems premature here in 75.