Retro Reviews: Dolly Parton: Here You Come Again

     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.

Dolly Parton – Here You Come Again (1977)

***

Producer: Gary Klein

Musicians: David Foster*, Jim Keltner, David Hungate, Dean Parks, Harry Bluestone, Ben Benay, Nick DeCaro, Jan Gassman, Jay Graydon, Ed Greene, David Lindley, Myrna Matthews, Marti McCall, Gene Morford, Al Perkins, Zedrick Turnbough, Dave Wolferi

Songs: Here You Come Again, Baby Come Out Tonight, It’s All Wrong but It’s All Right, Me and Little Andy, Lovin’ You, Cowgirl & The Dandy, Two Doors Down, God’s Coloring Book, As Soon As I Touched Him, Sweet Music Man

Reviewed by Matthew Anthony Allair

    Dolly Parton, who has been a staple of the country scene since she was first introduced to a larger audience by Porter Wagoner in the 60s, has not only been a prolific interpreter of other peoples songs, but she has remained an adept song writer in her own right – it’s often her originals that are interesting. She has released her most accessible pop cross over album yet, and while none of this veers into the rock territory, there’s some liveliness to the material. Producer Klien has been working with Barbra Streisand, so there’s a certain pop sheen to his presentation. She has remained a consistently strong vocalist over the years, and as demonstrated here, is able to evoke any range of emotions. She is as good of a storyteller as a figure like Judy Collins, or Helen Reddy. There's a certain ebullience to Dolly's approach that is indeed infectious. 

    There’s little argument that the title track is going to be a hit, it has a contemporary sense that should draw a lot of attention to the average listener. The other track, written by Dolly that should be a crowd pleaser, and chart topper is “Two Doors Down”. Her three other original songs just demonstrates the above the point, “God’s Coloring Book” is a childhood reflection. The tragic “Me and Little Andy” is a sweet and sour tale. The other contemporary ballad “It’s All Wrong, But It’s All Right” matches any of the other original material submitted for her to record. Many of those other songs are by some of the best writers out there, Barry Mann and Cynthia Weil, Kenny Rogers, John Sebastian, Bobby Goldsboro, and Kathy McCord.

    The ballad “Baby Come Out Tonight” has a light feel about a relationship that won’t work. The playful “Lovin’ You” has a spry swagger. The ballad “The Cowgirl & The Dandy” paints a wistful picture of two very different people. “As Soon As I Touched Him” has a gospel tinge in spite of it’s secular terms, yet another reflection on a lost love. The closer, “Sweet Music Man” is an insight of a writer who has moved on from the narrator to another. Her reading is quite poignant. While there’s plenty of the standard country elements, Klein has gathered together something that feels fresh. There's a homespun warmth to Dolly's vocals and demeanor that is difficult to not be won over by. While there’s no comparison, Dolly might not reach the heights of Joni Mitchell, but she is doing quite fine.

* In the 70s, David Foster was a session musician before he became a producer in the early 80s and reached his vaulted status. 

Retro Reviews: Neil Sedaka: The Hungry Years

     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. This is part two of a two-part tribute to the pop legend Mr. Sedaka, may he rest in peace. 

Neil Sedaka – The Hungry Years (1975)

***1/4

Producers: Neil Sedaka, Robert Appere

Musicians: Neil Sedaka, Steve Crooper, Dean Parks, Leland Sklar, Nigel Olson, Milt Howard, David Foster*, Chuck Findley, Jim Horn, Dick Hyde, Jackie Kelso, Artie Butler, Richard Carpenter, Donny Gerrard, Gail Haness, Biran Russell, Brenda Russell and Elton John

Songs: Crossroads, Lonely Night (Angel Face), Stephen, Bad Blood, Your Favorite Entertainer, Baby Blue, Tit For Tat, New York City Blues, When You Were Lovin Me, The Hungry Years, Breaking Up Is Hard To Do

Singles: The Queen of 64, Goodman Goodbye

Reviewed By Matthew Anthony Allair

    Last years American release of Sedaka’s Back would have been a difficult follow up as it left an impact for those who listened. That album was also dependent from three UK albums before. So, The Hungry Years is the first album that represents with where Mr. Sedaka is, and the material is generally uniformly strong, while it may not be as compelling as the prior. Still he has an impressive roster of players, such as the iconic Steve Cropper, and the drummer from Elton John’s Band Nigel Olson, and such players as Chuck Findley whose work on the last album was memorable. The quality of the production remains high and the lyrical team and Cody and Greenfield are back. The singles “The Queen of 64” is a whimsical, if not frivolous piece, but the companion track “Goodman Goodbye” is a compelling and varied number.

    The first thing that strikes you with “Crossroads” is Neil’s impressive piano work, and while the number is not the Robert Johnson piece, it does seem to play with similar themes. There’s a certain swagger to “Lonely Night (Angel Face)” that is pleasant. The ballad “Stephen” seems to be a tribute to another musician. The single “Bad Blood” has some playful life and features Elton John on support vocals, that alone is another endorsement of Sedaka to have John involved. A scathing number about a questionable woman. The ballad “Your Favorite Entertainer” is a reflective critique about stardom, the background vocals have the same kind of rich quality you have been hearing with Steely Dan. “Baby Blue” is a pop blues that builds into a dramatic edge with some good guitar work, probably by Cropper.

    The side two opener “Tit For Tat” eases into a groove that is a comeuppance piece that has a sly sense of humor. The deceptive “New Nork City Blues” begins as a slow ballad that describes the though urban life, and this feels like the darker sequel to “The Immigrant”, and an acknowledgement of class differences. Impressive. The stride blues of “When You Were Lovin’ Me” has more of a gospel element that was seen in the prior “The Way I Am”. The other ballad, “The Hungry Years” has gotten a lot of attention, is probably on par with “Solitaire”, and wouldn’t surprise me if it was released as single. A lament about two people who have reached comfort and success and realize they are less happy. Sedaka has reconnected to his past by revisiting “Breaking Up Is Hard To Do”, first by quoting the original track then dovetailing into a new jazz blues arrangement. This new take reveals just how much more sophisticated and mature he has become as a singer and pianist He may even be chasing at the heels at new paramours like Billy Joel.

    In the last couple of years Neil Sedaka has managed to build up an impressive body of songs that may hold the test of time. One can never tell what will resonate with the public, but the songs from this album and Sedaka’s Back may have a durability that others shouldn’t underestimate. Elton John’s judgment was a good decision. Recommended. 

 * In the 70s, David Foster was a session musician before he became a producer in the early 80s and reached his vaulted status. 

Retro Reviews: Neil Sedaka: Sedaka's Back!

 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. This is part one of a two part tribute to the pop legend Mr. Sedaka, may he rest in peace. 

Neil Sedaka – Sedaka’s Back (1974)

***3/4

Producers: Neil Sedaka, Robert Appere, 10CC

Musicians: Neil Sedaka, Ben Benay, Eric Stewart, Lol Crème, Kevin Godley, Graham Gouldman, Milt Holland, Jim Horn, Dick Hyde, Danny Kortchman, Russ Kunkel, Don Menza, Del Newman, Dean Parks, Brenda Russell, Brian Russell, Leland Sklar, William Smith, Chuck Findley

Songs: Standing On The Inside, That’s Where The Music Takes Me, Laughter In The Rain, Sad Eyes, Solitaire,  Little Brother, Love Will Keep Us Together, The Immigrant, The Way I Am, The Other Side Of Me, A Little Lovin’, Our Last Song Together

Reviewed By Matthew Anthony Allair

    This album represents a resurgence for early sixties star Neil Sedaka, from the end of the 50s and though the early 60s, Neil had a string of hit singles and a few albums, then it all started to wane for him commercially with the resurgence of the British Invasion in sixty-four. Yet Neil was already important after the transition away from the great American songbook, along with Rock N Roll, he was part of the Brill building circle of songwriters - a tradition of real craft. He was in a kind of wilderness commercially until he moved to Britian at the start of this decade and started recording a group of albums that gained attention and respect in the UK. Elton was impressed enough by his work to sign him to his Rocket record label and gather together this album. Technically, the album is more or less a compilation from his three UK albums, Solitaire, The Tra-La Days Are Over, and Laughter In The Rain. But this decision has allowed them to cut out the extra fat from those albums, and gather an impressive group of songs. The collective impression is one that is captivating, there’s just about nothing to skip over, and being that this is designed for the American market. This should help people to remember what an excellent singer and pianist Sedaka is. But Neil isn’t relying on nostalgia, he is a contemporary song writer that is on par with Elton John himself.

    The opening track “Standing On The Inside” seems to be a statement of intent as well as acknowledging his wilderness years, the playful piano and Wah guitar is a nice trace of coloring, as well as some claves. “That’s When The Music Takes Me” is a nice driving pulse with his piano, a great track about how music revitalizes him. The lush “Laughter In The Rain” has become the single, while the lyrics are simplistic, there’s a real lifting quality to the record and orchestration that acts as embellishment. “Sad Eyes” starts off as a deceptive blues with a shuffle and dobro, but some sophisticated chords belie the assumptions about the track rather quickly, the track leans into a New Orleans quartet, and sultry horns. The plaintive ballad “Solitaire”, a lost love tale where the card game is used as a metaphor, there’s a bottomless sadness to the track, and Neil delivers a strong vocal, there’s the additional touch with the Oboe ensemble . The side one closer, “Little Brother” is pretty self explanatory, probably told from a child who complains about his younger sibling, the Latin feel, the description and Spanish dialogue really captures a sense of place.

    Regarding side two, if “Love Will Keep Us Together” is not released as single, I would be quite surprised, some surprisingly good writing with a playful tone. “The Immigrant” has another full arrangement and some sincerity to remind westerners that America was founded on immigrants. The gospel infused “The Way I Am” paints a vivid image of a less than pleasant fellow, but there’s a real relatability that is similar to “Little Brother”. The rolling piano ballad “The Other Side Of Me” has some real drive during the chorus and almost hints at McCartney with it’s approach. The rocker “A Little Lovin’” has a Jerry Lee Lewis feel and some good guitar work that illustrates he can dabble in the genre, another vivid narrative song energetic number. The closer and final ballad “Our Last Song Together” can be about an ending relationship, but it also seems to acknowledge Sedaka’s need to move forward as a writer and not be tied to his early 60s past. 

    Something should be said about the supporting musicians, especially the band mates of 10CC, they really enhance and uplift the material. While there’s some sonically uneven material as this was culled from three albums, the mixture of intimate numbers along with sweeping orchestrations gives the album a good balance and keeps it interesting. The lyrics written by Cody and Greenfield makes much of the songs relatable and this album should have a broad appeal. The mix pop, ballads, Latin and Gospel, lite jazz, and even a romantic classical makes this a pleasant and compelling listen. It ends up being quite a pleasure to see Mr. Sedaka back in the spotlight and I will be curious to see his next release.