Perspectives: McCartney: What lead to 'Too Many People' Pt 1

 

Perspectives: McCartney: What lead to “Too Many People”

Article by Matthew Anthony Allair

Those Long and Winding Roads

    There’s an analogy I have seen with old spring wound movie camera’s – as the camera winds down, the image speeds up. The output of the Beatles did seem to intensify within the last two years before their official break-up. For starters, there was the label Apple Records and its enterprises, the idea of the label did create opportunities and some fine records were released from its very inception. Paul produced Mary Hopkin’s first single, “Those Were The Days” in late 68 and her first album, Postcard in 1969. Badfinger was signed to the label, and several key figures produced their singles or albums. Paul produced “Come and Get It”, with Mal Evans producing tracks on Magic Christian Music, Geoff Emerick producing tracks for No Dice, and George Harrison producing tracks for Straight Up. Peter Asher, of Peter & Gordon, were friends of Paul’s, and he brought James Taylor who signed with Apple in 68 and released his classic first album. Billy Preston and Jackie Lomax worked with George. Even Yoko Ono brought in the Modern Jazz Quartet for a few albums, but the idea of Apple was burning through their profits. There were bound to be problems.

    What is one of the most unfortunate things about The Beatles break-up, was the very narratives that were set up, and opinions that were set and formed that people still cling to this day. Essentially, people were forced to ‘choose sides’; it wasn’t enough to just accept all of members and what they would offer in the Post Beatles years. Lines were drawn, and people convinced themselves as to ‘who was brilliant’ in the band. The truth was, they were all brilliant in different ways. But the band were all not business savvy enough, and it showed with some of the decisions made with the Apple enterprise. It didn’t help that figures like Jann Wenner would capitalize on the issues. Near the end of 68, prior to the release of the controversial Two Virgins, John Lennon granted Rolling Stone to print one of the nude photos of the cover. The magazine was in trouble and the scoop helped their circulation. We will get back to that in a moment.

    Through 1969 and 1970, there were bad actors on all sides, whom saw opportunities with The Beatles in business, and in the music press, and it’s tragic to see the number of agitators who were whispering into each ear of the Lads from Liverpool,  If you have seen in chronological order the Get Back sessions from the start of Jan until the end of that month, based on Peter Jackson’s eight hour documentary, you saw tensions, boredom, but you saw a willingness to iron things out after George quit the band for a couple of days.

    Even at the start of 69, Paul knew The Beatles were in trouble, you could see it on his face in the Get Back documentary - at the moment George left. 

“This was a very difficult period. John was with Yoko full time, and our relationship started to crumble: John and I were going through a very tense period. The breakup of The Beatles was looming and I was very nervy. Personally it was a very difficult period for me, I think the drugs, the stress, the tiredness, and everything started to take its toll. I somehow managed to miss a lot of the bad effects of all that, but looking back on the period, I think I was having troubles.”

    Paul was also guilty of having blind spots with his zeal to keep the band going, and keep creating for the band, that much is fair to say. But two figures did more sew divide them near the end, Allen Klein and Jann Wenner, their toxic actions pretty much guaranteed the key players would never work together again.

The False Prophet (Profit) Manager

    As documented in Get Back on the 27^th of January, John and Yoko met Allen Klein at the Dorchester Hotel. Allen’s knowledge of the band - and John’s work prior 1968 - in particular impressed Lennon, plus John’s drug recovery left him susceptible to flattery at that moment. Yoko liked Allen because he promised to get her an expedition of her work, which he followed through with two years later. Klein was also someone who didn’t appear dismissive of Yoko’s work. Even if the others wouldn’t agree to have Klein manage The Beatles, he made up his mind, and within a short space of time, Lennon wrote to Sir Joe Lockwood at EMI, Clive Epstein at NEMS, Dick James at Northern Songs, and Harry Pinkster at Bryce Hamner and requested their full cooperation with Klein. 

    A band meeting shortly followed there to state the case for Klein. George and Ringo were convinced to have Klein manage the band. But Paul wasn’t convinced. Paul’s brother-in-law Eastman had heard about the case pending against Klein with American tax authorities and was weary. Paradoxical thinking won the day, a typical aspect of most musicians, someone bad must be good. When George would write about some of these frustrations with the band and even Paul, he also saw things in an interesting way.

    In His 1980 Book, I Me Mine, When George Harrison was talking about the situation with Apple, he was more philosophical about it all. “Wah Wah” was about the tensions in the band. But “Run Of The Mill” even more so. 

“’Trouble at t’mill’; it was when Apple was getting crazy – Ringo wanted it blue, John wanted it white, Paul wanted it green, and I wanted it orange. Paul was falling out with all of us and going around Apple offices saying “You’re no good’—everybody was just incompetent (the Spanish Inquisition sketch). It was that period – the problems of partnerships.”

    The story of Allen Klein is revealing, in a nutshell, Pop star Bobby Darin first met Allen in 1962, Klein was an accountant who started in the late 1950s and was good at looking into audits and finding unpaid royalties. Darin was impressed and gave Klein his business, then Klein negotiated a new deal for Darin with the Capitol contract, but he inserted some interesting clauses, Klein wanted Capitol to sell the Trinity Music Publishing Company to Darin for a substantial sum, Thar publishing had seven hundred songs in it’s catalog, and Darin had only seventy at Trinity, but Capitol was so desperate to get Darin, they agreed. Bobby was a multi-millionaire within a year. Then Klein went after Sam Cooke, securing a nearly million-dollar deal with RCA, prior to Cookes murder. Most record labels were ripping off their artists, so it was easy for Klein to snoop around and extract better deals. Klein got deals for The Dave Clark Five, Herman’s Hermits, as well as his fantastic deal with Decca for the Rolling Stones. His company The Allen and Betty Klein Company (ABKCO) would be a powerhouse for a spell, but it all came with a tradeoff, Klein understood the power of publishing companies and would leverage for that power. 

    Klein was a scrapper, He was born in 1931 in Newark, New Jersey, his mother died of cancer before he was two years old, and his father, a Kosher butcher was forced to place Klein and his sisters in a Jewish orphanage. As he grew older, he had to fend for himself, Klein had to work hard to become an accountant and attended classes at Upsala College in the evenings. John Lennon identified with Klein’s working-class background very quickly. John felt that the Eastman’s upper crust background was suspect, John also accused the Eastman’s of being condescending to him. The only problem was that John misread the situation, some would argue, John assumed Klein shared the same goals as their deceased manager Brian Epstein.

    Rumors circulated that Lennon was consulting Klein back to Mick Jagger, who handed a note via his assistant Peter Swales that was sent to Paul issuing a warning about Klein, Paul asked Mick to come by the Apple offices for a meeting with the band. When asked how Klein was, Mick replied “Well, he’s all right if you like that kind of thing.” But Paul sensed that Mick was intimidated about speaking, Klein would soon have the copyrights to the Stones Hot Rocks compilations.

    On February 3^rd Klein was appointed to conduct an audit on the Beatles finances, as much as Paul vetoed by the others a board meeting as far as Klein becoming manager, he did get one concession, the Eastman’s would be appointed general counsel to The Beatles so there could be some general check on Klein, John and Lee Eastman became the bands lawyers the following day, Fed 4^th. The band would start work on what would become Abbey Road by February 22^nd.

    For two months Klein examined everything, while the Apple staff waited nervously, by March 21^st Klein became Apple’s business manager. Anyone who was considered a threat to Klein was soon let go, long-term loyalist Alistair Taylor, as well as Apple records executive Ron Kass were fired, Neil Aspinall was nearly fired, but the band objected, so he was spared, so was Derek Taylor also kept, as he was not a threat. Countless staffers who were considered hangers-on were let go.

    The below comment by Allen Klein from a Playboy interview 1971, speaks volumes about him. 

“The Music business is about 99 per cent no-talent losers who can’t stand a winner in their midst. I’m a winner, and if they want to sour grape my success by calling me names, let them. I don’t give a shit.”

    In spite of the tensions with Apple, the band pressed forward with sessions for Abbey Road. Early on, by April 14^th, 69, John brought to Paul’s home “The Ballad Of John and Yoko” to finish up, because Ringo and George were away, John and Paul went to the studio    and recorded it as a duo, this may have helped make the rest of the sessions for the album so a little smoother as it was a bonding moment for Paul and John. As the sessions evolved, Paul would write several songs, that in retrospect, seemed like veiled comments that the band were over, “You Never Give Me Your Money, Carry That Weight” and “The End”. The fact that George was now considered on par to have “Something” and “Here Comes The Sun” be the singles was a kind of generous act by Paul and John, as well as Ringo’s “Octopuses’ Garden” being released as a single. The last track recorded by the full band on August 20^th was John’s “I Want You (She’s So Heavy)”.

    In the midst of the sessions the Eastman’s were fired as the band Lawyers as Klein took more control, things built to a head on May 9^th when the band was booked for a session at Olympia studios with Glyn Johns, when Paul was presented with a ultimatum by the band, Klein told them he needed to have his three year contract signed before he wanted to head back to New York and have Klein present it to the board of his corporation. Klein insisted on 20 percent, Paul argued: “He’ll take 15 percent, we’re the biggest act in the world, he’ll take 15 percent”. The band ganged up on Paul over the percentage, bullied him and outvoted him anyway. Klein claimed ‘I Can’t do it for any less, my board won’t allow it’, Of course, there was no board as Klein and Peter Howard were the board members. But John, George and Ringo believed him.

    Paul countered that it was already the weekend, and no business would get done until Monday, The rest of the band accused Paul of “Stalling”, while Paul argued his lawyer could be present on Monday, the band couldn’t do anything else, so they all stormed off leaving Paul alone for the session. Paul vented to musician Steve Miller on the day, and they recorded as a duo, “My Dark Hour”, which Miller would release later as single under a alias. Paul never did sign that contract. While the radio DJ "Paul is Dead" hoax and rumor had circulated by October of 1969, as much as it was false, what is true is that a proverbial funeral procession was on the loom for The Beatles that no one saw.

    I have argued that Allen Klein was a narcissist, now narcissism isn’t a mental illness but more a personality type, there is a range to the traits, some people are malignant, grandiose, covert, or victimized, the common trait is a lack of empathy, although they may be extremely good at feigning empathy when it benefits them. They often believe they are superior to others, critical of others they look down on, expect special favors and expect others to do what they want without question. Take advantage of others to get what they want, behave arrogantly, and have the inability to recognize the needs or feelings of others. Most narcissists have suffered some extreme traumas in childhood that shape their personality. Therein lies the enigma, not everyone who suffered trauma becomes narcissistic. John did have empathy, so did Paul, that is the difference. However fiercely intelligent John was, he was also capable of being naïve. Many smart people are often duped by narcissists.

    Paul’s actions and arguments probably planted the seed that Klein would view Paul as an enemy. The way that narcissists work is to bully people into their way of thinking, or to pit associates against one another for the sake of winning. Klein probably even thought he could brow beat Paul into doing what he wished, but it never happened, Paul seemed to intuitively have a sense of the big picture over how much control Klein should have. 

Linda recalled:

“It was weird times. Allen Klein was stirring it up something awful. Between Allen Klien in one ear and Yoko* in the other ear, they had John so spinning about Paul it was really quite heartbreaking. So Stupid. It reminded me of the Eisenstein movie Ivan The Terrible: they were all whispering. It was like that with John; he was getting so bitter about Paul, and all Paul was saying was that he didn’t want to sign a big management contract with Allan Klein. Nothing to do with anything else.”

    Upon the completion of the Abbey Road sessions, the Apple offices had settled into a different climate, John and Yoko took over Ron Kass’s office, even with other appointed staffers, Klein has final say over every detail, even Paul was quoted with saying to Klein, “If you are screwing us, I don’t see how.” The deal that Allen Klein made included a stipulation that a compilation had to be released per year for Capitol. That would lead towards the American Hey Jude compilation in February 1970. The Red and Blue sets in 73, the Rock N Roll set in 76, and Love Songs in 1977 for Capitol, and so on. In fairness to Klein, George Harrison’s beloved Victorian estate Friar’s Park never would have been sold to George had it been for him. Also, the distribution deal that lead to the release of Alejandro Jodorowsky’s El Topo, a film John and Yoko advocated for, would have never seen a global release, due to Klein’s company.

    What was about to happen shouldn’t have been a surprise in hindsight to anyone. When John and Yoko was invited to guest at the Toronto Rock N Roll Revival, and around some point on that September 13^th date. John informed Clapton and Klaus Voormann that he was leaving The Beatles, that album would be released December of 1969. Allen Klein did negotiate a new deal with EMI / Capitol where they agreed to raise the royalty to 25 percent of retail to be paid directly from EMI to Apple. An unprecedented amount. Yet on September 20^th, 1969 after the new contract had been signed while the band mates speculated about what do to next. John was candid with Paul: “Well, I wasn’t going to tell you till after we signed the Capitol contract. Klein asked me to not tell you. But, seeing that you asked me, I’m leaving the group.” Everyone blanched over John’s revelation, but John seemed excited, like his prior divorce with Cynthia, the rest of the band signed the deal in a daze.

    Ringo had left for a few days during the white album sessions but was coaxed back. George left for a spell at the start of 69, and was talked back, but when John announced he was leaving, it felt final. Paul and Linda retreated for three weeks to his small farm in Scotland to regroup after news it. Paul acknowledged:

“I was through a bad period. I exhibited all the classic symptoms of the unemployed, the redundant man. First, you don’t shave, and it’s not to grow a groovy beard, it’s because you cannot be fucking bothered. Anger, deep, deep anger sets in… Mornings weren’t for getting up. I might get up and stay on the bed a bit and not know where to go, and get back into bed. Then if I did get up, I’d have a drink. Straight out of bed. I’ve never done that,…I felt I’d outlived my usefulness….But the minute I wasn’t with the Beatles anymore it became very difficult.”

Paul admits he needed a month or so to think things over; to plant trees, he became a hermit. He was bound to a contract he didn’t want to be in. Prior to Klein, the band signed a contract in July 1967 at the forming of Apple that bound each of them financially for ten years. Any solo projects would be added into a till. For example; John’s Plastic Ono Band profits would be shared equally between the four of them. The share and share alike philosophy that reflected the early days of Apple records would soon become a two-edged sword. Paul would soon realize that Klein could benefit from Paul’s sales when that man had nothing to do with the work, he didn’t want to see ABKCO label on every McCartney solo release. This trap has similarities, for example, to the early contracts with Billy Joel when he and signed worked with Artie Ripp, although Ripp would have nothing with Joel’s work after 1971, his company Family Productions, took a percentage of every future Joel album sale for a decade. This was all too common in the music business, as Paul was about to get more of the dental experience. Paul pretty much excluded himself from The Apple offices and EMI. 

Paul’s removal from the business side of the situation may seem childish or controlling by some, but his actions may have been intuitive. When dealing with a narcissist, the best tactic is what they call Grey Rocking, to become invisible, to not share certain details, remove oneself from manipulation, and to also remove oneself from the circle around the narcissist – the enablers. This is often very difficult with a business venture, or a marriage that is falling apart, but can be necessary for one’s mental health.

Paul’s solo venture with Linda’s help would give him solace and purpose, when he would start to record tracks for what would become McCartney (1970), while he separated himself from the rest of the band and Apple records, it would soon get worse. In truth, Linda’s support is probably what saved Paul from becoming a drug addict or committing suicide. In the same way Yoko probably saved John from becoming a drug causality, but it was a painful growing up for all of them. Even the in midst of 1969, John was not oblivious as to how others were trying to manipulate him. Plenty of bad actors were part of the gossip mill, as Paul explained:

“When John and I used to meet during this period, he’d say ‘Do they try and set you against me like they try and set me against you?’ And I’d say ‘Yes, often, People’ll say, “Oh, did you hear that Lennon threw up before he went on stage in Taranto?’” They’d always tell me the juicy things, in case I wanted to go ‘Did he? What a bastard! Well, serves him right, ha, ha,ha.’

“The two of them were on Heroin, and this was a fairly big shocker for us because we were far-out boys but we kind of understood that we’d never get quite that far out. I don’t think people understood what was happening but there was still a lot of affection still.”

Generally, addicts won’t make good decisions. While John and Yoko used in 69, they were still using to a degree in 1970, and in-between rehab visits, would still use until John stopped in 1975. John admitted he was stoned for most of the Get Back project, which you can see, he didn’t seem to care. The added influence of Klein as the building confusion with the enterprise didn’t help. Shortly, Paul was trapped. 

* In fairness to Linda's remarks, Yoko was merely being defensive of her husband, in the same way that Linda was defending her husband. Actually, Linda would advocate for Yoko as she recognized the misogyny they both dealt with. 

Continued on part two...

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.